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BLUE MOUNTAINS GRAMMAR SCHOOL

SYMBIOSIS (2022) - OLIVER STEPHENS

PRINCIPAL SPONSOR - DR KEN MARSHALL

2022 art & design awards & HSC VISUAL ARTS AND INDUSTRIAL DESIGN (TIMBER) EXHIBITION

Acknowledgement of Country We acknowledge the traditional custodians of this beautiful country - the Gundungurra and Dharug People. We recognise their ongoing connection to the land, water and animals. We pay respect to the ancestors and to the Elders past, present and emerging.

contents WELCOME

INDUSTRIAL TECHNOLOGY (TIMBER) Introduction from Ian Harrison, Head of Technology and Applied Studies

Introduction from Sally Herron Head of Visual Arts Department

Resin Poured Coffee Table Tom Brischetto

I AM Andrea Alzened

TV & Entertainment Cabinet Lorena Brown

Drafting Ruby Pierce

Mountain Bike Storage System Jack Fraser

Her Ella Russell

Japanese Wooden Bench Rory Gaibor

Wooden Coffee Table with Resin Table Top Henry Horwood

Symbiosis Oliver Stephens Transparent Souls Mia Underwood

Bedroom Cabinet Annabella Knebel

Steven Coote, Principal

VISUAL ARTS

SPONSORS

DR DR KEN KEN MARSHALL MARSHALL PRINCIPAL SPONSOR

Timber Porch Swing Neave McHugh

Bedside Table Taylor McLeod

Jewellery Box Wyatt Schmold

Coffee Table Samantha Vern-Barnett

WELCOME steven coote Creativity is now as important in education as literacy, and we should treat it with the same status. Sir Ken Robinson (2006) In 2006, Sir Ken Robinson reignited new levels of excitement and renewed possibility about the place creativity should play in the formation and education of our young people. His TED Talk entitled “Do Schools Kill Creativity?” became the most viewed TED Talk ever, with over 66 million views. So why was it so popular? Primarily it was because among educators, at least, and adults more broadly, we understood that the origins of our modern-day education system were designed to standardise and industrialise large groups of young people into a rank. However, great teachers have at their heart a hope for everyone to find their place in a larger story. For many people, the creative process is a unique way to explore, imagine and construct an understanding of themselves. Robinson suggests no student gets out of bed in the morning wondering what they can do to raise their school’s reading standards, but they will get out of bed if they are motivated by their interests and development. 7

What we see in this publication is the outworking of that belief. Led along a learning pathway by outstanding staff from our Art faculty and Design/Technology faculty, the reader can enjoy the fruit of this approach to learning that embraces creativity and seeks human flourishing. The 2022 BMGS Art and Design Awards again showcase not just compelling pieces but also celebrate the creative process undertaken to achieve with executed skill. As usual, the many works of art and crafted timber are pleasing to the eye and soul, and I commend these works to you. I congratulate each of the students who have work presented in this publication. I am grateful to our staff for creating the conditions for them to grow and share their skill. As always, we are very grateful for the generous and ongoing support of Dr Ken Marshall. Steven Coote Acting Principal

visual arts

introduction sally herron I would like to congratulate the Year 12 Visual Art students who have worked consistently all year to complete their practical Body of Work, despite the many challenges thrown their way in the past two years. We are so proud of these very hardworking and diligent students who devoted many hours to achieving such a high standard of work and creativity. I would like to take this opportunity to thank the students’ parents who have been part of our Visual Arts community at BMGS for so many years. Thank you for your encouragement and ongoing words of gratitude, homemade cakes and treats to share on our long days working in the studio at School. I admire our Year 12 students for pushing themselves out of their comfort zones, trying new mediums; when they thought they were finished then taking on one more challenge and extending themselves ever further. Several students attended National Art School 3 Unit Art Intensive during the school holidays. I would like to acknowledge their committed class teacher Ms Julie Hiam, Mr Brendan O’Keeffe for sharing his knowledge and assisting with laser cutting and Ms Nadia Matteucci who assisted with marking.

Thank you to Dr Ken Marshall who has sponsored the Art and Design Awards for the last 21 years. Blue Mountains Grammar School is incredibly fortunate to have such a generous and supportive patron to inspire our students.

Thank you also to the Maintenance Team, Jeff, David, Tim and Tony, who assisted in hanging the artworks. Thank you to the parents who went out of their way to drive equipment to and from school, and put up with art mess for an extended period of time. It has all been worth it now that you have something great to put on the wall or a plinth at home. I wish our 2022 Visual Arts cohort all the best in 2022 and beyond, may you all nurture your creativity and let it lead you onto exciting new adventures in life.

Sally Herron Head of Visual Arts Department

I AM Andrea Alzened MEDIUM:

GRAPHIC DESIGN Photo prints on Ilford Smooth Pearl and Archival Giclée Print, digital print on canvas, tapestry hanging materials

INFLUENCES:

GORDAN BENNETT, ZEINA MAASRI, DICK WILLIAMS, SHEPARD FAIREY, EDDIE ABD, KHALED SABSABI I AM explores my relationship with my different cultural heritages and their impact on my identity. My artworks are appropriations of three posters: Off the Wall by Zeina Maasri, Of course I can; I’m patriotic as can be - and ration points won’t worry me! by Dick Williams, and Afrocentric (Power and Equality) by Shepard Fairey. Each poster represents aspects of my Lebanese, Armenian and Australian heritage. Being Lebanese inspires me to stand up for my culture and my roots. My Armenian heritage affords me an appreciation of Armenian culture—captured in my grandmother’s image in poster two. My Australian self is grateful for all the opportunities I have received here, but is also conflicted by the separation from my other ethnicities. Influenced by the techniques of graphic design, I chose to digitally represent my concept to create posters that are inspired by advertisements which use signs and symbols to appeal to an audience.

The fourth artwork intertwines the three posters to form one, representing my complex identity and how I represent myself, through my hobbies, memories, and significant moments in my life.

The symbol of fabric is a postmodern technique representing the interwoven elements of my cultural identity. My artwork I AM explores these interwoven ethnicities and their impact on my identity. The text I AM is inspired by Gordon Bennet’s work and is featured on all posters, using text and lettering of both Arabic and Armenian language. This use of symbolism is important in all the works exploring important values in my culture. It also represents my character traits and the milestones in my life. Reflecting the imagery is a symbolic reflection of my family and cultural influences, and is inspired by Khaled Sabsabi’s kaleidoscope works. Tapestries and rugs are often hung on walls in the Middle East. I have chosen to hang my fourth canvas artwork in reference to this tradition.

DRAFTING RUBY PIERCE MEDIUM:

COLLECTION OF WORKS Acrylic paint, pigment blocks, oil pastel, ‘wool pack’, found objects, resin and fibreglass cast objects, intaglio prints, digitally printed fabric, stitching

INFLUENCES:

JIM DINE, WILLIAM KENTRIDGE, NIKI MARTIGNAGO Drafting is a collection of works that explores the relationship between livestock and farmers, shown through the agricultural process. I drew this inspiration from my own experiences on my family’s sheep farm. The act of drafting is to separate livestock into different categories. It is the basis for all the care delivered to our animals, reflecting organisation, separation and reunification. The central image of the work depicts a sheep yard, where drafting takes place, as well as the farmer leaning over the fence. The distorted reflection of the farmer represents the consuming lifestyle of raising livestock and the idea that it is ‘more than just a job.’ This image of my grandfather represents the generational nature of the family farm.

This artwork is comprised of multiple mediums on an authentic ‘wool pack.’ Stitched into the wool pack are photographs of intaglio prints which have been printed onto fabric. The prints are influenced by William Kentridge’s printmaking practises such as layering imagery, using different coloured inks, and experimenting with negative space. By reprinting my artwork and images of the wool pack and wool I have appropriated myself and recreated a representation of my concept, which is a postmodern technique. I have also incorporated tools from the farm, as well as objects and tools I have cast in resin and fibreglass. These tools each contribute to the care of sheep in some way and are a vessel of connection. They are tools shared between the human and the animal and are important to acknowledge when exploring the processes of agriculture. I was inspired by local artist Niki Martignago’s casting practice and technical knowledge. I was fascinated by the idea of casting the objects from the farm to allow me to experiment with form, colour, and texture. I found Jim Dine’s paintings of industrial objects a stimulus for using the tools as stencils and painting implements.

The repurposing of the tools connects the farming process with the art-making process, giving deeper meaning to the work.

HER Ella Russell MEDIUM:

ACRYLIC AND OIL ON CANVAS, ACRYLIC AND FOUND OBJECT FRAME

INFLUENCES:

JOCELYN HOBBIE, FLORENCE BROADHURST, FRIDA KAHLO, JOHANNES VERMEER, MATHEW CERLETTY Her consists of five portraits of my sister that portray my understanding of femininity with reference to the history of portraiture. I have presented a theme of femininity that is personal to me but also incorporates traditionally recognised ‘feminine’ signs and symbols such as flowers, mirrors, domestic patterning and soft colours. I developed my ideas by reviewing the history of artistic expression of the feminine form. In ancient art, femininity was often expressed symbolically in terms of fertility and motherhood; however, I have developed a more contemporary perspective. Four of the portraits are painted on canvas and one is painted on an acrylic mirror, first with acrylic, then oil paint. The oil paint has been used to create smooth surfaces, achievable with thin layers to literally and symbolically soften the female subject.

Inspired by Jocelyn Hobbie’s art practice, the soft and delicate texture of her paintings and her focus on patterning in her compositions, I aspired to achieve the soft appearance of

skin as well as the subject immersed in floral or patterned backgrounds. Appropriating the patterns designed by Florence Broadhurst, I created contrasting backgrounds of flat colour and detailed elements referencing domesticity and textile patterning. The mirror painting was inspired by Mathew Cerletty who creates compositions full of flowers and mirrors. The use of the reflection in the mirrored surface aims to draw the viewer in, and inspire them to embark on their own journey of self-reflection. Each canvas painting also subtlety references the history of portraiture, appropriating elements of iconic portraits from artists including Frida Kahlo, Vermeer’s The Girl with the Pearl Earring, as well as references to the convention of ‘The Madonna’ in medieval art. Using these portraits for inspiration, I was able to represent my own definition of femininity through painting.

SYMBIOSIS OLIVER STEPHENS MEDIUM:

COLLECTION OF WORKS Graphite on paper, Perspex, anodised steel, lighting and sound

INFLUENCES:

WILLIAM KENTRIDGE, ZADOK BEN-DAVID, PAUL STRAND, BRONWYN OLIVER, JOSEPH KOSUTH, NIKOLAS KOENIG Symbiosis centres around relationships, whether that be the structural relationship between sculpture and drawing, the ephemeral relationship between projected light and the images it creates, or through the conceptual relationship between buildings and people; their creators, users and destroyers. Ultimately, it is through these relationships that viewers see balance, complexity and meaning. Symbiosis uses these relationships to explore how we interact with buildings. Whether they be contemporary, historic or destroyed all together, our connection with the structures around us is necessary. Yet, how do we impact buildings and how are buildings remembered both collectively and individually? The work itself is comprised of four graphite drawings and a series of small sculptures laser cut in smoky grey Perspex, mirrored Perspex and anodised steel. The drawings depict four different buildings, all from around Sydney. The historic Rural Bank of NSW building that used to be in Martin Place, the recently renovated Legion House on Castlereagh Street, the highly contemporary ICC at Darling Harbour and a historic building being destroyed in Petersham.

The sculptures are a mix of 1930s-1980s street photography and photography at the sites of the buildings I have drawn.

These images were produced into designs on Illustrator and were then laser cut. I cut the Perspex sculptures at school and the steel sculptures were manufactured through a professional laser-cutting company. Conceptually, the sculptures act as transient stencils and shadows - representations of our relationships with the structures. When lights are shone through the sculptures, variegated, layered shadows are created on the drawings. This tonal, conceptual and literal connection between the two elements of the body of work and the viewer portrays the complex, yet symbiotic relationship we share with buildings, throughout time and memory.

TRANSparent SOULS MIA UNDERWOOD MEDIUM:

ACRYLIC ON CANVAS

INFLUENCES:

FRANCIS BACON, JENNY SAVILLE, GREG BECKER Transparency allows for light to pass directly through an object. Transparent Souls is an exploration of our souls travelling through the journey and emotional turmoil of grief and loss: denial, anger, bargaining, depression and acceptance. Within this artwork I have explored this concept in relation to how emotions and feelings can not only have an effect on the physical human form, but go beyond this and impact the human mind and soul. Through using acrylic spreading mediums, I was able to create layered figures and integrate a cohesive colour palette across all paintings. Through this layering, the audience peers into each stage, leaving them with a personal connection and understanding of grief. The smaller canvasses in my body of work signify the physical movement throughout this journey and how all of the emotions interconnect with complexity. Jenny Saville inspired my art through her ability to express the form of the human body through painting and drawing, which is fundamental to the structure of my body of work.

Francis Bacon’s expressionistic style and conceptual ideals surrounding the emotions of isolation and tragedy after World War II have also heavily influenced my conceptual portrayal of emotions.

The sides of each composition are open to signify the ideal that life moves beyond and between these emotions and stages in life. The inclusion of landscapes heightens each emotion, through their ability to create a sense of emptiness within reality due to contrasting perspectives. This is seen in the forest, city and beach scenery. Greg Becker’s soft tonal artworks, which focus on areas of light and dark, creating an eerie sense of space and time, also inspired me. Overall these artistic elements convey and enforce the impact of emotions within the universal process of grief through the fundamental ideal of transparent souls.

INDUSTRIAL TECHNOLOGY [TIMBER]

introduction IAN HARRISON

The Year 12 Industrial Technology (Timber) students of 2022 have demonstrated tenacity, determination and creative thinking in the projects that you will see on the following pages. The students had to navigate the challenges of a global pandemic during both senior years of schooling, showing incredible resilience and ingenuity to deliver projects of such a high standard. To conceptualise their projects, students worked through a process that included researching products on the market, sketching-up design concepts, and using computer-aided design programs to bring their ideas to life. The students also reviewed a range of timbers, fittings and finishes to source the most appropriate and budget-friendly materials for their projects. Detailed folios were created by each student to map each stage of production, and to document both the challenges they faced and the modifications required as their project progressed. It was wonderful to see the students experiment with a range of materials, joinery techniques, and challenge themselves to learn new skills. Many students used the opportunity to create a much-needed new piece of furniture or storage solution for their own homes. Projects include a porch swing, a Japanese garden bench, a TV and entertainment unit, coffee tables, a mountain bike storage cupboard, and an exquisitely-detailed jewellery box. The resulting pieces are of a high standard and I know that these works will be valued by the students and their families for many years to come.

I would like to publicly congratulate these students for their efforts on these projects. I am very proud of all that they have been able to achieve during such challenging times. Ian Harrison Head of Technology & Applied Studies and Industrial Technology (Timber) Teacher

RESIN POURED COFFEE TABLE TOM BRISCHETTO MATERIALS:

JARRAH, TASMANIAN OAK, RESIN, DANISH OIL For my Year 12 major project, I wanted to design and build a coffee table that would be placed in the lounge room of my home. The table will store board games and other entertainment devices.

Pouring the resin was an awesome (and challenging) experience. It required a lot of preparation and sanding to create and set up the mould, but the ﬁnal result made it all worthwhile.

To add a unique feature to the design, I used two wooden slabs with the natural edge facing inwards and then poured resin to ﬁll in the gaps for the tabletop. My aim for the project was to challenge myself and create something visually interesting.

I used the router to take down the proﬁle of the timber and, although there were some imperfections, I think it was a good result for a ﬁrst attempt.

I reviewed several coffee tables that are presently on the market and then sketched some designs. I then used Onshape to develop my idea. In the early stages of production, I created prototypes of all the joints I planned to use. It was a big (and important) learning curve for me as I had not completed Stage 5 Industrial Studies. Creating all the mortise and tenon joins for the sides of my coffee table took a long time! I learned a lot about the importance of ensuring everything was perfectly smooth. I took my platforms and back panels to Branches (a local timber shop) to use their flatbed sander to get the desired finish. Sourcing my tabletop took some time as I had a very specific idea about what I wanted, yet had to be mindful of budget constraints.

It was so rewarding to glue my table together; I didn’t have too many issues as I made sure everything ﬁtted during dry assembly.

Attaching the tabletop to the coffee table was exciting as it was the first time the project looked complete. I attached the tabletop using one heavy-duty screw in each corner of the top side rails, as well as five smaller screws lining the top rails. Installing my first drawer handle was difficult as the drawer face had bowed. To counter this, I screwed the drawer face from the inside to straighten the timber. I am very happy with the final result. I went over budget but needed to do so as I wanted a quality piece of furniture. I am satisfied with the resin component and believe I produced the best possible table that I could.

TV & ENTERTAINMENT CABINET LORENA BROWN MATERIALS:

HOOP PINE, JARRAH, METAL HANDLES, ESTAPOL I designed and constructed a television and entertainment cabinet for my HSC major project. My objective was to create an original piece of furniture for our family’s living room.

I used a domino joint to join the shelves and the panels, as it is a reliably strong joint and quicker to construct than a dowel joint.

The furniture in our house is quite basic and I wanted to use the skills that I had learned over the past three years to create something that adds a personal touch to our living room.

For joining the edges of my cabinet together, I used a mitred edge joint. I had never used this type of joint before and wanted to develop my skills and challenge myself. I also liked the simplicity of the joint’s appearance as it would not distract from other details in my project.

I reviewed several entertainment and TV stand designs looking for trends and inspiration in storage, door styles, finishes, handles and hinges. I worked up some concepts on paper and then transferred them to Onshape to create isometrics and an illustration of the final assembly of the cabinet. I then created a materials list and a budget. I used hoop pine for the exterior of my project as it suits the design I created and will also complement our living room. I had planned to use recycled timber, but the local timber yard had limited supplies of hoop pine, so I purchased hoop panels from Bunnings. I was also able to source some contrasting Jarrah timber for the sides of the cabinet and a cabinet drawer from another student’s unfinished project. This helped reduce costs.

I decided upon pin joints for the construction of my drawers. I gained a lot of experience in creating these joints on projects over the years and knew I was capable of doing a good job. Pin joints are also relatively straightforward to make, very strong and aesthetically pleasing.

I’ve had previous experience working with water-based estapol and knew it would be perfect for ﬁnishing the cabinet. I am very pleased with the outcome of this project. Through having a clear vision from the outset, I was able to create something of which I am very proud - and my family has a new piece of furniture that complements our living room. I know that the skills I have gained through constructing this cabinet will beneﬁt me in the future.

mountain bike storage system JACK FRASER MATERIALS:

PLYWOOD, HOOP PINE, METAL DRAWER HANDLES, BIKE HOOK, ESTAPOL, MAGNETIC LATCH For my HSC major project, I wanted to build a storage system that would help organise my mountain biking equipment. The garage in my house was crowded with bikes and bike parts, spread all over the place and quite disorganised. I needed a solution that would allow me to find things easily so that I could spend more time riding and less time searching. As this storage unit will not be on display, it didn’t need to be made of the finest timber. Functionality and strength were my priorities for this build. I also wanted to showcase the range of skills I have learned over the years, including laser cutting and machining on the CNC router. I researched components for the project, looking at existing products, drawer runners, handles, hinges, catches and latches, joints, ergonomics and adhesives. Plywood was selected for the structural part of the project with hoop pine used for the smaller pieces including the cabinet doors and drawers. Using plywood helped to keep the costs low. By purchasing large sheets of plywood, I could cut as required and get more out of each piece. Plywood is also a relatively soft piece of timber which allowed me to consider a wide range of joint types for the project. After sketching up my ideas on paper and then finalising them in Onshape, I was able to start cutting.

I began by marking out the lengths of pine and then docked the lengths into smaller pieces using a drop saw. Larger panels were cut into smaller pieces for the major construction.

I prepared the large panels for construction by drilling pilot holes. Once I had every panel cut to size I joined them into boxes using corner clamps. This was very time-consuming but it was the easiest way to construct the boxes. After constructing the drawers I began to fit the boxes with the drawer runners. Once I had marked out and fitted the drawer runners, I used treated pine lengths as support for the boxes. This allowed me to keep them flat while marking out where to place the screws. The drawer faces were cut to size and I used the handles as the method of attachment. The top drawer face was then further secured with extra screws holding the bottom edge to the drawers. I used a router to cut the joints for the door and a boring drill bit for the hinges to sit in. I created a jig to easily replicate the drill locations. After attaching the door, I marked out and fitted a magnetic latch. Once all major construction was complete, I sanded every visible face using 180-grit sandpaper and then applied three coats of estapol. I installed the bike hook and tested it with my bike and then continued to join all three boxes. I am very pleased with my major work. I executed the project to the best of my ability and put maximum effort in at all times. I am proud of the finished result and feel that it is one of the best school projects I have completed.

JAPANESE WOODEN BENCH RORY GAIBOR MATERIALS:

RECYCLED TIMBER, AQUADHERE WOOD GLUE, OUTDOOR DECKING OIL For my Year 12 major work, and at the request of my parents, I designed and built a Japanese-style bench for the Japanese pond in my backyard. I also wanted a project that would allow me to build something of a reasonable size. I knew this would be a challenging task but felt confident with the skills I had learned in my Industrial Technology Timber studies to take it on. I reviewed several Japanese-style benches for inspiration, making note of the different joints used and contrasting wood colours. I sketched the designs on paper and then transferred my ideas into Onshape. I sourced my timber from Lawson Recycled Timber. I needed to dress all the timber as it came from a timber yard. I measured all the pieces to ensure they were the right size for the project and used a thicknesser to get clean edges. I decided to use mortise and tenon joints as they have a flush fit, are very strong, and are almost invisible to the naked eye. The mortise is a small groove carved out in the wood where the tongue or tenon goes. The tenon must fit tightly to ensure joint strength.

I also needed to glue pieces of wood together. After extensive research, I decided to go with Aquadhere wood glue as it is speciﬁcally made for outdoor use and is resistant to water. This glue is easy to apply and bonded very well with the hardwoods used in the project.

I used outdoor decking oil for the finish it brings out the natural colour of the wood and it won’t flake after bad weather. I thoroughly enjoyed the process of making this bench and I am very pleased with the final result. I hope that my family will get a lot of use out of this bench and that it will be in our garden for many years to come.

wooden coffee table with resin table top HENRY HORWOOD MATERIALS:

BLACK BUTT TIMBER, PLYWOOD, FLEX PLY, RESIN For my HSC major work, I wanted to make a coffee table that could be placed in our living room. Our house is framed with dark timber and surrounded by gum trees and I wanted the table’s design to complement these features. I particularly wanted to use a resin component that would run through the tabletop like a vein of colour. I sketched out some design ideas and then developed them in Onshape. I set up the two individual frames and then began putting them together with dowel joints. I undertook a dry assembly and then made adjustments as required so that the timber ﬁtted together correctly. I then glued my piece, making sure that everything was square on the job and removed any excess glue from the timber. I found a vendor who sold slabs of timber and sourced two pieces for the tabletop. I slowly removed the bark to reveal a nice smooth surface below. I took the piece to school and had it cut to size, removing the cracks in the middle and on one of the crushed edges. To make the rounded part of the table, I cut the timber with an electric hand saw and rounded the edges with a router.

Making the resin was a two-step process. First, I mixed the resin and then I added the blue colouring and mixed it again. Using a small cup so that I didn’t spill any liquid, I poured the resin into a mould that I had made from plywood earlier.

I began sanding the tabletop, initially using a belt sander and then went on to use a hand-held sander, trying to avoid the resin as much as I possibly could. Once I moved to a finer sandpaper, I started to sand the resin which gave it a nice clean finish. I applied my timber runners using a dowel at one end and a screw at the other. I made sure they were done perfectly so that there was no rocking in the drawers. After cleaning the resin, I applied a finisher to the drawers, draw fronts and surrounding scaffold. I learned a lot doing this project. Although on reflection there are some things that I would have done differently, I am very happy with how it turned out.

BEDROOM cabinet anNabella knebel MATERIALS:

HOOP PINE, PLYWOOD, WAX, WOOD PUTTY I wanted to design and construct a timber cabinet for my family’s home. The piece will replace an aged set of white drawers in my room and I am using the timber to warm up the space. I have a particular interest in the timber industry and hope to secure a job in this sector. I decided to build a small cabinet as I wanted to focus on the detail and the finish. Creating a smaller project also gave me the opportunity to use a variety of joints to add to the complexity of the project. After marking my timber, I docked it to length using the school’s drop saw. I experimented with the joinery of my door frame pieces using the sliding router table as well as the hand-held router. I used mitred butt joints to build my exterior carcase and used a stained piece of timber for the trench to join the two carcase pieces together. I used a piece of hoop pine with a dark stain to add to the mitred butt joint. This piece ran along the length of the join to create visual interest. Prior to gluing and camping, I performed dry assemblies to ensure that my pieces fitted together correctly. Once I had confirmed all the pieces fitted together, I glued and clamped using standard PVA and sash clamps as well as quick action clamps. Unfortunately, the clamps did not apply enough pressure down the length of my piece resulting in a few gaps. I had to reassemble the piece and change the joinery to a rebate with dovetail nails.

I used a table saw to dock excess length from the timber and ensure a square finish, and a thicknesser to create flush panels. I used a router to construct an area for the plywood back to sit so that it was flush with the original carcase. Due to the lack of available Rattan, I created a finish of a similar appearance by laser cutting a piece of plywood. After installing the drawers, I sanded everything down and applied putty to cover marks and scratches. To finish off the project, I applied a layer of wax and then buffed it to achieve the desired finish. Overall, I am happy with my project. I stuck to the original design as much as possible while allowing for modifications where necessary. I am very glad that the skills learned in my Industrial Technology classes allowed me to create something of which I am very proud.

TIMBER PORCH SWING NEAVE MCHUGH MATERIALS:

RECYCLED TIMBER, METAL LOOP, LATCH & CABLE, MAGNET CATCH, DECKING OIL I wanted to design and construct a porch swing to create a welcoming feel to our family home. I was excited to create this project from scratch as it allowed me to incorporate all my desired design features. I reviewed existing products and materials including other swings and deck chairs, handles, hinges, runners, catches and latches. Ergonomics was also important and I researched armrests, the length and width of seats and angled backrests. I did not want my costs to exceed $800 and the use of recycled timber helped keep the costs down, allowing me to spend more on chains and hinges. Recycled timber is sourced from demolition sites and using this for my project helps reduce the amount of timber that ends up in a landﬁll. Instead of purchasing an expensive thick piece of timber for the side supports, I glued two pieces together. I spread a thick coat of Tightbond III on the face of a whole piece and then clamped it to the other piece of wood to obtain the correct thickness. After the glue had dried and the pieces were securely connected, I clamped the piece onto the table saw to cut off the sides.

After milling the side supports, I sketched the position for the mortise hole and clamped it to the mortise machine. Once the tenon and mortise holes were completed, I dry-assembled the bottom rails to ensure they ﬁt correctly. After the dry assembly was complete, I glued the pieces together. I used the largest sash clamps and quick-action clamps to secure the pieces.

To create a comfortable seat, I chamfered the edge of my rails to ensure that there was no risk of splinters and that the edge was not sharp. I laser cut the Tree of Life design into the armrests on both sides and then drilled a hole through the side of the armrest into the seat for a 12mm dowel hole. A strong piece of metal was cut to size and screwed to the bottom to create extra support. It was also used to even out the slats, as they were slightly twisted. I connected the cup holder using butt hinges as they are small, can be easily concealed and therefore do not impact the external appearance of the project. A magnet catch was used to close and secure the cup holder, ensuring that it stays up while not in use. I screwed on the supports and ﬁnished the timber with two coats of decking oil, sanding in between the application of each coat. I am extremely happy with how this project turned out. I am proud of all the work I put into this project and I think it turned out better than I could have imagined.

BEDSIDE TABLE TAYLOR MCLEOD MATERIALS:

HOOP PINE, RECYCLED TIMBER, SOFT CLOSE DRAWER SLIDES, PUSH TO OPEN HINGES For my HSC major project, I designed and constructed a functional and aesthetically pleasing bedside table. I needed the design to be functional for storage purposes and also versatile, as I like to have tea and food when I’m reading a book or watching a movie.

I used hoop pine on the draw as it is a soft wood and is easier to attach. I used soft-close draw slides and, after some fiddling, was able to attach them to the inside of the table. I used pushto-open hinges on the door as I wanted a flush finish with no handles.

I used the ‘Chain of Custody’ certiﬁcation to ensure that I used sustainably-sourced timber from Marrangaroo timbers.

I really like how the drawer and door turned out and I was extremely happy with the ﬁnal aesthetic. Being able to see it all come together made me so happy, and being able to tell my family it was ﬁnally done made me feel super accomplished.

To improve my skills, I decided to use complex assembly methods and a variety of joinery techniques, using both hand tools and mechanized tools. I didn’t want the table to look like a big box, so I offset the sides allowing for the legs to protrude. I used a three-way lap joint that could be completed on the drop saw. This involved the drop saw being set to a specific height without being changed. I ended up spending two weeks using the drop saw to cut the joints. It was a painstaking process to craft all these joints and make sure I had the correct height to make the finish flush. Staining the timber was quite fun. I really liked how the colour turned out and how it enhanced the grain. I went with a satin finish - as my grandpa recommended.

During the ﬁnal stages of the project, I was concerned that the pieces would not ﬁt together and that I wouldn’t be able to produce a project of which I could be proud. Having the help of my teacher and my sister allowed for a swift gluing session that achieved some great results.

JEWELLERY BOX wyatt schmold MATERIALS:

JARRAH, PACIFIC MAPLE, PLYWOOD, PIANO HINGES, EPOXY, TUNG OIL, BRASS CUP HOOKS I wanted to make a jewellery box to store my family’s jewellery. I wanted it to be small enough to ﬁt on any indoor table and I also wanted it to be made strong enough to last for many years of use.

I started drawing my plans by hand and this helped to develop my ideas. I then modelled the project through Onshape and created exploded isometric assemblies to illustrate the complex internal joinery.

I chose to make a jewellery box as it’s a smaller project, which made all the aspects of construction more compact; the pieces were small and the details more intricate.

I undertook lots of testing to help develop my ideas for this project. I tested the router bit and experimented with different ways to complete the job. I also made and used a number of jigs for cutting and designing.

Creating a smaller project meant that I could purchase quality and expensive hardwoods and softwoods, instead of using radiata pine. Our storeroom also had lots of spare Jarrah from offcuts.

I had originally planned for the drawers to be connected using rebate joints, but I switched to pin joints because they are stronger. I made the back and sides of the box by milling the timber down to the correct thickness and using the dowel jig to create holes where required. A CNC router was used to create the curved doors as it is a more reliable, accurate and much faster method than kerﬁng. I then laser-cut a native Canadian eagle on the side of the doors. I had planned on using rebated butt hinges but later found some piano hinges that had a very smooth action. The brass paired very well with the shiny, dark Jarrah and the golden maple. I used a ﬁnish made from three parts thinners, two parts estapol and one part tung oil. I applied a coat of oil after sanding. I am very pleased with the outcome of this project.

COFFEE TABLE SAMANTHA Vern-Barnett MATERIALS:

JARRAH, HOOP PINE, ESTAPOL, PLYWOOD I decided to construct a coffee table that would complement the interior design of my parents’ home, update the feel of the room and also provide our family with additional storage space. I undertook research before I designed the coffee table, reviewing other table designs, types of timber, finishes, handles, joints and examples of laser cut design. I decided on a combination of dark and light timbers for the design of my coffee table. My final timber choices included Jarrah for its visually-striking red tones and hoop pine as it contrasted nicely with the Jarrah and is also very easy to work with. The hoop pine would be used for the carcase and tabletop with the Jarrah used for the contrasting details. Unfortunately, Jarrah proved to be very expensive but I sourced some recycled timber for the legs that matched the Jarrah timber used in the contrasting design features. I sketched my initial concepts and then transferred them to Onshape to create the final design. I used different types of joints in this project, some of which had a high degree of difficulty. A feathered mitre joint was used in the cubby hole. This was quite a challenging part of the build as each component had to be meticulously measured so the finished edge would be flush. Pin joints were used for the drawers as they are fairly strong and have a lot of aesthetic appeal.

Domino joints were used on the sides of the coffee table and tabletop as I needed to make these parts of the project from several pieces of timber. The drawer runner I selected is made of metal. I believed this would provide a smooth opening and closing action and allow me to incorporate some more modern elements in my design. I also decided to use a one-sided drawer runner so that the drawer could only be opened from one location. I chose a C-shaped wooden handle for the drawers as it is aesthetically pleasing and very functional. I used a mortise and tenon jig to create an inlay for the tabletop. I needed assistance to support the table as I slowly cut the mortise holes into the timber line by line until I got the size I wanted. I then cut four squares slightly larger than the holes and added a tapered edge, allowing them to slot into the timber. I learned a lot producing this table and I am very proud of the ﬁnished result.