Desmond King - The Complete Guide To Shoji and Kumiko Patterns Volume 3 (2013)

The Complete Guide to
Shoji and Kumiko Patterns

Volume 3
by Desmond King
Copyright © 2013, Desmond King
Photographs and Diagrams by D & M King
Published by D & M King
Queensland, Australia
September 2013
kskdesign.com.au
TABLE OF CONTENTS
PREFACE
MAKING A NAKA-NUKI SHOJI
Calculating dimensions
Preparing the timber
Cutting the frames
Cutting and assembling the kumiko
Asa-no-ha
Kiri
Planing the rails and stiles
Assembling the shoji
Attaching the paper
Fitting and adjusting the shoji
KUMIKO PATTERNS
Kikkō-nishiki
Tsuno-shokkō
Yae tsuno-shokkō
Yae shokkō
Futae kaku-shokkō
Yotsuba kaku-tsugi
Soroban-kuzushi
Soroban-dama
Goma-gara
CONCLUSION
APPENDIX A — JIGS
45° kumiko cutting jigs
60° jig
15° jig
45° jaguchi jig
60° jaguchi jig
APPENDIX B — LIST OF FIGURES
APPENDIX C — ABOUT THE AUTHOR

PREFACE
This is the third volume in my series on making shoji and kumiko patterns. In this book, I give
detailed instructions on making one quite complex and difficult shoji, and nine additional patterns.
The shoji is a naka-nuki shoji featuring a central band of the stunning kiri (paulownia) pattern and
two bordering asa-no-ha bands.
[Fig-01] Shoji and three patterns
The nine additional patterns range from very simple, to quite difficult. They are kikkō-nishiki, tsuno-
shokkō and yae tsuno-shokkō in the figure above, and yae shokkō, futae kaku-shokkō, yotsuba kaku-
tsugi, soroban-kuzushi, soroban-dama and goma-gara in the figure below.
[Fig-02] Six additional patterns

When making the shoji in particular, rather than repeating the explanation of each of the processes, if
the process was explained in Volume 1 or Volume 2, I will simply refer to that. Any new process in
this book will of course be explained in detail.
All new jigs you need to make the patterns are described in Appendix A; all other jigs are detailed in
Volume 1.
Other than the standard tools you will find in any reasonably well equipped workshop, the only
additional tool you will need is a kebiki or wari-kebiki marking gauge to cut the jaguchi joints we
use in the shoji and several of the patterns. These are not expensive, and can be bought at most
Japanese tool sales outlets on the internet.
Good luck, and I hope you find this group of patterns interesting, and a challenge.
Des King
Gold Coast, Queensland
September 2013
MAKING A
[Fig-03] Naka-nuki shoji with kiri and asa-no-ha patterns
Naka is Japanese for center or middle, and nuki is the “i form” of the verb nuku, which means to
remove or take out. Therefore, in a naka-nuki shoji, the central section of the kumiko arrangement is
“removed” and replaced with some form of pattern or carving. In this shoji, I have given the open
central area a general rectangular shape.
A symmetrical design works best with these kinds of patterns, so the two shoji panels are a mirror
image of each other as shown in the following figure.
[Fig-04] Panels are a mirror image
To give the kumiko arrangement some body and for contrast with the more open central area, the
vertical kumiko need to be set at a close interval, and this increases the complexity of this design.
[Fig-05] Kumiko joinery details

The central band feature is kiri (paulownia), which is quite a challenging pattern incorporating
jaguchi joints and various angles, and the overall shoji is framed at the top and bottom by asa-no-ha
bands.
In this design there are a large number of kumiko that require cuts in many different positions, so it is
indeed a very difficult shoji to make. You will need a high level of precision in marking and cutting,
and extreme care and concentration in assembling the kumiko. Therefore, closely observe the
diagrams, and follow the instructions carefully without jumping ahead.
Considering the high density of kumiko in the base pattern, for clarity I have split the dimensional
diagram into sections so the kumiko pitch is easier to read.
I will describe two ways of making the kiri pattern. One is the traditional way with mostly jaguchi
joints, and the other is a slightly simplified way combining jaguchi and genkotsu joints. The kiri
pattern produced by both methods looks exactly the same.
For both types of kiri, you will need to make up several new jigs, and I detail these in Appendix A.
You will also need the appropriate jigs according to your preferred method of making the asa-no-ha.
These asa-no-ha are very small, so cutting and fitting the component parts will be quite a challenge.
In this project, I will use my preferred method: the genkotsu type 1 asa-no-ha.
For this shoji, you will therefore need the following jigs: kumiko cutting jig, 90° shooting board,
67.5° jig, 60° jig (Appendix A), 45° jig, 30° jig, 22.5° jig, 15° jig (Appendix A), 45° jaguchi jig
(Appendix A), and 60° jaguchi jig if you decide to use the traditional method of making the kiri
pattern (Appendix A).
The detailed dimensions of the jigumi are shown in the following figures. The dimensions for the kiri
and asa-no-ha patterns will be given once we reach that stage.
All dimensional diagrams will be available for downloading and printing from my website. The URL
for these diagrams is given in the Conclusion at the end of this book.
[Fig-06] Shoji dimension details
[Fig-07] Dimension details – bottom left
The following figure shows the jigumi dimensions around the kiri pattern. This figure shows the
jaguchi style, but the jigumi dimensions for the genkotsu style are exactly the same. Naturally, the
kiri pattern dimensions will be different, but this is covered in the kiri section of this project.
[Fig-08] Dimension details – kiri jigumi
[Fig-09] Dimension details – angled opening

[Fig-10] Dimension details – top right
Overall shoji size

The holding frame used for this shoji is the same as that used for the shoji in Volume 1 and Volume 2,
so the overall dimensions of the shoji are the same: width of 515 mm and height of 1045 mm
(excluding the top and bottom horns).
In view of the density of the kumiko pattern and the asa-no-ha bands at the top and bottom, I decided
to make both rails 45 mm to avoid the feeling of the shoji being too bottom-heavy.
Kumiko calculations
As in the shoji in the first two volumes, the tsukeko here have a mitsuke of 6.4 mm.
There are 31 vertical kumiko with a mitsuke of 4.0 mm spaced at an even interval, so calculations are
straightforward. The pitch is (441.2 + 4.0) ÷ 32 = rounded down to 13.9 mm. It is perhaps advisable
here to review the method of calculating kumiko pitch described in Volume 1.
Remember that the mark for the first kumiko is pitch minus the mitsuke of one kumiko, so the first
vertical kumiko is marked at 9.9 mm, and all others at 13.9 mm (see Figure 07).
Calculations for the horizontal kumiko are not as straightforward.

First, the design is vertically symmetrical, so the central horizontal kumiko is in the exact center. The
vertical opening is 942.2 mm (955 – 12.8 mm), so the pitch is 473.1 mm, resulting in the mark for the
center kumiko at 469.1 mm.
The kiri patterns fit in squares, and they need to be a reasonable size for balance, so the squares will
be four times the vertical kumiko pitch, or 55.6 mm (see Figure 08). This will allow three complete
kiri patterns in each shoji. The 55.6 mm pitch is marked from the center kumiko.
To frame and highlight the kiri pattern, I have added two extra horizontal kumiko, and these have the
same pitch as the vertical kumiko—13.9 mm (Figure 08). These serve both a visual and a structural
function.
Similarly, the asa-no-ha in the bands at the top and bottom have to fit in squares, so we have no
choice with the pitch of the band kumiko. Double the vertical kumiko pitch is a good size for each of
the asa-no-ha squares, so the pitch is 27.8 mm (Figure 07) and Figure 10).
For all other horizontal kumiko groups, I decided to continue with the 13.9 mm pitch. This gives the
pattern a pleasing uniformity between the vertical and horizontal kumiko.
The internal space between the asa-no-ha group and the kiri group is divided into three sections
(excluding the two-kumiko band), and each has a pitch of 88.2 (see Figure 06).
The extension of the kumiko into the opening is largely a matter of obtaining a balance, and in this
case, I decided to make this 22.2 mm. I gave the corners an incline of 60°, and calculated each of the
kumiko extensions accordingly. These are shown in Figure 09.
The short double 6.4 mm features in the upper half of the kiri pattern are spaced evenly within the top
half (see Figure 08). The short single 6.4 mm feature is spaced evenly between the double feature, but
the joints for these single features are cut later when making up the kiri pattern.
Dimensions for the asa-no-ha and kiri patterns are detailed later.

Milling
The following figure shows the cutting list for this shoji. The lengths are oversize by 50 mm or so.
The number indicated is the minimum required, but it is advisable to cut extra. The kiri pattern
kumiko are the same mitsuke and mikomi as the jigumi kumiko, so any spare kumiko you have can be
used for the kiri. The asa-no-ha pattern kumiko have a mitsuke of 2.0 mm, and this narrow size will
certainly test your patience and dexterity. The overall number of pattern kumiko required can vary
quite considerably depending on how accurately you cut the patterns and how much wastage there is,
so I would advise you to cut quite a few extra.
[Fig-11] Naka-nuki shoji cutting list
Marking
Examine the rails, stiles and tsukeko, and decide on the fronts, backs and orientation of all pieces.
Mark all pieces in your preferred way (I use triangles on the faces to indicate top, bottom, left and
right, and mark the pieces for the left-hand shoji with “1” and those for the right-hand shoji with “2”).
Numbering system
In view of the large number of both vertical and horizontal kumiko, to avoid confusion you should use
the numbering system shown in the following figure. In other shoji, I have used letters to indicate the
vertical kumiko and joints for the horizontal kumiko, but to avoid having to use letter combinations
such as AA and AB, which could add to the confusion, here I have used numbers for both horizontal
and vertical kumiko and joints.
[Fig-12] Suggested numbering system
Numbers for the vertical kumiko and joints for the horizontal kumiko will have the prefix “V”; and
numbers for the horizontal kumiko and joints for the vertical kumiko will have the prefix “H”.
For clarity, the figure does not show the kiri or asa-no-ha patterns.
Story stick
Mark the story stick with all stile, rail and kumiko markings with a sharp marking knife in accordance
with Figure 06, and the detailed dimensions shown in Figure 07 to Figure 10. Use one side of the
story stick for the vertical dimensions, and the opposite side for the horizontal dimensions.
The following photograph shows a part of my story stick marks for the rails. This is the left-hand end.
I have numbered and color-coded the marks to minimize the possibility of error. The colors (red (R),
green (G), and black (B)) indicate the different lengths of vertical kumiko; the black (B) marks show
the vertical kumiko that require tenons. As long as the story stick does not become too cluttered, any
information such as this will help you to avoid mistakes, especially in the complex kumiko
arrangements.
[Fig-13] Story stick
Stiles
All marks should be made on the inner side of the rails and stiles. Clamp the story stick to one of the
stiles, and transfer the markings. Use this stile to mark the other three stiles, making sure that the top
and bottom orientation is correct.
Mark the mortise locations on all stiles as shown in the following figures.
[Fig-14] Stile mortises – bottom

[Fig-15] Stile mortises – top
Note in the following figure that the backs of the horizontal kumiko are 3 mm from the back of the
stile, so the kumiko mortises are positioned 7.3 mm from the back of the stile.
[Fig-16] Stile mortises – kumiko
Trim the ends of the stiles at the horn marks, and chamfer around the top and bottom edges.
Rails
In this shoji, the rail markings for the left-hand and those for the right-hand shoji are different, so
follow the instructions carefully.
The marking procedure for the left-hand shoji rails is exactly the same as that for all other shoji.
Clamp the story stick to one of the left-hand rails with the correct left/right orientation (left-hand end
of the rail with the left-hand end of the story stick), and transfer the tenon and mortise marks to the
rail, as was done for the stile in the previous step. Use this rail to mark the other left-hand rail.
For the right-hand shoji rails, flip the rail around 180° so that the right-hand end of the rail is now at
the left-hand end of the story stick. In other words, reverse the left/right orientation of the rail.
Transfer the tenon and mortise marks to the rail in the normal manner, then use this rail to mark the
other right-hand rail.
The reason for this reverse orientation on the right-hand shoji rails will become clear when we start
assembling the kumiko, but this reverse orientation is essential to ensure that all vertical kumiko
tenons and rail mortises align accurately.
[Fig-17] Rail mortises – kumiko
Mark the tenon shoulders and jaguchi joint in the same way as was done for all other shoji.
Trim the ends of the rails to the tenon marks, and mark the tenons as shown in the following figure.
[Fig-18] Rail tenons
Tsukeko
Similar to the case of the rails, the orientation of the two horizontal (top and bottom) tsukeko in the
right-hand shoji relative to the story stick must be reversed. The orientation for the vertical tsukeko
does not change.
Clamp the story stick to one of the vertical tsukeko and transfer the marks, making sure you have the
correct top/bottom orientation. Transfer those marks to the other three vertical tsukeko.
Clamp the story stick to one of the horizontal tsukeko in the left-hand shoji, and transfer the marks,
making sure you have the normal left/right orientation. Transfer those marks to the other horizontal
tsukeko in the left-hand shoji.
Now reverse the left/right orientation of the horizontal tsukeko in the right-hand shoji relative to the
story stick, as was done for the right-hand shoji rails. Clamp the story stick to one of the horizontal
tsukeko, and transfer the marks. Transfer those marks to the other horizontal tsukeko in the right-hand
shoji.
As in the case of the rails, the left/right orientation needs to be reversed so that the vertical kumiko
tenons and the horizontal tsukeko mortises in the right-hand shoji are accurately aligned.
The tsukeko miters will be a straightforward 45° angle secured with a small tack or nail from the
vertical tsukeko side, so trim the ends at 45° using the 45° jig or 45° shooting board.
[Fig-19] Tsukeko mortises
Cutting the frames
Stiles
Cut the mortises for the rail tenons and kumiko in the stiles. The mortises for the rail tenons are
22 mm deep, and the haunch housing is a fraction deeper than 8 mm. The mortises for the kumiko are
7.5 mm deep.
Remember that there is a 1.5 mm offset between the backs of the stiles and the rails, and also between
the backs of the rails and tsukeko, so take extra care with the position of the mortises in relation to the
back.
Rails
Cut the mortises for the kumiko to a depth of 7.5 mm. Cut the jaguchi on the rails, then cut the tenons,
and trim the haunches to the dimensions shown in the following figure.
[Fig-20] Rail tenon dimensions
Remember from the standard shoji in Volume 1, the tenons are each 1 mm wider than the mating
mortises, giving a very clean and tight joint when the shoji is assembled.
Chamfer the ends of the tenons, but do not chamfer the sides of the rails and stiles; these are
chamfered at the end before assembly.
Tsukeko
Cut the mortises in the tsukeko. These are through mortises, so make sure the back face is clean of
waste.
Trim the ends at 45° for the miters, and chamfer the front inner edges of all tsukeko.
Rebates
Cut the rebates as shown in the following figure.
[Fig-21] Rebate dimension details
Raising the grain

Place the tsukeko safely to one side. Thoroughly wet a piece of cloth and wipe the water liberally
over the rails and stiles, and allow to dry.

All vertical, horizontal and pattern kumiko have the same mikomi (15 mm) so the kumiko are not
chamfered.
Examine the kumiko, and choose the front and back for each. Mark the backs on all kumiko.
Master kumiko
In addition to the story stick, for each shoji you will also need to mark four master kumiko: two for
the vertical kumiko, and two for the horizontal kumiko. The master kumiko should have all their
respective vertical and horizontal joint marks (and numbers), including the tenons. You will need two
of each because for some of the cuts there are too many kumiko to cut at the one time.
Marks on the two master kumiko in each pair must be exactly the same, especially relative to where
the end butts up against the end stop on the kumiko cutting jig. This is critical; the two master vertical
kumiko must be identical, and the two master horizontal kumiko must be identical.
The kumiko marks for both shoji have the same left/right and top/bottom orientation; i.e. the
orientation for horizontal kumiko in the right-hand shoji is not reversed.
Vertical kumiko
All cuts for the vertical kumiko are on the back to the dimensions shown in the following figure, with
the exception of cuts H13a and H13b, which are cut at 6.4 mm on the front. The depth of these cuts is
the same at 7.8 mm.
[Fig-22] Vertical kumiko joinery
Place one of the master vertical kumiko in the kumiko cutting jig and cut the vertical kumiko in the
following sequence.
1. V4, 8, 12, 16, 20, 24 and 28: Cut joints H1, H25 and tenons. Do not cut off the tenons at the ends
at this stage.
2. V2, 4, 6, 8, 10, 12, 14, 16, 18, 20, 22, 24, 26, 28 and 30: Cut joints H2, H3, H4, H5, H21, H22,
H23 and H24.
3. All vertical kumiko (divide this into two cuts): Cut joints H6, H7, H8, H9, H13, H17, H18, H19
and H20.
4. V5, 6, 7, 8, 12, 16, 20, 24 and 28: Cut joints H10 and H16.
5. V6, 7, 8, 12, 16, 20, 24 and 28: Cut joints H11 and H15.
6. V7, 8, 12, 16, 20, 24 and 28: Cut joints H12 and H14.
7. V12, 20 and 28 (on the front): Cut joints H13a and H13b (6.4 mm cuts).
Once all vertical kumiko joints have been cut, cut off the ends of the tenons made at step 1, and
chamfer the ends.
Repeat for the second shoji.
Horizontal kumiko
All cuts for the horizontal kumiko are on the front to the dimensions shown in the following figure.
[Fig-23] Horizontal kumiko joinery
Place one of the master horizontal kumiko in the kumiko cutting jig and cut the horizontal kumiko in
the following sequence.
1. All horizontal kumiko (divide this into two cuts): Cut joints V4, V8, V12, V16, V20, V24, V28
and tenons. Do not cut off the tenons at the ends at this stage.
2. H2–24 inclusive (divide this into two cuts): Cut joints V2 and V6.
3. H2–8 inclusive, H14, and H18–24 inclusive: Cut joints V10, V14, V18, V22, V26 and V30.
4. H6–20 inclusive: Cut joints V1, V3, V5 and V7.
5. H6, 7, 8, 18, 19 and 20: Cut joints V9, V11, V13, V15, V17, V19, V21, V23, V25, V27, V29 and
V31.
Once all horizontal kumiko have been cut, cut off the ends of the tenons made at step 1, and chamfer
the ends.
Repeat this for the second shoji. That completes the kumiko cutting, and this is how your kumiko
should look (the photograph shows the orientation for the right-hand shoji).
[Fig-24] Cut kumiko — right-hand shoji
Assembling
The assembling process can become very confusing, so make sure you follow the instructions closely,
and double-check all measurements before trimming any of the kumiko that form the opening.
Start with the kumiko in the left-hand shoji.
As with all shoji, assemble the main kumiko first. Cut off the ends of the six shorter horizontal kumiko
(H10–12 and H14–16). Check Figure 12 carefully, and make sure you cut the ends off the correct
kumiko at the correct position. Note that the end is 6 mm past the joint, and don’t forget to lightly
chamfer the end.
The two shoji are a mirror image, so for the left-hand shoji, the vertical kumiko should be assembled
in the order 1–31 from the left. The horizontal kumiko order is 1–25 from the bottom, and this is the
same for both shoji.
Take extra care when inserting the kumiko, because they are quite weak in the areas with joints close
to each other, so make sure the half-lap joints are not too tight, and do not force the joints together.
[Fig-25] Assemble the main kumiko first
Next assemble the kumiko in the right-hand shoji. The right-hand shoji is a mirror image of the left-
hand side, but because of the kumiko arrangement in this design, it is much more complex than the
other mirror-image shoji we have completed to date, and requires constant checking and
concentration.
First, cut off and trim the ends of the six shorter horizontal kumiko (H10–12 and H14–16) in exactly
the same position as you did for the left-hand shoji, and lightly chamfer the ends.
For the right-hand shoji, the vertical kumiko are assemble in the order 1–31 from the right (or 31–1
from the left).
Together with this, the orientation of the horizontal kumiko is reversed; that is, what were the left-
hand tenons in the left-hand shoji are now the right-hand tenons in the right-hand shoji.
The horizontal kumiko order remains the same: 1–25 from the bottom. Do not change this order.
This is why we reversed the left/right orientation of the rails and the two horizontal tsukeko in the
right-hand shoji during the marking stage. If the orientation of the rails, tsukeko and kumiko are not the
same when marking, the kumiko tenons and the mortises in the tsukeko and rails will not line up
accurately, and this will create serious problems when assembling the shoji.
That is, by reversing orientation not just for the kumiko but for the rails and tsukeko as well, any
minor inaccuracies in the marking of the kumiko pitch on the story stick will be consistent for all, so
the vertical kumiko will remain straight, and the inaccuracy will go largely unnoticed. If we only
reversed the orientation of the kumiko and not the rails and tsukeko, any inaccuracy would show up as
a kink in the kumiko where it joins the tsukeko and rail, and this would be very noticeable indeed. It
may even cause the kumiko to snap if the inaccuracy is too great.
Once the kumiko have been assembled, attach the tsukeko. When attaching the tsukeko, make sure that
the kumiko tenons are fully engaged in their respective tsukeko mortises. Small tacks or nails with
glue hold the miters firmly together. After attaching the tsukeko, set the assembled frame aside to
allow the glue to dry thoroughly.
[Fig-26] Left-hand shoji

[Fig-27] Right-hand shoji
Once the glue has dried, begin trimming and assembling the shorter vertical kumiko. Work carefully
and closely follow the dimensions shown in Figure 09. For each kumiko, double-check the kumiko
number with the numbering system shown at Figure 12 to make sure you do not cut the kumiko in the
wrong position.
Take care when trimming the angled corners. These kumiko are trimmed at 60° on the 60° jig, and
double-check which way the angle faces before trimming. Lightly chamfer the top and side edges of
the kumiko trimmed at 90°, and the top edge of the kumiko trimmed at 60°.
[Fig-28] Insert the shorter kumiko
When the glue has dried thoroughly, begin fitting the top and bottom asa-no-ha bands.
Asa-no-ha
Review the asa-no-ha section in Volume 1. As I mentioned, my preferred method of making the asa-
no-ha is the genkotsu type 1, so the measurements in the following figure are for that method.
[Fig-29] Asa-no-ha dimension details
The mitsuke of the asa-no-ha pattern kumiko is 2.0 mm to avoid a cluttered feel within the jigumi
square.
Although the size is much smaller than the asa-no-ha in Volume 1, the way in which the pattern is cut
and assembled is exactly the same as I described in that book, regardless of the method you use.
The locking piece in particular is very short, so take care when trimming to size with your hand-plane
in the appropriate jig. I can’t count the number of times I’ve progressively shaved off more and more
of my fingernail until I’ve hit the quick when working in a hurry with pieces this small or even
smaller in the jigs, so work carefully, and don’t rush.
First, insert all the diagonal pieces…

[Fig-30] Insert the diagonal pieces
Then begin work on the asa-no-ha. You’ll find that a small pair of tweezers (pincette) will come in
very handy.
[Fig-31] A pair of tweezers will come in very handy
Continue until you have completed the asa-no-ha bands.

[Fig-32] Asa-no-ha bands completed
Kiri
The multiple angles required for the kiri make this one of the more difficult and time-consuming
patterns in the square jigumi.
Each pattern consists of four squares: the top two are identical, and the bottom two are a mirror
image. The mitsuke of the individual kiri pieces is the same as the shoji jigumi—4.0 mm. I have
made the mitsuke of the short crosspieces 6.4 mm, but this can be increased or decreased depending
on your preference.
Traditionally, there are multiple jaguchi joints in the kiri pattern: one group at 90° and another group
at 120°. The two vertical pieces in the top two squares connect with the hinge pieces in a 120°
jaguchi joint, but because there is also a half-lap joint with the horizontal kumiko, the jaguchi cut has
to be exact; there is no easy way to make any subsequent adjustment. This way therefore adds greatly
to the difficulty of the pattern.
What I have done here is to take a step away from the traditional method, and simplify the pattern.
Instead of multiple jaguchi joints, there is now only the one, which is still necessary to give the
pattern its strength. This is the locking piece for the bottom squares, and it has a 90° jaguchi. The
other jaguchi joints are 120°, but I’ve replaced them with genkotsu joints. These joints are not quite
as strong as the jaguchi, but provided you cut the pieces with the correct amount of tension, their
strength is more than adequate.
I’ll include diagrams for both methods of making the kiri—simplified and traditional—so you can
have a choice, but I’ll only give instructions for making the simplified version, because this is the
method I advise you to use. This will also give a solid base from which you can try the more
traditional and complex version at a later stage if you prefer.
The following figure shows the many different angles that make up the kiri.
[Fig-33] Kiri angles
The following figure identifies the individual kiri pieces for the simplified version.
[Fig-34] Kiri pattern pieces — simplified
As you can see, the kiri comprises six different pieces: A (8), B (4), C (4), D (2), E (2), and F (4).
The following figure gives the dimensions and angles for each piece.
[Fig-35] Kiri dimensions — simplified
The following two figures show the same details for the traditional method.
[Fig-36] Kiri pattern pieces — traditional
[Fig-37] Kiri dimensions — traditional
Start on the bottom half. Cut the A and B pieces to the length and angles shown in Figure 35 using the
15°, 30° and 60° jigs.
Position the two B pieces in the correct corner, which is the center of the overall kiri square. You
should add a dab of glue to the corners, and all joints for strength.
[Fig-38] Position the B pieces in the center
Next, position the A pieces, making sure there is a firm fit in the corners, and tight joins with the B
pieces.
[Fig-39] Position the A pieces
Cut and trim the C pieces with the 45° and 60° jigs. The length given in Figure 35 is 12.9 mm, but this
is only a guide, and it may vary slightly. The important point is that the ends fit snugly into the opening
formed by the A and B pieces, and the two pieces join at 90°. Add glue to the A and B join, and also
to the join between the two C pieces.
[Fig-40] Align the C pieces
Purely for interest, the following photograph shows the kiri pattern at the same stage of assembly
using the traditional jaguchi joints.
[Fig-41] C pieces using the traditional method
For the D locking piece, cut the jaguchi joint using the 45° jaguchi jig and kebiki first, then trim the
other end to fit using the 45° jig. Again, the length shown in Figure 35 is only a guide.
[Fig-42] Cut the jaguchi joint, then trim to fit
This is the critical piece that holds this part of the pattern together, so the fit must have sufficient
tension to lock all pieces in place.
[Fig-43] A firm fit is critical
Repeat this for the second bottom square. Now move on to the top half.
Before starting to assemble the pieces in the top half, cut a 4.0 mm half-lap joint in twelve pieces of
kumiko roughly 55 mm long. The half-lap joint should be about 15 mm from one end. Flip the pieces
over and cut a 6.4 mm half-lap joint 29 mm from the joint you just cut, as shown in Figure 34 (check
the figure carefully). These are the E pieces, and they lock the top half of the pattern in place.
Trim two A pieces to size, and position as shown in Figure 34 and the following photograph.
[Fig-44] Position the two A pieces
Trim the E piece as appropriate at both ends so that the fit provides sufficient tension to hold the two
A pieces firmly in place.
[Fig-45] Trim and insert the E piece
You can trim either end first, whichever you prefer or find easier.
[Fig-46] Ensure the fit is tight
All that is left is now to cut and fit the F pieces. Cut 4 mm half-lap joints in 24 pieces with a mitsuke
of 6.4 mm, then trim each end so that it extends about 5 mm past the edge of the joint (length of about
14 mm). Chamfer the top and sides of the ends, and fit into the E pieces. In this project I used the
same Huon Pine timber that I used for the rest of the shoji, but using different colored timber in the F
piece is an alternative, and will give the pattern a completely new feel. The length can also be varied
to your preference.
Continue fitting the patterns until both panels are completed.

[Fig-47] Panels completed

The shoji frame is exactly the same as the frame in the standard shoji in Volume 1 and the kawari-
gumi shoji in Volume 2, so the processes detailed for those shoji apply here as well.

Similarly, the processes detailed in assembling the standard shoji also apply to this shoji. Take care
when tapping the stile into the rail tenons so that the pattern kumiko do not become detached.
When the shoji have dried, inspect the jaguchi joints and carefully plane flush where required.
Mark your preferred location for the door pulls, and cut out the housing mortise. Apply a small dab of
glue to the mortise, and insert the pull so that it sits flush with the face. In this project I decided not to
fit door pulls as this process has been sufficiently explained in previous shoji.
Attaching the paper

Attach the paper in exactly the same way as described for the standard shoji in Volume 1. In this
shoji, there are many more kumiko to which glue has to be applied, so you will need to work
efficiently so that the glue doesn’t dry before you’re ready to attach the paper.

This final procedure is exactly the same as detailed in the standard shoji in Volume 1.
Well done. You have completed a very advanced shoji.

[Fig-48] Project completed
This was a very complex and difficult project to make, and required concentration, and a combination
of many hand skills. The result is, however, spectacular.
The two bands of asa-no-ha built upon the skills you gained in Volume 1 at making this widely used
pattern, especially considering the much smaller size of the pattern itself.
And you learned a completely new pattern—kiri. This is indeed a beautiful kumiko pattern, and I
believe the stunning shoji you have just completed truly does justice to it.
KUMIKO PATTERNS
The nine kumiko patterns we tackle in this section are somewhat of a mixed bag: some are quite
simple, most are of moderate difficulty, and one—the goma-gara pattern—is certainly at the upper
end of the difficulty scale in the square kumiko patterns.
They will test your sawing, your measuring precision, and your patience, while those that require the
jaguchi joint will reinforce the skills you have learned on making this important joint.
The new jigs you will need for these patterns are described in detail in Appendix A. So let’s get
started. Take your time, and be patient.
Kikkō-nishiki
[Fig-49] Kikkō-nishiki
Kikkō means tortoiseshell, and the kikkō pattern is a hexagonal shape similar to that of a tortoiseshell;
nishiki means Japanese brocade. This is a relatively simple pattern that forms a series of pleasing,
well-balanced hexagons.
To achieve the full effect of this pattern, it is preferable to have at least three rows.
The jigs we need for this pattern are the kumiko cutting jig, 45° jig, 22.5° jig, and 67.5° jig. All these
jigs were detailed in Volume 1.
The overall dimension of the piece we will make for this project is shown in the following figure.
Similar to many of the pattern projects in Volume 2, in this project the jigumi kumiko have a 75 mm
pitch, and the outer framing kumiko are set at a 14 mm pitch from the jigumi kumiko.
[Fig-50] Kikkō-nishiki dimension details
When working out the size of the internal hexagonal patterns, I wanted the pieces making up the sides
of the hexagon to be close to the same size for a balanced shape, taking into account the mitsuke of the
jigumi kumiko, and if possible, I wanted the angles at which the pieces joined together to be such that
I could use jigs that I already had. This resulted in the pattern piece lengths shown in the above figure.
Consequently, the hinge pieces are 38.2 mm and the locking pieces are 42.9°, though these sizes may
need to be adjusted slightly depending on how accurate the jigumi marking and cutting is. The joint
joining the two hinge pieces and the locking piece is exactly the same as that joining the hinges and
locking piece of the genkotsu type 1 method of making the asa-no-ha explained in Volume 1, and the
ends of the hinge pieces that fit into the jigumi corners are trimmed at 22.5° on one side and 67.5° on
the other.
Timber requirements
For this project, about 15 kumiko 1000 mm long with a mitsuke of 4 mm and a mikomi of 12 mm
should be sufficient. Kumiko cut to the appropriate length are used as the jigumi story sticks.
Marking
In this project, the only kumiko you need to mark for half-lap joints are the jigumi kumiko. There are
no additional cuts to be made, so there is no real need to number the kumiko.
Mark the story stick for the jigumi according to the dimensions in Figure 50.
Cutting the kumiko

The kumiko mikomi is 12 mm, so cut the half-lap joints to a depth of about 6.5 mm.
Cut the six horizontal and seven vertical jigumi kumiko according to the dimensions shown in Figure
50.
Also cut at least 48 pieces about 40–41 mm long for the hinge pieces, and at least twelve pieces
about 44–45 mm long for the locking pieces. These hinge and locking pieces will be trimmed to size
in their appropriate jigs during the assembly process.
Assembling the pattern

First assemble the jigumi.
[Fig-51] Assemble the jigumi
Next, trim four hinge pieces to a length of 38.2 mm (you may need to make slight adjustments to this
for a firm fit). The inner ends of these hinge pieces are trimmed in exactly the same way as we did in
the genkotsu type 1 method of making the asa-no-ha (trim both side with the 67.5° jig with the vertex
2/3 to one side), while the outer ends are trimmed with the 22.5° jig on one side and the 67.5° jig on
the other. Note that on all hinge pieces, the 22.5° trim and the 1/3 trim are on the same side.
[Fig-52] Hinge piece dimensions
Once you are satisfied with the 1/3:2/3 mix, add a dab of glue to the corners of the jigumi square and
insert the hinge pieces.
[Fig-53] Insert the hinge pieces
As with the genkotsu type 1 asa-no-ha, trim both ends of the locking piece on the 45° jig to fit, and
insert to secure the four hinge pieces in place. That completes one square.
[Fig-54] Insert the locking piece
Continue this…
[Fig-55] Continue inserting hinge and locking pieces
Until all hinges and locking pieces have been inserted and you have completed the project.
This is quite a simple pattern that would add considerable interest to the bottom of a shoji, or a
section of a ranma. The process in making this pattern also gives additional practice to elements of
the much more common asa-no-ha pattern.
Tsuno-shokkō
[Fig-57] Tsuno-shokkō
Shokkō is the Japanese pronunciation of the Chinese characters indicating the upper stream section of
the Yangtze River in the present-day Sichuan Province in China. This region was quite famous for the
clear waters of the river, and the embroidered silk cloth made there (Shokkō no nishiki) was very
elegant and extremely popular. The shokkō patterns embroidered into this fine silk came to symbolize
the region.
The tsuno-shokkō is one of the many shokkō pattern variations, and the first we tackle in this book.
Tsuno means horn, and here instead of miter joints, the squares are formed by half-lap joints resulting
in “horns” at the four corners.
The jigs we need for this pattern with the dimensions shown in Figure 58 are the kumiko cutting jig,
90° shooting board, 22.5° jig and 67.5° jig.
We have a wide range of creative options with the various shokkō patterns, and the tsuno-shokkō is
no exception. The pattern pieces fit within rectangles formed by the jigumi kumiko, and the size of
these jigumi rectangles in tandem with the size of the pattern squares (or rectangles) can be varied
according to the desired effect.
The vertical kumiko are spaced at the standard 75 mm pitch, but it is important to explain how I
arrived at the other dimensions.
[Fig-58] Tsuno-shokkō dimension details
First, as would be the case if this pattern formed part of a shoji panel, the intervals between the
vertical kumiko are set—in this case a pitch of 75 mm. It is in the interval between the horizontal
kumiko where we have some creative flexibility. Additionally, the internal pattern can be either a
square or rectangle, whichever you feel is more balanced or interesting. We can also use this to our
advantage so we can keep the number of jigs with strange angles to a minimum.
My first decision was that I would use squares for the internal patterns. You will notice from Figure
57 that the diagonal locking pieces do not run at 45°, so the ends where they lock into the joints of the
square have to be trimmed at two different angles. I next looked at setting these locking pieces at an
angle in which I could use standard jigs I have already made. The asa-no-ha is one of the more
common patterns in the square jigumi, and from Volume 1 we know that the 22.5° jig is common to
all four methods of making this pattern.
So if I could make the angle of this locking piece as close to 22.5° as possible, one side would be
trimmed to 22.5° and the other to 67.5° (90° – 22.5°), as can be seen in the following figure. The
genkotsu type 1 is my preferred method of making the asa-no-ha, and a 67.5° jig is necessary for this,
so there would be no need for any additional jigs.
[Fig-59] Locking piece angles
It was then simply a matter of drawing a line at 22.5° in the jigumi, and adjusting the horizontal
kumiko interval and the size of the internal pattern square so that the line would fit into the corners of
the squares. At the same time, though, I had to maintain a pleasing ratio between the sides of the
jigumi rectangles.
The result I came up with is a vertical pitch of 45 mm, and a pattern square pitch of 10 mm. This
gives a ratio of 1:1.73 (internal space of 41:71), which is reasonably close to the golden ratio of
1.62, so the jigumi rectangles remain pleasing to the eye. Finally, the locking piece angle is 22.4°,
which is close enough to the required 22.5°.
Instead of the normal 14 mm pitch between the outer and inner framing kumiko in most of the other
patterns, I reduced this to the same 10 mm pitch as the pattern squares for consistency.
You will also notice that I made the extensions of the horizontal pattern pieces longer than those of the
vertical pieces (8 mm compared to 5 mm). In this way, the length of the extensions past the locking
pieces is roughly the same, as can be seen in the following figure.
[Fig-60] Lengths are roughly the same
Timber requirements
should be sufficient. Kumiko cut to the appropriate length are used as the story sticks.
Marking
Although the cuts are relatively straightforward, I believe it is still be advisable to number the kumiko
and joints. The following figure shows the numbering system I used. Note that the pattern squares are
cut in groups, so each kumiko within the group is given the same letter/number; for example, c1 for
the two vertical pattern kumiko adjacent to jigumi kumiko C, and 3a for the two horizontal kumiko
adjacent to kumiko 3.

Mark the horizontal and vertical story sticks according to the dimensions in Figure 58. When marking
the pattern kumiko, measure from the adjacent jigumi kumiko; for example, measure the two c1
kumiko from kumiko C. Also mark a smaller story stick with a few pattern marks (three marks with a
pitch of 10 mm) for the pattern squares.
Cutting the kumiko

Place all horizontal kumiko (kumiko 1–7) in the kumiko cutting jig and cut joints A–G.
Place kumiko 2, 4 and 6 in the cutting jig and cut joints b1, d1 and f1; then cut kumiko 3 and 5 at joints
c1 and e1.
Next, place all vertical kumiko (kumiko A–G) in the kumiko cutting jig and cut joints 1–7.
Place kumiko B, D and F in the cutting jig and cut joints 2a, 4a and 6a; then cut kumiko C and F at
joints 3a and 5a.
This completes the jigumi, and your kumiko should look like this.
[Fig-62] Your kumiko should look like this
Next the pattern kumiko.
The pattern kumiko consist of three different kinds of pieces: the horizontal pattern kumiko, the
vertical pattern kumiko, and the locking pieces. The locking pieces are cut and trimmed during the
assembly process, so here we will focus on the other two. These are shown in the following figure.
The only difference between the horizontal and vertical pattern kumiko is that the horizontal kumiko
extend 8 mm past the joint, while the vertical kumiko extend only 5 mm past the joint (also see Figure
58). And of course the chamfers are opposite.
[Fig-63] Pattern kumiko dimensions
You will also notice that there are shorter kumiko for both types. These pieces are trimmed to fit
against the outer jigumi kumiko.
Using the story stick with the pattern marks, cut twelve horizontal and twelve vertical pattern kumiko
with three joints. Make sure there is sufficient space between the kumiko for the 8 mm or 5 mm
extensions.
Next cut eight each of the shorter horizontal and vertical pattern kumiko with two joints. Make sure
there is sufficient space for the single 8 mm or 5 mm extension at one end, and sufficient space at the
other end to trim to fit against the outer jigumi kumiko.
Finally, chamfer the appropriate edges.

First, assemble the jigumi, making sure you have the correct kumiko orientation and order.

Next fit all the horizontal pattern pieces. Also, trim and fit the eight shorter pieces on the left and right
sides of the jigumi.
[Fig-65] Fit all horizontal pieces
Trim and carefully fit the eight shorter vertical pieces on the top and bottom of the jigumi…
[Fig-66] Fit the shorter vertical pieces
Followed by the remaining twelve vertical pattern pieces to complete all the pattern squares. If your
marking and cutting has been accurate, these vertical pieces should slide in with little effort.
[Fig-67] Fit the remaining vertical pieces
Finally, cut and fit the locking pieces. As you can see by the following figure and Figure 59, the
locking pieces are trimmed to fit with the 22.5° and 67.5° jigs.
[Fig-68] Locking piece details
The dimensional diagram shows 55.2 mm, but as with many of the other patterns, this could vary
slightly, and you will need to trim each piece to fit. Add a dab of glue to both ends so they are held in
place securely.
When fitting, make sure the locking pieces are not too tight otherwise there is a risk that the longer
extensions on the horizontal pattern kumiko may be pushed out of shape, or even snap off.
[Fig-69] Carefully trim the locking piece to fit
Continue until you have inserted all locking pieces and have completed the pattern.
The important point about this pattern is making sure the design strikes a pleasing balance between
the dimensions of the jigumi rectangles, and the internal pattern size and shape. Depending on the size
of the piece you are making, you may need a number of trial drawings until you are satisfied with the
overall design. It is, though, a very attractive pattern that forms a solid foundation for the more
difficult shokkō patterns we try later in this book.
Yae tsuno-shokkō
[Fig-71] Yae tsuno-shokkō
In this shokkō variation, the jigumi forms squares, and each jigumi joint contains a shokkō pattern
with horns. These patterns are then connected by intersecting locking pieces. Yae means multiple, and
this refers to the multiple shokkō patterns—one at each joint.
The cuts for this pattern are relatively straightforward, but fitting the intersecting locking pieces can
pose some difficulties if the marking and cutting is not accurate.
The jigs we need for this pattern are the kumiko cutting jig, 90° shooting board, and 45° jig.
[Fig-72] Yae tsuno-shokkō dimension details
The jigumi pitch is the same as most of the other patterns at 75 mm. The shokkō pattern squares can
be as large or as small as you like; the only requirement is that the overall feel of the design must be
balanced. In my initial design I divided each jigumi square with four kumiko to give a pattern pitch of
15 mm, but the pattern squares were slightly larger than I wanted, so I reduced the pitch to 12 mm.
This gave a better balance.
This resulted in locking pieces 66.5 mm long, although this will probably vary slightly as these pieces
are trimmed to fit.
To maintain consistency, I also reduced the pitch between the outer and inner framing kumiko to 12
mm.
Timber requirements
Marking
I have numbered the kumiko and joints in generally the same way that I numbered the tsuno-shokkō
pattern (Figure 61), as shown in the following figure. Note that the pattern squares are cut in groups,
so each kumiko within the group is given the same letter/number; for example, c1 for the two vertical
pattern kumiko adjacent to jigumi kumiko C, and 3a for the two horizontal kumiko adjacent to kumiko
3. Also mark a smaller story stick with a few pattern marks (three marks with a pitch of 12 mm) for
the pattern squares.
Cutting the kumiko

Remove kumiko 1 and 6, leaving kumiko 2, 3, 4 and 5 in the jig, and cut joints b1, c1, d1, e1 and f1.
Next place all vertical kumiko (kumiko A–G) in the kumiko cutting jig and cut joints 1–6.
Remove kumiko A and G, leaving kumiko B, C, D, E and F in the jig, and cut joints 2a, 3a, 4a and 5a.
This completes the jigumi cuts, and your kumiko should look like this.
Next the pattern kumiko.
The pattern kumiko consist of only two different kinds of kumiko: the square pattern kumiko and the
diagonal locking pieces.
You will also notice that there are shorter kumiko for the square pattern kumiko. These pieces are
trimmed to fit against the outer jigumi kumiko.
Using the story stick with the pattern marks, cut at least 34 pattern kumiko with three joints. Make sure
there is sufficient space between the groups of kumiko for the 6 mm extensions at each end.
Next cut 28 of the shorter pattern kumiko with two joints. Make sure there is sufficient space for the 6
mm extension at one end, and sufficient space at the other end to trim to fit against the outer jigumi
kumiko.
Finally, chamfer the appropriate edges.

Next fit all the horizontal pattern pieces. Also, trim and fit the eight shorter pieces on the left and right
sides of the jigumi.
[Fig-77] Fit all horizontal pieces
Trim and carefully fit the eight shorter vertical pieces on the top and bottom of the jigumi…
[Fig-78] Fit the shorter vertical pieces
Followed by the remaining twelve vertical pattern pieces to complete all the pattern squares. If your
marking and cutting has been accurate, these vertical pieces should slide in with little effort.
[Fig-79] Fit the remaining vertical pieces
Finally, cut and fit the locking pieces. As you can see by Figure 72 and Figure 75, the locking pieces
are trimmed to fit with the 45° jig. The important point here is that the half-lap joint must be in the
exact center of the locking piece. The dimensional diagram shows a length of 31.25 mm from the half-
lap joint to the end, which, depending on how well you have marked and cut, should be an accurate
indication.
Place a comfortable number of kumiko in the kumiko cutting jig, and mark about 32 mm from the end.
The kumiko ends can be already trimmed on the 45° jig, as I have done here, or left at a straight 90°
end at this stage.
[Fig-80] Place the kumiko in the cutting jig and mark
Cut the joint as normal…
[Fig-81] Cut the joint
Then cut and trim the other end to about 32 mm.
Once the ends are equidistant from the joint, it is then simply a matter of trimming both ends equally
until the locking piece fits securely in place.
This step is critical, because if the joint is not in the exact center, it will not be in line with the
corners of the pattern squares, so work carefully and take your time.
Fit the bottom locking piece…

[Fig-82] Fit the bottom locking piece
Followed by the top locking piece.
[Fig-83] Then fit the top locking piece
Look at Figure 72 and note which one of the pairs of locking pieces is facing up, and which one is
facing down. In exactly the same way as was shown in the mie masu-tsunagi at Figure 153 in Volume
2, the sides of the larger squares formed by the locking pieces must be consistent, so be conscious of
this when fitting.
In the following figure, the top pieces are marked with a black line, showing that the four sides form a
complete square.
[Fig-84] Sides must be consistent
Continue until you have inserted all locking pieces and have completed the pattern.
This is a reasonably straightforward pattern, but the large number of cuts required to make the
numerous joints is certainly a test of patience. This type of layout where small squares and the like
are positioned around intersecting jigumi kumiko is a recurring pattern, especially in the diamond
jigumi, so the time spent here working on your sawing skills is well worth the effort.
Yae shokkō
[Fig-86] Yae shokkō
The yae shokkō is essentially the same pattern as the yae tsuno-shokkō, except the squares are
formed with miters instead of half-lap joints with extensions, and the locking pieces are connected to
the corners of the squares with jaguchi joints instead of fitting into the 90° corner formed by the
extensions.
The difficulty with this pattern is the intersecting locking pieces with a jaguchi joint on each end. In
all other locking pieces, even those with a jaguchi joint on one end, we can “creep up” to the final
length on one or more of the jigs for a tight fit, but because the jaguchi is at both ends, we only get
one go at it—there’s no way of making minor adjustments to the length after it has been cut. The
difficulty is further compounded by the need to have the half-lap exactly in the center of the locking
piece.
The locking pieces will therefore require a degree of trial and error until the jaguchi jig is set up
correctly, so be prepared for some wastage of the pattern kumiko.
The jigs we need for this pattern are the kumiko cutting jig, 90° shooting board, 45° jig, and 45°
jaguchi jig (Appendix A).
[Fig-87] Yae shokkō dimension details
For convenience, the dimensions are the same as those in the yae tsuno-shokkō. Similar to that
pattern, the internal squares can be as large or as small as you like, as long as the overall balance is
maintained.
Timber requirements
Marking
The numbering system for this pattern is exactly the same as for the yae tsuno-shokkō, and is shown
in the following figure.
Mark the vertical and horizontal story sticks as appropriate according to the dimensional diagram at
Figure 87.
Cutting the kumiko

The jigumi is cut in exactly the same sequence as in the yae tsuno-shokkō:
Remove kumiko 1 and 6, leaving kumiko 2, 3, 4 and 5 in the jig, and cut joints b1, c1, d1, e1 and f1.
Next place all vertical kumiko (kumiko A–G) in the kumiko cutting jig and cut joints 1–6.
Remove kumiko A and G, leaving kumiko B, C, D, E and F in the jig, and cut joints 2a, 3a, 4a and 5a.
This completes the jigumi cuts. Your kumiko should look like those for the yae tsuno-shokkō shown
at Figure 74.
Now on to the pattern kumiko. The pattern kumiko consist of only two different kinds of pattern
kumiko: the square pattern kumiko and the diagonal locking pieces.
You will also notice that there are shorter kumiko for the square pattern kumiko. These pieces are
trimmed to fit against the outer jigumi kumiko.
Cutting the pattern kumiko is very straightforward. First, cut a series of single half-lap joints with an
interval of about 30 mm between the joints. You will need to cut at least 62 for the internal squares,
but you should cut a few extra to be on the safe side.
Cut these pieces off so they extend about 13 mm past the joint on either side. These will be trimmed
to size during the assembly stage.

Trim the short pieces for the internal squares on the 45° jig exactly as described in the kawari-gumi
shoji in Volume 2. These pieces should be over-length by no more than one or two shavings.
[Fig-91] Trim to slightly over-length
I normally find it easier to fit the horizontal pieces first, then the vertical pieces, so trim both
horizontal pieces to fit…
[Fig-92] Fit the horizontal pieces
Then trim the vertical pieces to fit.
[Fig-93] Then fit the vertical pieces
Continue this sequence until all internal squares are completed.

[Fig-94] Fit all internal squares
Next, we have to fit the locking pieces. These are similar to the locking pieces in the yae tsuno-
shokkō pattern, except the locking pieces here are cut with the jaguchi joint. Therefore, this is purely
a “one-go” process—the jaguchi joint cannot be trimmed, so each cut has to be accurate, first time.
First, cut the jaguchi joint on one end of a comfortable number of kumiko—for instruction purposes I
have cut four—and place them in the kumiko cutting jig with the jaguchi joints butted up against the
end stop.
Mark 33.25 mm from the end with a sharp marking knife.
[Fig-95] Place the kumiko in the cutting jig and mark
Cut the joint as normal, then place a pencil mark 33.25 mm from the right-hand edge of the joint you
just cut, as shown in the following figure.
[Fig-96] Mark from the right-hand edge of the joint
Extend the line on one of the pieces around to the face (mikomi); this will be your reference piece for
the next couple of steps.
For patterns in which a jaguchi joint has to be cut at both ends of a pattern piece, I prefer to attach
spare piece of kumiko as a guide fence opposite to the normal fence, and use this for placing the
reference mark I explain next. This guide fence also helps me to maintain a clean line when cutting a
larger number of kumiko in a group. You can, of course, make your reference mark on the normal
fence instead of attaching a guide fence, and work from that. For the purpose of this exercise, though,
I’ll assume you have attached a guide fence.
Set your kebiki, ensuring it is firmly secured so the cutting edge cannot move, and carefully run the
kebiki across the guide fence a couple of times to make a reference mark (arrow in the photograph).
[Fig-97] Attach a guide fence to the jaguchi jig and cut the reference mark
Place your reference piece against the guide fence, and align the pencil mark on your reference piece
with the reference mark on the guide fence.
Place a pencil mark on your reference piece at the point where it crosses over the end stop, and cut
the reference piece at that mark so it now fits firmly against the end stop with both jaguchi reference
marks still aligned. This is the length that all locking pieces have to be cut before cutting the jaguchi
joint on the jig. Cut a second locking piece to exactly the same length.
Next, hold both locking pieces firmly against the end stop, and cut the jaguchi joint. If your marking
was accurate, the kebiki blade should cut the locking pieces exactly on the pencil mark you made on
your reference piece, as shown in the following photograph.
[Fig-98] Trim to align the locking piece with the reference mark
This is the way I prefer to cut the pieces when a jaguchi joint is required on both ends. I have seen
some jigs without the end stop, but a stop is placed at the required distance from the kebiki end, and
the jaguchi end is butted up against that stop. To me this is less stable and more problematic; if too
much pressure is placed on the end to hold it against the stop, it can damage the jaguchi joint. With
the stop at the kebiki end, I can place as much pressure on the uncut end against the end stop as I like
to keep it firm and stable without any fear of damaging the joint. This way also allows me to make
any minor adjustments to the length of the locking piece if required.
With these types of patterns, there will always be a slight variation in the required lengths of the
locking pieces, simply because of minor variations in the fit of the multiple miter joints. Because of
the nature of the jaguchi joint and how it is cut, though, these slight variations in the required length of
the locking pieces can often be accounted for by slight variations in the actual lengths of the locking
pieces that occur as you cut them.
It is therefore simply a matter of inserting each locking piece where it gives the most secure fit. If,
however, the locking pieces are consistently long or short, you will need to make the necessary
adjustment to the reference piece.
Next, insert the bottom pieces with the joint facing upward, making sure that it is facing the correct
way (see Figure 87).
[Fig-99] Insert the bottom locking piece for a firm and secure fit
Then insert the top locking pieces where they provide a firm fit.
[Fig-100] Insert the top locking piece
A firm fit of the jaguchi joints will also close up any small gaps in poorly cut miters.
[Fig-101] Firmly fitting locking pieces will help to close up poorly cut miters
Repeat this process until all locking pieces have been fitted, and the project is completed.
This is a very challenging pattern that will test your sawing and miter cutting skills. As mentioned
earlier, the main difficulty, though, is the intersecting locking pieces with jaguchi joints on both ends.
This, however, is a commonly used joint, so the practice you gain here will stand you in good stead
for the more difficult patterns in later books where this joint is used.
Futae kaku-shokkō
[Fig-103] Futae kaku-shokkō
This attractive design is another of the shokkō patterns. The main difficulty and time-consuming
aspect of this pattern is the sheer number of cuts, and while the locking pieces have the jaguchi joint
at both ends, there are no half-lap joints to cut, so they are easier to cut than the locking pieces in
some of the other shokkō patterns.
The design itself is a series of two intersecting rectangles connected by twin locking pieces, so it is
simple but very effective.
[Fig-104] Futae kaku-shokkō dimension details
The jigumi pitch is the standard 75 mm. There is no set pitch for the pattern rectangles; the pitch can
be larger or smaller depending on the feel you want the pattern to have. Balance, of course, is critical.
In this project, I set this pitch at 15 mm to give the design a sense of openness without making the
rectangles too large.
For consistency, I also set the pitch between the two outer jigumi kumiko at 15 mm.
Timber requirements
Marking
The half-lap joint locations on this pattern are quite straightforward, but I still prefer to number all my
kumiko and joints, mainly because it reduces the possibility of confusion or mistakes. My instructions
will be based on the following simple numbering system: vertical kumiko are marked A–W, and
horizontal kumiko 1–13, as shown in the following figure.
Mark the vertical and horizontal story sticks as appropriate according to the dimensional diagram at
Figure 104.
When marking the joints for the shorter kumiko that make up the rectangles, measure the 15 mm pitch
from the adjacent jigumi kumiko; for example, measure joints E, F, H and I from joint G. Make sure
this 15 mm pitch for the pattern kumiko is accurate, otherwise you will have difficulty when inserting
these kumiko.
Cutting the kumiko
As in most other patterns, first we cut the jigumi.
Starting with the horizontal kumiko, place kumiko 1, 2, 7, 12 and 13 in the kumiko cutting jig and cut
joints A, B, G, L, Q, V and W.
Next, leave kumiko 2 and 12 in the cutting jig and cut joints E, F, H, I, O, P, R and S; then cut kumiko
7 at joints C, D, J, K, M, N, T and U.
On to the vertical kumiko, and place kumiko A, B, G, L, Q, V and W in the kumiko cutting jig and cut
joints 1, 2, 7, 12 and 13; then cut kumiko B, L and V at joints 5, 6, 8 and 9; followed by kumiko G and
Q at joints 3, 4, 10 and 11.
That completes the cutting for the jigumi, and your kumiko should look like this.
Now we move on to the pattern pieces. Again, the idea with kumiko patterns is to break them down
into their component pieces for clarity, and in this pattern there are only five different types of pieces,
and two of those are simply shortened versions of two others. These are shown in the following
figure: there are ten shorter rectangle pieces (A), twelve shorter rectangle pieces that fit against the
bordering outer kumiko (A1), ten longer rectangle pieces (B), and twelve longer rectangle pieces that
fit against the bordering outer kumiko (B1). There are also sixteen locking pieces, but these will be
cut during the assembly stage.
Starting with pattern pieces A and A1, place eight kumiko in the kumiko cutting jig and cut three half-
lap joints with an interval of at least 35 mm between each of the joints.
Using the same kumiko, cut two sets of two half-lap joint at a pitch of 15 mm with an interval of at
least 35 mm between each of the sets of joints for the B1 pattern pieces.
Finally, place six kumiko in the cutting jig and cut two sets of three half-lap joints at a pitch of 15 mm
with an interval of at least 35 mm between each of the sets of joints for the B pattern pieces. This will
give you a few spare pieces in case of any mishap. The 15 mm pitch should be taken from the story
stick made up during the marking stage.
That completes the cutting stage.

First, assemble the jigumi.
The pattern pieces are trimmed to size and assembled in much the same way as we did for the
kawari-gumi shoji in Volume 2. Trim the longer horizontal pattern pieces (B and B1) to fit, and
insert.
[Fig-109] Trim and insert the longer horizontal pieces
Next trim the shorter horizontal pattern pieces (A and A1) to fit, and insert.
[Fig-110] Trim and insert the shorter horizontal pieces
Trim and insert the longer vertical pieces (B and B1) exactly as was done in the kawari-gumi shoji.
These must go in before the shorter pieces.
[Fig-111] Trim and insert the longer vertical pieces
Now trim and insert the vertical A and A1 pieces to complete the rectangles.
[Fig-112] Trim and insert the shorter vertical pieces
That completes the rectangles, now on to the locking pieces.
These are cut in exactly the same way that we cut the locking pieces for the yae shokkō pattern,
except, obviously, for these we do not need to cut half-lap joints.
Cut a jaguchi joint at one end, then measure 40.8 mm from the tips of the jaguchi and mark with a
pencil. Extend the mark around to the face (mikomi), and align that mark with the reference mark on
the guide fence on the 45° jaguchi jig. Cut the end off so the piece fits firmly against the end stop with
the two marks still aligned. This is now the reference piece when cutting all locking pieces to length.
Repeat this with several locking pieces, and complete the jaguchi joints at both ends.
Because of the nature of the jaguchi joint and how it is cut, there will be slight variations in the length
of these locking pieces. As was the case with the yae shokkō pattern, it is therefore simply a matter of
trying different locking pieces in different places until each fits firmly. If the locking pieces are
consistently long or short, make the necessary minor adjustment to the length of the reference piece.
[Fig-113] Cut and fit the locking pieces
Insert each locking piece where it gives the best fit.
[Fig-114] Continue inserting the locking pieces
Continue this process until all locking pieces have been inserted, and the project is completed.
This is a very attractive pattern, and looks stunning when used at the base of a set of large shoji or as
a feature pattern in a ranma. The main difficulty with this pattern is simply the large number of cuts,
and the need for constant concentration to ensure every mark and every cut is accurate. And although
challenging, the locking pieces with the jaguchi joint at both ends are certainly easier to cut than
those with a half-lap joint in the center. It is, nonetheless, a good test of your cutting skills.
Yotsuba kaku-tsugi
[Fig-116] Yotsuba kaku-tsugi
This is another of the kaku family of patterns we first came across in Volume 2. In this pattern,
though, the squares are not interconnecting, so they sit independently within their own jigumi squares.
The pattern itself is quite simple: squares secured in place by four locking pieces with jaguchi joints.
That said, though, the squares must line up vertically and horizontally for the pattern to look
attractive, and this means that they must be secured in the exact center of the jigumi square, so despite
its apparent simplicity, the same amount of care must be given to ensure accuracy as is given to the
more complex patterns.
The jigs we need for this pattern are the kumiko cutting jig, 45° jig, and 45° jaguchi jig (Appendix
A).
The jigumi kumiko have the standard 75 mm pitch, while the outer framing kumiko are also the
standard 14 mm pitch from the jigumi kumiko.
[Fig-117] Yotsuba kaku-tsugi dimension details
For balance, I simply split the jigumi square with the two horizontal or vertical kumiko of the pattern
square, which gave me three even intervals and a pitch of 25 mm. This therefore made the sides of the
pattern square 29 mm long.
Timber requirements
should be more than sufficient. A kumiko cut to the appropriate length is used as the jigumi story
stick.
Marking
Cutting the kumiko

Cut the five horizontal and seven vertical jigumi kumiko according to the dimensions shown in Figure
117.
The only other pieces that make up the pattern are the two kinds shown in the following figure.
Cut and trim 32 pieces to a 45° angle at each end to a length of 29 mm. These are the sides of the
squares, so make sure they are accurate.
Next cut the jaguchi joint in at least 32 pieces using the 45° jaguchi jig, and trim the other end to a
90° point on the 45° jig to a length of just over the 31.8 mm shown in Figure 118. These locking
pieces will be trimmed to fit during the assembly process.

First assemble the jigumi.
Place the jigumi safely to one side, and glue and assemble the eight pattern squares.
[Fig-120] Assemble the pattern squares
Trim one of the four locking pieces to exactly 31.8 mm in the 45° jig.
[Fig-121] Trim one of the locking pieces to 31.8 mm
Place the pattern square in the center of the jigumi square, and insert the locking piece you just
trimmed and another locking piece diagonally opposite, trimming the second locking piece to fit as
required.
[Fig-122] Secure the square with two locking pieces
Now insert the other two locking pieces to secure the pattern square, trimming them to fit as required.
[Fig-123] Insert the other two locking pieces
Continue this process…

[Fig-124] Continue inserting the squares and locking pieces
Until all squares have been fitted, and you have completed the project.
Although quite a simple design, this pattern demands a high level of accuracy so that the pattern
squares line up horizontally and diagonally, as do the locking pieces.
Soroban-kuzushi
[Fig-126] Soroban-kuzushi
The soroban is a Japanese abacus, and the soroban family of kumiko patterns represents the beads in
a soroban. Another name for this group of patterns is hishi-tsunagi (connection of diamonds).
The soroban-kuzushi pattern is a very simple pattern that should present no problems whatsoever.
Kuzushi is from the Japanese verb kuzusu, which means, among other things, to change the shape of
something, and in this pattern, the shape of the soroban beads have been changed slightly; i.e. they
have been compressed. Compare the shape of the beads in this pattern with those in the next pattern
we make—soroban-dama—at Figure 133.
The jigs we need for this pattern are the kumiko cutting jig, 30° jig, and 60° jig (Appendix A).
standard 14 mm pitch from the jigumi kumiko. The four hinge pieces are 41 mm, and the locking piece
is 30, though these sizes may need to be adjusted slightly depending on how accurate the jigumi
marking and cutting is.
[Fig-127] Soroban-kuzushi dimension details
Timber requirements
For this project, about 10–12 kumiko 1000 mm long with a mitsuke of 4 mm and a mikomi of 12 mm
Marking
Cutting the kumiko

Cut the five horizontal and seven vertical jigumi kumiko according to the dimensions shown in Figure
127.
Also cut at least 32 pieces about 42–43 mm long for the hinge (bead) pieces, and at least eight pieces
about 33–34 mm long for the locking pieces. These hinge and locking pieces will be trimmed to size
in the appropriate jigs during the assembly process.

First, assemble the jigumi.
Next, trim four hinge pieces to a length of 41 mm (you may need to make slight adjustments to this for
a firm fit). As can be seen in the following figure, the inner end of each hinge piece is trimmed on the
60° jig on both sides so that the 120° vertex is exactly in the center; the outer end is trimmed on the
60° jig on one side, and on the 30° jig on the other so that the vertex on this end is also exactly in the
center.
Add a dab of glue to the corners of the jigumi square and insert the hinge pieces.
[Fig-130] Insert the hinge pieces
Trim both ends of the locking piece on the 60° jig to fit, and insert to secure the four hinge pieces in
place. That completes one square.
[Fig-131] Trim and insert the locking piece
Continue this until all hinges and locking pieces have been inserted and you have completed the
project.
I am sure you will agree that this is an extremely simple pattern; nonetheless, it is still quite attractive
in a series of rows, and is very effective as a bottom pattern for a shoji, or a framing pattern in a
ranma.
Soroban-dama
[Fig-133] Soroban-dama
This is the second of the soroban patterns we make in this book. Although similar to the soroban-
kuzushi (Figure 126), the soroban-dama uses different joinery, and the beads of the soroban are
connected through the jigumi kumiko.
As was the case in the yae shokkō pattern earlier in this book (Figure 86), the need to cut a jaguchi
joint at both ends, coupled with the need to cut a half-lap joint exactly in the center of the locking
pieces make this a challenging pattern.
[Fig-134] Soroban-dama dimension details
The pitch of the jigumi kumiko is 50 mm. The locking pieces fit exactly in the middle of each of the
internal squares so their pitch is 25 mm. The length between the tip of the jaguchi joint and the edge
of the half-lap joint is 22.2 mm. The length of the sides making up the soroban beads is 34.6 mm. You
may, however, need to adjust these dimension as you fit the pieces, depending on how accurately you
have marked and cut the jigumi.
Timber requirements
Marking
Marking is fairly straightforward, so there is no real need to number the kumiko or cuts unless you
prefer to do so. Even for simple patterns I number all my kumiko because it reduces the possibility of
error, but this is my own preference. The point to be careful of, though, is that the half-lap joints for
the locking pieces are cut only in the vertical kumiko, and only in every second vertical kumiko at
that.
Mark the story sticks according to the dimensions shown in Figure 134.
Cutting the kumiko

Cut the nine vertical and six horizontal jigumi kumiko according to your story sticks.
The following photographs shows how your cut kumiko should look.
Cut at least 36 pieces roughly 36 mm long for the sides of the soroban beads. These, along with the
locking pieces, will be trimmed to size during assembly. Do not cut the locking pieces at this stage.

As with all patterns, assemble the jigumi first.
Once the jigumi has been assembled, we move on to trimming the hinge (bead) pieces and cutting the
jaguchi pieces.
The are only three different kinds of pattern pieces, and these are shown in the following figure with
their dimensions.
First trim the hinge pieces to 34.6 mm; one end is trimmed to 45°, and the other end is trimmed to a
90° point, both using the 45° jig.
Next cut the locking pieces with jaguchi joints on both ends. This process is exactly the same as that
for cutting the locking pieces in the yae shokkō (see from Figure 95). Cutting the locking pieces here
is also a “one-go” process—the jaguchi joint cannot be trimmed, so each cut has to be accurate, first
time.
Cut the jaguchi joint on one end of a comfortable number of kumiko—for instruction purposes I have
cut four—and place them in the kumiko cutting jig with the jaguchi joints butted up against the end
stop.
Cut the half-lap joint 22.2 mm from the jaguchi end, then place a pencil mark 22.2 mm from the right-
hand edge of the joint, as shown in the following photograph.
[Fig-138] Cut the joint then mark the right-hand end
Extend this line around to the faces (mikomi) and cut the jaguchi on this end in exactly the same way
that it was cut in the yae shokkō (see Figure 97 and Figure 98).
You will need six of these full length locking pieces; you do not need to cut the jaguchi on the other
end of the six shorter locking pieces that fit against the outer jigumi kumiko.
The locking pieces run horizontally and their half-lap joints face upward, so you should insert these
pieces from the back. Therefore, flip the jigumi over and work from the back.
First, insert four hinge pieces, making sure that the miter join at the center is firm and tight.
[Fig-139] Insert four hinge pieces
Next, take one of the locking pieces that gives a tight fit, and insert.
[Fig-140] Insert the locking piece
Now flip the piece over to its right way up, and check that the fit is tight and gap-free.
[Fig-141] Flip the piece over and check the joints
Continue this until all of the full-length locking pieces have been inserted.
[Fig-142] Continue inserting all full-length locking pieces
Finally, trim and insert the remaining hinge pieces and the six shorter locking pieces in the usual way.
Once you have done this, you have completed the project.
Similar to many of the other patterns that use the jaguchi joint, the main difficulty with this pattern is
the jaguchi on both ends. This does, however, become much easier with practice.
As well as a bottom base pattern for a shoji, the soroban-dama would look quite stunning as a feature
panel in a set of cabinet doors.
Goma-gara
[Fig-144] Goma-gara
Goma is Japanese for the sesame plant and gara means pattern, and the goma-gara features a very
attractive eight-pointed sesame flower shape in the center of each pattern.
This is the first pattern we attempt in which some of the half-lap joints are cut at an angle (in the
goma-gara, this angle is 45°), and because the four squares making up the complete goma-gara
pattern are interconnected, rather than each square containing its own independent piece of the overall
pattern, this is perhaps one of the more difficult of the square jigumi patterns. Needless to say,
accuracy is crucial for this pattern to come together without the heartbreaking sound of snapping
kumiko.
This is also a good and challenging pattern as an introduction to the angled half-lap joint, which is a
feature of all of the diamond and hexagonal patterns, and the practice you gain here will be of great
benefit when tackling those more difficult patterns.
The jigs we need for this pattern are the kumiko cutting jig, 45° kumiko cutting jigs (Appendix A), 90°
shooting board, and 45° jig.
standard 14 mm pitch from the jigumi kumiko.
[Fig-145] Goma-gara overall dimension
The following figure shows the dimensions of the pattern in detail.
[Fig-146] Goma-gara dimension details
To obtain a proper balance of the overall pattern so that it forms an attractive sesame flower in the
center, each of the four squares making up the goma-gara pattern is divided by the equivalent of four
vertical and horizontal kumiko. The pitch of these internal kumiko is therefore 15 mm ((71 + 4) ÷ 5).
The pitch between the diagonal pieces is also 15 mm, and this provides a visually pleasing size of
central flower.
Timber requirements
should be more than sufficient. Kumiko cut to the appropriate length are used as the story sticks.
Marking
Although perhaps not as critical as some of the other patterns, in this project I believe it is still wise
to number the kumiko and joints to help keep track of where to cut.
My suggested numbering system is therefore as shown in the following figure.
As with all patterns, we need to break the form down into its individual components, and from this,
we can then work out how it comes together, and how we make it with maximum efficiency.
If you look closely at the pattern (excluding the jigumi), you will see that all the horizontal kumiko are
the same, all the vertical kumiko are the same, as are all the diagonal pieces. The shorter horizontal
and vertical kumiko that fit against the outer jigumi kumiko are also the same as the other kumiko in
their respective groups, except they have been cut short to length. Other than the jigumi, we therefore
only have to cut four different kinds of pattern kumiko. These are shown in the following figure with
their respective dimensions.
Piece A is the horizontal kumiko, B is the vertical kumiko, C is the outer diagonal kumiko, and D is
the central diagonal kumiko.
First, mark the jigumi story sticks with the horizontal and vertical jigumi markings as shown at Figure
145. There is no need to indicate the location of the angled cuts because they are not cut into the
jigumi kumiko.
You will also need to mark up three other story sticks: two for the horizontal and vertical pattern
pieces; and one for the outer diagonal pieces. They include the angled cuts.
The following figure shows the marks for these two story sticks.
[Fig-149] Pattern story stick markings
Measurements for the 45° angle cuts are taken from the center line of the kumiko mitsuke, as shown in
the figure. It is important that you are consistent with this; if you are not, your measurements and
accuracy will be off and the pieces will not fit together. Make sure you also place a pencil mark on
the side that the joint is to be cut. This is especially important for the angled cuts, because it is very
easy to become confused when you make the cut for the joint that is at the opposite angle.
Cutting the kumiko

First cut the jigumi kumiko. Starting with the horizontal kumiko, place horizontal kumiko 1, 2, 5, 8
and 9 along with the horizontal story stick in the kumiko cutting jig and cut joints A, B, E, H, K, N and
O.
Next cut kumiko 5 at joints C, G, I and M. Note that joints D, F, J and L are not cut in the horizontal
kumiko.
Place vertical kumiko A, B, E, H, K, N and O along with the vertical story stick and cut joints 1, 2, 5,
8 and 9.
Next cut kumiko E and K at joints 3 and 7, then cut kumiko H at joints 4 and 6.
That completes the cuts for the jigumi, and your kumiko should look like this.
Now we move on to the pattern pieces. For this project, we need to cut:
Piece A — 6 pieces;
Piece B — 4 pieces;
Piece A (without the center joint; these are for the end pieces of kumiko 4 and 6) — 2 pieces;
Piece B (without the center joint; these are for the end pieces of kumiko D, F, J and L) — 4 pieces;
and
Piece C — 16 pieces.
The actual sequence for these cuts does not really matter to any great degree; whichever way you
decide to proceed, the kumiko at some stage will need to be removed then replaced.
Eight or nine kumiko is a manageable number, so I cut eight pieces plus the story stick for each set.
Probably the most efficient sequence would be to cut the eight A pieces, followed by the eight B
pieces, then the 16 C pieces.
For this exercise, though, I decided to cut four A and four B pieces together to highlight the fact that
the angle cuts are on different sides for the two types. Also remember that you do not cut the center
joint in two A pieces and four B pieces.
Before making the first cut, trim the left end of the kumiko using the 45° jig so that the end forms a 90°
point. This is done so that the end sits firmly against the end stop on each of the 45° kumiko cutting
jigs.
I’ll now explain the cutting based on my cutting sequence. Remember, I am cutting four A pieces and
four B pieces together.
Place the eight kumiko and one story stick in the kumiko cutting jig (90°) with the ends firmly against
the end stop, as shown in the following figure. Note how the ends of the kumiko have been trimmed to
a 90° point.
[Fig-151] Secure the kumiko in the cutting jig (90°)
Cut the three straight joints in all kumiko, as shown in the following figure.
[Fig-152] Cut the three straight joints
Place the kumiko and story stick in one of the 45° kumiko cutting jigs; you can start with either one—
it doesn’t matter—although I normally prefer to start with the left-hand jig shown in the following
figure.
Notice how the ends cut to a 90° point fit firmly against the end stop, and also that four of the kumiko
have been flipped over. The four that have been flipped over are the B pieces, and those that are cut
on the same side are the A pieces.
[Fig-153] Secure the kumiko in the 45° kumiko cutting jig
Using a 45° miter square or sliding bevel set to 45°, extend the mark of the joint that is parallel to the
end stop across all kumiko and cut the half-lap joint. Make sure you cut the joint on the correct side of
the mark.
Cutting this angled joint is no different from cutting a normal 90° joint, but you must make sure that
your stance and hand position relative to the angle of the cut is the same as when cutting at 90°, and
that you do not try to force the saw through the cut. If you are making this kind of cut for the first time,
it would be advisable to make a few practice cuts and half-lap joints on some old kumiko first.
Once you have cut this joint, remove the kumiko and place them in the other 45° kumiko cutting jig,
making sure that the ends are firmly against the end stop, and the kumiko are facing the correct way.
[Fig-154] Secure the kumiko in the other 45° kumiko cutting jig
With the 45° miter square, mark and cut the joint that is parallel to the end stop.
[Fig-155] Cut the 45° joint
Repeat this sequence of cuts for the other kumiko, making sure that you do not cut the center joint for
the six kumiko that will be inserted with their ends against the framing kumiko (kumiko 4, 6, D, F, J
and L).
Next cut the C pieces. Using the story stick shown in Figure 149, mark and cut the first angled half-lap
joint exactly as was done for the previous kumiko.
[Fig-156] Cut the 45° joint for the outer diagonal pieces
Now place the kumiko in the other 45° cutting jig and cut the other half-lap joint.
[Fig-157] Cut the 45° joint at the other end
Continue this until you have at least 16 C pieces.
That completes the cutting process. Now we move on to assembling the pattern.

Trim the ends of the diagonals (D pieces) to a 90° point on the 45° jig, and insert into the jigumi
squares.
[Fig-159] Trim and insert the main diagonals (D pieces)
Next trim the A and B pieces to size using the 45° jig and insert. Make sure the A pieces are inserted
horizontally, and the B pieces are inserted vertically.
[Fig-160] Trim and insert the A and B pieces
Trimming both ends to fit can be somewhat difficult, because the A and B pieces must sit parallel to
their respective adjacent horizontal or vertical jigumi kumiko. If one end is slightly long and the other
end is made slightly short to fit, the piece will not be parallel to the jigumi kumiko, and this will
cause problems when fitting the C pieces.
A quick and effective method of ensuring these pieces are parallel is to use a ruler to line up the
corresponding joints, and trim each of the ends as necessary until the piece lines up with the ruler and
fits firmly against the diagonal, as can be seen in the following photograph. Although this shows an
end piece being inserted, this procedure applies to all horizontal and vertical pieces.
[Fig-161] Make sure the A and B pieces are parallel to the adjacent jigumi kumiko
In the photo above, I have inserted a small kumiko off-cut into the joint on the left to aid in ruler
alignment, and lined the ruler up with the joint on the right. The piece to be inserted is placed against
the ruler and the joints are aligned. The end is then trimmed until there is no longer a gap between the
piece and the ruler. The piece in the photograph requires a couple of additional shavings on the 45°
jig until it fits against the ruler and is parallel to the jigumi kumiko directly above it.
Continue trimming and inserting all the full-length A and B pieces.
[Fig-162] Insert all full-length A and B pieces
Next trim and insert the shorter end pieces (kumiko 4, 6, D, F, J and L). These are the pieces in which
we did not cut the center joint.
[Fig-163] Mark the shorter end pieces for trimming
The order in which the pieces are inserted does not matter, but starting from the left is as good a place
as any.
[Fig-164] Trim and insert the shorter end pieces
Continue trimming and inserting these shorter pieces until all horizontal and vertical pattern pieces
have been inserted.
[Fig-165] Continue until all horizontal and vertical pattern pieces have been inserted
The next step is where it all comes together, and also where disaster can easily strike if you try to
rush: trimming (with the 45° jig) and inserting the outer diagonal pieces (C pieces). The actual
process itself is not particularly difficult; it is essentially the same as fitting the horizontal and
vertical pattern kumiko, but problems can occur if the pairs of angled joints on the connecting pieces
are not accurately aligned, so work carefully.
[Fig-166] Trim and insert the outer diagonal pieces
These pieces should be parallel to the main diagonal pieces (D pieces), so here a ruler can be used in
the same way as shown in Figure 161 when trimming these pieces to size.
If your marking, cutting and assembly have been accurate, these pieces should slide in without the
need for too much force. If you feel some resistance when inserting the pieces, gently tap the full
length of the piece with a small hammer and a wooden block. Avoid applying pressure with your
thumbs, as this may snap the kumiko.
Continue until you have trimmed and inserted all of the C pieces, and you have completed the project.
This is quite a complex and difficult pattern, so congratulations if you have completed it without
major mishap. Inserting the C pieces at the end should have reinforced in your mind just how critical
accuracy—and constant accuracy at that—is in patterns such as these. The angled cuts have also taken
the level of difficulty one step higher, but the practice and skills gained in these angled cut here will
be vital when tackling the diamond and hexagonal patterns in later books.
CONCLUSION
This completes the patterns for Volume 3. The patterns I’ve covered in this book have ranged from
the very simple, through to a couple of the more difficult patterns in the square jigumi design. I hope
you have found them interesting and a challenge, and they have whetted your appetite to continue this
journey and tackle the patterns I explain in Volume 4. The next book will complete the square kumiko
patterns, and introduce some of the simpler diamond kumiko designs.
Because of the constraints of the e-book format, some of the figures and dimensions in this book may
be too small to read clearly, so all dimensional drawings are available on my website here for you to
print or download. I haven’t included all of them, so if you would like me to add any that you find are
not sufficiently clear, please let me know through the Contact us page.
Good luck, and I hope you will join me as I explore some new and fascinating patterns in Volume 4.
APPENDIX A — JIGS
Appendix A details all the new jigs you will need to make the shoji and patterns in this book. The jigs
that were described in Volume 1 are not included here, so you will need to refer to that book for
information on how to make those jigs.
Take care when making these jigs, especially the angles, as the more accurate they are, the more
easily the shoji and patterns will fit together.
This pair of jigs is used to cut the 45° angled joints in the goma-gara pattern. They are virtually the
same as the kumiko cutting jig you have been using to date, however the end stops are angled at 45°
instead of 90°. You can use either MDF or very stable hardwood for this jig.
[Fig-168] 45° kumiko cutting jigs — overall view
The ends of the kumiko butt up against the angled end stop, so make sure it is secured to the base
piece at exactly 45° to the side support, and that the face is exactly 90° to the base. The side support
(16 x 22 mm) is secured to the side of the base by glue and screws. The face of the end stop is
chamfered at the bottom to prevent sawdust accumulation.
[Fig-169] 45° kumiko cutting jigs — dimensions
The dimensions other than angles are merely suggestions, and can be adjusted to your preference.
60° jig
This jig is the same as the 45° jig, except in this case the front is angled at 60°
In this book, the 60° jig is used for the shoji, and the kiri and soroban-kuzushi patterns. This jig is
frequently used for many other patterns, especially in the diamond and hexagonal patterns, so make
sure your 60° angle is exact.
[Fig-170] 60° jig
The following figure gives an alternative design for the jig.
[Fig-171] Alternative 60° jig design

15° jig
This jig is used to cut some of the pieces in the kiri pattern. It is also used for several patterns in the
hexagonal jigumi designs.
[Fig-172] 15° jig

45° jaguchi jig
This jig is used for cutting the jaguchi joints in the kiri pattern with a kebiki or wari-kebiki.
A piece of wood (dai) with roughly the dimensions shown in the figure below is cut at 45° at the end,
then 90° to that cut. A small piece of kumiko is attached to the front of the dai parallel to the front as
the end stop. The size is not critical, but for convenience, I make it slightly thinner than the mitsuke of
the kumiko being cut. The front should be angled along the same plane as the front face so it does not
interfere with the travel of the kebiki.
A spare piece of kumiko is attached to the top of the dai by small nails or tacks as a fence for the
kumiko. This fence must be set at 90° to the end stop.
The use of the kebiki with the jig to cut the jaguchi joint was covered in Volume 1 Figures 137–140.
[Fig-173] 45° jaguchi jig

60° jaguchi jig
This jig is used if you decide to use the traditional method, rather than the simplified method, to make
the kiri pattern. Apart from the angle of the face, it is the same as the 45° jaguchi jig, and is used in
exactly the same way.
[Fig-174] 60° jaguchi jig

Figure 01 — Shoji and three patterns
Figure 02 — Six additional patterns
Figure 03 — Naka-nuki shoji with kiri and asa-no-ha patterns
Figure 04 — Panels are a mirror image
Figure 05 — Kumiko joinery details
Figure 06 — Shoji dimension details
Figure 07 — Dimension details – bottom left
Figure 08 — Dimension details – kiri jigumi
Figure 09 — Dimension details – angled opening
Figure 10 — Dimension details – top right
Figure 11 — Naka-nuki shoji cutting list
Figure 12 — Suggested numbering system
Figure 13 — Story stick
Figure 14 — Stile mortises – bottom
Figure 15 — Stile mortises – top
Figure 16 — Stile mortises – kumiko
Figure 17 — Rail mortises – kumiko
Figure 18 — Rail tenons
Figure 19 — Tsukeko mortises
Figure 20 — Rail tenon dimensions
Figure 21 — Rebate dimension details
Figure 22 — Vertical kumiko joinery

Figure 23 — Horizontal kumiko joinery
Figure 24 — Cut kumiko — right-hand shoji
Figure 25 — Assemble the main kumiko first
Figure 26 — Left-hand shoji
Figure 27 — Right-hand shoji
Figure 28 — Insert the shorter kumiko
Figure 29 — Asa-no-ha dimension details
Figure 30 — Insert the diagonal pieces
Figure 31 — A pair of tweezers will come in very handy
Figure 32 — Asa-no-ha bands completed
Figure 33 — Kiri angles
Figure 34 — Kiri pattern pieces — simplified
Figure 35 — Kiri dimensions — simplified
Figure 36 — Kiri pattern pieces — traditional
Figure 37 — Kiri dimensions — traditional
Figure 38 — Position the B pieces in the center
Figure 39 — Position the A pieces
Figure 40 — Align the C pieces
Figure 41 — C pieces using the traditional method
Figure 42 — Cut the jaguchi joint, then trim to fit
Figure 43 — A firm fit is critical
Figure 44 — Position the two A pieces
Figure 45 — Trim and insert the E piece
Figure 46 — Ensure the fit is tight

Figure 47 — Panels completed
Figure 48 — Project completed
Figure 49 — Kikkō-nishiki
Figure 50 — Kikkō-nishiki dimension details
Figure 51 — Assemble the jigumi
Figure 52 — Hinge piece dimensions
Figure 53 — Insert the hinge pieces
Figure 54 — Insert the locking piece
Figure 55 — Continue inserting hinge and locking pieces
Figure 57 — Tsuno-shokkō
Figure 58 — Tsuno-shokkō dimension details
Figure 59 — Locking piece angles
Figure 60 — Lengths are roughly the same
Figure 62 — Your kumiko should look like this
Figure 63 — Pattern kumiko dimensions
Figure 65 — Fit all horizontal pieces
Figure 66 — Fit the shorter vertical pieces
Figure 67 — Fit the remaining vertical pieces
Figure 68 — Locking piece details
Figure 69 — Carefully trim the locking piece to fit

Figure 71 — Yae tsuno-shokkō
Figure 72 — Yae tsuno-shokkō dimension details
Figure 77 — Fit all horizontal pieces
Figure 78 — Fit the shorter vertical pieces
Figure 79 — Fit the remaining vertical pieces
Figure 80 — Place the kumiko in the cutting jig and mark
Figure 81 — Cut the joint
Figure 82 — Fit the bottom locking piece
Figure 83 — Then fit the top locking piece
Figure 84 — Sides must be consistent
Figure 86 — Yae shokkō
Figure 87 — Yae shokkō dimension details
Figure 91 — Trim to slightly over-length
Figure 92 — Fit the horizontal pieces
Figure 93 — Then fit the vertical pieces
Figure 94 — Fit all internal squares

Figure 95 — Place the kumiko in the cutting jig and mark
Figure 96 — Mark from the right-hand edge of the joint
Figure 97 — Attach a guide fence to the jaguchi jig and cut the reference mark
Figure 98 — Trim to align the locking piece with the reference mark
Figure 99 — Insert the bottom locking piece for a firm and secure fit
Figure 100 — Insert the top locking piece
Figure 101 — Firmly fitting locking pieces will help to close up poorly cut miters
Figure 103 — Futae kaku-shokkō
Figure 104 — Futae kaku-shokkō dimension details
Figure 109 — Trim and insert the longer horizontal pieces
Figure 110 — Trim and insert the shorter horizontal pieces
Figure 111 — Trim and insert the longer vertical pieces
Figure 112 — Trim and insert the shorter vertical pieces
Figure 113 — Cut and fit the locking pieces
Figure 114 — Continue inserting the locking pieces
Figure 116 — Yotsuba kaku-tsugi
Figure 117 — Yotsuba kaku-tsugi dimension details

Figure 120 — Assemble the pattern squares
Figure 121 — Trim one of the locking pieces to 31.8 mm
Figure 122 — Secure the square with two locking pieces
Figure 123 — Insert the other two locking pieces
Figure 124 — Continue inserting the squares and locking pieces
Figure 126 — Soroban-kuzushi
Figure 127 — Soroban-kuzushi dimension details
Figure 130 — Insert the hinge pieces
Figure 131 — Trim and insert the locking piece
Figure 133 — Soroban-dama
Figure 134 — Soroban-dama dimension details
Figure 138 — Cut the joint then mark the right-hand end
Figure 139 — Insert four hinge pieces
Figure 140 — Insert the locking piece
Figure 141 — Flip the piece over and check the joints
Figure 142 — Continue inserting all full-length locking pieces

Figure 144 — Goma-gara
Figure 145 — Goma-gara overall dimension
Figure 146 — Goma-gara dimension details
Figure 149 — Pattern story stick markings
Figure 151 — Secure the kumiko in the cutting jig (90°)
Figure 152 — Cut the three straight joints
Figure 153 — Secure the kumiko in the 45° kumiko cutting jig
Figure 154 — Secure the kumiko in the other 45° kumiko cutting jig
Figure 155 — Cut the 45° joint
Figure 156 — Cut the 45° joint for the outer diagonal pieces
Figure 157 — Cut the 45° joint at the other end
Figure 159 — Trim and insert the main diagonals (D pieces)
Figure 160 — Trim and insert the A and B pieces
Figure 161 — Make sure the A and B pieces are parallel to the adjacent jigumi kumiko
Figure 162 — Insert all full-length A and B pieces
Figure 163 — Mark the shorter end pieces for trimming
Figure 164 — Trim and insert the shorter end pieces
Figure 165 — Continue until all horizontal and vertical pattern pieces have been inserted
Figure 166 — Trim and insert the outer diagonal pieces

Figure 168 — 45° kumiko cutting jigs — overall view
Figure 169 — 45° kumiko cutting jigs — dimensions
Figure 170 — 60° jig
Figure 171 — Alternative 60° jig design
Figure 172 — 15° jig
Figure 173 — 45° jaguchi jig
Figure 174 — 60° jaguchi jig

Des King is a woodworker and translator (Japanese-English) who lives on the Gold Coast,
Queensland, Australia with his wife Mariko.
A former Australian Army officer, Des studied Japanese first at the RAAF School of Languages at
Point Cook in 1974, then at US Department of State Foreign Service Institute in Yokohama in 1978.
He left the Army in 1986.
After 20 years full-time translation work, Mariko and he decided they needed a change, so in 2008 he
began a 12-month postgraduate course in construction and architecture at the International College of
Craft and Art (Shokugei Gakuin) in Toyama, Japan. The woodworking side of the College focuses on
traditional methods of carpentry, furniture-making, and tategu (making and fitting doors and
windows, especially shoji). Des concentrated on shoji and the various patterns made with kumiko, the
small pieces of wood that make up the shoji.
After completing the course in 2009, he and Mariko returned to Australia and set up a workshop on
the Gold Coast, where he continues to explore shoji and kumiko design while taking in the odd
translation.
Feel free to contact Des through his website at kskdesign.com.au. While you're there, why not drop in
and have a read of his blog.
Other books by Des King:
Shoji and Kumiko Design, Book 1 The Basics
Getting The Most From Your Kanna
The Complete Guide to Shoji and Kumiko Patterns: Volume 1
The Complete Guide to Shoji and Kumiko Patterns: Volume 2

TABLE OF CONTENTS
PREFACE
MAKING A NAKA-NUKI SHOJI
Cutting the frames
Asa-no-ha
Kiri
Attaching the paper
KUMIKO PATTERNS
Kikkō-nishiki
Tsuno-shokkō
Yae tsuno-shokkō
Yae shokkō
Futae kaku-shokkō
Yotsuba kaku-tsugi
Soroban-kuzushi
Soroban-dama
Goma-gara
CONCLUSION
APPENDIX A — JIGS
60° jig
15° jig
45° jaguchi jig
60° jaguchi jig

Desmond King - The Complete Guide To Shoji and Kumiko Patterns Volume 3 (2013)

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The Complete Guide to

Shoji and Kumiko Patterns

Copyright © 2013, Desmond King

Photographs and Diagrams by D & M King

Published by D & M King

MAKING A NAKA-NUKI SHOJI

Preparing the timber

Cutting the frames

Cutting and assembling the kumiko

Planing the rails and stiles

Assembling the shoji

Attaching the paper

Fitting and adjusting the shoji

45° kumiko cutting jigs

45° jaguchi jig

60° jaguchi jig

APPENDIX B — LIST OF FIGURES

APPENDIX C — ABOUT THE AUTHOR

[Fig-01] Shoji and three patterns

[Fig-02] Six additional patterns

[Fig-03] Naka-nuki shoji with kiri and asa-no-ha patterns

[Fig-05] Kumiko joinery details

[Fig-09] Dimension details – angled opening

Overall shoji size

Calculations for the horizontal kumiko are not as straightforward.

Preparing the timber

[Fig-14] Stile mortises – bottom

[Fig-16] Stile mortises – kumiko

[Fig-17] Rail mortises – kumiko

[Fig-18] Rail tenons

[Fig-19] Tsukeko mortises

Cutting the frames

Raising the grain

Cutting and assembling the kumiko

[Fig-22] Vertical kumiko joinery

Repeat for the second shoji.

[Fig-23] Horizontal kumiko joinery

4. H6–20 inclusive: Cut joints V1, V3, V5 and V7.

Start with the kumiko in the left-hand shoji.

[Fig-26] Left-hand shoji

[Fig-29] Asa-no-ha dimension details

First, insert all the diagonal pieces…

[Fig-31] A pair of tweezers will come in very handy

Continue until you have completed the asa-no-ha bands.

[Fig-35] Kiri dimensions — simplified

[Fig-37] Kiri dimensions — traditional

[Fig-38] Position the B pieces in the center

[Fig-39] Position the A pieces

[Fig-41] C pieces using the traditional method

[Fig-43] A firm fit is critical

[Fig-44] Position the two A pieces

[Fig-45] Trim and insert the E piece

Continue fitting the patterns until both panels are completed.

Planing the rails and stiles

Assembling the shoji

Attaching the paper

Fitting and adjusting the shoji

Well done. You have completed a very advanced shoji.

Cutting the kumiko

Assembling the pattern

[Fig-51] Assemble the jigumi

[Fig-53] Insert the hinge pieces

[Fig-54] Insert the locking piece