Color and Form: paint on furniture

Designing furniture that includes painted surfaces offers opportunities work with color, painted forms and the sculptural shapes of the piece itself. The image above is a detail from a cabinet I made that my family and I use to hang our coats on and store hats, gloves, mittens and scarves.

Saddle Stool by T. Fillingham

I designed this piece to play with the idea of functional sculpture and 2D art. I call it a saddle stool. It may be sat on like a saddle facing the front painted surface or as a more normal stool.

It was never intended to be very practical seating, more to encourage a reaction to the expression of abstracted eroticism.

I’ve used this form, the shape of the painted surface in the stool above, many times.

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Oval Top Table by T. Fillingham

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Oval Top Table by T. Fillinghan

2 Oval Top Tables by T. Fillingham

I did a series of low, side tables with etched glass tops. Below are 4 of them with one of the tops. By using the glass I added another layer for exploring painted forms by creating clear windows through which some of the painted surface could clearly be seen while the translucent surface of the glass created an implied surface beneath it.

A series of small table bases by T. Fillingham

At some point I became interested in a more literal interpretation of colors and forms and created a series of fish tables. At the time I had 2 assistants working for me in my studio and I challenged them to develop painted designs based on my input. We visited a nearby store that had huge aquariums as well as studied tropical fish coloring from reference material. I carved the shapes and legs and worked with my assistants in developing the palette for each table, they did the painting. Here are a few of the tables we produced.

Collaborative Work from the Studio of T. Fillingham

This next piece is not exactly furniture, but it does show my interest in painted, sculptural forms that have roots in pragmatic objects. This is my canoe form.

This last piece was commissioned by a couple that had received this large copper pan as a gift while traveling in Africa. It had been used to roast cocoa beans over an open fire. They wanted to display it and use it in their home to hold magazines. I suggested attempting to indicate a sense of ritual. The couple were on their honeymoon when they received the pan. I researched some of the art of the traditional cultures from the region they had traveled in and used motifs of form and color to create the stand.

And here we get at something that I find fascinating. Traditional cultures around the world have expressed myth and culture by creating objects of color and form for a very long time. Even though I explore many forms of abstraction and am inspired my a great deal of modern art in this, the use of painted forms on 3D forms I feel part of an almost eternal tradition.

A small table from scrap pieces

I had intended to post part II of the Three Rivers series before posting about anything else, but it has been some time since I’ve posted about furniture and I’ve just finished this new piece so I thought I’d sneak this post in now.

We needed a table of just the right height to hold a fan in our bedroom window at home.  Although I am in the midst of a pretty big project just now I thought I’d check out a few of my scrap piles to see if there was anything there to inspire me.

And, while I was at it, maybe I’d check out the paint locker and see what was lurking in there.

Here’s what caught my eye:

A couple of pieces of MDF, some interesting walnut cut-offs and a nice green latex paint.

I glued up the MDF pieces into a block 1-1/2″ thick-

Cut the walnut cut-offs to a uniform length-

Then drew a pleasing curve to shape the legs.

I cut out the first leg, used it as a pattern to trace out the other two, cut them on the bandsaw and sanded the curved cut.

Next I created a guide for my router to cut out the mortises into the top that would hold the legs.

The legs were rounded over on the router table on the long straight face.

I used a variety of implements to draw out a pattern for the top, created a template for 1/2 of the top, transferred that shape onto the top, flipping over the template to get the other half so that the curves would be symmetrical and shaped the top.

I wanted to create an interesting joint detail where the legs met the top. I did some sketching and decided that the top should have its bottom edge rounded. This was done on the big shaper, a finger chewing machine if there ever was one.

I managed to get the top rounded with out loosing any fingers and proceeded to cut the mortises on the under side of the top using the jig I had created earlier.

I adjusted the fit of the legs into the mortises by carefully sanding down their final thickness.

You can start to see what this table will look like at this stage. I still need to square off the round corners left by the router bit in the mortises. I did this by hand using a sharp chisel.

Now I was able to see if the joint detail came out like I had hoped.

OK, this was what I wanted. A look as if the legs were cradling the top. This is reminiscent to me of the original tripod that held a bowl or tray from eons ago.

And here’s the table before finishing:

I painted the top, glued in the legs, rubbed on some of my special oil/ varnish mix and the table was complete.

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The next table. part 4

The delivery date nears and I still want to apply a few more coats of finish so it looks like, once again, I won’t be able to take the time to properly photograph a piece before it leaves the shop.

I have been building up the polyurethane finish to a point which I can then sand it flat.

At this point the table is ready for the final coats.

Although these shots don’t really show it there is a subtle wood grain showing through.

Here’s the table with two more coats to go.

Part 3 is here.

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Glass base

Some time ago a delightful young lady called my studio. She had an idea for a table she wanted but had become very frustrated in trying to find aomeone that would make the table for her. I invited her in to the studio and she layed out her idea for me. It was very challenging. She wanted the table to be completely supported by two glass panels.

I thought it over and developed a rough idea about how it could be accomplished. My price came in considerably higher than her budget for this project however. I offered to lower my price  if she would handle the purchasing of the glass. We also agreed that the project would be put on hold until she was able to save enough money for it. I believe it was a year later that she called back and was ready to proceed.

Along with the chairs she found here is the result.

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The next table. part 2

So, the “machine” turned this:

into this:

And this is the lower part of the table. A top will be added to this. Then I will apply the veneers. In this case I am using maple veneers on a paper backing.

Each piece of veneer is  trimmed to prepare for the next piece  on the adjacent face.

I am using a very sharp, rather flat carving gouge to trim the veneer. One wrong move and… well it’s not worth thinking about at this stage.

I don’t use a vacuum bag to clamp  these veneers, primarily because I don’t have the set up. Instead I use just about every trick in the clamping book.

I am using weights, clamps (shop made and store bought) and long spring sticks that go up to the ceiling. I have a product known as kerf-board ontop of the veneer to help spread the clamping pressure. The most important thing is the glue I use. It is made for applying this particular kind of veneer, that is,  paper backed veneer. It is a water based contact cement that you set by applying hand pressure with something known as a veneer hammer. The glue needs to be “dry stacked”,  that is,  have some pressure applied,  for 24 hours after you use the veneer hammer, so that is what all of this in the above picture is about.

Just before writing this I just finished applying the final piece of veneer, the top piece, and will post the final finishing steps soon.

part 3 part 1

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Oh what a long time it’s been…

…since I’ve last posted.

I have been working on such a number of interesting projects. There’s one, really interesting one that has been mostly in the planning stages.  I’ll have to wait just a little longer before I can post about it. But, I’ve been busy in shop as well.

I’ve been working on a couple of tables for a long time client. Both of these are headed for my client’s Florida home. The first one is a very large coffee table. It measures 88″ by 55″. But the wild thing about it is that it is not flat. The top is wavy.

Todd cutting the table to size.

Here I am cutting of the end of the glued up butternut planks. The table was too big to run through my table saw and a sharp handsaw works just as well.

The planks had a natural curve to them so during glue up I took as much advantage of this as possible.

Carving the surface with disc grinder.

Here you can see some of the waviness. The table was so large and heavy that I had to plan my work to minimize how often I turned the piece over. I carved out the bottom face first then flipped it using a block and tackle.

I used a number of tools to shape the top.  Here are a few, ready at hand.

The final sanding was very tedious, but since this table was to be varnished with a gloss spar varnish it was very important. I spent a lot of time carefully sanding the top.

Careful sanding was a must.

The table is wrapped in blankets now and I haven’t taken any pictures of the final finish. I’ll try and get to that before the trucking company shows up.

Update: I found s few more images.

One of the base units being fit to the table top.

This and the next picture is of the table upside down as the two boxes that act as the base for the table are being fit to the wavy underside of the table top.

The 2 base boxes being fit.

The next project was another table with curves, for the same clients. That’ll be in the next post.

Update 2: I pulled back the blankets and took a picture of the finished table top.

Jointer

I’m making a table out of butternut. Some components have to be glued up edge to edge before further work. In order to get the edges to match for a glue joint I run the edges over my jointer. A set of knives on the rotating cutter head cut the wood to create a smooth edge.

I was having some trouble getting the edges to match nicely and I wanted to get a pair glued up right away so I was tempted to forge ahead. Instead I stopped everything, unplugged the jointer and set about re-adjusting the knives.

The work piece is pushed from this end of the jointer with it’s face tight against the vertical fence. The fence should hold the piece so that the knives cut square to the face. That is if the knives are adjusted to be parallel to the in feed and out feed tables, the two surfaces on either side of the cutter head.

You can see the in feed table to the right in the image above, I’ve dropped it some to gain access to the screws that hold the cutter knives in the cutter head. The out feed table is on the left side of the image.

The adjustments are made as a fixture magnetically holds the knives just right.

Once the jointer was adjusted correctly I was able to cut the joints easily and they went together with a sweet, satisfying whisper of a “thwump” as the cushion of air escaped perfectly evenly.

Such a satisfying sound. The joints will be sound, the effort was worth it. The pieces go on to my glue up rack.

Biedermeier

I’ve been fortunate enough to have been commissioned to design and make a number of furniture pieces in the Biedermeier style. This is somewhat unusual in that my studio is located in the Midwest (of the North American continent). The one style that has been consistently popular in this region has been Arts & Crafts. It’s always pleasant to explore styles of other periods and regions.

The Biedermeier style evolved from the economic and political changes that swept Europe in the first half of the 19th century. Often thought of as a response to the French Empire style it has been characterized as resulting from the growth of the bourgeoisie in German speaking regions of Europe after the defeat of Napoleon at Waterloo in 1815. As with many efforts to shake off the old and make a change some of the furniture that emerged from this era was awkward and clunky.

As a designer and craftsperson I sought to avoid the poorly proportioned and unbalanced look and try and discover elements of the Biedermeier style that were graceful. One of the first that struck me when studying Biedermeier furniture was the use of veneers in a way that tied a piece, particularly cabinetry, together into a unified whole. It is sometimes called a waterfall affect in which the grain is matched through all elements of a face and around onto the top. A detail from a piece I created can show this march of the grain.

I added red arrows to help illustrate this affect. You may be able to see it as well in this full image of the piece.

Even though the various parts and sections of the casework were not all aligned onto the same frontal plane, as if projected onto a flat screen, the use of the veneer grain contributed to what I see as a very modern look. It has a look as if the parts were punched out of one sheet of material and then folded around to create a three dimensional case. I also sometimes see it as if pigment was poured over the piece and allowed to drip down the front. Because it is the natural grain it is very naturalistic and at the same time very graphic. Perhaps this is why I often think of the Biedermeier style as a transitional style. It is by no means at a dead end. It is pointing to modernism.

By the way, it is not altogther clear where the term Biedermeier comes from. Joseph Aronson in his “Encylopedia of Furniture” from Crown Publishers 1965 says “[t]he name derives from a comic-paper character, Papa Biedermeier, symbol of homely substantial comfort and well-being –Gemutlichkeit.” And Hakan Groth says, “The term ‘Biedermeier’ is often wrongly assumed to be the name of a cabinetmaker or designer of the period. During the late 1840s in Austria and Germany, the preceding era (1815-1847) was subject to a barrage of satire, which finally led to the very furniture being mocked.” I have also seen reference to a fictional, comic poet named Biedermeier. It is clear however that this style did veer into regions that were easily mocked. Without jumping into an extended discussion about absolute values of design I will say that I wanted to work with the elements of Biedermeier style that could be brought together with a sense of proportion, balance and grace.

At the time I was exploring Biedermeier design I was doing almost all of my design work on paper in pencil and sometimes watercolor and colored pencil. Here is drawing of a chair I designed followed by a picture of the final piece.

In as much as the Biedermeier style was a reaction to the much more, perhaps, pompous Empire style it used a very similar vocabulary. It was far from revolutionary. It sought to adjust and perhaps contain some of the excesses the emerging bourgeoisie felt were beyond the pale. Among some of the elements that were retained and sometimes re-interpreted was the use of black to contrast with the grain of the fruit woods commonly used. Gone were the gold and the gilt however, except perhaps as discreet functional accents such as pulls. Another element retained was the column, that reference to Roman dominance and power. The Roman column was also and quite likely even more a symbol of stability. And it was in the use of the column that I was able to start to work out the proportions that I would use. For the columns used in western European design derive from the classical orders of Greek and Roman architecture.

There is a great reference book that I use quite a lot, “Cabinet Making and Millwork, Tools Materials Layout Construction” by Alf Dahl (who at the time was Head of the Building Trades Department of the Los Angeles Trade-Technical Junior College) and J. Douglas Wilson (who at one time was the curriculum supervisor for Trades and Industries at the Los Angeles City Schools), originally published in 1953 by the American Technical Society. In just over 300 pages this classic comprehensively covers and amazing amount of material. I may do a post just about this one book one day. For now I want to introduce two illustrations found in the book that show the classical orders and how proportions for various elements are derived from the diameter (D in the figures) of the column.

There are many ways to approach proportion and balance in design. Using the classical orders seemed appropriate historically when designing Biedermeier style furniture although it wasn’t always practical. All of this work was custom design work and as such I had to take into account the view of two clients in this case, the interior designer I was working with and the end user client. Sometimes I had to adjust proportions to meet the functional needs of my clients. I always try to do this adjustment within some coherent framework. In some cases I work with the proportions ascribed by the Golden Mean and have found that much of the architecture derived from the classical orders also relates to the proportions derived from the Golden Mean. Much has been written about the Golden Mean. All I will do here is draw your attention to a very interesting book on the subject by Gyorgy Doczi, “The Power of Limits, Proportional Harmonies in Nature, Art & Architecture” published in 1981 by Shambala press.

Here is a study I did for a proposed design for the desk pictured above.

The proposed column design is drawn horizontally across the top, many of the other proportions were derived from this element.

Another piece from this series was this large armoire, the base is shown at the top of this post.

The bedroom set was completed by two night stands and a bed.

This is a detail of the column base for the bed.

Another project that was related to the Biedermeier style of furniture I was fortunate to work on was a dining table I designed and made to go with a set of antique Biedermeier chairs a client had purchased. The interior designer I worked with on this project and the client had seen a table that they wanted to go with the chairs. The table had a solid top and they were looking for a glass top so they approached me. They gave me a small clipping of a small section of the carved legs that they particularly liked of the original table. I was able to create a table that was carved on both sides of the rails so that when one viewed the rails and legs through the glass top the whole piece looked finished. The table was then finished by Catherine Lottes using stains, glazes and gold leaf. Below are some images of the carved table base before and after the finish was applied.

The challenges I’ve found when working in a wide variety of styles are part of the reason I love this work so much. You may have noticed that the style of work I’ve shown in his post is not very close to a lot of my other work. Nevertheless I find it fascinating that in being a craftsperson and working in other styles in which you have to actually create a real object or set of objects in the real world you have an opportunity to unwrap layers of history and thought. You are uncovering the same practical and aesthetic problems others, sometimes long ago, have worked on. Through your hands you can touch the ideas of others.

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A Rocking Chair

A friend of mine and his wife are having a baby! They asked if I had a rocking chair design. I hadn’t, but it was something I had been thinking of and working on, off and on, for a long time. I decided to finally complete a design with the hope that my friend would like it and want the chair. Above is a rendering I’ve just completed of my design. Below I’ll write a little about the process of designing the chair.

I knew that one of the biggest hurdles facing me in this project was Sam Maloof. Sam created the definitive craftsman designed and made rocker many years ago. Many, many woodworkers have copied, emulated and been inspired by the Maloof chair and it’s no wonder. Not only is the Maloof chair in many ways beautiful he also published how he made the chair along with drawings with dimensions. The earliest article I’ve found is his “How I Make a Rocker” in the September/October 1983 issue of Fine Woodworking magazine.

Actually I told my friend about the Maloof rocker and he indicated that he had seen versions of it already but he wanted me to re-interpret that rocker in my own way. There were elements of that rocker that didn’t really look right to my eye, that I thought may have been concessions to practicality, to designing a chair that could be sold at a given price point perhaps. This is part and parcel of the design process and I cannot criticize this aspect of the process at all. It is necessary if the design will ever be built. But this did give me an entry point to the design.

I was surprised though that with so many others making versions of this chair no one else had addressed the issues that I saw. So, I decided to use the Maloof chair as my starting point and try and work out those elements that just didn’t sit right with me. In doing that I hoped that I would come up with a design distinctive enough that I could put my name on it.

Kem Weber designed a chair he called the Airline Chair. My sketchbooks have many drawings of variations of this chair and in going back through them to review my past attempts at this summit I decided to pull some of this work out and stare at it for a good long time. You can see an example of Weber’s chair here. And here is one of my sketches that shows the influence of that chair:

After quite a bit of sketching with pencil on paper I moved to my CAD program, Rhinocerous and started “sketching” on the computer. I developed a profile that I found interesting.

The circle and arrow were part of my study of the center of gravity for a person on the rocker.

I also used my “ergo man” to study the profile.

I would return to my ergo man throughout the process to check dimensions and the location of the arms and back spindles. I continued to refine the profile.

I then used the profile drawings to guide me as I built the design up into 3 dimensions. I also used the Flamingo rendering program to apply wood grain and texture to the design. Here is an early rendering I created to see if I was headed in the right direction.

It became apparent to me that I was getting close but still had a lot of work to do. It was right around here that I realized that I did not like the crest rail, that rail at the top that the spindles ended into. It was not only derivative of the Maloof design but it was too heavy for my eye.

Once I changed that rail I was free to change the profile of the back legs as they rose up to meet the crest rail. I was able to then add a curve in a different plane, to bow them slightly. This was getting exciting now.

Here’s an image showing the bow I am talking about.

The above image also shows the changes I made in the front legs. I added material to them and shaped them to reflect the bow of the back legs in the same plane. With the curve of the crest rail I was expressing a cradling of the sitter. I emphasized this cradling by adding curved brackets at the joint of the back legs and the crest rail, up at the top.

I resolved a couple of other issues, particularly the joint of the back legs to the arcs that curve under and support the seat and really felt as if this chair was becoming complete. Here’s another view of the finished design.

Since my friend and I are both surfers, as is my friend’s wife for that matter and their new baby will likely surf as well I did a rendering of the chair in maple with walnut stringers in the seat. A reference to surfboard stringers.

I list the chair on my website here although this is the only place I show the surfer version (so far).

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Asian style furniture

Asian Vanity by Todd Fillingham.

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I have often been asked to design a piece of furniture in an antique Asian style. The image above is an example of a vanity I designed and made for a client’s Asian themed powder room. The project came to me as simply a need to have something that would work as a vanity and fit into the theme of the room. I worked with the interior designer who had done the original design of the room. She had already picked out the counter top material, bowl and plumbing fixtures.

It is not unusual for me to be asked to come up with an idea for something that does not already exist in some form. There isn’t much in the way of antique Asian vanities available. It was also necessary to have the vanity fit certain dimensions, it had to fit the copper bowl that was to be used, yet not be too large for the limited space of the vanity.

Here’s the piece with the top, bowl and plumbing fixture.

Asian Vanity by Todd Fillingham

To create a design I consulted a couple of my favorite reference books for Asian furniture design. This design was derived from an image of a Chinese ice box shown in “Chinese Household Furniture” by George N. Kates, copyrighted 1948. The other book I use frequently is “Japanese Homes and Their Surroundings” by Edward S. Moore, originally published in 1886. My copy is a Dover edition copyrighted 1961.

It is from these books that I have learned about various motifs that are common among much of antique Asian furniture as well as proportions and function.

Kates notes that filled with ice “very large, almost giant, models of this same type were also placed in the apartments of the Summer Palace, as late as the time of the last Empress Dowager, merely to freshen the air when she was in residence.”

A design motif that is characteristic Asian is the “horsehoof” legs of the stand. I would say that the brass bamboo trim also reads as Asian. I fabricated all of the brass work in this piece save the handle.

I designed another piece that used the horsehoof legs as well.

This is a rendering I created as part of the design process for this project, which was to be a table to hold a piece of carved jade. The line drawing may show the horsehoof elements a little better.

This project eventually took a turn to another style and here is a rendering of the piece I eventually made for the client.

One of earliest projects that was influenced by Asian styles was a room divider screen I designed for clients for whom my partner in Woodcrafter’s Remodeling at the time and I were remodeling a condo unit for. We had installed a pair of skylights and they wanted a screen to block the glare of the afternoon, summer sun. I dug up an old slide of it and used my new and improved slide scanner (more on that later) to digitize it.

This reminds me that I have also done several shoji style doors over the years. I’ll have to dig back into my archives to find some images of those for a later post.

This screen was an example of designing and making a piece that was to function as an original, antique piece may have. As I mentioned above, I am often asked to create a piece that will a decidedly more contemporary function. Another project along those lines was a set of bookcases I created. The client wanted antique Asian style bookcases, but there are really none available. She was an informed and avid collector of antique Asian furniture. I had repaired an antique table for her so I was asked to create the bookcases.

I chose to create the “antique Asian” style by using the cloud rise or what is sometimes called mist motif, rounded sections in the frame structure and a finish scheme similar to other, truly antique, pieces she had collected. I opted to create a pseudo red-lacquer however in order to keep the project within my clients’ budget. I used red tinted shellac. I also tinted the shellac for the brown interior elements and the shading used to age the piece.

You can see in this detail shot of one of the bookcases the polychrome elements as well as some of the rounded sections. By placing two rounded rail like sections together, in this case the top of one unit and the bottom of the other unit I created a look very similar to another Asian motif, the double rounded rail.

This image shows the trim at the top that uses the cloud rise motif.

Another project I recently designed was a desk and dresser set that was to have an Asian look.

The black color was to tie in with other elements of the room. Here you can see the use of another design element common in Asian style furniture, the round leg joined in a bird’s mouth miter with a round rail as well as reference to the cloud rise motif in the bracing rails.

There are many challenges in designing furniture to fit a particular style, especially if the function of the piece needs to be updated. Often traditional designs typical of old or even ancient cultures have elements that are very useful within the broad vernacular the work was being made in and used for. Techniques and tools were passed down for generations. It was made this way because it had always been made this way. Our culture is little different. Think of the common 2 x 4 used in carpentry. My challenge includes using early 21rst century materials and tools as well as the skill set I have acquired in the late 20th century to design and create work that reflects the work of a wide variety of designers and builders from very distinct and different cultures.

I will post shortly about working in the Biedermeier style, a style and method of construction very different from antique Asian furniture.

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Mirror frame completed

The mirror frame was finished in an ebonized finish and is ready for my clients to inspect.

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It is too bad that I don’t have the mirror that will go into the frame.

The frame was designed by Deep River Partners for a client of theirs.

Now I have to finish cleaning my shop and get ready for the next commission.

…and winter winters on

This is four days after the last storm I posted about. This is what’s in front of our house. We’ve had several inches since then with more expected today.

Meanwhile I’m completing the the art nouveau style mirror frame. The last ribbon of wood, fret as I call it, is just about finished.

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This is how it lies into the back of the mirror frame.

Two other frets, completed and ready to be glued in with the fret patterns.

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As I was milling the tenons on my router set up as an end mill, for some reason the site of this graceful arc of wood clamped to this machine inspired me to take out my camera and shoot today’s shop series.

The tenons, or end tabs, are initially milled by this end mill.

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I have to finish the joint by hand though. This is because the face being trimmed will have to mate against the inside curved surface of the mirror frame.

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After I have the joints completed I shape the cross section into a gentle, flowing curve. I start by carving bevels that are eventually refined into the final curved section.

This flowing bevel or chamfer reminds me of the path a down hill skier might take or even a surfer flowing across the face of a wave. It’s been a very long time since I did any down hill skiing and from the looks of the snow and ice it will be a while before I do any surfing. Winter!

Surf Board Table III-ix

The table has been delivered! Here are a few more shots I took before making the delivery. If you’re interested, check out my portfolio.

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Surf Board Table III-viii

The table is finished and I am in the process of shooting photos of it before I deliver it. Here’s a nice detail of the edge.

Here’s the last post in this series.

Steel, Stone and Wood

Go to the bench stone, use your two hands and achieve the fundamental knowledge, experience and wisdom in your heart and mind. -Toshio Odate

The sharpening area in my studio.

Sharpening high carbon steel is basic to working wood.

Years ago I use to take all of my saw blades, jointer and planer knives and shaper cutters to a man who ran a small sharpening shop just west of downtown. Besides sharpening tools he also sold machinery, power tools, planer and jointer knives and saw blades. He had been connected with woodworking for many years and knew a lot about the trade, the tools, the people and the shops in Milwaukee. I wish I could remember his name. We always called him the guy out on State Street. His shop was actually a block north of State Street, but there wasn’t much else out that way back then so you could always find him if you drove just west of 12th Street on State.

There was a time when most large companies had woodworking shops as part of their organization. I was in one once, as it’s tools were being sold off, that had been on the top floor of a very large department store in the heart of downtown.

When I bought my table saw at an auction the guy on State Street knew that very saw. He asked me if there was still a stain on it from the time such and such had cut a couple of fingers off. The stain is still there, a reminder of the relationship between consequences and inattention.

I bought my shaper from the State Street guy. I discussed it with him for some time working out what I needed and what I could afford. He then ordered it from the manufacturer, set it up in his shop to make sure it worked, made a few adjustments, took it apart again and then delivered it and set it up again in my shop. He showed me a few of the more obscure aspects of that machine even throwing in an extra spindle at no charge. He was generous, but it was also good business. He knew that I was likely to buy more shaper cutters from him if I had two different size spindles.

He sharpened my blades and knives for me but I sharpened my own chisels. Wood chisels have to be kept very sharp at all times or they can be a dangerous tool. If the blade doesn’t do what you are intending it will likely slip. A slip with even a dull blade can cut through skin, tendons and muscle.

There is much said about how to sharpen tools. Just about any discussion among folks who rely on tools tends to get very esoteric about every detail in sharpening. Some folks swear that certain oils used to lubricate the sharpening stone are critical to a “truly sharp edge”. Others insist on particular stones mined from a particular region in Arkansas are absolutely essential to obtaining the “truly sharp edge”. Angles of bevels and micro bevels are studied and discussed. Some sharpening stones are best lubricated with oil, some with water. Water stones need special treatments.

I would walk into the State Street guy’s shop and bring up some of these cabalistic axioms, maybe hoping for some sage advice to set me on the path to the “truly sharp edge”. He took pity on me at some point eventually taking me back into the shop where his one employee was finishing up a set of jointer knives for me.

I don’t know what the guy on State Street would’ve thought of Toshio Odate’s words about sharpening. He died of prostate cancer some years ago. His wife tried to keep the shop open for a while, but what that shop offered was him and he was gone. The many wood shops around the city were gone as well. The neighborhood had gotten rough. One day I found a sign on the shop that it had closed.

What I did learn from the guy on State Street was that there really is no one path to the “truly sharp edge”. He showed me that he used water to lubricate an “oil stone”. That the grit of the stone was what he paid attention to, not where the stone had been mined or manufactured. He showed me that it was how you held your body, when you stroked the blade over the stone, that held the blade at the right angle. In a way he showed me that it was my steel, my stone and my wood that counted.

My set up works for me. I can stand comfortably holding the blade to the stone. I can lean as one with the blade, my hand, my arm, my back moving across a stone that I’ve had for at least 20 years. Water is at hand for lubrication.

I get my knives and blades sharp enough to easily shave a few of my hairs off the back of my wrists. That’s sharp enough. I know how sharp they are so I know how they will work the wood. I feel the cutting and know when to sharpen again. It takes time when I use my two hands. A very deep, very long time.

detail

Details of an armoire I designed and built.

Tamo burl ash, figured anigre and curly maple veneers with a piece of Honduras mahogany.

These are the drawers behind the doors:

Surf Board Table III -vii

I tried to get an image that shows how the black dye along with my oil finish brings out the grain in the ash wood used to make the base of the surfboard table. One of the reasons that I dye the wood is to accentuate the grain to create a fluid-like pattern under the top.

Please be sure and take a look at this next posting.

Cherry drawers

Going through my pictures for uploading to my new web site I’ve found several that I thought I’d post here every so often. This is a set of drawers I was fitting for the interior of a computer armoire commissioned for a home office. The joints are hand cut dovetails, the wood solid cherry.

Surf Board Table III -vi

I mix a custom blend for my wipe on, oil finish. After the oil mix is applied I allow it to soak into the wood then wipe it dry. I’ll apply at least three coats, buffing with very fine steel wool in between coats. Each coat takes a day to dry.

After the second coat of dye dries on the base I’ll apply the oil mix over the dye.

 

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Surf Board Table III -v

I’ve attached the cross pieces onto the base structure and after a little final sanding it is ready to be dyed black.

I use a water based aniline dye. It will take two applications with some light sanding in between to give a nice even color. The water based dye will not fade when exposed to uv light as will alcohol based dye. Water based dye does raise the grain a little, hence the extra sanding step.

While the base dries I work on sanding the edges of the top.

It’s important to not overlook any detail at this stage. Soon I’ll be applying the finish and any touch-ups or adjustments will be very hard to do after that.

The edges are staring to look nice and wood grain is starting to show it’s beauty. The top needs a final sanding and I will be ready to apply the finish.

As I work through ever finer grades of sandpaper, to bring out the true beauty of the wood, various small scratches begin to appear. They were always there, but were so fine that they weren’t visible until the wood around them is sanded with a very fine grit. The scraper takes very fine shavings off these areas, which will then be further sanded so that the top has a uniform, very fine, surface.

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