It’s been a while since I posted work on this blog for a critique. For those of you new to this, I offer to post pictures of readers projects and invite any and all to offer constructive feedback. By constructive, I mean you can offer up any thoughts you have as long as they are paired with thoughtful reasons. For example, you can say what you don’t like about it, IF you offer suggestions or at least hints at what you would do to improve it. Likewise your thoughts on what you like about a work are welcome, but please expand on why. Critiques can be invaluable to the person offering up their work, but also to those giving feedback as it helps you to think deeply about what does or doesn’t work. With that said I’ll let Tom Morris give a short introduction in his own words. Your thoughtful comments are appreciated. These projects are architectural interior details. I’m posting Tom’s rendering and then a photo of the work itself.
First, I am not a carpenter, I am an painter/artist. I got this job to help in the design of a large house in the country. Without going into detail, I have done brick work, interior room design, and even a small outside garden building. On the inside of the house I have designed a lot of finish work as well as built ins. I think I will be designing some free standing furniture in the future. So thought it would be fun to get response to some of the things I have done which are basically built ins. All the designs where done for specific spaces, i.e. the size and dimension of the spaces already existed.
Tom Schaefer offered up a chair design he’s been working on for a critique. You can click on the link above to a PDF that shows his sketches for the design. As always with a critique your comments are welcome, please be specific about what you like or would change. Here is Tom’s description:
Attached is a drawing of a chair I started a few years ago. I appreciate any feedback you are willing to dispense. My apologies for the crude drawing, it’s all freehand.
Here is my thinking on some of the design elements.
- The frame is walnut.
- The fill wood is zebra.
- The cushion fabric of wool and cotton with a small square weave.
- The legs are a long taper.
- The side profile the back rail works in conjunction with the back cushion to form an ogee.
- The front view the legs work in conjunction with the top to form another ogee.
- The arm rest is twisted to form more to the arm and hand.
- There is a visible space between the cushion and the walnut frame, so the zebra wood is noticeable in that space.
- The front rail is zebra wood and scooped at the top for legs. I’m undecided to frame the bottom at least in walnut. I kind of like it without the walnut rail.
- The back of the chair has a center stile that connects to the bottom rail. In the sketch it appears to connect to the leg, but does not.
- There is a dotted line on the side for a possible walnut rail. I may decide to make the side open from the top of the seat cushion to the bottom of the arm rest.
- There are two (possible three) stretchers under the cushion and the flush mortise joint is visible on the side bottom rail.
- My concept was that the lines should blend together as on unit. Like a wave so to speak.
I look forward to your comments.
In lieu of another written comment, I submit these images of Tom’s chair design. While the images show only the lower portion of the design (with certain liberties taken), hopefully they will provide him some additional understanding of his current design. Since the comment section doesn’t provide the ability to post images I have sent them via email to you. Feel free to post them in any way you deem useful.
Michael Cran submitted a recent project requesting your input, below are his comments. As always for these on-line critiques, if you share an opinion, please bolster it with the why behind your veiw. Thinking through your conclusions helps all, even the one offering constructive advise.
This was a small coffee table I made for my sister. The design constraints were a small living area, a small budget, and the wood available. I was very fortunate to find a nice piece of figured walnut for the top and legs. I chose a half blind mitered dovetail for the corner joint, (dovetails visible from the side). The mitered aspect was chosen for continuity of the grain over the edge, the dovetail aspect for structural integrity and well, because I’d never cut one before. The stretcher is curly cypress. I chose it because it had very little commercial value, and plenty of character. The cantilevered edge was in response to the length of the cypress, and the space the table was meant to fill. I am pleased with the contrast between the cypress and walnut, in color but mostly form. What wildness is it that holds this formal world together?
I welcome any critiques but am particularly curious to know how others respond to the proportions. They were somewhat constrained by the material itself, but mostly it was a matter of right…about…there. Something seems a little off to me.
Back in May, Robert Horton asked for help designing an alter table for a church sanctuary. Link to original design critique. It was a unique situation, trying to satisfy the needs of a committee, and in this case explore the re-purposing of some Gothic columns for a small table. Hopefully our input helped Robert solidify his thoughts and in this case, wipe the slate clean and start anew. Given that the table will sit in the foreground with a large Gothic window as a backdrop, I think he struck onto something simple yet powerful. Here are his comments and drawings for the revamped design. Thanks Robert for sharing your thoughts and demonstrating the wisdom of letting go and taking a different tack!
When last we left off, I had sent in a sketch for recycling some old church furnishings into a new altar. The attempt to recycle the existing neo-gothic carvings produced a Frankenstein’s monster. It was a curious exercise; but I went back to the drawing board and started with a clean sheet.
Scott Keith shared some designs for a bench he is working up and asked for your feedback. For those of you new to the Design Matters Blog, this is an opportunity for builders and designers to get constructive feedback and generate ideas about a design. If you have a comment whether positive or negative, be prepared to explain what you are seeing and why. The process of explaining your own thoughts can be as valuable to you as to the builder looking for input. The following are his comments and questions:
I have been reading your blog for a while now and really enjoy it. As a mechanical design engineer I spend much of my time designing from a purely functional stand point, but as a woodworker I have been trying to develop more of an eye for “form” in my work. To that end, I would like to get your thoughts on a design for a simple sitting bench that I have been working on.
It’s an Asian inspired piece with a rather heavy (currently about 1.25 thick) slab seating surface and substructure that gives it a floating appearance. The overall dimensions are 40L x 18H x 15D. As can be seen in the pictures, the outer two surfaces of each leg flair out as they go up, and the edge of the bench seat is shaped to match the line of that flair if it were to extend upward. In order to soften the corners of the seat I created a “clipped” surface that again extends downward for a portion of the leg. I noticed afterwards that when viewed from certain angles this feature give the appearance a strait leg or even a reverse taper depending on how large the corner clip is and how far down the leg it extends.
I would like feedback on the basic design and proportions, especially of the front rail and legs, and if the exposed tenons of the under-rails make the design too “busy”. Of course, any other thoughts would be welcome.
Updated addition to this post – Scott followed up with the following plus some new sketches based on feedback from this on-line community.
“ The comments have been very helpful and encouraging. Several of the folks asked for updated sketches of the piece after incorporating some of the suggestion. Attached are two shots of the updated design, one with the corner clip and one without it, as suggested by “ejcampbell”. “
Revised Design without corner clip.
Original design front veiw
Revised design with corner clip
I’ve been away with Barbie enjoying the rugged coastline of Acadia National Park in the state of Maine. We love to grab a sandwich and park ourselves on a rocky outcropping as high tide rolls in. Amazing how that immersion in sound, smells, and light seems to quickly scrub out all the cobwebs inside the scull. It chases out all the competing data flying around in my head and allows me to pause and watch a black guillemot dive for small fish in the frothy surf. It never fails to reignite the creative spark.
I received a note from furniture builder Kate Taylor asking for some help on a hall table she built. She voices a concern that I hear on a regular basis from builders. Somehow she’s not sure that the legs work in the overall design. I’m often asked
“How do I proportion legs to the overall piece?”
Or more often, “I know this just isn’t working for me but I’m not sure where to go with it.”
Comments below are from Kate. I’m certain she’d be grateful for some thoughtful input.
George R. Walker
I have a table that I’m wondering about and thought I’d see if you would be interested in critiquing it. My main question is about the legs. I wanted the table to have more of a flowing feel to go with the live edge. It’s made to go against a wall in an entry way, so needs to be narrow. I’m not sure if the legs work or not. Any comments are welcome.
Kate Taylor Creative Woodworking
The Thinker, by Auguste Rodin 1880 (Cleveland Museum of Art)
How about a little twist on a design critique? It’s been a pleasure for me and I hope for you the last few weeks sharing thoughts and comments on previous design critiques. I thought it might be fun to occasionally toss up some images from the work of a past master and generate some discussion. Obviously this is a bit different than commenting on your peers. It might be a good exercise to look closely at a masterwork and tell us what you see. What do you think the designer was thinking? Is there something new you failed to notice before? Is there something you might want to file away and in your design library? With that in mind, here’s the first masterwork I’d like to present for your comments, a cabinet by Greene and Greene.
Try to disregard the moron reflected in the window, just trying to get a shot of the facade. Cabinet measures 82" H X 54" W X 24" D.
A little background and my initial comment. This impressive cabinet is currently on display in the Cleveland Museum of Art and is described as a secretary designed by Charles Sumner Greene and built by Peter Hall in 1911. The primary wood is mahogany which in itself was a bit surprising to me. One thing that struck me as exceedingly well executed is the subtle use of ornament to emphasize the form. Note the small patches of inlay at each corner of the upper and lower case. It re-enforced the idea to me that ornament (carving, inlay, marquetry, gilding) is at its best when it plays a supporting role and highlights the underlying form. Sorry about the photo quality, museum setting photos can be difficult.
I’m curious to hear your thoughts on this impressive work.
George R. Walker