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Decorative Doorstops
by Joseph M. Herrmann
I imagine that, like me, most turners tend to hoard scraps of wood. Those scraps just sit there, gathering dust, waiting for the “right” project to come along. Eventually one will, and then that special piece of wood (that I’ve been saving for over 15 years) will finally find a home! I recently put my house up for sale and have been trying to get rid of all my little scraps of wood. Unfortunately, I’ve been burning most of them in my woodstove, so I’m always on the lookout for projects that can be made from scrap wood.
I first saw a doorstop at an art show many years ago in Clead Christensen’s booth. I was doing the same show, and I always like to wander around to see what other artists are doing. I was still teaching at the time, so I was on the lookout for interesting project ideas to bring back to my students. The doorstop seemed to be an easy project that could be made from scrap wood. |
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MOUNT THE WOOD ON THE LATHE
For my doorstop, I chose red oak because I have a bunch of it and enjoy turning it. It does have a tendency to chip out, especially at sharp corners, but as long as your tools are sharp and you take light cuts, I think it turns well. I also like it because it sands easily and, besides, most of the woodwork in my house is oak, so these doorstops will fit in well.
Square up a blank to 2" x 2" x 13", making sure that it is perfectly square. I sized this doorstop to fit under my doors. You might want to make your blank longer to produce a slimmer taper if it will fit better under your doors. Carefully locate the center of both ends and lightly centerpunch it with an awl. Mount it on the lathe between centers, using a live center in the tailstock end. It is extremely important to start with a square blank, to locate the centers accurately, and to mount it carefully between centers. Otherwise the pommel (the transition from square to round) will not be uniform. |
LAYOUT
Locate the center of the blank. Measure out 3" in each direction and use a square to draw a line on two adjacent surfaces. Measure out 3/8" from those two lines and draw two more adjacent lines. The two inside lines are the starting points for the pommels; the two outside lines indicate where the half bead stops. These layout lines are shown in Fig. 1.
Use a skew to score the two
outside lines (see Fig. 2). Doing this will prevent a large piece of wood from being lifted from the blank and running back toward the middle. If this happens, the blank
is usually ruined, unless you can find the piece and glue it back on.
There are several ways to turn the pommels. The traditional way is to simply make a plunge cut with a gouge or a skew ahead of the line and work backwards for about three passes until the cut is made where needed. However, what works best for me is to cut in on the line with a parting tool, make a relief cut next to my first cut, and then alternately deepen them both until I reach solid wood (see Fig. 3). Once I have the cylinder round at that point, I extend it out to the end of the blank (see Fig. 4).
Starting at the inside line, turn a half-bead down until you get down to solid wood (see Fig. 5). Most turners use either a skew or a spindle gouge to do this; however, I prefer to use my detail gouge for this task. I ground this flat gouge to a rather sharp point (see Fig. 6), and I can turn beads, large coves, and cylinders with the tool. Patterned after the tools popularized by Rude Osolnik, the North-Coast Woodturners made these tools and sold them to the members over 15 years ago. It has become one of my favorite tools.
TURN THE DETAILS
I’ve provided two designs for the ends of the doorstop (see Diagram at right and the main photo on top of page). You can use both of them as I did, or make the two ends identical, or create your own design. However, directions are provided in the article for just the one end.
One of the art themes present in the folklore of many ancient cultures is the serpent swallowing an egg. For example, in Ohio where I live, we have the Serpent Mound effigy that was built by the prehistoric Adena culture. It is the largest example in the United States and measures over 1300 feet long. I’ve always liked this motif and have incorporated it into many of my turnings including this one.
You can start the turning on either end of the blank. I arbitrarily chose the tailstock end because I like to leave as much bulk at the headstock end for as long as possible. I always prefer to “block out” my turnings before starting because I think it makes it easier to visualize the final shape when all the excess material has been removed. Therefore, reduce the cylinder to 1-5/8", starting immediately adjacent to the pommel.
Using the pattern provided, locate the major diameters. With a parting tool and calipers, reduce the blank at those points to their respective diameters and remove any excess material (see Fig. 7). All that remains is to turn the individual details.
First, use a gouge to connect the two endpoints to form the off-center cove. Be careful not to chip the ends. Next, form the small chamfer adjacent to the pommel. Both are shown in Fig. 8. Last, use the gouge to form the egg-shaped top. Keep in mind that an egg is larger on one end than it is on the other (see Fig. 9).
FINISHING AND PARTING OFF
Turn the other end to the correct shape. Then I hand sand these turnings, starting with 120-grit abrasive paper and progressing to 320 grit.
Once that is complete, use a small finishing sander to sand all the flat surfaces on the blank. Although this can be done off the lathe, I’ve found it is easier to do while the blank is still mounted between centers.
Use a detail gouge or a skew to pare down the attachment points at both ends of the turning. I start at the tailstock and then move to the headstock end. Do not shut off and restart the lathe until both ends have been reduced—starting torque will sometimes snap off the fragile attachment point.
You can part the piece completely free if you like, but I find it easier—and less exciting—to cut the remaining stock off with a bandsaw. Power sand the end with an electric drill and a 240-grit abrasive disc on a Velcro pad, and then do the final sanding with a piece of handheld abrasive paper. Be sure to remove all vestiges of the attachment points, being careful not to flatten the end.
FINAL STEPS
Locate the endpoints of the opposing pommel cuts and measure down 1/4" (see Fig. 10). Cut the line carefully on the bandsaw and either joint the rough edge or sand it flat with a random orbit sander. Remove approximately 1/4" of the tip of the doorstop on the table saw. Round over the ends of the doorstop on a belt or disc sander to remove any sharp edges (see Fig. 11).
Apply a coat of linseed oil thinned 2:1 with paint
thinner. Allow it to sit for about 10 minutes and thoroughly wipe off any excess oil that remains. You can elect to either leave the doorstop in this condition or apply a
couple of coats of a spray lacquer, like Deft, and rub it out with 4/0 steel wool when it is dry.
If you want, drill a 1/4" hole through the knob and attach a small leather cord to permit the doorstop to be hung on the doorknob when not in use.
Projects such as this are always quick and easy and allow you to use up some of those larger pieces of scrap stock that we all have saved. Tied up with a nice piece of ribbon, they make great housewarming gifts and should be good sellers at craft shows. |
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Fig 1.
Draw the layout lines for the
pommels on two adjacent
sides of the blank. |
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Fig 2
Score the two outside lines with
a skew to prevent the wood from splitting when the initial cut is
made into the square. |
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Fig 3
Make two side-by-side cuts with a parting tool until you get down to solid wood. Be careful when you move the parting tool that you don’t catch the edge of the square. |
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Fig 4
Run the rest of the cylinder
down to solid wood. |
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Fig 5
Turn the half-bead (pommel)
down to solid wood. |
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Fig 6
This is the profile of the homemade detail gouge that I use. |
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Fig 7
Locate and size the major
diameters. Remove any excess
stock at this time to make visualizing the final profile easier. |
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Fig 8
Turn the cove and the chamfer first. |
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Fig 9
Turn the egg shape next. |
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Fig 10
Layout the line where the blank will be split into two separate stops. |
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Fig 11
Round over the ends of the stops so they don’t chip out in use. |
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SUPPLIES
Wood:
scrap wood (2" x 2" x 13" piece of red oak was used for this project)
Tools:
table saw, jointer, planer, lathe with live center, ruler, awl, calipers,
parting tool, small spindle gouge, detail gouge, skew, finish sander,
bandsaw, random orbit sander with 120-grit disc, square,
electric drill with 240-grit abrasive disc on a Velcro pad
Assorted grits of abrasive paper
Linseed oil thinned with paint thinner or finish of choice
Spray lacquer (optional)
Pencil
Leather cord (optional) |
Download this project as a printable PDF
(large file 1.6 MB - 4 pages)
Download the diagram as a printable PDF
(file size is 28 KB) |
This project was featured in the Spring 2006 Issue.
For information on purchasing this issue please refer to the back issues page.
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View Past Online Projects:
Banksia Pod Winged Bowl
Corncob Pens
Small Lidded Boxes
Dragonfly Stone Inlay
Cocobolo Scratch Awl
Breadknife
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