There’s only one reason the Handworks 2015 event is going forward. This unique gathering of woodworking enthusiasts somehow caught lightning in a bottle last time around in 2013. That’s no small fete, as that first event seemingly broke all the rules. No slick marketing plan, no big corporate underwriters, and they held it out in the middle of a cornfield in Iowa.
Yet somehow it was like that memorable pickup ballgame when you were a kid. The one that went past sundown just for the pure joy of playing. It won’t be easy to catch that magic the second time but the ingredients are there. Most of the toolmakers are returning as well as some new ones who kicked themselves for missing last time. In addition there will be ongoing demos and the chance to pick the brains of some really accomplished toolmakers and artisans. If that weren’t enough there will be a unique showing of the iconic Studley Tool Chest in near by Cedar Rapids. Click the link below for details on tickets to get your Studley on.
Studley Exhibit Tickets
I’ll be there and look forward to seeing you. Don’t miss it!
George R. Walker
Last Spring I had an interview with Charles Brock from The Highland Woodworker lined up, so I took a cue from Ron Breese and deep cleaned the workshop. Ron mentioned that he touched every thing in the shop and I vowed to do the same. It quickly reached a point I call the “Nadir”, with the usual side effects of self loathing and regret. Seventy two trips up the stairs to assemble a pile of junk visible from outer space and everything that escaped execution got scrubbed, scraped, and put right. Why didn’t I do this years ago?
Oh by the way, we had fun filming this segment for The Highland Woodworker and they even managed to make this old snapping turtle look respectable. Take a look.
The interview begins at 25:35
Note: Many of the furniture shots were from some of the fine folks who allowed Jim and I to display their work in our book By Hand & Eye. The curly maple desk and tall clock are pieces I made.
George R. Walker
I’m a firm believer in re-visiting work after some time has passed. Be it writing or woodworking, a few years allows for a more disinterested judgment. If it holds up, you may be onto something. If not, there may be lessons to learn. About fifteen years ago I began to venture beyond printed plans. I built this little maple table for Barb. Although the joinery was solid, the design – not so much. It’s largely a failure in details that add up to mush to my eye. It began with a nice chunk of bird’s eye maple that I glued up for a top and aprons. I didn’t just do a poor job of joining together pieces for the top (cut from the same board no less), I managed to make them look like they were two different species of maple.
Instead of using a crisp moulding profile for the edge, I settled for a simple round-over that always had a feeling like some rolled out pizza dough. The curved apron patterns were based loosely on some pictures from a book on period furniture but I had no eye for curves and I fell into the mire that plagues so much massed produced “Early American” furniture. It has not the grace of the fine urban originals or the folk of the back country originals. It screams, “ I don’t know Jack about curves!” Finally I topped it of with an oil varnish finish that couldn’t take spilled beverages and hot coffee mugs. Game, set, match.
What is one to do?
Perhaps I can salvage the legs and build Barb another table.
More to come.
George R. Walker
It’s really special when an artisan can design something profound in a tight discipline. In a world where bling draws the spotlight, I’m always thankful for someone who can craft an extraordinary wine, shotgun, handplane, or chair. Here’s a short video about Martin Wenham, a letter carver who offers some insights about design. Take a moment to savor his thoughts and work. I’d like to thank Dave Fisher for sending me this link.
A rainy day in a great workshop
Dave’s workshop is down a few steps from the kitchen, but feels like entering a sanctuary. A place dedicated to creative work. I had the privilege and honor of spending an afternoon with Dave Fisher – one talented, creative, imaginative artisan. Everything in the compact shop space had a purpose, from the razor sharp tools within easy reach of the well worn
shaving horse, to the decorative carvings and pictures peaking out from every nook. Each a reminder that the pursuit of excellence is also a pursuit of beauty. We talked for hours and could have talked for days about carved wooden bowls, design, and how the curves from a Hosta leaf in the back garden can inform the eye. Dave is a great example of a contemporary artisan who is extending our craft tradition by honing both his technical skills as well as his creative intuition.
I’m working on article profiling Dave’s approach to design in my Design Matters column for Popular Woodworking Magazine. Keep an eye out for it.
George R. Walker
eitgeist, the spirit of the age. Furniture designs often reflect the culture of the time they were conceived. Culture itself is a loaded word, that endless struggle between the old oak of tradition and the winds of change. At first glance that 18th century chair may seem like an easy read to a modern eye, and smugly pigeonholed as “old brown furniture”. But a close study reveals a creative work influenced by the opening of international trade routes, social upheaval uprooting crafts and guilds, and sensational archeological discoveries firing the public imagination. And that’s just a pinky dip into the zeitgeist that expressed itself in a simple old brown chair. One of the oddities of zeitgeist is that the artisans of any particular age might have had a narrow view of the spirit of their time, but what they knew was by taste and smell. We moderns look back with the benefit of history yet never able to quite reach back to taste and smell.
While the zeitgeist of past centuries was a series of complex tapestries, the zeitgeist of our age is an explosion. We have labels to describe the furniture of today like green, retro, disposable, sustainable, kitschy, hip, contemporary, edgy, sleek, honest, architectural (if it has one straight line), sculptural (if it has one curved line), one of a kind, industrial, chic, and bling. Often these words are combined to create new genres like retro-industrial-chic.
This AMC Gremlin has a “Sport Package”, not sure it helped.
The string that connects the zeitgeist of our age with ages past, is that every era produced designs that deserved a quick death and every age stumbled on a chord and produced something timeless that deserved living on in designs of the future. Perhaps that’s what we are all searching for as designers.
This ends my journey through the Designer’s Alphabet. Hope you enjoyed the ride.
George R. Walker
Yorkshire chair with a crested back. (Bonhams)
orkshire chair, a regional chair form produced in the latter half of the 17th century in Britain. More broadly they fall under the umbrella of Charles II oak chairs (1660-1685). They were also produced in nearby Derbyshire, and sometimes refereed to as Derbyshire chairs.They had a few features that set them apart from the earlier Jacobean chair designs and hinted at some of the changes to chairmaking in the coming 18th century. Yorkshire chairs
An arcade is a row of arches supported by columns. (Bonhams)
departed from the Jacobean perpendicular chair backs with a solid plank splat, and moved to a more open back that tilted slightly to conform to the human frame. The open backs were often crested like the crown of a hill, or arcaded with a series of arches supported by small columns. To my eye the proportions are lighter than the earlier chair designs from the 17th century, perhaps a nod towards things to come in the chairmaking world in Georgian era in the 18th century.
Note: Thanks to Jack Plane for helping me track down some information on these chairs. I originally began looking for an American “York” chair. All roads came to nothing with only one poor example far removed from these English chairs. Sort of a dogs breakfast, cobbled together by committee. If you have a photo of an American “York” chair, pass it along and I’ll post it.
George R. Walker