Every Goose a Swan

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WHEN all the world is young, lad,

And all the trees are green;

And every goose a swan, lad,

And every lass a queen;

— Charles Kingsley, Young and Old

Charles Kingsley’s simple wonderful lines of youthful optimism were running through my mind as I carved this cherry bowl.  Whether one perceives it as a goose or a swan, I hope the same outlook is conveyed to an extent through this piece.

Of course, the tree itself played a large role in the design of this unique piece.   I shared some of the early stages awhile back, but here is a little slideshow of some shots along the way:

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Working with branch crotch wood like this has it’s challenges; the grain can do unexpected things.  But it also has it’s rewards, such as the lovely subtle curl running up the neck that will improve with age as the color deepens.  I decided to carefully shape and smooth the curves of the body and neck, contrasting with the bold texture of the tail and bowl hollow left from a hook knife.

It is 32 inches long (from beak to tail), 15 inches high, and 6 inches wide.  Here is a slideshow of some additional photos of the finished bowl.

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Posted in bird bowls, bowls, cherry, finding wood, green woodworking, trees, Uncategorized | Tagged , , | 8 Comments

Gouge Choice

gouge choice cartoon_0003_NEWNearly all of my work is left from the sharp edge of a paring gouge.  I discussed the process and tools in some detail in this post last year — and this one.

Lately, I’ve received a few questions asking for my recommendation on a first  gouge.  I think the best answer might be, “a sharp one,” but sharpness aside, I do have a general recommendation. For roughing, especially with a mallet, I recommend a steeper sweep, something like  a #7 or #8 30mm wide (or so) bent gouge.  You can also do the final surface with that, but the texture will be more pronounced.  As you add to your tool kit, it is nice to have a shallower sweep, like  a #4 or #5 bent gouge, that will give you the option of leaving a much more subtle texture.  Even though I have different gouges to choose from, you can really accomplish a lot with just one in your kit.

There are several brand options.  In the Hans Karlsson gouge selection, I would go with the #90 sweep 35 or 40mm wide bent gouge or the #55 sweep 30mm wide bent gouge.  The #90 sweep will be more useful for large dough-bowl styles, while the #55 sweep will be a bit more versatile and able to cut in tighter arcs like undercut handles and such.

HK uses a non-traditional system for describing the sweep of a gouge.  The circle described by a gouge of a given sweep remains constant regardless of the width of the tool.  In other words, a #90 sweep gouge is always an arc of a 90 mm diameter circle, regardless of that tool’s width.  That is not true in the traditional system, in which, for example, #5 gouges of various widths will be arcs of different diameter circles (i.e. In the traditional system, the sweep is relative to the width of the tool.)

 

In the photo above (left), my 45 mm wide #150 sweep HK bent paring gouge sits next to my 16mm wide #5 sweep long-bent gouge from Pfeil (Swiss Made).  I was just using the smaller one last night to pare the interior of a walnut bowl.  It is providing the particular texture I’d like on this bowl, but a gouge like the one I recommended as a first gouge would have worked also.  I just would have used a portion of the edge.  I have found the Swiss Made gouges to be excellent as well, for paring or mallet work.  Here you can see the selection of #5 long-bents, and the #7s.  Usually, the edge of a Swiss Made needs to be reworked a bit before it will work sweetly, even though they come “pre-sharpened.”

Of course, there are other options and other makers that are just as worth considering, and any attempt for me to mention them all here would fall short.  This is not meant to be a recommendation of one brand, maker, or supplier over another.  I have just used these brands in this post to illustrate the key concepts involved in choosing a paring gouge.  Antique tools are also a consideration.  I really enjoy using an old Addis bent gouge I picked up at an antique shop years ago.

As you can see in the final photos below, each good brand has it’s subtle differences, but they will all work well.  The person behind the gouge is the most important factor.

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Posted in bowls, carving, sketch, tools, Uncategorized | Tagged , , | 36 Comments

Weekend in New England

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The Lee Shore, Cape Cod by Edward Hopper (1941)

The folks at Plymouth CRAFT were kind enough to invite me to spend a July weekend by the shore — and I can bring my axe!  I’ll be teaching a weekend class in bowl carving, and I’m excited to see the chips fly as a small group of us make bowls together.

Registration opens this Saturday, March 12, at 11:00 a.m.  The rest of the story is at the Plymouth CRAFT site.

And, in case the title of this post rang a bell for you… How could I resist?:

 

Posted in classes, events, teaching, Uncategorized, video | Tagged | 4 Comments

The Enduring Spoon Collection of Norman D. Stevens

IMG_6958To all spoon makers, past or present and known or unknown, throughout the world for providing us with basic utensils that may feed our body but are also often beautiful small sculptures that feed our mind and soul.  You bring beauty to our lives.

–Norman D. Stevens, Dedication for A Gathering of Spoons (2012)

In the early 1970s, librarian Norman Stevens and his wife, Nora, bought a wooden spoon from Dan Dustin in New Hampshire, the first of many.  More importantly, he learned things from Dan that led him to develop a deep and sensitive appreciation for things made with the human hand, especially wooden spoons.  As Norman relates in his book, “Thanks in large part to Dan, wooden spoons now have, for me, by far the greatest tactile appeal of any craft object.”

Through the mid-eighties, Norman continued to attend craft shows and purchase spoons, meeting and befriending spoon makers such as Norm Sartorius and Barry Gordon.  They helped connect Norman with other spoon carvers as he continued to add to his collection.

In 2005, after exploring the idea with Barry Gordon, Norman  decided to focus on building a collection of nine-inch spoons “representative of the state of spoon making in the world in the first part of the twenty-first century.”  That collection has now grown to over 350 spoons.  And, as we know, the state of spoon making in the world continues to expand.

 

A few years ago, I was asked to make a spoon for the collection. About the same time I was carving the spoon  (seen above in my poor photos), Norman was putting the finishing touches on his book A Gathering of Spoons, featuring exquisite photographs of over 200 spoons from his collection.  The spoons represent a wide range of styles from the highly imaginative to the simple utilitarian beauty of a yew wood spoon by Bill Coperthwaite.

Last month, Norman announced that he has made arrangements to bequeath his collection to the Peabody Essex Museum in Salem, Massachusetts.  The PEM’s trustee Collection Committee was fascinated by the variety of forms and decoration as well as by the international representation in the collection.  This collaboration between Norman and the PEM will allow this vibrant and meticulously documented collection to inspire and enlighten people for generations to come.

Now in his eighties, Norman would like to continue to add to his collection before donating it to the museum, and welcomes suggestions about carvers whose work is not yet represented in it.  He is especially interested in spoons made from an unusual wood, or from wood with a story behind it.  Spoons for this collection should be signed/marked and dated, and be nine inches long.  Norman loosely categorizes these as “teaspoons” or “eating spoons.”  He would appreciate information about the carver’s work, images, and a price range.

Here is a chronological list of Norman’s 9″ spoon collection up to this point in time including the name of the carver, year, and wood type:

Norman D. Stevens Spoon Collection List

Norman has invited people to contact him directly:

Norman Stevens
143 Hanks Hill Road
Storrs, CT 06268

 

Hats off to you, Norman.

 

Posted in books, green woodworking, quotes and excerpts, spoons, Uncategorized | Tagged , , | 12 Comments

Adaptable Shaving Horse

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I was rooting around in the basement last weekend, and came upon a blast from the past: an attachment for my English-style shaving horse.  It was the beginning of the idea that ultimately resulted in my bowl horse.  Since writing the article, I’ve enjoyed hearing from others that have built their own bowl horses, either directly from the plans or some modified version. I really like using the bowl horse, but it is only beneficial for some operations.  Some may not want to go to the trouble of building one, or may not have the room.

When I saw that old board, I thought it might be useful to share how I used it before building my more specialized bowl horse.  Granted, the real bowl horse works better, but I made quite a few bowls with the original adaptation, and it only takes a half hour to make and doesn’t take up much room. So, if you’ve already got a shaving horse, you may be able to adapt it along these lines.

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This is the shaving horse I built years ago based on plans from Jennie Alexander. It’s a very simple design, and still works well on the occasions I make a chair or something.

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A couple clamps and a board are all I used to convert it into a horse that could hold a bowl from end-to-end.  A thicker board, and/or a heavier horse, would improve solidity.

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I just shaped a block of wood and attached it with screws.  The block of wood could easily be replaced by a vertical upright supported by a brace behind it.

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The swing arm now forces the bowl against the end block, holding it place for work with the drawknife or spokeshave.

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Temporarily screwing a board onto the arm assembly is a simple option that increases the surface area of the far jaw.

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Adjust for any size bowl by loosening the clamps and sliding the board.

It is nice to have a variety of holding options in terms of benches and accessories in the workshop, especially if one is making many different bowl designs.  Still, while I had the shaving horse out, I thought about how I might be able to simply adapt the English shaving horse in additional ways for bowl work.

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Simply dropping the support table creates a stop.  Sitting astride the bowl like this could allow certain operations to be done.

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Boring a few 3/4″ holes along the length of the bench allows for the use of holdfasts.

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The holes can also be used for pegs and wedges.  Adze work could be done in this position, but would be more ideal if the bench were a little wider and beefier.

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While sitting at the back of the bench, work with the drawknife was reasonably comfortable.

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And it was such a nice winter weekend, I knocked together one of these.  I’ve seen different versions of this concept in photos, including Robin Wood’s BowlMate.  Should make it nice to do some roughing outside without lugging benches out of the shop.

 

Posted in carving, holding, tools, Uncategorized | Tagged , | 18 Comments

More Spoons

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Before I return to bowls, I wanted to post these six spoons I’ve finished.  Again, most of these are black cherry (Prunus serotina), but a couple are border privet (Ligustrum obstusifolium).   There are areas on my walks that are thick with border privet, not surprising since it’s classified as an invasive species here.  This was my first go at carving it, and it’s nice spoonwood, hard and fine-grained.

I’ll provide photos and a brief description of each of these spoons below, but there are some things they all have in common.  Each of them is carved from a crook, and the grain flows through the handle and the bowl of the spoon. These are all serving/cooking spoons of one form or another, and they are ready to use. I’ve treated all of them with food grade flax seed oil, and experience has shown that spoons like these hold up very well over years of use.  I’ve carved all of them, start to finish, with axe and knife — no sandpaper.

If you’d like to purchase one, let me know with a comment below — or an email at dandkfish@gmail.com if that doesn’t work.  You can pay through Paypal or by sending a check in the mail.  If Paypal is your preference, I’ll send an invoice to your email through Paypal. As usual, I’ll keep things simple and include shipping within the U.S. in the price listed. For shipping outside the U.S., there will be a small extra shipping charge, but its not too bad on these smaller items.

#1: SOLD A black cherry serving spoon with a broad round bowl.  The heartwood was particularly dark and rich in this branch, and this one feels particularly good in the hand — light and strong. 9 3/4″ x 3 1/8″  —  $70 includes shipping.

#2: SOLD Border privet spoon.  This is a smaller serving spoon that could also be useful for a variety of kitchen tasks.  Simple lines enhanced by a little fine chip carving on the chamfers of the handle.  9″ x 1 7/8″ — $ 55 includes shipping.

#3: SOLD A cherry spoon ideal for general stirring, cooking, and serving.  11 3/4″ x 2 5/8″ — $70 includes shipping.

#4: SOLD This cherry spoon could function as a server or a stirrer.  I like the black streaks through the heartwood of this piece.  10″ x 2 7/8″ — $60 includes shipping.

#5: SOLD Border privet serving spoon/ladle.  9 1/4″ x 2 1/2″ — $65 includes shipping.

#6: SOLD Cherry server with a young-tree design carved into the handle.  10 3/4″ x 3 1/4″ — $75 includes shipping.

Posted in finding wood, green woodworking, spoons, trees, Uncategorized | Tagged , | 7 Comments

The Magic of a Shrink Box

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There may be no project in green woodworking as magical as the making of a shrink box.  The magic happens slowly, but you still want to find somebody to ask, “Did you see that?!”  Maybe that’s why I can’t resist a diversion once in awhile to make some more.

2011 Shrink Box diagram 001Many of those reading this will already be familiar with the general idea:  Hollow out a green branch, cut a groove around the interior near the bottom, and the cylinder will shrink around the bottom board, locking it in the groove.  Just below is a link to a pdf file of a brief description with photos of the process that I created for a demonstration at a local festival a few years ago:

Making a Shrink Box

IMG_6797Although often called shrink boxes, you’ll also here “shrink pots” and of course many names in other languages.  In Jogge Sundqvist’s book in the left photo, completely in Swedish, they are “Krympburk.”  In fact, I think I made my first shrink box about ten years ago after reading Jogge’s book — well, I can’t exactly “read” it, but the pictures are so good that the procedure is clear.  Here is a German version for sale — same pictures though!  There are many tools and methods you could use to make one, but here are a few photos showing how I go about it.

 

 

No power drill compares to the amount of torque that can be applied with a T-handle auger. The lead screw of this 2″ antique pulls the auger through the wood and the sharp cutting lips shear the end grain. This tool is a blast to use.  It does take some torque, but it is invigorating and rewarding exercise.

Depending on the size of shrink box you are making and the size of the hole bored, there may still be a significant amount of material to remove from the inside. One method I sometimes use to hog away some of the bulk is seen above right. I use a gouge (with a deep sweep) and mallet, proceeding around the interior perimeter. This removes long sections of wood following the grain.

IMG_6785Any one of a variety of slicing tools can be used to remove excess wood and shape the interior: sloyd knife, hook knife, twca cam, etc.  Wonderful cross-grain shavings roll out of the box as it and the knife are rotated opposite one another.  One tool that I particularly enjoy using for this job is a crooked knife that I made from an old file several years ago, based on directions in Drew Langsner’s essential book Green Woodworking: A Hands-on Approach.  As you’ll see through the link, Drew still sells the book, and it is a special one.  It is a pleasure for me every time I refer back to my old copy full of underlines and page markers.  I learned so much because of the thoughtful way that Drew organized and wrote this overview of green woodworking.  He introduces the reader to the fundamentals and focuses on the skills and concepts that can be applied to a variety of tasks and projects, from spoons to chairs.  It would be difficult to find anybody with a more comprehensive understanding of green woodworking than Drew Langsner, and here is much of it in one package that never needs to be plugged in.  It’s a classic.

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Marking gauge converted to a croze.

The one part of making a shrink box that was always the trickiest for me, was cutting the groove with a knife.  Then I had an idea that has worked well.  I borrowed the v-cutter out of a wood threader.  This is the part of the tool that cuts the v-grooves in the male threads.  I cut a mortise for it in the end of an old marking gauge and secured it with pressure from a screw from above.  The marking gauge fence rides on the bottom of the shrink box, and the cutter cuts a groove parallel to the bottom.

Flexcut v-scorp

If you don’t have a wood threader from which to pilfer the cutter, one could easily be filed from a small length of tool steel, using a triangular file for the main channel.  I also noticed that Flexcut makes a small v-scorp that looks ideal for cutting the groove.  I have never seen one in person, but based on the photo and description, I can’t imagine why it wouldn’t work.

A few days after the dry bottom board has been put in place, it will be locked in due to the drying and shrinking of the cylinder.  Now there are many creative options: lids, decorative carving, and so on.  You can do it right away, but there is no rush at this point.  Like the bunch in the opening photo, they can wait for further work.  That will also provide time for some new ideas to simmer that I have for some of them.

And, finally, I’ll finish with a few photos of some I’ve made over the years.  There are many potential uses (how about holding wooden spoons) and endless design possibilities.  Have fun playing with magic.

 

 

 

Posted in books, carving, green woodworking, patterns, shrink box, tools, Uncategorized | Tagged , , , | 30 Comments

Carving Round Bowls can be Super

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If you’re going to make round bowls, why not use a lathe?  Well, because I’m chicken.  There’s something about a twenty pound chunk of wood spinning around at five hundred rpm that makes me not want to poke it with a bar of steel.  I like my chunks of wood to sit still in front of me.

There may be other reasons, but the simple fact is that round bowls can be made without a lathe, so go ahead.  The layout couldn’t be more simple, and the adze work is straightforward as well.

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Not long ago, I wrote a post about carving the flutes on the maple bowl in the top photo.  Here are some photos of the finished bowl.

After hollowing the inside and hewing the outside, I usually turn to a spokeshave on round bowls to fare the outer surface.  By holding the bowl up at arms length, symmetry issues are easily seen.  I run my hands over the surface often as well.  Fingertips can read dips and bumps that the eye may miss.  And what you do miss is okay too; the bowl will move anyway.

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Roundish Maple Bowl

The movement green wood goes through as it dries is more evident in round bowls than oblong bowls with bilateral symmetry.  The rim will not be completely flat after drying; it will likely be crowned a bit along the central axis running with the grain.  And the bowl will shrink to a slight oval as it shrinks more across the grain.  This maple bowl, for example ended up 14 1/2″ long with the grain and 14″ across the grain.  But maybe perfectly flat rims and perfect circles aren’t necessary — certainly not always.  It’s nice to have a bowl that let’s its hair down once in awhile.

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My carved round cereal bowl has been serving me well.   It’s about seven inches across, not including the little handles.

Some of the round bowls I’ve carved over the years can be viewed on the gallery page of my website.

 

 

 

 

 

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Proof of the Workmanship of Risk

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Brought into the light.

Yesterday was a beautiful sunny day and it put me in the mood to do a little early Spring cleaning in the shop.  Scattered around were these reminders of the “workmanship of risk.”  That was, of course, the phrase coined by David Pye to describe how a guy like me can ruin the job at any moment.  Look upon this pile; here lies the grisly proof of the workmanship of risk.

Errors in judgement, lack of patience, failure to assess the wood, or simply a bad swing have led these pieces to be tucked away in dark corners of the shop like repressed memories.  They only survive, I guess, because I shoved them away hastily to get them out of my sight.  Perhaps I should take a cue from Eric Goodson’s great post today (perfect timing, Eric) and creatively rescue one or two.  Regardless, it’s alright.  There is more wood and the workmanship of risk has its rewards.

I have gotten better at taking these things in stride, and my theatrics at the moment of dread are slightly less animated.  I have learned a little from experience.  I remember how disheartened I’d get when I struck out in Little League.  Then I’d be up to bat hoping not to strike out instead of focusing on getting a hit.  And that’s no way to bat.

Embrace the workmanship of risk.  In all of the history of Major League Baseball, the man who went up to the plate and struck out more times than any other….was Reggie Jackson.  Whether it’s a bat or an adze — keep swinging.

 

 

 

Posted in bowls, carving, drying, quotes and excerpts, Uncategorized | Tagged , , , | 20 Comments

Dancing with Nature

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What a privilege it is to collaborate with Nature.  Green wood is a medium that has a lot to say; there is no blank canvas.  Nature is a dance partner, and she usually takes the lead.

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Goose-inspired bowl carved last year.

Especially in pieces like the bowl to the left, the natural form in the tree has much more influence on the design than I do.  I wrote about that bowl early last year in this post, including a discussion of how I went about making it.  I won’t bother repeating the whole discussion here, but I found a culled cherry tree recently and saw another bird in part of it (top photo).  I’ve begun to hew and hollow it, and I thought I’d share some photos of my progress.

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Taking into account the unique character of this crook, I’ve decided on some design differences from the one referenced from last year.  A few things to point out in the slide show above: After splitting, I hewed the split surfaces by working with the adze across the grain; I then flattened the bottom surface further with a plane; I adjusted the upper round of the body with a drawknife, then sketched some rough outlines on the upper and lower surfaces; After doing some basic hewing of the body, I hollowed with adze and gouge.  Hopefully, I’ll finish the green stages this weekend.

For the portion of the hollow near the neck, I wanted an undercut area that couldn’t be reached with a bent gouge.  A spoon gouge may have worked, but it was a perfect use for the twca cam.  I recorded a simple video of working with the twca cam — nothing special, but I thought it might be useful to somebody:

 

 

 

 

 

 

 

 

 

 

Posted in bird bowls, bowls, cherry, finding wood, green woodworking, layout, nature, tools, Uncategorized, video | Tagged , , , | 3 Comments