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Drawing a Volute

Design before you build

I worked in finish carpentry and millwork for quite a while before I learned that you have to design things before you can build them: the less confidence I had about each step of a job, the more important it was to plan right to the end, before cutting one piece of wood.

(Note: Click any image to see a larger version. Hit “back” button to return to article.)

Some time later, I figured out that I didn’t have to design everything from scratch — lots of smarter carpenters had built most of the same stuff before. What I really had to do was look at their work! From that experience, I’ve learned that the correct way to build a house is to design the handrail first, then design the stair, and the rest of the house will follow.

I’m not at all self-taught. I went to school for woodworking, and I was lucky to have a superb teacher. And I was lucky to work for and with some really good, experienced, and generous carpenters on job sites, and woodworkers in mill shops.  In fact, A 75-year-old master named John Mesiti taught me woodturning, which got me into stair building.

But I couldn’t find a living stairbuilder to teach me everything I needed to know about the trade, so I had to learn from dead ones: craftsman who left their techniques behind in books; carpenters who left their work behind in old homes.

While learning to build stairs, one of the biggest problems I encountered was how to make a volute. What is a volute?

Pronounced Vol-ute, depending on where you hail from, the word originates from natural forms, like unfurling leaves, the shells of mollusks, or gastropods and ram’s horns.

Come on! A volute is one of the most beautiful pieces of wood in a home. It’s the curved piece on the bottom of the stair; it’s the spiral, the beginning on the way up and end on the way down of every proper stair; a volute is the piece that supports the birdcage of balusters at the starter step.

The spiral volute design appears on fiddleheads both of the fern and the violin, and pairs of volutes decorate the capitals of the Ionic order. Volutes play a role in the old mystic golden number — the Fibonacci series, they have a kind of magic.

In fact, if the house is a body, and the handrail is the main artery, then the volute is the heart of a home.

And for carpenters, volutes provide a natural termination for linear molding and handrails.

For hundreds of years volutes have been a favorite way to start a stair rail, first because they are pleasing to the eye and, second, because they are comfortable to the hand. They lend a gentle slope to the start of every stair. Viewed from above, a volute spirals down into an eye, a focus, like the place where you drown in a whirlpool, where everything begins and ends — nothingness.

But I’m going off on a tangent, as usual, and Gary’s going to get upset with me. Back to carpentry.

Commercial volutes

Even commercial handrail systems — available from local lumberyards — include volutes. They are always the most expensive parts in the catalogue. High-end stair part companies offer handsome volutes and attractive stairs can be built with them. But for the most part, manufactured volutes have a few failings:

  • They aren’t available in a wide range of species
  • They aren’t available in a wide range of patterns.
  • Available patterns are not for the most part historically correct.

Machine-made volutes are primarily designed for just that — to be made on automatic or semi-automatic machinery. The curves are kept open so that rotating cutters can reach into every curve, which means the rail never spirals in on a center — they have no eye…exactly, they have no vision, they fail to provide a natural and necessary visual termination and starting place for railing.

A commercial volute with an ‘upeasing’ (right) must be installed higher above the starting step than a volute with a wreath (left).

In addition, for ease of construction, commercial volutes curve in elevation, and then curve in plan — they have no compound curves,  which means they remain level until the second tread and must be set high on every stair. For that reason, commercial volutes require long balusters and tall newels; a person starting up such a stair must raise their hand uncomfortably high. (See Fig. 5)

Fig. 5


Why carve a volute?

When I started building stairs, all manufactured parts were made of beech, and all the old stairs I looked at were mahogany or walnut. I had to make rail. And I had to make complex curved parts. The volute seemed like the hardest part to make. But it doesn’t have to be — not if you start with a good drawing. In fact, a full-size drawing makes the best template, too.

If you want to build the best stair possible, if you want to be a real stair builder, you’re going to have to make your own rail parts (yes! You’ll have to learn wood-turning, too, so you can make your own balusters and newel posts — but that’s another story.) This article will show you how we make volutes in our shop. We didn’t invent anything here — the volute in this article could have been made by a Boston stair builder for a brownstone in Beacon hill in 1790, but we will show you a few modern tricks and techniques that make things go faster, particularly computer drafting, and power carving. If you have good carpentry skills, a shop space with basic woodworking tools, and an adventurous spirit, carving a volute might be a good place to jump your finish carpenter chops up to the next level.

The drawings

A volute is really made from two pieces: the scroll section, which is the portion of the volute that is level and spirals to an eye, and the wreath section.

A wreath is a stair building term for any compound curved piece of rail.

I draw the volute full size in both plan (from the top) and in elevation (from the side). Then I use these drawings to make full size patterns of both pieces. The patterns will go to the shop and be used to saw out the blanks and then carved. At the end of this story, Mike Kennedy will show you how that’s done.

Before you start

Here’s what you need to know before you start your drawing:

  • What is the stair rise and run?
  • What does the rail look like — it’s best to have section or piece of the rail.
  • What’s the code on how wide and high the rail must be?
  • How wide is the volute? And are you sure there’s enough room?

Think about the design, too. You don’t want a volute that ends at the center too big — like a dinner plate, or one that ends too small, like a cabinet knob.

Layout the volute

To draw the volute in plan view, I follow the same procedure every time. I draw the skirt board, second tread, baluster, and a short section of straight rail. Then I draw the volute. Next, I draw the bottom tread, because the stair is going to be better if the shape of the bottom tread follows the shape of the volute. Besides, I’ll need a pattern for the tread and riser too, and the drawing provides that pattern.

Start with the second riser

Here are a few tips that should help you better understand the process of drawing a volute by hand. Watch the video, read these tips, do both again, and then practice drawing a volute yourself.

The first step in drawing the volute is establishing the edge of the skirt board and the edge of the second riser. Where they come together I draw a baluster. The centerline of the handrail goes through the center of the baluster, and the inside and outside of the rail are drawn 1-3/8” parallel to the centerline, to give a rail which is 2-3/4” wide. Once these elements are drawn, I measure downhill 2 in. from the second riser to draw the first stop line, where the straight rail meets the curved volute. I’ve found that 0 to 4 in. will work on most stairs: I want to design the stair so that the curve of the bullnose on the bottom tread follows the curve of the volute; that way all the balusters will have the same relation to the bottom tread as they have to the straight part of the stair. In other words, the face of all the balusters will be plumb flush with the face of the skirt and with the riser of the bullnose tread. If 2 in. doesn’t work, it doesn’t mean you have to start all over. You can just redraw the location of the riser until the bullnose tread looks right!

I want to design the stair so that the curve of the bullnose on the bottom tread follows the curve of the volute…

The width of the volute also has to relate to the width of the rail; and it has to fit in the amount of available space — a narrow hallway wall can pose a real problem! Given enough space, most of the time,  I’ve found that an 11in. volute works well with a 2 3/4 in. rail, and a 1 in. shrinkback.

The Shrinkback

A shrinkback is the amount that the spiral decreases every quarter turn of the volute. In this case, with a 11 in. volute and a 1 in. shrinkback, my first radius will be 6 in. (above), my second radius will be 5 in. (below), which adds up to the total width of the volute, 11 in.

For every quarter turn, I shrink 1 in. toward the interior of the volute, and each time I also draw a stop line at 90 degrees through the new center point — which establishes the end of each quarter turn.

I make this same step for radiuses #1, #2, #3, and #4.

The forth radius center point is established automatically, it’s the intersection of the spring line and the stop line from the #3 radius. At this point, the centers have formed a 1-in. square. Radius 4 starts at stop line 3, and ends up back on the original start line.

For the fifth radius, the shrink back is 1/2 in. instead of 1 in., otherwise the spiral won’t close in on itself like a nautilus shell. A 1/2 in. shrink back makes the radius 2 1/2 in.

For the sixth radius, the shrink back is also 1/2 in. instead of 1 in. And that completes the spiral. The center of the last radius is the center of the 1-in. square; it’s the center of the eye of the volute; and it’s the center of the volute newel.

The scroll section is the level part of the volute. The pattern for the scroll section can be taken directly off this plan view drawing and used to bandsaw a blank out of a piece of wood the thickness of the rail. Watch the video below to see Mike Kennedy layout the grain of the volute.

Layout the wreath

The wreath section is the upper section of the volute, which transitions from raked to level as it turns through the first 90 degrees. It has a compound curve because it curves in both plan and elevation. That compound curve makes it much more difficult to draw. In fact, it’s even difficult to visualize. Look at the animation below and you’ll see the drawing and the two patterns we’re about to create.

We have the plan view of the wreath from the volute drawing. In order to make a pattern for cutting the wreath from a block of wood, I first turn the scroll section drawing 90 degrees, so that I can see the elevation of the wreath. You’ll see me turn the drawing in the video, but the Sketchup drawings included with the text start with the stair turned horizontally.

Because the wreath turns and twists, curving in plan and elevation, I need two drawings, both of which are drawn in elevation and plan view. I know this is going to confuse a lot of readers. When I first learned how to draw a wreath, the only guide I had was a drawing in a fifty year old book. Learning from that drawing felt like breaking my own leg over and over again. It took me the better part of a week to figure it out the first time.

I’ve been trying to explain this process to my friend Gary Katz for ten years; now he wishes he’d paid better attention in geometry class! Most of you will get it much quicker!  I’m sure the video, this additional text, and the drawings (my thanks to Todd Murdock for the wonderful Sketchup illustrations!), will make it much easier to understand how to draw this complicated three-dimensional piece. Even Gary has drawn his own volute now, and we’re going to make him carve it next time he visits the shop!

The Elevations

Because the wreath curves in plan and elevation, and because we want to get it out of the smallest piece of expensive and rare mahogany as possible, we have to visualize the block of wood at an angle. That angle is the pitch of the stair!

Also, because the wreath curves in two planes — it rises up the pitch of the stair and it turns 90 degrees with the spiral — we need to make a pattern for both the top and the side of the wreath.

Drawing the patterns

I always start with an elevation view of the entire volute, which will give us the pattern for the side of the block. I use a common shop class technique of drawing the elevation dimensions under the plan view, which makes it easy to carry the dimensions from the plan view to the elevation view.

The first line. Start by drawing a line down from the center of the handrail right where the scroll section and the wreath section join (Line A, below).  I find that a 12-in or 13 in. line usually allows enough room to draw the whole elevation — the Side Pattern and the Top pattern; we’ll do the side pattern first.

The second line. Next, draw a horizontal line across the bottom of the drawing, like I said, about a foot below the plan view (bottom line, below, 13 in. below volute). That line helps establish the elevation of the handrail at the pitch of the stair. Think of that horizontal line as the run of the stair. Pretty soon, that line will become the centerline of the level scroll section.

The center of the handrail. The run of the stair, or the tread, is 10 in. I measure 10 in. from the intersection of line A and the ‘run’ line. From that point, I measure up the rise of the stair, which is 7 3/8 in. An elevation drawing is really like looking at the edge of the riser. That’s what we’re seeing now.

Next, I draw the centerline of the raked handrail by connecting the rise and run lines at the rake of the stair (center diagonal line, below).

After that, it’s easy to draw the top and bottom of the raked handrail. The rail is 2 1/4 in. tall, so I place a line 1 1/8 in. above and 1 1/8 in. below the center line.

The Top Joint. To start the top joint, I draw a vertical line from the plan view down to the elevation view, from the very top of the volute, where the straight rail meets the curved rail (see Line B, below). That line is really an extension of the Start Line, which is also the 11” line drawn for the initial spiral of the volute.

Next, I draw a line (K) square to the handrail so that it intersects line B at the centerline of the hand rail (see below). That’s the exact location where the wreath meets the straight rail, and that square line would make a butt joint. However, the joint would be clipped slightly on the outer curve, and besides, I like to have a little extra wood on the wreath for carving the curve to the straight rail, so I add another 2 in. or 3 in. to the block; that is line L which becomes the glue line and the end of the block.

The Bottom JointNow we need to draw the joint where the bottom of the wreath meets the level handrail of the volute. To describe that joint, I have to establish both the height and the width of the handrail. I start by using the first horizontal line I drew, at the bottom of the drawing — that is the centerline of the level scroll section (below).

Next, draw a line 1 1/8 above and below that centerline, establishing the side of the handrail in elevation (below).

I layout the width of the handrail the same way, using line A, the first vertical line I drew, which was carried down from the volute — the center of the handrail where the scroll section meets the wreath section. Because the handrail is 2 3/4 in. wide, I draw a line 1 3/8 in. on each side of  A. Those lines are F & G.  (The top and bottom lines of the wreath are darkened for clarity)

Now I can trace a small piece of the handrail, in elevation, right on to the drawing, in the rectangle formed between F & G and the top and bottom of the horizontal rail.  Believe it or not, that endgrain section is the face of the buttjoint at the bottom of the wreath!

The side pattern. We’ve finished the elevation, now we can use it to make a paper pattern for the side of the block. We need a piece of wood thicker than the height of the 2 1/4 in. rail, so I use a piece of 12/4 or 2 3/4 in. thick stock.

To establish the top and bottom of the 2 3/4 in. block of wood on the elevation, draw a line 1 3/8 in. above and below the centerline of the raked rail (Lines D & E). To locate the lower end of the block, draw a line (J) square to D & E, so that it just misses the bottom corner of the handrail near the bottom of line F. Because the top of the block is already defined by line L (see Side-Top Views), we now have the side pattern complete (below).

The top pattern. Before starting the Top Pattern, extend lines G & B to line D (below).  By looking at the plan view of the volute above, we can tell that the wreath section is 6 in. wide. The block is already at the pitch of the stair, so it’s easy to draw the top view at the same pitch, right above the side view.

I start by measuring 6 in. up from Line D, and strike Line H, parallel to line D (below). That establishes the width of the block and the top pattern. Extending lines J & L to line H completes the rectangle of the Top Pattern.

Next, draw a line 2 3/4 in. from and parallel to line H — that represents the inner edge of the straight rail (M, below).

Layout the Ellipses. Where line B intersects line D is the center point of both ellipses (P-1, below). Draw a line (B-1) square across the top of the pattern, parallel to line L-1. Line B-1 defines the ends of both the inner and the outer edge of the ellipse.

Don’t forget we added a couple inches to the wreath to make it easier for Mike to blend the wreath and the straight rail. So from line B-1 to line L-1, the wreath is carved straight.

The intersection of line F and line D (P-2) is the starting point of the outer ellipse.

The intersection of line G and line D (P-3) is the starting point of the inner ellipse.

The intersection of line H and line B-1 is P-4.

The intersection of line M and line B-1 is P-5.

Draw the ellipses.

I use a trammel with two points and a pencil, and a small square, to draw the ellipses for the inside and outside of the rail. You’ll have to watch the video to see how it’s done, but here’s how to set the trammels — just remember, always set one of the trammel points on P-1!

For the outside ellipse, put the pencil on P-4, then set the inner trammel point on P-1. Next, move the pencil to P-2, then set the outer trammel point on P-1. Swing the ellipse with the points held against the square the way I do it in the video.

For the inside ellipse set the pencil on P-5, then set the inner trammel point on P-1. Next, move the pencil to P-3 and set the outer trammel point on P-1. Again, swing the ellipse with the points held against the square the way I do it in the video.

Once the drawing and patterns are completed, I hand them off to Mike Kennedy. From that point on, the woodwork is in Mike’s hands. Watch the video to see how Mike uses the paper patterns to cut the wreath out on the bandsaw.

And don’t miss Mike’s article on carving the volute. If you were lost at any point during this article, don’t feel bad. I’m confident that if you watch the videos, read the text, look at the pictures, and draw it yourself, you’ll understand the process and be a better carpenter for it.

If you use CAD software for drawing your work, here’s a short video that should help.

If you read this story, then draw and carve a volute…please take pictures and send them in to the magazine! Share your work so we’ll all learn more about our craft.


31 Responses to “Drawing a Volute”

  1. David Pugh

    Thank you for showing a complex process like this to us. I appreciate that the people who created the work do a great job. I also am grateful that Gary and the others who were responsible for conveying the story to us. You were so careful to give us great detail and made me almost imagine that I could do that. It makes me feel good to be associated with craftsmen who are able to do something as worthwhile as this. Keep it up!

  2. David Coursey

    Wow… I enjoyed this as much as seeing your demos at JLC Live.

    Simply inspiring.

  3. Ray Menard

    Try to get such thorough information and instruction from a regular format magazine article or a book. What a resource we have here in THISisCarpentry. Then what David Pugh writes – I concur. Thanks so much guys. Too many projects on the bench now to start cogitatin’ on carvin’ volutes but if I were, this is where I’d begin…

  4. Ed Latson

    Ah-h-h-h-h-h……after nearly 37 years of ‘pounding nails’ I feel we are entering a truly golden age of the marriages of tradition,of craft and of our new building science–with its own sistering with technology—-Folks,we ARE on the steps of a new era…..To One and All-ENJOY!

    (And to think I was getting ‘my shorts in a bunch’ when JLC mag went from their old oversize format to its’ current layout…) Thank you.

  5. Gary Katz

    I agree with all four of you (and the many others who have said similar thing). Ironically, Festool recently asked me to write a short article for SYSNOTES about TiC: what the magazine is about, why we publish it, who reads it. Ed’s comment is exactly what I was planning on writing about. We live in a truly extraordinary time. Yes, the telephone and the railroads had a larger impact than computers and the internet, but the internet is allowing us to communicate in ways we never could before, using pictures and drawings and videos and words, too. For someone who always wanted to be a story teller and a carpenter, I can’t imagine a better time to be alive. I loved being able to help Jed tell his story. And I loved working with Todd Murdock and his Sketchup Drawings–how could you tell that story without those drawings? And the video, too. The craziest thing is–I think I could draw a volute now, too!

  6. William Duffer

    Well, thanks for making my brain hurt. That really stimulated my design itch. I am “on the fly” woodworker some of the time and then get disappointed with the finished product. I get the could have, should have, blues. I was a finish carpenter for some time but never dived into that sort of detail. I appreciate the stimulation and the urge to stimulate my creative juices.

  7. Joe Stoddard

    Jed and Gary – This is absolutely remarkable content. You’re capturing a true brain-trust here, and in a way that was impossible just a few years ago. After slogging though “community” after “community” of almost-alike production housing – seeing this level of thought and craftsmanship is re-energizing and makes me proud to be working in this industry. Great work.


  8. Jim Baldwin

    It’s interesting to see and learn from other professional craftsmen and discover that there are still plenty of guys out there who actually “give-a-shingle” about their trade… And many thanks to your publication for helping to make us more aware of that.

    Anyway, here is a picture of a volute that I wanted to share.

    I did this a few years ago and (I think, if you don’t mind me saying so) that this one comes pretty close to being “pretty good”. The overall diameter was about 20″ with a 360 degree spiral descent through 4 segments. The footprint layout was in quadrants (as described in your article) and the elevation was also according to their respective tangent heights.

    The real trick of course, is getting someone to order and pay for these “non-standard” stair parts. This one volute required several days to complete!


    • Gary Katz

      Nice work, Jim. Loved your website, too. How are you attaching the balusters? It looks like the railing is either mortised on the bottom or blocked between each baluster. If it’s blocking, you must have carved that, too, in the rail profile? I can’t tell from looking at the picture.

      • Jim Baldwin

        The bottom of the rail was plowed and the spacer blocks were added between each baluster. You can’t see from the picture, but every baluster was also custom turned (by someone) to follow the ascent of the volute.

        I also can’t take any credit for the field installation but I am quite sure the trim carpenter had a lot of “fun” cutting all those little spacers. This kind of work used to be typical but today seems a bit extraordinary.

  9. Brett

    I love this article. Obviously technology is killing man’s freehand ability to construct double axis shapes, yet here is an example of restoring and preserving these concepts.

  10. Greg

    Great Contribution! This lost art can be cost effective if you dare to delve into CAD, and are tired of many generic canned choices available. It takes a couple months to get the hang of it, but once you do it is hard to go back. Great Demonstration on layout! This should help everyone (in their minds eye) visualize how each piece of the puzzle fits together. Very thourough and easy to understand.

  11. Rob Potter

    Thanks for such a great article. This was the one that really hooked me in to what you guys are doing here at TIC back when it was first published in E mag form. You simply wont find content like this anywhere else these days. I’ve been slowly making my way through some century old books on the subject of stairbuilding and handrailing. This article is such a compliment to these texts. It is invaluable to see the drawings of the wreath developed step by step and line by line. And the videos are great too, especially the one where the rough wreath emerges from the block at the band saw. Thanks for including the video on drawing the ellipse that I believe was missing from the original version.

    • Gary Katz

      Good catch! That video was missing! We didn’t even notice it until Todd started laying out the story the second time. It’s nice to be able to make changes to an article AFTER it’s “published”!

  12. Tim Kuist

    Excellent article! I have been struggling for weeks now about how to cut & carve a wreath. And here it is, easy as pie! Thank you, all, for sharing this knowledge. This is a great site!


  13. Kyle Hepp

    I can’t express enough thanks for this. I have been building stairs for well over a decade now, and while I have made quite a few volutes and wreath-rail, I have never really understood how to lay them out properly, -until now!
    a few general guidelines and just “Making it” now seems so primitive (and until I watched these videos a couple times, I had always prided myself on being able to just make what’s needed with my hands and tools… -no more, now that I have this knowledge, I can begin to truly perfect my crafts to accurately prescribed results. and that is a LOT easier to sell to a client!
    The part where you say it is best to build the handrail FIRST, then the stair, -then the rest of the house…
    I believe it, -I KNOW this is the right order of things, but how to convince the builder, owner, architect -or whomever is writing the checks…
    -How to convey this?? THAT would make a great follow-up article, and one I would love to see! Perhaps 10% of the stairs I have built in the past 15yrs have been planned and built BEFORE the rest of the house. I can provide templates for the framer, the plasterer,, and make things very easy for everyone involved, and the final product is the best I can possibly deliver! -the other 90% of the time, I show up to a mess of a framed up stair, or a concrete stair and am asked to make it look like something off the pages of Architectural Digest (within a $4-$8k budget of course !)
    What do you say to your clients to assure the priorities are kept in order?

  14. Jed

    How do we get our customers-architects and homeowners- to let us do what we do best? How do we encourage them to let us participate in the design process? How do we get them to respect us as carpenters and artisans? This struggle is a huge part of my work and even of my identity as a craftsman,and I firmly believe that it’s a fight that all of us should join in.

    Of course, the first thing is to be worthy of respect. We should learn our craft so well that we know more that an architect ever could- after all, they have to know a little about every trade, and they can never be a master of all of them. This includes the history of our craft too, and as much of the history of architecture as we can learn. This is a lifetime commitment.

    We also have to learn how to present ourselves-that’s not too easy either. I mean you can’t wear a necktie on the jobsite (like some of the old guys did when I started!). But the gray hair helps, I’ve found. Finally, you’ve got to fight. You’ve got to invite yourself to design meetings. You’ve got to do your own shop drawings and make a case for them. You’ve got to stand up for yourself, and often, I’m sorry to say, you have to be willing to do extra work for the same money to be allowed to do work that you can be proud of.

  15. Joe

    I NEVER thought in a ” million years ” that there could be anyone who would address the layout, mathematics and fabrication of handrailing like the way it’s done in this article along with the videos. !!
    For years I read evrything and anything in regards to any type of handrail layout, BUT, this is ” the real deal ” !!
    NOW that we know we have ” accomplished, experienced and eager ” craftsmen to RESURRECT the techniques of one of thee most beautiful and appreciated trades ( Carpentry , Millwork etc ), when can we expect actual courses of instruction ? I believe there are thousands of novice carpenters / woodworkers ” out there “, standing patiently for a chance to bring their skills ” to a whole new level ” !!
    Can we find an existing teaching venue ( they ARE out there ) like the Marc SAdmas School, North Bennett School, etc that will begin teaching the art and practice of circular stairbuilding and handrailing ?
    We ALL owe it to our children to teach them, ( trades and skills ) that could die forever !!
    If we had more interesting things like this to learn in schools, kids wouldn’t
    be ” hooked up ” to video games ALL day long.
    I never knew what a” wreath ” was until I read this article, and NOW I am amazed at the ” a layout ” of the spiral of a volute !!
    This ” site ” is almost too good to be true !! God bless all of you for sharing what some I suppose would want to harbor for personal reasons !!
    I am by no means a ” professional “, but at trade shows I always seem to teach the presenters something they always taught …just a litte better.
    I always believed and always will, that you can learn something from anyone.
    Keep up the good work !!
    Does anyone know what a ” banana miter is ” ? !!

  16. David J Houle

    Guys, I just want to say that was a excellent illustration on how to lay out and make a declining volute. I too, have to make these for clients and have been making these for over 25 yrs, also turn outs and other custom rail parts to fit any rail design. The parts are band sawed out similar to the way you show and carved out from a spindle carving machine. I have 2 of them and have over 28 yrs expertise, oh and I still have all my fingers. We are located in Ontario Canada. There are still a few real craftsmen around doing this but they are all close to retirement. It really is a dying trade for those that have the integrity to do it right, most guys around here just draw a dinner plate and add some straight lines, geometry is a great tool to know and you’re the best ive seen at it, great videos!!

  17. David J Houle


  18. David J Houle


  19. paddy

    Top class, thanks for sharing all this knowledge and in such a way that i can go back over it till i get it, alot of people wouldnt let go of this information in such an open way.
    Jed i like what you said about the grey hair counting for something, I’m 40 now and getting greyer by the minute so you’ve given me a new perspective, now i’ll view it as an asset!
    You fellas make great teachers, a few stair/handrail workshops during the year would go down really well i think.I live in ireland and i’ve been thinking lately i need to invest somthing in educating myself and spending time with some of the right people, i might even slip over to the US for a look around but in the meantime i really appreciate access to what youve put on here, Thanks again, Paddy

  20. Refik ONAL

    My brother tried and failed to adapt the tutorial.

    I suppose the problem is that the elevation is not smooth / elevation is changing irregularly at certain points. It’s probably a building fail / ignorance and most of their customers have similar sort of problems. You can see an example work’s before and in progress photos.

    We would be very appreciate if you help us to create plans for this kind of situations.

    Best regards.

  21. Kim Frewin-Clarke

    What a fantastic article, I have been looking everywhere to find out how to make a hand rail wreath.
    I am a female carpenter/builder, living in the UK. After removing the roof of a grade 2 listed building and raising it a floor. then fitting new stairs for the new top floor, I wanted to continue the hand rail as original. The straight sections were straight forward, the lift and return (wreath) was another matter all together.
    I had no idea that these were even called wreaths at first, let alone what a tangent was!!!
    I always believed that if it was possible to make then I could make it, but this was stumping me a bit. I asked various other carpenters, but no one could help me out.
    Thanks your excellent article, I now feel competent enough to make the four sections needed, brilliant!!!

  22. Kim Frewin-Clarke

    Hi Jed,

    Any tips on drawing a decline wreath, just cannot figure it out, managed to draw the incline from your instructions. Please help :-)

  23. Tony

    Excellent article, but the videos are gone. Can you fix please, maybe put on youtube? thanks.

    • Gary Katz

      Thank you for the heads up! I had no idea that Blip was changing their policy. They never sent us a notification. I’ve contacted Blip and hope they’ll make an exception for us, but if they don’t we’ll upload those videos to Youtube and make updates to articles with Blip videos.


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