Mixed media...

The medium which forms a large percentage of my work has for the longest time been wood, both of the domestic and exotic type. Over the past few months I have begun to explore alternative media such as metal and glass. You can see a few pieces in my portfolio which incorporate metal or both glass and metal. What do I attribute this radical shift to? For the most part, I have entered an exploratory stage in my art. The challenge of working with new media and the associated techniques I need to develop and acquire to be able to use these alternative media excite me. I also like to develop and create a new aesthetic which will be predominately wood but include metal and glass elements to enhance the design. The beauty and curiosity attached to mixed media work is another factor.

I've faced some new challenges with this new mixed media aesthetic and for the most part overcome them, although I continue to learn and develop. Technical considerations such as how to attach metal to wood and how to attach glass to metal have come up, the issue of expansion and contraction is somewhat different with extremely stable material such as metal and glass. Metal and glass don't noticeably expand or contract with environmental changes such as wood does. Another interesting technical issue that has arisen is the lack of compression characteristic of metal. The slots or holes which I use to insert metal components need to be created very precisely for precision fitting. Working with metal also involves slightly different tools and processes, I don't even prepare the metal components in the space I work with wood to not contaminate wood with metal filings.

Once these issues have been overcome, the design possibilities open to me are unlimited. The choice of media I previously created my designs with was somewhat limited to different types of wood; domestic, exotic and figured. Today I can incorporate metal, glass and possibly stone in my work, along with my predominant medium of wood. Throughout history, much art and craft has been designed using mixed media so I am by no means a trend setter here. Artists and artisans of earlier eras had probably also sought to challenge themselves with the addition of different medium to their main material and to appreciate the beauty of mixing wood, metal, glass, stone in a piece of art.

Bauhaus...

Another influential style from the early part of the 20th century has its origins in Germany. The "Bauhaus style" was developed during the era of the Weimar Republic in Germany. The arts and design community was actively supported in the years following WW I up until 1933 in Germany. It was during this period that the Bauhaus design movement flourished in parallel to the Art Deco movement. It was very avante-garde for it time and incorporated shapes and forms which are fairly modern looking even to this day. As an example, I walked into a local furniture showroom recently and there was a reissue of a Marcel Breuer tubular metal and leather chair on display. This particular chair is iconic in the furniture design world as it set the trend for tubular metal furniture and encouraged the use of tubular steel in many furniture designs.

A fairly well known abstract painter, Wassily Kandinsky, was an art instructor at the school. Walter Gropius founded the school and Mies van der Rhone and Marcel Breuer taught architecture. The Bauhaus developed from the Expressionism of the early Weimar years, 1918- 1919 and transitioned to Constructivism and finally to a architectural emphasis in its later years towards 1933. The school itself evolved during the few years it was in existence in both direction and location. It began as an edgy art and design school but became more mainstream in its latter years and was ultimately dissolved.

Although Bauhaus is today associated with a style of design it was in fact a leading art, craft and design school in its era. In the period from 1919 - 1933 this school was the leading design institute in Germany. The school was comprised of different departments ranging from arts. crafts, metalwork, furniture, design, printing and architecture. These departments combined to form a fairly independent art and design institute which heavily influenced much of the design emanating from Germany throughout this period. Much of the Bauhaus style continues on to this day, influencing a considerable body of design. The Bauhaus derived style of architecture has been very influential in mid-century buildings.

Many of the instructors at the Bauhaus design school emigrated to the US and became architects and professors of architecture in the leading universities of the 1930's through the 1950's. A fascinating period of design and architecture in my opinion...

Furniture design... some background

One of my favourite topics is furniture design and its evolution. In earlier centuries, furniture was not very common, typically only the aristocracy could indulge in furniture such as chairs,tables and cabinets. The aristocracy of the era would regularly task furniture makers to create ornate chairs, tables and cabinets. The furniture of these early periods was assembled without much consideration for wood expansion and contraction, also known as wood movement. This methodology did not present much of a problem as the buildings of these early years were not heated very much, and inside, outside temperatures and humidity levels were often similar. In later centuries, heated interiors introduced wood movement as a criteria in the furniture making process.

Frame and panel construction was invented in the middle centuries precisely to address this wood movement issue. This technique allowed a solid wood panel to literally float within a wood frame composed of rails and stiles. The solid wood panel could expand and contract on a seasonal basis and not cause any structural failure within the furniture. Using this process of building furniture created many more possibilities for furniture design and its widespread appeal began in earnest. In more recent centuries, furniture also began to become more affordable as more furniture makers flourished and along with this standardized, robust joinery techniques began to appear.

Numerous periods exist over the past centuries and each of these periods had a style or styles associated with them. Additionally, each country had a style of its own within these periods. Similar furniture design principles were adopted by many countries over the different periods. Popular furniture styles which are widely recognized have familiar names such as English Chippendale, German Biedermeier, American Federal and Arts & Crafts, French Art Nouveau, Italian Rococo, etc. To be continued...

Art deco...

I briefly touch on my interest and fascination with the art deco period in my artist statement. The art deco period of style was probably the most exciting period of design of the 20th century. As with most periods, Art Deco is partly derived from the previous, organic Art Nouveau period and partly to distinguish France as a leading nation for design. The Art Deco name is derived from the "Exposition International des Arts Decoratifs", an event in 1925 Paris showcasing many European designers. There was competition in this era between countries to determine the leading centers of design, and this exposition brought to light some of the leading design movements of the time. Consequently, the art deco style resulted from the predominant style of the exposition. The exhibition reflected contemporary style of the time and popularized the coherent theme which is today regarded as Art Deco.

The Art Deco aesthetic is comprised of many elements and characteristics. Not all elements need to be part of a design, but as few as one or two elements would define a object as Art Deco influenced. Sun rays, geometric forms, curvilinear forms, chevrons, stepped forms, inlay are a few of the elements which define Art Deco style. Art deco became an international design movement quickly moving from country to country. Europe was at the forefront of embracing this movement and the US was on board two or three years later. One of the reasons I find this period fascinating is how Art Deco evolved from the 1920's through to the late 1930's. What began as the earlier Art Deco style later embraced the "streamline" characteristics of the 1930's, Art Deco of this later part of the period had somewhat different design elements than the earlier part of the period. In its later years, Art Deco had become very commercialized and as with other periods of design, a revulsion to the style slowly began and the creation of a new design aesthetic resulted.

I embrace design elements of Art Deco and try to be subtle with minimal ornamentation, simply focusing on the elements which appeal to me from this period of style. There seems to be an ongoing revival of the Art Deco style occurring with more or less popularity in certain decades since the 1960's. I like to work with this style based on its merits, enjoying the fascinating and beautiful aesthetic of this period. When inspired to create Art Deco styled wood art, I incorporate certain Art Deco elements in the piece, deriving my own style in the process.

Inspiration...

Not to be taken lightly, inspiration is one of the motivating forces behind each artist. As a wood artist, I can completely relate to this notion. You've heard of the term writer's block, well I have often experienced artist's block. Design ideas are not forthcoming, a creative void occurs and sometimes this can last for days. Often I remain focused on a particular design because I've been working with it for a number of days or even weeks. It becomes time to break away, to expose myself to new sources of influence or inspiration. At the very least, not being in the studio often clears the thought process, preparing the mind of new ideas for art forms.

in·spi·ra·tion - an inspiring influence; any stimulus to creative thought or action

What I do in this situation is to seek out inspiration, sometimes from unusual sources. I can either stumble upon inspiration or seek it out. For example since nature can be an excellent inspirational source and it is everywhere around us, I often take a weekend trip to the mountains or simply go hiking. This serves to both clear the mind and also to open my eyes to new shapes and forms. A subtle curve along the surface of a rock ledge, unique shapes of trees, meandering streams, fallen leaves, waterfalls, unusual yet harmonious shapes in nature, curved shapes of polished rocks, all attract my eye. These organic shapes influence my ideas for my designs. Every season brings us new forms and shapes from which to derive art . Often I bring a small pocket-sized sketchpad along with me to draw the outline of an interesting shape or formation I have seen. I have this sketchpad with me more often than not, never sure when I might stumble on to an interesting shape. Another excellent source of design inspiration can be found in the architecture around us. Unusual buildings, bridges, pavilions, monuments and photographs can also serve to provide design ideas in my work. Inspiration can also be derived from every-day items, the shape of a tray, household objects, etc.

From the sketches I then begin to use my imagination as to how a particular shape can evolve into wood art I create. The shape from the sketch can either influence the complete design of the wood art or simply to influence one or two elements of the design. A collage of different elements I have seen can also be instrumental in the creation of a new design or art form. The conclusion to this is that we are surrounded by so much inspiration for design, it is well worth the time and effort to get out and seek new ideas for art forms. The process of taking ourselves away from our studios to seek out inspiration also clears the mind. I feel like I'm recharged after a day or two away from my studio, ready to tackle a new design and create an art form from a shape or image which has inspired me.

Cabinet complete...

I guess I disappeared for a while, but in reality I've been busy with a multitude of things. I did finally get around to completing the beech cabinet I began a few months ago. There wasn't really much left to do except to design and create the drawer and door pulls. I use a two-tone cocobolo for this and carefully selected each pull from a blank to maximize the heartwood and sapwood graphic. The drawers needed a little more fitting, but the rest was primarily the task of judiciously scraping the exterior and interior of the the cabinet and applying finish. I also installed a brass door catch in the upper portion of the right hand door. The doors can be individually opened and each door reveals a partitioned section of the cabinet. The left side is composed of one drawer while the right side is composed of two drawers. Above each of the drawers is a shelf which is ideal to place art objects. There is also a small space below the left drawer for a smaller art object. The middle partition is purposely only half-height both to provide a separation and to admit light to either side of the cabinet interior.

The inside of the cabinet is kind of sparse, but in my opinion this adds to the beauty, it is after all a display cabinet designed to showcase art objects. The graphics on the front doors immediately bring to mind plumes of fire or smoke to me. The orientation of this cabinet is a departure for me. I typically design cabinets with their height or vertical dimension longer than the width, but this cabinet has it the other way around. I like the proportions of this. An alternate photo of the interior can be seen here:

http://www.refinededge.com/Portfolio-TwinPlumes.htm

The finish is primarily many coats of thinned shellac with a final application of wax. I finally liberated a small part of my shop by completing this. Why is it that the final 10% of a project takes the longest :)

On to my next project(s).

Tapering...

I am currently shaping some legs for a table. The legs are double-tapered and will be shaped to form a curved outside edge overlapping three facets of the leg. I spent some time measuring and re-measuring the width and depth of the top and bottom of the leg since everything in between leads to these two points. I quite like the shape of tapered legs which provide a larger surface for strength at the joining area towards the top and then taper down to a thinner point at the bottom where strength isn't as much an issue.

In this case I have combined cherry and maple feet to form these particular tapered legs. I work with certain sizes and slope of legs which I have been successful with in the past. The slope is not too dramatic, but more gradual which presents an elegantly shaped leg once I have completed the shaping. I rough out the blanks on the tablesaw and bandsaw , but the handplane is my tool of choice for shaping the legs. I use an variety of handplanes ranging from a block plane to the jointer plane, the jointer plane to maintain the correct and straight taper on each of the leg sides.

I can't begin to explain how joyful it is working these rough blanks to fine, elegantly tapered legs which are smoothed to perfection. It's almost like forming a chunk of rough stone into a fine diamond. As the bandsaw marks disappear and the leg sides become straight, true and square to each other along their taper, it becomes difficult to stop planing :) This is where the regular measuring and comparing enters, since even with pencil lines, these are soon enough planed away and any reference disappears. What I do is use one leg as a template and compare the others against this one.

Next entry I will show the completed, shaped leg.

Pre-processing...

I like to devote much of the time I spend on a project to the design, wood selection stage and the latter stages , referring to board preparation, joinery and detail work. The intervening part about cutting boards to length and ripping these boards I leave to my machinery. This methodology also allows me to perform a better job of selecting parts of planks with which to incorporate in my project, since the laborious part about slicing and dicing the planks is done with safety and ease. I recently completed a sliding miter saw station to assist me in cross-cutting long, wide planks into more manageable pieces.

In the past, I would, through use of either a handsaw or smaller circular saw, try to accomplish this with varied degree of success. I had a miter saw station in mind for a while, and decided recently to go ahead and build one with certain criteria in mind. The station needed to have some portability since permanently attaching to a wall is out of the question for the time being for numerous reasons. The length ( 7 ft.) should allow me to safely and easily manage planks up to eight or nine feet in length and the height is sufficient for me not to need to crouch or bend down. With this in mind, the station also needed to be rugged to handle the heavier hardwood planks. I also needed to be able to work either on the left or right side of the sliding blade with appropriate adjustable flip stops and solid stops.

The sliding miter saw itself has all the features I need.. dual bevel, 10-12 inch wide capacity and 3-4 inch deep cut capacity. The station is composed mostly of baltic birch plywood with hardwood fences. The portability is there through use of two workmate type stands which can be folded and the whole unit with the saw removed can then be moved around. These stands easily handle the weight of the station and saw and any planks I need to cut and are rock solid. The station itself is attached to two large, wide planks spanning the workmate type stands. Having used the station for a week or two so far, I'm very satisfied with it as it meets all my criteria.

Small components...

I've been working on small components lately. The components are partially shaped and a great deal of handwork is involved to ensure all the components are uniform in profile, contour and overall dimensions. The components are part of larger pieces which are destined for a client. I kind of enjoy working on smaller components, it's a welcome break from the larger frame members typically used in furniture. As you can see in the photo, much handplaning is involved to develop the contours of the components. I make use of a spokeshave to round the edges out afterwards.

One of the problems working with small components is handling them while shaping them. Since the parts are small and low profile I use my planing board and raise the bed with a narrow sheet of masonite. This provides just enough of a stop for the small part as well as allowing me to handplane it, I place the part at the outermost edge of the planing board to add clearance for the shaping process. I do need to hand hold the components for some of the shaping or profiling though as the tapered shapes just aren't conducive to setting up firmly in a vise..

Interesting how second nature working with hand tools becomes once you've spent some time at it. A long while ago, I would seek out solutions to shaping issues through the use of machines. In the past few years I find it simpler and more efficient to pick up a handplane or a spokeshave and shape the component. No dust and instant results.

Recent exhibition...

A while ago I mentioned I was working on two pieces for both an local exhibition and a gallery. The exhibition piece is at the left and I had it displayed this past weekend. A little about it... Solid quartersawn cherry cabinet and dovetailed cherry drawer fronts. I have a subtle hint of lighter sapwood which meanders through where the cabinet doors meet. The pulls are carved cocobolo with contrasting colors, designed with the lighter maple stand in mind. The back panel is solid maple set in a cherry frame also selected to merge the stand with the cherry cabinet. I had something small in mind, and decided on the proportions of this cabinet to fulfill this requirement.

It was a truly enjoyable experience to design and create this and to slowly watch it evolving into a cabinet. The quartersawn cherry was somewhat of a challenge to handplane and I used a scraper extensively in the final stages of preparation of the components. There is a lot to be said for smaller work with smaller proportions, the focus can be more on selection of woods and detail. This cabinet is the smallest I have created so far. Having completed it I moved on to the stand. I wanted a contrasting wood in the stand with a somewhat interesting design yet maintaining structural integrity. In designing the stand I needed to take a criteria into consideration, namely the short depth of the cabinet above.

This short dimension introduced the issue of stability of the stand and cabinet. To compensate for this I have the stand slightly deeper than the cabinet above, but not by much. This is accomplished with the legs slightly proud of the cabinet at the front and back. To work this in, I decided on somewhat of a floating cabinet attachment to the stand, they appear to be separate from each other. To further increase the stability from front to back, I designed bird's feet into the stand to extend the depth of the stand just enough to make it fairly stable without an overwhelming appearance.

The diamond inlay in the front rail of the stand was an added touch to meld the color of the cabinet to the maple stand below in the most understated sense.

I thought I would share this design...

If interested, you can either select the image above for a larger view... a view of the interior of this cabinet and dimensions can be seen at http://www.refinededge.com/

Drawer pulls...

I resumed work on the beech cabinet this week. I thought I would begin with something small, as in drawer pulls. Actually the pulls are for the drawers and for the cabinet doors. I haven't decided on the final pull color or style and instead am going to make a sample of two pulls in different woods. These pulls will be similarly sized with a protruding four-shoulder tenon at the back and they will fit into a appropriately sized rectangular mortise. It's easy enough for me to accomplish this, to create two similar drawer pulls and this will allow me to consider the aesthetics of each pull sample on the cabinet.

I needed to do this because it was a toss-up between a blackwood pull and a cocobolo pull. Both might work equally well but I'm concerned of the amount of contrast between the pulls and the beech, should I have very contrasting colors or more of a subtle contrast. Having said this, I'm leaning towards the blackwood at the moment. A light tan background with a black pull works aesthetically in my opinion.

In the photo I have prepared a rectangular pull and am shaping the back square. This particular pull is rectangular, but I have the other option of a more sculpted, rounded pull. I'm not sure at this point, so I'll begin with this. I could have mocked up a small block of wood and darkened it black to be able to do this testing, but not too much more work is actually involved in making the blackwood pull, so I decided to do this instead. You can see the large block of blackwood in the background from which I have resawn and cut the small blank.