Facing the edge

The woodwork of Justin McCarthy

To Max and Charlie,

who can never know how much they mean to me.

Foreword
In July 2002 I enrolled in the course on Fine Woodwork at the School of Art,
Australian National University, as part of the non-degree Visual Arts Access
program. Although I had had an interest in woodwork for many years, it was only
under the instruction of Greg St. John at the School that I realised how much
there was to learn about fine woodwork, and how much I didnt know! Over the
next few years I acquired, not only an excellent grounding in woodworking techniques, but also an approach to woodwork that could perhaps be summed up as:
good enough is never good enough.
And so, at the end of 2003, I retired to the life of a full time amateur woodworker.
My retirement coincided with the completion of the conversion of the carport into
a workshop, and in April of the following year my Hammer C3 31 arrived. This
meant I no longer had to dimension wood using just my trusty Record No.6!
The first eight years saw a slow but steady stream of jewellery boxes and pieces of
furniture emerge from the workshop. I was happy for each piece to take as long
as necessary and my output was usually no more than five to six pieces a year.
But in late 2011 I took up woodturning, and the acquisition of a Vicmarc VL 200
long bed lathe necessitated a major reorganisation of the workshop. This was
somehow achieved without the workshop becoming too cramped. While I still
made the occasional piece of furniture or jewellery box, thereafter much of my
time was spent in front of the lathe.
Looking through the photos in this book I realise that if there is a common thread
to much of my work it is contrast, whether that contrast comes from using
different species of wood, non-wood materials such as stainless steel, mother of
pearl and glass, or contrasting colours within the same species.
A number of people contributed, directly or indirectly, to this book. It was Tess
idea for a book on my woodwork, and it was she who did almost all of the work
- all I had to do was select the photos and write a few pieces of text. And without
two people, Greg St. John and Richard Raffan, I doubt whether there would have
been anything of sufficient merit to warrant inclusion in this book.

Page - 4

Finally, my thanks, and much more, to Sue. It was a little after 9pm on Saturday,
the 6th of June 1970, when I spied a tall woman with short fair hair and wearing
a light green dress at the dance at John XXIII College. I could not have known it
then, but that was the most important day of my life.
In the following pages common names rather than botanical names have been
used. In addition, as I did not keep a record of when individual pieces were
made, the year in which a piece was made has not been included.
Justin McCarthy, Canberra, October 2016

My workshop

Page - 5

Page - 6

Furniture and boxes

Looking through the photos in this section I take some comfort from the fact that
many of the pieces are owned by family members. Some were made as wedding
presents while a number of the others were the result of commissions from family members.
Early pieces of furniture were either class projects to a design by Greg, or based
on the work of others (for example, the hall table that I made for Robyn, that was
substantially based on the hall table that Neil Erasmus made for Sue and me).
But after a few years I realised I had to grasp the nettle and start making pieces
that had a degree of originality in their design. But in contrast to woodturning,
where I found the design process relatively easy, I found coming up with a design
for a piece of furniture that had a degree of originality about it, while at the same
time being aesthetically pleasing, was like drawing blood out of a stone. I would
spend days, and sometimes weeks, playing with ideas until, eventually, one
seemed to work. I would breathe a sigh of relief, knowing I could start to do the
drawings for the more technical aspects of the design and that in a few days time
I could start the actual making.
Boxes, on the other hand, didnt present the same design problems. Most were
intended to be functional jewellery boxes, and early on I settled on a basic design
of dovetail or finger joints with floating panels, and ripple sycamore trays inside
the box. I would then slightly modify this basic design in some way (such as the
multiple frame and panel for the lid in Robyns jewellery box) so that each box
was different.

Page - 7

Tasmanian Myrtle, European

Sycamore, Mother of Pearl,
Brazilwood and Dyed Wood

Furniture and boxes

A commission, received via the

Woodcraft Guild ACT from the
Folk Festival Committee, to make
the second prize in the 2014
raffle run by the Committee. I
experimented with mother of
pearl squares on the corners
of the lid to hide my less than
perfect mitres.

Page - 8

Brazilian Walnut, European

Sycamore, African Blackwood,
Mother of Pearl and Micro
Suede

Furniture and boxes

A commission that I received

from Pam Arnott, to make a
jewellery box as a birthday
present for her niece, Fiona.

Page - 9

Cathys memories box

European Oak, Amboyna, European
Sycamore, Saffronheart, African
Blackwood, Mother of Pearl and
Brass
This was a memories box that I
made for my cousin, Cathy.
The oak was highly figured and,
as a consequence, extremely
cranky. For the floating panel in
the lid I needed a contrasting
wood that was still in the same
colour spectrum. I chose
Amboyna burl.

Furniture and boxes

The photo that I used for the

inside of the lid had been
taken in bright sunlight, and as
a result, Cathys and Johnnys
faces were in shadow. Brian did a
fantastic job in photoshopping
their faces.

Page - 10

Mums memories box

Australian Cedar , European
Sycamore, African Blackwood
and Brass

Furniture and boxes

This was a class project designed

by Greg that I made during Dads
last days. At a fairly early stage
in the making I determined that
it would be a memories box for
Mum.

Page - 11

Janelles jewellery box

Figured Tasmanian Myrtle,
European Sycamore and
Micro Suede

Furniture and boxes

This was the first of a number

of commissions I received from
Elsie. It was one of the few
jewellery boxes where I made
provision for rings to be placed
vertically in the tray.

Page - 12

Sues jewellery box

Purpleheart, European Sycamore,

Micro Suede, Brass and Opal
Triplets.

Furniture and boxes

Purpleheart is a very difficult

wood to use in conjunction with
some other species as it is so in
your face, but I think I pulled
it off. I remember that routing
the space for the detail in the
middle of the box and lid was
rather traumatic.

Page - 13

Robyns jewellery box

Birds Eye Maple, European
Sycamore, Micro Suede, Casting
Resin and Garnets

Furniture and boxes

Another commission from Elsie.

It employed the variation of a
multi frame and panel lid. I also
buried a number of garnets,
found by Robyns father during
his many fossicking expeditions,
in the knot hole in the centre
panel using casting resin.

Page - 14

Paddys jewellery box

Birds Eye Maple, African Blackwood and Micro Suede

Furniture and boxes

My personal favourite. A
commission from Mum, Karen,
Shaun and Cathy. I had the
devils own job keeping the
Blackwood dust out of the fine
maple pores.

Page - 15

Figured Tasmanian Myrtle,

European Sycamore, Mother of
Pearl and Micro Suede

Furniture and boxes

This was donated to the Guild

as one of the prizes in one of the
annual raffles run by the Guild.
The figure in the myrtle was
just gorgeous. I was also rather
proud of the fact that the bottom
tray, on which the two smaller
trays rested, took 75 seconds to
drop into place.

Page - 16

Traceys jewellery box

She-oak, European Sycamore,
African Blackwood, Brass and
Micro Suede

Furniture and boxes

Another comission from Elsie,

this time for her niece, Tracey.
Made to accommodate Traceys
extensive collection of earrings.

Page - 17

Birds Eye Maple, European

Sycamore, Brazilwood, Mother of
Pearl, Opal Triplets and Brass

Furniture and boxes

I made a large number of these

boxes, but the first ones were
made before I took up turning.
For the seemingly turned
elements on those early pieces
I first turned them on the disc
sander using a pinion, and then
inverted them in the drill press
and used sandpaper for final
shaping!

Page - 18

Page - 19

Furniture and boxes

Cutlery Cabinet

Birds Eye Maple, Purpleheart,

Stainless Steel, European
Sycamore and Micro Suede

Furniture and boxes

My first piece of furniture to my

own design. It was while
making the chair (on page 23)
that I came up with the design
for the legs. Relegated to third
place by entries from Evan Dunstone and Eugene Zacharewicz
in the Open section of the Guild
Competition, it nevertheless
won a prize for best use of
figured wood in an Australian
Wood Review competition.

Page - 20

Hall Table

Tasmanian Myrtle

Furniture and boxes

I made two versions of this hall

table, the first as a prize in the
Guild raffle, and the second on
commission for Richard and
Allison Clark from Trend
Timbers. The raised top picks up
on the similar design element
in the coffee table on page 23,
and I used a reverse taper for
the legs, which Neil Erasmus has
used so effectively in some of
his furniture.

Page - 21

Two Orphaned Drawers

Adopted by a Hall Table
Birds Eye Maple, European
Sycamore, Tasmanian Myrtle,
Glass and Perspex

Furniture and boxes

A wedding present for Anthea

and Joe. The quirky title derives
from the use of two drawers
from an abandoned project,
which were suspended by
Perspex rods. The stained glass
is embedded in the legs. The
piece won joint first prize along
with Three Colours Myrtle
(page 24) in the furniture category in the Guild
competition as well as Members
Champion.

Page - 22

Paddy and Johns Coffee

Table
Wenge, Rock Maple and
Stainless Steel.
A commission from Paddy and
John. The first time I had used
wenge - it was also the last
(David Upfill-Brown calls it
organic steel). From an
aesthetics point of view I would
have preferred the magazine
shelf to be somewhat lower, but
Paddy wanted to be able to get a
vacuum cleaner underneath.

American Walnut and Micro

Suede

Furniture and boxes

A class project to Gregs design

and the only chair I have made.
From a functional point of view,
it was not one of Gregs best
designs, and only small
grandchildren are allowed to sit
on it.

Page - 23

Three Colours Myrtle

Tasmanian Myrtle and European
Sycamore

Furniture and boxes

Made as a wedding present

for Rachelle and Josh, and my
personal favourite. The title
derives from combining boards
of myrtle with the standard
reddish brown colour, a small
board with pinky tones, and an
absolutely stunning board with
yellow tones. In the arts and
crafts style, but with some modern design elements. The piece
won joint first prize along with
Two Orphaned Drawers Adopted by a Hall Table (page 22) as
well as Members Champion

Page - 24

Furniture and boxes

The making of Three Colours

Myrtle

Page - 25

Bonny and Andrews

Hall Table
Tasmanian Myrtle
Made as a wedding present for
Bonny and Andrew.

CD cabinet

Furniture and boxes

Rock Maple, Jarrah and Glass

A class project to Gregs design,
although the handle, base and
the glass panel details are my
design. The horizontal strips
adjacent to the handle were not
part of the original design but
were added to disguise a small
crack in the glass!

Page - 26

Display cabinet

Australian Cedar, Glass and Brass

This was a class project to
Gregs design and the first major
piece of furniture I made. It was
my first attempt at making
drawers, and unfortunately it
shows. Just butt joints were
used to attach the legs to the
carcass. I was sceptical and
thought we should be using
biscuits or dowels, but Greg had
made a jig that enabled
clamping pressure to be applied
where it was needed.

Mirror

Huon Pine, African Blackwood

and Glass

Furniture and boxes

A class project, although we had

a free hand in relation to most
of the design elements. I used
an overhead router to make the
internal diameter.

Page - 27

Robyns Hall Table

Tasmanian Myrtle
This hall table was a
commission from Robyn. Most
of the design elements were
borrowed from the hall table
that Neil Erasmus had made for
Sue and me some years earlier.

Coffee Table
Rock Maple

Furniture and boxes

I finished this just before

entries closed for the Guild
competition and at the last
moment decided to enter it. I
was surprised when it won the
Members and Open furniture
categories and Members
Champion. The through mortise
and tenons took me ages.
I ended up making three more
versions of this table, although
for the last two I wised up and
used dominos for the joints.

Page - 28

Coffee Table with Basic

British Bowl
Padauk
One of two versions of the coffee table on page 28 that I made
on a commission from Peter
Walsh for two of his children. For
this version I also made an
accompanying bowl from a
lamination of some of the off
cuts. While I rather liked the
bowl, Richard was less
enthusiastic, commenting Basic
British turning, Justin. So I
called it Coffee Table with Basic
British Bowl.

The Vase that Became a

Fruit Stand
Huon Pine and African
Blackwood

Furniture and boxes

The idea of the class project was

to make a coopered vase with
staves made from laminated
strips of veneer which had been
shaped in a former. However, I
soon ran out of veneer and this
is what I came up with in lieu.
It won first prize in the general
woodwork category in the Guild
competition, with one of the
judges, David MacLaren from
Bungendore Woodworks,
commenting that he had never
seen anything like it before. (I
assume there was nothing
pejoratively in this comment!)

Page - 29

Woodturning
In a sense, the green turned enclosed form by Richard Raffan (below) is the
reason that I took up woodturning. In the latter half of 2010, he and Terry
Baker had a joint exhibition at the Sturt Gallery in Mittagong. Most of Richards pieces were his whimsical boats, but he had a few of his green turned
rustic bowls on display and this piece caught my eye. Sue and I purchased
it, and Richard promised to bring it back to Canberra when the exhibition had
finished. A month or so later, over a cup of coffee, Richard offered to teach me
woodturning. I remember thinking at the time: Why would I want to turn - I
do proper woodwork!. But I suspect that it was then that the seed was sown,
for a year later, I found myself putting my name down for a five day turning
course that Richard was to run at the Guild Shed in January 2012. Although I
had not appreciated, when putting my name down for the course, that it was
for people who had some experience in turning, Richard was good enough to
give me a few lessons and to lend me a spare VL 100 and a few tools. Within
a short period I was hooked, so much so that even before the course started I
had purchased my VL 200.
Compared with the weeks, and often months, it took me to complete a piece
of furniture or a jewellery box, soon I had reached the stage where I could
produce a turned piece in one or two days. This soon gave rise to a storage
problem, which was solved by requisitioning the dining table, and for a couple
of years dinner parties at the McCarthy household were small intimate affairs
in the family room as it was too much trouble relocating all the bowls on the
dining room table!
While my early turnings were straight out of the Richard Raffan style guide,
after a while I started to develop my own style. This took a new direction after
doing a course with Phil Irons in Welford on Avon, where I learnt Phils
technique of applying colour to wood with interlocking grain.

Camphor Laurel

Tasmanian Blackwood and

Mother of Pearl

Armed with a couple of lessons

from Richard and his book on
turning in the Tauntons
Complete Illustrated Guide
series, I somehow managed to
produce this lidded box, my first
turned piece.

Woodturning

I made a number of lidded

boxes based on the Moorcroft
ginger jar pattern. This was my
first, and turned with
conventional turning tools. This
particular design became
somewhat easier once I had
acquired the Vicmarc hollowing
tool rest.

Huon Pine and Mother of Pearl

These two were turned with
the Vicmarc hollowing tool rest,
and accordingly the walls were
somewhat thinner than the
example above!

Page - 31

Brazilwood and Tasmanian

Blackwood
These are two of a set of five
lidded boxes I made in the shape
of a ball, all with a diameter
of 65mm. When turning the
outside of a lid, the accepted
practice is to use the flange at the
top of the base as a jam chuck.
Given the shape of the lids in my
ball boxes, I soon learnt not to
have this jam chuck too tight if I
was to have any hope of
removing the finished lid!

Woodturning

Huon Pine

Page - 32

Burbinga
In my first 6 months of turning
I made a lot of lidded boxes,
and this was my entry in the
Between Centres category in
the 2012 Guild exhibition. The
piece on the far right was a stack
of four boxes, while the one next
to it was my first attempt at a
nest (but only two boxes). The
small box on the far left is in the
collection of some light fingered
little shit who acquired it at a
Guild demonstration and sales
event at the National Museum
in 2013.

Purse box

Based on a design by an
American turner, Walt Wagner.

Page - 33

Woodturning

Pink Oak, Gidgee, Mother of

Pearl, Bone and Magnets.

Tasmanian Blackwood
Based on a Moorcroft pattern.

Figured Tasmanian Myrtle

Woodturning

While I made this box to

contain my spillikins (see page
42), I gave too little thought to
its design and it proved to be
less than suitable as a container
for the spillikins. Eventually
I decided to make a new box
for the spillikins, which would
allow them to be appropriately
displayed.

Page - 34

A cuckoo in the nest

Huon Pine, African Blackwood
and Mother of Pearl

Woodturning

My most ambitious attempt at

a nest of lidded boxes. It took
me ages to marry the internal
curve of each box and lid with
the external curve of the next
one. Sue could not resist the
temptation to let me know that
the cuckoo is supposed to be the
biggest bird in the nest! It was
awarded a prize in the Australian
Wood Review 2014 Box
Competition and it also got
second prize in the Turning Between Centres category in the
Guild competition in 2014.

Page - 35

Box Elder and African Blackwood

This was my first opportunity to
employ the colouring techniques
I had learnt from Phil Irons on
white wood with interlocking
grain. Turned and coloured while
green, the wood behaved
impeccably as it dried out.

Eucalyptus Burl, African

Blackwood and Mother of Pearl

Woodturning

The first pieces I coloured after

doing the course with Phil Irons.
The larger piece was a wedding
present for Robyn and Brian.

Page - 36

Claret Ash, Brazilwood and

Mother of Pearl

Woodturning

This is one of a series of vases

and enclosed forms I made
where I applied numerous coats
of dyed shellac with a shellac
mop over a period of a week or
more and then, once the shellac
had cured, produced a gloss
surface using sandpaper, 0000
steel wool and micro mesh. The
whole process turned out to
be quite laborious and I felt it
would have been easier if I had
taught myself to French polish!

Page - 37

Box Elder and Dyed Birch

A bit of a save. Turned and
dyed while green, the material
around the rim proved to be
rather punky, so I turned it off
and substituted the dyed birch
element.

Queensland Walnut, Huon Pine

and Elm

Woodturning

A series of vases I made on

the theme of Japanese for the
Western market.

Page - 38

Honey Dipper Vase

Rock Maple, African Blackwood
and Devlon (a black
thermoplastic)

Eucalyptus Burl, African

Blackwood and Dyed Brazilwood.

Woodturning

Inspired by Gareth Neals Anne

table where grooves were made
using a CNC machine in the
very rectilinear legs of a table
to create the effect of a leg that
is both rectilinear and a leg of
the Queen Anne period - one of
my favourite pieces of contemporary furniture. I had had the
idea for this piece for sometime
- I just had to work out how to
do it and then find the time to
make it! It consists of 24 elements and took me nearly two
weeks to make. It proved to be
a challenge to photograph, but
eventually it was Richard who
nailed it.

Page - 39

Box Elder, Gidgee, Alternative

Ivory and Mother of Pearl
Made on commission for Paddy
as a wedding present for Anna.
The box elder was from Shaun
and Karens tree that came down
in June 2014.

Woodturning

Box Elder and Alternative Ivory

Made as an engagement
present for Liv and David. Also
from Shaun and Karens tree, and
the best blank I got from that
tree.

Page - 40

Claret Ash, Gidgee and

Brazilwood

Woodturning

Two of the pieces I made with

the laborious shellac finish.

Page - 41

Spillikins in a Lidded
Box
Box: Tasmanian Blackwood,
Mother of Pearl and Bone
Spillikins: African Blackwood,
Birds Eye Maple, Bone and
Mother of Pearl

Woodturning

A set of spillikins in a lidded

box is one of Richards signature
pieces and I had long harboured
the desire to make my own
version. This project proved to
be as difficult as I had anticipated, although one plus was that
by the end of it my relationship
with the 3/8th spindle gouge,
which previously had been
tense, was now quite amicable.
The making of the Spillikins
was the subject of an article in
Issue No. 86 of Australian Wood
Review.

Page - 42

Woodturning

Some of the processes involved in making the spillikins

Page - 43

Pots
European Oak and Cork Oak
Some large pots I turned green
and then allowed to distort
naturally. The first two are in
European Oak from a 100 year
old tree that came down in a
storm in November 2013. The
tree was on a property south of
Braidwood where the 1861 and
1862 Melbourne Cup winner
Archer was bred and trained.
The third pot in cork oak was
made from crotchy material and
distorted quite irregularly.

Claret Ash

Woodturning

In this piece I used a metallic

wax over the dyed surface. The
wax was then buffed off on the
lathe with the result that only
the wax in the pores remained.

Page - 44

Pink Oak and African Blackwood

This piece was made from
a lamination of two turning
blanks that fortuitously had a
very similar grain pattern. Each
blank was jointed and thicknessed on the Hammer C3 31
before being glued together.
The hole for the screw chuck was
then drilled on the drill press to
ensure that the blank was exactly at 90 degrees to the lathe
axis on both planes. One of the
grooves disguises the join, while
the other groove is there to
balance the piece.

Claret Ash and African Blackwood

Woodturning

The TransTint black dye I use

is in fact a very deep dark blue,
so that you get an olive green
when you overlay the black
with yellow. For the top of the
piece I was able to use a large
piece of African Blackwood that
had been turned for an earlier
project that had been
abandoned.

Page - 45

Pink Oak and Purpleheart

T his time I used a lamination
of three blanks. The lid was originally made from Brazilwood,
but after this photo was taken it
was damaged and I replaced it
with one made of Purpleheart.

Fondling bowls
Pink Oak and Mother of Pearl

Woodturning

I ended up making quite a

few of these. For the first one I
had intended that the weight
would be at the top. However,
in turning the outside I realised
this was a mistake and perhaps
it was my subconscious that
made me drill the pilot hole
for hollowing the inside too
deep! Plan B involved filling
in the hole through which I had
hollowed the bowl with a large
piece of mother of pearl. None
of these fondling bowls were
signed as it was always possible
that the eventual owners would
wish to display them up side
down.

Page - 46

Box Elder
Initially I had used faux gold
leaf over a large bark inclusion.
It looked awful, but thankfully I
was able to sand it off.

Box Elder and African Blackwood

Woodturning

Turned green and allowed to

distort naturally.

Page - 47

New Guinea Rosewood

Burbinga
An early piece. This was the
second bowl I turned to this
shape. The first exploded when
I failed to heed Richards advice
that, if you must use an
asymmetric radius scrapper on
the rim, use it on its side!

Woodturning

New Guinea Rosewood

Page - 48

Chilean Myrtle

Huon Pine
A bit of an experiment which,
surprisingly, a lot of people
liked. A lamination, due to the
shape I could do nothing to
disguise the join on the inside.

Woodturning

Pink Oak, with a liming wax used

on the outside

Page - 49

Box Elder and Gidgee

The other half of the only
crotchy material from Shaun and
Karens tree. They purchased
it as a birthday present for a
friend. The numerous knot
holes were filled with superglue
while the bowl was still at the
rough turned stage.

Red Gum
While an early bowl, this was
marked by Sue as Not for Sale.
It was so early that caution
dictated that I leave a lot of
material at the bottom, but the
extra weight on the bottom
added to its appeal.

Claret Ash

Woodturning

An early piece straight out of

the Richard Raffan design
manual. Although I have a
penchant for sanding to a high
grit and glossy finishes, perhaps
it was therefore appropriate that
for this piece I stopped at 400
grit. As a consequence I was
able to get a reasonably
consistent black, even on the
long grain. I used a metallic wax
over the black which I buffed off
with 0000 steel wool.

Page - 50

Box Elder

Woodturning

Some of the pieces I turned

from Shaun and Karens tree.

Page - 51

Box Elder, Claret Ash, Oak and

Claret Ash (top-left to top-right)

Woodturning

Natural edge bowls initially

rough turned by Richard. My
favourite is the one on the right.
For the interior I kept using
light washes of blue as I went
up the grits, and then at 1500
grit I applied a light wash of red,
giving a pleasing lilac colour.
I doubt the one on the left was
the shape Richard had in mind
when he rough turned it, but
the bottom half was very punky
and it was the best I could do.

Page - 52

Box Elder

Woodturning

From memory, all had been

rough turned by Richard.

Page - 53

Pistachio
One day Fred arrived with the
bottom of the trunk of a small
Pistachio he had had cut down.
Turned between centres while
green and allowed to distort
naturally. It was a delight to
turn. I was able to make six
pieces from the wood, all
roughly this shape.

Box Elder
Again, initially rough turned by
Richard.

Jacaranda

Woodturning

Made as a present for Joe and

Anthea.

Page - 54

Cork Oak
A fruit bowl made for Tall
Shaun. It was turned green and
allowed to distort naturally.

Various woods

Woodturning

Some of the semi enclosed

forms I made from small off cuts
as Christmas presents.

Page - 55

Photographs
Fred Buckley: Page 23 (top photograph).
Robin Cromer: Pages 28 (bottom photograph) and 33 (top photograph).
Justin McCarthy: Pages 25, 30 (photograph on the left) and 43.
Tess McCarthy: Pages 3 and 27 (bottom photograph).
Richard Raffan: Page 39 (top photograph)
Brian Stewart (www.cyberhalides.com): Pages 10, 12, 13, 14, 15, 16, 20, 21,
22, 24, 28 (top photograph) and 32 (bottom photograph).

Photographs

All other photographs by Sue McCarthy.

Page - 56

Citations
Australian Wood Review, 2015, Issue 86, March 2015
Simplifying Spindles.
Australian Wood Review, 2014, Issue 83, June 2014
AWR Boxmaker 2014: A Cuckoo in the Nest.
The Australian Woodworker, 2011, Issue 155, February 2011
Treasures in Timber 2010: The Annual Exhibition by the Woodcraft Guild ACT
Inc: Members Champion and Open Furniture Prize.
The Australian Woodworker, 2008, Issue 142, December 2008
Woodcraft Guild ACT: 26th Annual Exhibition: winner of Boxes - not turned,
Woodwork general, and Furniture floor standing categories.
Australian Wood Review, 2008, Issue 59 , June 2008
Open Box Prizewinners: Janelles Jewellery Box.

Citations

Australian Wood Review, 2006, Issue 53, December 2006

Inner Space: the winners, Cutlery Cabinet.

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In my workshop

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