Kumiko Demo

I came across an opportunity to both demonstrate and talk about the traditional Japanese craft of Kumiko at an annual woodworking event. In discussion with a local wood supplier and mill (Wood Source Ottawa, Ont.), they mentioned their upcoming annual open house and how they encouraged local vendors and artisans to participate. I quickly signed up at the opportunity to present and share my passion of Kumiko. Proceeds from the open house silent auction also went to a good cause, so this became another motivation for me to participate. I truly enjoy discussing woodworking and love to engage with people and hopefully motivate them to either start or continue to pursue woodworking.

I had several days to prepare and had sufficient time to create enough Kumiko components to last through the open house. The opportunity also challenged me to devise an innovative way to hold Kumiko guide blocks without having to continually unclamp and clamp the critical guide blocks to a vise. I was able to enlist my Moxon vise along with a small workbench to perform this. The opportunity also provided me the impetus to market a Kumiko Course I had been working on. I could offer the video-based course at the open house! So this all came together and I enjoyed two days at the open house engaging with people and introducing them to the centuries-old traditional Japanese craft of Kumiko.

At first glance, people would be in awe at the small scale of components in Kumiko. Their first reaction was how intimidating and difficult it was to tackle. After engaging and demonstrating the ease of forming and shaping the small interlocking parts, their fears vanished. Often, people need to have a technique presented in a live setting to grasp its intricacies. I get this and can easily relate to this form of learning and visualization. Techniques of safely using a wide chisel to pare wood were also demonstrated, being the core of Kumiko component creation.

I enjoyed the experience and in the process made a few local contacts. Hopefully, I have encouraged a few people to tackle Kumiko and woodworking in general. Working in a solitary studio environment often keeps me from interacting with like-minded people that share a common interest in woodworking. People enjoy sharing their passion and the timing of this open house was ideal since I was between projects and needed a break from my furniture design + making.

Link to  Kumiko Course

Kumiko Course

I have been immersing myself into the world of Kumiko over the past year. The intricate patterns or motifs draw you in where the possibilities are endless to the application of the panels in furniture. Another interesting fact is how Kumiko is a traditional Japanese form of craft. To be able to recreate the same motifs that were designed centuries ago intrigued me. At first I thought the delicate technique would be difficult to achieve since the scale of the components in Kumiko is quite small. Kumiko can be intimidating to a novice. Upon further research, I decided to further explore and experiment. As a woodworker, I enjoy challenges and this would be yet another in a long string of challenges over the years. How else do we grow as woodworkers if we don't embrace new skills and techniques.

So one thing led to another and after a few early failures and struggles, I was successful at mastering the Kumiko process of creating intricate lattice-like patterns within a grid or frame. The prerequisite to even beginning Kumiko is to create a couple of guide blocks. The blocks have preset bearing surfaces shaped at various angles. These angles are instrumental to the components within a Kumiko grid. Through the judicious application of a chisel to the miniature Kumiko components, precise angles that interlock the pieces are shaped or beveled. The process is methodical but enjoyable. Small or large grids of components can be created, where time and patience are the only variables.

There are several motifs or patterns to choose from, my focus was the asa-no-ha pattern or hemp leaf pattern. Although Kumiko patterns are considerable, nothing stops one from designing their own patterns. The challenge soon was overcome and the process became second nature to me. The next logical step was to integrate Kumiko into a display cabinet. This worked out surprisingly well!

Most recently, I packaged together several instructional video on how to make Kumiko. The videos show the detail involved and how to create the grids from rough blanks. Other videos focus on creating the small parts within the grid forming the intricate patterns. I also realized that creating the guide blocks is a prerequisite to Kumiko and this step kept many people from experimenting with Kumiko. So other videos describe how to create guide blocks in detail (from rough blanks). Guide Block plans are also included in the Kumiko Course.

Link: Kumiko Course  (WoodSkills)
Link: Kumiko Course  ( Refined Edge Design)

Anti-Kickback System for Tablesaws

A gave myself a nice birthday gift the other day. Filed patent with the USPTO on anti-kickback system for tablesaws, so I can disclose it. A project important to me as I have experienced kickback a few times and made it a mission to fully understand it. Addresses table saw safety and the pervasive problem of dangerous and violent table saw kickback. The AKS system actively mitigates kickback. It can electronically sense 3 common kickback conditions and activate a braking system. The project began 3 years ago but I abandoned it due to its complexity. There were insurmountable technical hurdles that involved considerable more research.

This summer I once again embraced the project and pushed through the technical hurdles. The table saw in the video is a purpose-built prototype for testing of and demonstrating the AKS system. There was a huge learning curve to be able to accomplish this, develop the software to control it all, understand motor control and fabricate the prototype. AKS system can be integrated into any new table saw on the market. Best part is it works and exceeds expectations!!

New woodworking book...

So after a tumultuous month of March, the latest woodworking book is complete and published. Available in digital and print. March began with a bang (literally). My wife and I were broadsided at an intersection causing our SUV to roll and slide down the road for 100 ft. or more. We got out with aches, pains and bruises but on the mend now. The healing time allowed me to focus on this book more heavily and today I am happy to announce it's release! Below is a description for the book.

Decades of furniture making experience combine with furniture design in this new and refreshing take on woodworking. In addition to detailed furniture making techniques, the book delves into the thought process behind furniture design. Skills and processes to advance you as a woodworker and furniture maker are described. The book is also a window on the life of a furniture maker. Although the focus of the book is hand tools, use of machines in the preparatory phase of a furniture build is addressed. Time and labor-saving precision hand tool procedures are discussed. The emphasis turns to hand tools in latter stages of a furniture build where attention to detail is necessary. A reverence to wood as a medium is featured throughout the book.

Homage is paid to classic techniques such as dovetail joinery and workbench processes. As well as the traditional, modern techniques and processes are put forward to make your furniture designs stand out and be unique. The focus is one of a kind furniture, the unique furniture and wood objects that separate you from other makers. As a furniture designer + maker, discover my passion, what drives me and where I draw inspiration from. Learn how to develop your own style, aesthetic and voice in furniture design. It is not the how but the why behind the process that is often critical in a furniture maker's mind and practice.

The premise for this book is to provide insight into the craft of woodworking and more specifically the creation of furniture. The book is composed of sections, each of which is critical to your woodworking journey. Acquiring skills and knowledge in the last century involved taking classes, reading books or mentoring with a knowledgeable woodworker. Today, in comparison, there is a wealth of knowledge available through the Internet. What is lacking however, is the hands on aspect of the craft of woodworking. Learning involves making. I know of no one that learned a craft by simply reading and not applying themselves. It is critical to embrace the often lengthy learning curve involved. This book includes several articles focusing on aspects of woodworking in a contemporary world.

The book is composed of four sections. Each section contains articles that a woodworker or furniture maker will need to embrace as they evolve. The first section introduces basic woodworking skills. A large part of this book is devoted to hand tool skills. Although machines are combined with hand tools in my furniture making, I advocate that woodworkers should embrace hand tools. It is necessary to form a connection between hand and wood medium prior to seeking efficiency and a production mindset. Hand tools often get a bad rap as being slow and tedious. Instead, what hand tools offer is control,  dexterity, quiet and a close connection to the wood medium. In a one person furniture making studio, hand tools offer a healthy balance to the use of machines. Projects include through dovetails, portable board jack build, moxon vise build, and knife hinge install.

The second or  furniture maker section provides a glimpse into furniture making as a career. Woodworkers often aspire to become furniture makers or go into business for themselves. As a furniture maker for several decades, I share knowledge and insight acquired over the years. Some articles will inspire you to take the leap and become a full time furniture maker. Topics in the section include setting up shop, the furniture maker journey, the furniture maker lifestyle, social media for a furniture maker, and insight into diverging from furniture making to other forms of woodworking.

The third section is devoted to furniture design. Furniture design forms a large part of woodworking. Often, it is necessary to design a complete piece of furniture or modify an existing design. The design process has evolved over past decades with the advent of computer software (CAD). Pencil and paper are now combined with CAD. Articles include how to create and refine a design, the concept of form and function and how it applies to furniture.

The fourth or advanced woodworking section delves into techniques to further your woodworking and furniture making. Veneering techniques, both manual and vacuum veneering are described. The process of creating a jewelry box is discussed in one article. The Japanese art of Kumiko is described in a final article.

235 Pages, 8.5 X 11 in. Non-fiction.  
Digital:  WOODWORKING: FROM DESIGN TO MAKING 
Print Edition:  WOODWORKING: FROM DESIGN TO MAKING 

 

Kumiko cabinet doors...

After exploring Japanese Kumiko and in particular the asa-no-ha pattern or motif, I created a few panels. I also took it one step forward and framed the panels with pieces of cherry or mahogany I had lying around. The asa-no-ha pattern below seems to be the most popular and it can be seen reproduced by several woodworkers.

Having mastered the Kumiko process for the asa-no-ha pattern and in the process created several panels, I soon realized that they should be applied to a project. Kumiko panels on their own are only decorative, they are really meant to be incorporated into furniture, shoji screens, etc.

Without a new project in mind and after some brainstorming with my wife, the idea was hatched to integrate one of the larger Kumiko panels into an existing piece of furniture. While discussing, my latest Krenov display cabinet was directly in front of us. Hey, why not experiment with the Kumiko panel on this cabinet. So a cardboard mockup of one door was created and a large Kumiko panel carefully fitted in to be able to view the inside of the cabinet.

After some discussion, we both agreed that the idea was worthy of further exploration. I also secretly wanted an excuse to create more Kumiko panels and become better at it and to develop techniques. Next, two matching Kumiko panels were created and framed with cherry pieces. It was also decided to create the doors out of cherry. Selecting the wood for the doors was not an easy one. Lately, I have been making an effort to draw down my existing inventory of wood. I have so much existing inventory and it doesn't make sense to keep purchasing more wood. The only issue was the grain orientation of the wood. Since these are doors with about 9 inches in width, I preferred quarter-saw or at the least rift-sawn for dimensional stability. After exhaustively searching my pile and deliberating, a single cherry plank appeared to meet the criteria... for the most part. I also wanted a wood that would have the lighter Kumiko panels stand out. Cherry normally darkens with age and exposure to light, so this was an critical consideration. The cherry plank was selected since it was light pink or brown and was not likely to turn a deep red. I preferred a medium colored brown as the final color, to match the cabinet stand and interior drawer fronts. With cherry, the final color is often a crap shoot. So cherry it was for the doors.

The cherry plank was sawn and laid out for the door components. Doors assembled with an opening for the Kumiko panels. Kumiko panels were fitted in and temporarily attached as seen directly below. All is good at this point, the Kumiko panels fit like a glove. Door components were selected and laid out to minimize any horizontal movement across their width.

Proceeded to then create a lip and rabbet where the doors meet and to permanently install the Kumiko panels. It was absolutely necessary for the new doors to perfectly match the original doors in both width, length and thickness. This was due to the knife hinges used and the close tolerances necessary for their operation. The door reveals were also an important criteria. In other word, the new doors would need to be dimensionally exact as the original doors.

The photos above show the progression in both dimensioning the doors to size and creating the lip and rabbet where they meet. The last photos below have both doors installed in the cabinet prior to application of a shellac finish. The single right cocobolo door pull is also prepared and fitted but will only be installed as a last step. A temporary basswood filler piece is inserted in the mortise for the door pull. From previous experience, a protruding door pull seriously gets in the way of applying a French Polish type of finish.

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Instagram:  @woodskillsmag and @pirollodesign