Mass Wood working

I was reading about poplar the other day in Wood Magazine, I think. Most of us avoid poplar for our finished pieces, because it has kind of a weird green tint to it. However, according to the article, feel free to use poplar... if you are patient. After a few years of aging, it loses that green tint and looks pretty nice.

In this video, Ill show you what purpleheart looks like after it ages. Its a remarkable change. Plus, I thought Id throw in a couple of tips that you probably already know, but good ones, nonetheless.

Mere Minutes

Here is a recently completed pair of bookshelves. Whenever I can I like to use a beadboard backer for casework. The texture adds a nice character

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Im not sure how I found these videos but they are pretty cool and pretty old (for YouTube).  I really like the tool rest he has in the bowl video.

I received a copy of Canadian Architect magazine in the mail the other day. It came with a special edition on Peter Cardew, recipient of the RAIC Gold Medal 2012. Peter Cardew is a Vancouver Architect who started his practice in 1980. I am reminded of a forum organized by the Craft Council of British Columbia in the late 1980’s or early 1990’s at Emily Carr College of Art. The subject of the forum was collaborations between craftspeople and architects. Peter Cardew was the architect invited to speak on the topic. I will always remember his presentation as confusing and awkward. I could not understand why of all the architects, he had been invited to speak on this topic. Reading this Canadian Architect publication all these years later gives me some ideas. Peter Cardew’s presentation at the CCBC forum consisted of showing slides of his work and making the occasional comment on the quality of work, or craft of some of the tradespersons involving in the production of his buildings. For example, he mentioned the quality of the concrete finishing on one project. Clearly there was a big difference between the craft work in his projects and the concept of collaboration between craftspeople and architects as understood by CCBC and its members. The collaborations that were the subject of the CCBC forum would involve the craftsperson being commissioned to design and produce work to compliment the architect’s design. Some examples might be a glass feature wall, ceramic lighting fixtures, wood furniture, a metal sculpture etc. For Peter Cardew, craft referred to the execution of his designs by tradespersons. The confusion involves the use of the word “craft” in the modern context. Today architecture is built by tradespersons, carpenters, joiners, masons, plumbers, electricians, etc. The word “craft” can be a verb or a noun. In each case it refers to the work of a craftsperson as in “to craft a piece of furniture” or “the potter’s craft”. The word “trade” can also be a verb or a noun but when used as a verb it does not refer to the work of a tradesperson. To trade a piece of furniture means to exchange it. Modern craftspeople have been struggling with their identity and place in our culture for decades. We no longer rely on craftspeople to make the things we need. In the modern world these things are produced by industry and distributed through stores. Craftspeople today see themselves as artists, as designers and makers of the unique things they produce. The role of the craftsperson has changed but language has not changed in step. The word “craft” is still used as it might have been centuries ago. In the production of architecture, craftspeople have been replaced with tradespersons. Rather than creating new words to describe the work of these tradespersons, the word “craft” has been retained. This I believe was the basis for the confusing presentation given by Peter Cardew at the CCBC forum. For the modern craftsperson, this confusion continues.

I set out some time ago to purchase an eggbeater drill, searching out what was available at the turn of the century, the last one, not this one, and what I should expect to pay for one.

There seems to be two manufactures that stand out as the drill of choice; Miller Falls and Goodall/Pratt.

Both of these manufacturers produced drills with the supposedly fragile open spoked main gear. I say “supposedly fragile” because of the number of unbroken ones I have seen for sale throughout this quest. Man, there sure are a lot of them. While I’m sure the solid main gear examples are great, there is something about that spoked gear that just does it for me. Great looking stuff, those gears.

Early examples of Miller Falls appear to have a lighter gear casting than their later versions. Goodall/Pratt seem to have stuck with their original light version until both switched to a solid gear in much later examples.

The Miller Falls style of frame is simple, round cornered and reasonably robust. Goodall/Pratt, on the other hand, have a frame casting with a bit more style to it; with its pinched waist and heart-shaped curves. The Miller Falls does appear to be the better made of the two, though.

Both manufacturers produced models with a solid handle, or a hollow storage handle. Miller Falls wins in this category, hands down, especially some of their very early examples that I have come across that have an absolutely beautiful mushroomed shaped cap. Man, those things are gorgeous.

So what’s my beef with inconsistencies?

Since getting into this tool collecting nonsense, the gospel according to the MWTCA gods has been beaten into me…

So I have to ask, what the hell is with this…

Great looking tool. The guy does great work. The point here is; why can an old eggbeater be rebuilt and repainted and as a result, demand a higher price in the marketplace, but a plane or a saw can’t.

It is inconsistent and just doesn’t make any sense to me.

And speaking of not making any sense, I decided I want a Stanley 624. Go figure.

Peace,

Mitchell

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Playful, refreshing and unsentimental portrait of Rene, made by his

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