What’s a saz?

Posted on February 13, 2015 by Dave Fisher

That was my first thought when I was asked recently to make one; well, the bowl part of one.  Turns out that a saz is a long necked Turkish lute (I found the photo of the one above — I had nothing to do with making it).  The most notable feature is a deep teardrop shaped bowl-like resonator.  They can be various shapes and sizes.  The earliest ones were carved from one piece of wood, but today most are formed from thin strips of wood bent over a form and joined together.  Walnut and mulberry are traditional woods for this.

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Hewing has just begun.

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Further along…

 

 

 

 

 

 

 

My brief learning process began when I was asked to carve a traditional resonator bowl for a saz from walnut.  This video of Turkish master Bekir Tekeli was a big help and a lot of fun to watch.  Wait ’til you see his adze, a cool vise concept, and more.

So I began with a walnut log, flattened the upper surface, and laid out the outline.  As far as saz size goes, I think this is on the smaller side.  The hollow is seven inches wide, 5 inches deep, and about 12 inches long.  I broke my usual sequence by shaping the outside before hollowing the inside.  I was concerned about hatchet blows near the delicate and vertical end grain, if the bowl had already been hollowed.

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After refining with a spokeshave.

For the hollowing, I roughed out the cavity as much as possible with an adze, then turned to bent gouges.  But what saved the day for me for a hollow this narrow and deep was a SAM_2089twca cam.  I bought a twca cam blade from blacksmith Nic Westermann a while back, and this was the first time I had really put it through its paces.  What a pleasure to use.  I can’t say enough about how it performed.  Nic’s blade was perfect, and the long handle provides a lot of leverage, reach, and control.

SAM_2092Now it has been carved green to a pretty consistent wall thickness of 1/4 inch.  I’ve got it wrapped like a mummy in an old sheet to control the drying a bit.  I’ll keep my eye on it.  If all goes well, I’ll refine things all over after it’s dry.  The extension on the neck will allow the luthier to make his own adjustments and connections.

These few paragraphs have just revealed the sum total of my direct experience with luthiery.  But this woodworking world has given me the good fortune to be in contact with a few that really know what they are doing like Scott Kinsey, Otis Tomas, and, locally, Vern Swartz.  Check out Otis’ book The Fiddletree; quite a testament to the life of a tree and the connection between craftsmanship and music.  It even comes with tunes!

 

Posted in adze, carving, tools, Uncategorized, video, walnut | Tagged , , , , , | 6 Comments

Prepare to Pare

Posted on February 8, 2015 by Dave Fisher
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“Not that I loved cherry wood less …”

I was paring the interior of a cherry bowl recently.  Whenever I perform this operation, I hold the gouge in an unorthodox carving grip, reminiscent of a scene from Psycho or Julius Caesar.

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At the beginning of the stroke, I raise up high….

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…then drop my knees, allowing my upper body to drop toward the bowl. It is, essentially, controlled falling.

This allows me to register my thumb against my upper chest, just below the shoulder.  I use my body weight to propel the gouge forward, maneuvering my hands and wrists slightly to control the path of the cutting edge.  I adjust the positioning of my feet and body to work around one entire half of the bowl.

Raising yourself up on some boards, or working on a lower bench may help, also.  I’m used to mine.  I’m 5’11” and my bench top is 35 1/2″ high.  Another possibility is working at a low bench.  By sitting behind the bowl, you can lower the weight of your upper body over the gouge.

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You can see a bit of my usual paring at about the 7:25 mark in this video.

The cuts don’t always go that smoothly; especially when paring hard dry cherry end grain right along the central long axis of the bowl.  Regardless of the length of each cut, I aim for nice transitions between each stroke.  I try to avoid the ridges (or divots) that result if the gouge stops rather than making a clean exit from the cut.  For particularly hard areas, I don’t propel the gouge slowly.  Once the edge is just engaged, I let my torso fall downward sharply, punching the edge forward and making a clean exit from the wood in one quick motion.  Many such cuts, overlapping, can tame hard end grain.

In addition to the use of one’s body, there are a few other things I try to remember:

  • Sharp.  There is no substitute.  If the thought passes through my mind that maybe the gouge could use a touch-up, it has needed a touch-up.  I often amaze myself at my ability to ignore that thought.  One test that has proven reliable to me is to try to skate the gouge edge very lightly across the surface of my thumbnail (heading toward the end of my thumb).  If it is sharp enough, there will be no skating.  Even with no pressure, it engages and will not move forward.  Invariably this test fails first in the central portion of a gouge, while the outer portions still bite.
  • Softer woods will not require as much force.  It will be easier to control and propel the gouge.  However, the tools have to be just as sharp to get nice, clean cuts.
  • I’m supposed to be enjoying this.  There is no perfect cut.
  • It is easier to push a little steel through wood than a lot of steel.  Gouges that are narrower and/or have a higher sweep are easier to propel and control.  In the photos below, the flat, wide gouge to the far right will leave a subtle surface, but is much more difficult to push through hard wood fibers.  The gouges to the left will glide through the wood more easily.  Clean cuts with any of these gouges will result in different, pleasing surfaces.

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Posted in carving, cherry, holding, tools, Uncategorized | Tagged , , , , | 8 Comments

The Compass Goose

Posted on February 3, 2015 by Dave Fisher

 

IMG_4140I recently completed this commission for a goose-inspired bowl in walnut.  In some ways it may seem to be quite a departure from a “regular” bowl form, but the process is essentially the same.  As is typical, I work with a basic layout on top of the log indicating the interior edge of the hollow and the line of the outside edge (also on the bottom).  Then I hew and carve away the material between the outer lines of the top and bottom by hand and eye.

To establish a symmetrical form, I usually rely on a compass.  Even a form like this stylized goose begins with a few compass arcs.  Playing around with a compass reveals all sorts of possibilities.  If nothing else, it helps guide some freehand layout.

In the photo below, you can see the basic idea.  This is not the exact layout for the bowl in the photos.  Every log is different, so each bowl gets laid out directly onto the log.  I’ve only drawn it on paper as a demonstration.  The black lines are compass-struck; red are drawn. The same concept can be used to layout any bowl form if you are seeking symmetry.

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Posted in bird bowls, bowls, layout, Uncategorized, walnut | Tagged , , , | 4 Comments

Workbench and Photo Studio in One

Posted on January 31, 2015 by Dave Fisher


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When it comes to photography, I have no idea what I’m doing.  But then my goal is not to create amazing photographs, but rather to simply take a photograph that captures the true sense of a piece;  I want the bowl in the photograph to look like the real bowl.  Sounds simple.

This  can be difficult to do with sculptural pieces.  With so many potential viewpoints, which ones best define a piece?  Plus, much of the character can only be revealed by moving over the surface with one’s hands.  Photos come up short there.

My approach is pretty simple (and I don’t even know how to complicate it).  I never use the flash.  Especially for curving forms like this, the form of a piece is revealed in a photograph by the contrast between shadow and light.  The flash wipes them out. Sometimes I’ll take some shots by placing a piece near a window, using natural light. Most of the time, I go to the setup you see in the top photo.

The typical procedure:  Clear all the tools and chips off of the workbench.  Run upstairs to get the piece of grayish/brown mat board (purchased in the framing supply section of a craft shop) stored behind the dresser.  Push the back up against two nails in the wall above the workbench and hold the front with a small brad hammered into the workbench.  Turn off the glaring overhead lights in the shop which leaves the wall sconce over the bench (a bit to the side of the “stage”).  No fancy bulb, just a regular incandescent. Hold the camera steady on auto mode and take some shots; some will look okay.

National Geographic has not called for my advice.

I shot some photos of a recently finished walnut bowl tonight.  I included the apple for a sense of scale.  This is a shallower bowl than usual, but it still allows room for some dimension and interesting curves.  I’ve just posted it on the website, too.

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Posted in bowls, photography, walnut | Tagged , , | 5 Comments

Sand Bags

Posted on January 29, 2015 by Dave Fisher

IMG_4068Sand bags are usually called upon in times of life-and-death seriousness; like for parapets and levees.  I have one in my shop that serves a less intense purpose.  The last few evenings, I have been carving and refining a walnut goose-inspired bowl that I roughed out a few weeks ago.  Especially when I am working with forms such as this, I find that a sandbag and a vise come in handy.

I suppose there are lots of ways to make a sandbag.  There might even be something commercially available.  My focus was to make sure it wouldn’t leak sand, which would be bad for the piece and the tool edges.

I re-used a heavy plastic bag of some kind that was used in a package I received (if I recall). I filled it with sand — leaving room for some give — and sealed it up tight with tape.  I put it into a bag (like a pillow case) I had stitched up from some suede leather, then stitched up the open end of the leather pouch.

It’s weight and ability to conform make it pretty versatile.  In the top picture, I am using it under the piece for support.

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There is enough firmness for the holdfasts to grab, but not mar the corners of the wood.

My vise is just a small, but well-made, Record vise.  Several years ago I removed the smaller wooden jaws that I originally attached to it and put on these monster oak jaws. One might think this would put some weird stresses on the vise mechanism, but I have noticed no problems.  It is a pretty simple and cheap solution compared to twin vise screw hardware.

It works well for dovetailing and other woodworking operations too.  For stock that is too wide for it, a board and a couple holdfasts in holes in the front bench apron do the trick.

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Feeding goose.

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The oak board for the outer jaw had a bit of warp to it lengthwise. Perfect for grabbing at the unsupported end first where a little extra pressure is needed.

 

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The most versatile vise (and, man, I need to relax those eyebrows!)

On another note, there have been posts this week on Peter Follansbee’s blog and the Lost Art Press blog about seating styles, and three-legged stools and chairs.  Chris made one with two legs in front and one in the back.  This oak stool I made about eight years ago shows another option — two in the back and one in the front.  Works great.  Around our house it is known as “the butt stool.”

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Posted in bird bowls, carving, holding, Uncategorized, walnut | Tagged , | 6 Comments

Good News about Chairs

Posted on January 24, 2015 by Dave Fisher

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Twelve years ago, I made my first chair from a tree.  I had no idea how to do it until I watched a video called Make a Chair from a Tree by J. Alexander.  The process and the concept were explained so clearly that I felt empowered to give it a go.  That chair is still my favorite seat in the house.  As you can see, our dog, Sam, is thrilled with it.  If you build chairs like Alexander suggests, you will never have to deal with a broken or loose rung.

Not only was the video helpful, Jennie’s website included plans for a shaving horse, tapered reamer, and other ideas. I built them all and learned a lot in the process.  The low bench I use during bowl carving (just behind Sam and the chair) has legs fit into tapered mortises bored and reamed with the same process I learned at that time.   Jennie kindly answered some questions I had through email.

The book Make a Chair from a Tree has been out of print for a long time.  Old copies are expensive and difficult to find; but there is good news!  I was happy to see in a recent post on the Lost Art Press blog that an updated version is in the works, as well as an upcoming book by chairmaker Peter Galbert.  Alexander’s book inspired many, including Peter Follansbee (see his related blog post here).

In the meantime, I’d recommend the video.  You can find it at the Country Workshops online store.  While you’re there, I’d also recommend the other books and videos available.  If you’d like to make some chairs, pick up The Chairmaker’s Workshop by Drew Langsner.  Not only is the Alexander chair (essentially) in there, but all sorts of others, plus extras from sharpening to hickory bark harvesting.  Once you’re familiar with the concepts (the most important part), you can design your own, adjusting angles, heights, and other aspects to your liking.

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I made this white oak rocker and a matching one a couple months ago.  Although the few specifics of the design were my own, it all began years ago with the help of Jennie Alexander and Drew Langsner.  I’ve never had the pleasure of meeting either in person, but I count myself fortunate to have learned from what they have shared.

P.S.  I will leave my chair diversion with recommendations also for the books Welsh Stick Chairs by John Brown and Going with the Grain by Mike Abbott (as well as all of Mike’s earlier books).

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Here the both of them are before oiling and the weaving of the hickory bark seats.

 

 

 

 

Posted in green woodworking, Uncategorized | Tagged , | 6 Comments

Get a Grip

Posted on January 21, 2015 by Dave Fisher

IMG_4060You may remember the “Pine Tar Game:”  On July 24, 1983, The Kansas City Royals were losing 4-3 to the New York Yankees in the top of the ninth inning.  George Brett, the Royals’ last hope, approached the plate with two outs and one runner on base. With a length of ash wood, he blasted the ball over the fence, giving the Royals the lead.

However, Yankees manager Billy Martin protested, claiming that the pine tar that Brett had rubbed onto that ash bat extended too far up the handle; a violation of league rules. The umpire agreed and called Brett out, taking away the home run and giving the Yankees the win!  Sparing the details of the legal wrangling that followed, the decision was eventually overturned, and the Royals won the game.  Here’s a video link if you’re really interested.  Even if you’re not into baseball, there is something to take away from this story:  pine tar improves your grip.

Here’s why I think that is important.  I find that undue effort put into holding on to a tool, gripping too tightly, distracts from removing wood boldly and/or precisely.  Plus it is tiring.  None of this is much of a consideration when working with carving gouges, but with tools that are swung, it can make a big difference.

Pine tar aside for a minute, the first consideration is the handle itself.  Some tools come with good ones and some don’t.  To be fair, manufacturers are put in the difficult position of making one handle that is appropriate for thousands of different hands.  Not that I think every handle has to be custom made; some turn out to be a good match.  For example, I love the factory handle on my GB carving axe.  I have found the handles supplied on some adzes to be hard for me to work with.  Some are just hammer handles, while others are so oblong in cross section, it feels like holding a yardstick that wants to turn over in your hand.

If you don’t like the handle of your adze, a new one is easy to make and attach firmly.  Here is the one I use 90% of the time.  The head is by Hans Karlsson.  I bought the head and handled it myself.  To be fair, I have never tried the handle that is supplied with this adze.  I just know that I like the way this handle feels.  I am used to it, and there is something to that too.

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This is the grip I use when I am swinging with power. The head is essentially being thrown into the log, and the weight of it helps to propel it through the wood fibers. My ring finger acts as a pivot point, and the grip is tightest there; more relaxed elsewhere.

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When refining, I will often switch to a little higher grip. Still swinging the adze without a death grip.

I guess a real man just spits on his hands to improve his grip, and that works pretty well, but I can use all the hygiene improvement I can get.  Pine tar has been used for all sorts of things for centuries.  I found it in the baseball section of a sporting goods store.  It comes already soaked into a rag and it will last for years.  Your tool handles will not remain perpetually sticky.  It wears off.

You might also consider gloves.  Typical work gloves seem too thick to me for this work.  There needs to be more of a direct feel.  My son had these football gloves around; with a thin rubbery material on the grip side.  I tried one out one day, and they work pretty well.  Perfect if Billy Martin is watching you work.

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Posted in adze, axe, tools, Uncategorized | Tagged , , , , , | 9 Comments

I hope you love birds too.

Posted on January 17, 2015 by Dave Fisher

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I hope you love birds too.  It is economical.  It saves going to heaven.

-Emily Dickinson

It is very pleasant work carving bird bowls.  I start with a branch and a few roughly sketched lines.  After much bulk is removed with the axe and adze, much of the carving on these small bowls is done sitting down with a couple knives and a gouge or two.

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I’ve finished a couple recently, one in birch above, and another from a curved cherry branch (below).  I’ve just posted them, as well as another cherry bowl (further below) to my available for purchase page at the website if you’d like to have a closer look.

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Posted in bird bowls, cherry, holding, Uncategorized | Tagged , , , | 4 Comments

Working for Walnut

Posted on January 13, 2015 by Dave Fisher

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Over the weekend, it warmed up to the low 30’s.  That made it a good time to collect some black walnut from a tree that had uprooted a couple months ago on a friend’s property.  You can see it down there in the ravine in the upper center of the photo below .  Did I mention we had to pull the logs up and out of a ravine?  Anyway, there was snow to ease the moving of logs and the little creek was (mostly) frozen over.

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It helps to have your fifteen year old son along for work like this.  Keeping that refrigerator stocked is starting to pay off.

This tree has some twists and turns, former side branches, and so on.  Not great for someone who wants long boards, but, with many short clear sections, beautiful for bowls.   We just had to work for it.  After splitting the sections (part of the design process too) into more manageable sizes, we plopped them onto a sled and pushed them over to the bottom of the ravine hillside.  After much comical pushing and pulling, we got them to the top, through the yard, and into the truck.

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Now, a few pieces are at my house.  The tree in the ravine still has more to give, and I’ll go back someday.  Meanwhile, I’ll be trying to make something worthy and give part of this tree a second life.

On another note, I noticed that the “follow” link that I had listed to the right was more specifically for WordPress users.  Now there is one (see the upper right corner) more easy to use, whether or not you have a WordPress account.  So if you’d like to get an email when I post something new, it is easy to sign up with your email address.

Posted in bowls, finding wood, Uncategorized, walnut | Tagged , , , | 3 Comments

Ellipse Layout

Posted on January 10, 2015 by Dave Fisher

Mankind is not a circle with a single center but an ellipse with two focal points of which facts are one and ideas the other.            –Victor Hugo

An ellipse is an endlessly adaptable shape that is beautiful and easy to lay out.  It is one form that I often come back to, even though I draw many other types of outlines for bowl hollows.  You can’t go wrong with an ellipse.

There are many ways to lay out an ellipse, featuring all sorts of devices.  This one is simple and effective.  It allows you to form the perfect size ellipse for the log before you.  You decide whatever length and width you want the ellipse to be, and that ellipse will be formed with no guesswork.  Plus, it works on rounded surfaces (like the top of a bowl done “upside down” style).

This is the method I use in this video , but I’ve broken down and explained the steps more clearly in the photo sequence below.  I am demonstrating on a pine board, but imagine the surface is the top of your bowl blank.

It all starts with compasses.  These are essential and versatile layout tools, not just for this type of work.  For bowl layout, I always use the ones that can hold a pencil.  In Peter Follansbee’s historical furniture work, he uses pencil-less compasses, sometimes called dividers.  Here is one of his blog posts referencing the historical use of the compass.

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The two compasses on the left are from Lee Valley Tools. For larger bowls, they come in very handy. The other two are yard sale finds.

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Draw a lengthwise center line from end to end. Place the point of the compass just inside the end of the log at one end of the line. Open the compass a little beyond what looks to be the center and strike an arc. Repeat from the other end.

 

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With a ruler (a flexible ruler if working on a rounded surface) strike a line through the intersections of the arcs. The line formed is not only centered, but also perpendicular to the lengthwise center line.

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Decide (up to you, the designer) how long you would like the hollow portion of the bowl to be (i.e. how much left on the ends for handles). With the point of the compass in the center, strike a mark at that distance to both sides. They are equidistant from the center.

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Decide how wide you would like the hollow to be, and repeat the procedure in the previous step, this time for width.

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Set the compass back to one half the length. (Or I guess you could reverse the last two procedures if you prefer.)

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Keep that compass setting (one half of the length), place the point of the compass where the width mark intersects the vertical center line, and strike an arc at the two spots it crosses the horizontal center line. Repeat from the opposite side if you want to be sure.

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Drive a small brad in at at outward angle at the two focal points you have located.

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Wrap a string around the nails to form a triangle with its apex at the widest point of the ellipse. Form a simple overhand knot…

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…then secure it like this.

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By tugging on the strings here and there, you can adjust the knot to end up with things just right.

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Place a pencil within the ring of string, and, with a little outward pressure, let it guide you to form a beautiful ellipse.

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Now you have an ellipse that is just the right length and width.

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These are two books that include practical exercises for using compasses to generate all sorts of shapes and lines, plus lots of related ideas. By Hand and Eye is full of all sorts of design ideas — published by Lost Art Press.

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My sample board was dry, but normally I am working with green (wet) wood. I find that watercolor pencils are excellent for marking on it. There is no need to purchase the more expensive brands.

Posted in bowls, layout, Uncategorized | Tagged , , , | 6 Comments