The Woodworker Within
I always enjoy hearing stories about how people get into woodworking. Was it mom and dad? Maybe grandpa? Or perhaps is was your old grumpy shop teacher? For me, it was growing up with a very handy step-father. We did a number of projects around the house and I frequently built projects of my own. Each project was promptly followed by a stern talking-to for not putting the tools back where I found them. As a kid, the most substantial “project” I made was a small wooden box that I eventually buried in my backyard so that I could hide my private treasures. What is it with kids and their need to have private stashes of stuff anyway?!?! So, what did I put in my secret box? A mail-order catalog with several pages dedicated to the latest GI Joe toys. To this day, I have no idea why I felt the need to hide that.
Years later when I was in college, my friends and I took up a wonderful hobby: destroying our hearing with loud music in our vehicles. So one of my first ever plywood projects was a custom speaker box for my pickup. Unfortunately, I have no pictures of it. But I do have a few shots of what could honestly be my first legitimate attempt at furniture. I was probably in my sophomore year of college, enjoying an eclectic mix of interests including lab work, girls, drumming, tattoos, piercings, and oddly enough….reptiles. I couldn’t afford a fancy commercial enclosure, so I set out on a quest to build my own. I went to Home Depot, picked up some melamine, a few furring strips, plexiglass, and some basic hardware. I used a hand saw miter box to cut the miters and built the frame using finish nails. Each enclosure had its own heat lamp and two ventilation inserts on the sides. The enclosure actually made the move to California with me a few years later, but was quickly replaced by my very generous roommate turned girlfriend turned wife, Nicole. Sadly, it eventually wound up in the apartment complex dumpster. These two low resolution pics are all that remain of the earliest signs that a woodworker lied within. I can distinctly remember thinking to myself at the time, “Why the heck CAN’T I build that?!?!”. And I like to think that the same mindset is what keeps me rolling today. I have no business being a woodworker, let alone making instructional videos on the internet!! I’m trained to work in a lab, not a wood shop! But apparently, the woodworker within won the battle for control over the direction of my life. And all I can say is thank goodness it did!
So, with that out of the way, I wanna hear from you guys about your early woodworking days. Who were you influenced by? When did you realize that a woodworker lay within? I know many of you are currently at the beginning of your woodworking journey, and I want to hear your stories too. Feel free to comment here, or leave a reply and post pictures in the forum thread I created specifically for this discussion.
Variations on a Theme
When I built my end table, I took a lot of inspiration from a picture I saw in Fine Woodworking’s Design Book II. Just a single black and white photo was all it took get my synapses firing! And if you remember, the responses to those episodes were incredible. Everyone seemed to have their own ideas for the shape and orientation of the legs as well as the shape and attachment method of the top. I struggled with these decisions and made what I felt were the best decisions at the time.
Recently, a couple of folks decided to take that same seed of inspiration, and let it blossom into their own beautiful creations. I thought it might be interesting and fun to examine how from one perspective, these five designs are very similar. But upon closer inspection, you can see that they are quite different (especially from the point of view of their makers).
This table was the original inspiration for my design. It was created by John T. Heinrich and the photo is directly from Taunton’s Design Book Two. I was really taken by the spider-like legs and the potential for some fun joinery. I also loved the concept of blending the vertical and horizontal components so that they look like they were carved from a single piece of wood. Think Maloof Rocker. The table it topped off with an interesting piece of glass. All in all, this table is an amazing piece of craftsmanship.
This is my table. As you can see, it was heavily influenced by Heinrich’s design above, but clearly takes it in a different direction. The table is smaller with a tighter stance. And the top is obviously figured maple, instead of glass. And rather than resting on top of the legs, the top floats between them via steel dowels.
Now this is a table submitted by Spike Sofranko. You can see Spike made some significant changes. His features a thick bowtie/dog bone-shaped top with multiple woods laminated together. The legs are a little more squared off at the edges and the top is secured with two dowels in the skinny ends of the top (not visible in this pic. What I find to be the most compelling part of Spike’s design is the fact that he flipped the leg assembly upside down. This was by far the most popular feedback I received from viewers. MANY folks felt the table looked better upside down. So finally, we have a real world example of what the table would look like in that orientation. Thanks Spike!
This next table was designed by John Bratton. The most notable change here is the top. Its a perfect circle and rests on top of the legs. John secured the top with screws in elongated holes to allow for movement, and capped the screws off with an accent wood. The legs are similar to Spike’s in that they are a little more squared off than the other designs. I also had numerous suggestions to put a round top on the piece, and thanks to John, we can now see how that looks.
And finally, we have this table from Todd Ouwehand. This table has all the delicate grace of Heinrich’s piece, but actually takes it a step further by keeping the stretchers thin as well. This design really has fun with varying thicknesses and the builder did a tremendous job of blending the joints so they simply appear as a single piece of wood. Also notice the wooden top, which happens to be attached in a similar manner as the Heinrich piece.
Now I am not looking for anyone to pick favorites here. My goal is to simply show you how the same starting concept can result in numerous end products, simply by altering the most important and influential variable: the craftsman.
State of the Craft?
Someone posed a very good question in a forum thread recently, and I wanted to bring the discussion to you. The gist was that all of the recent excitement over woodworking (blogs/podcasts/etc…) could actually be BAD for the craft. The logic presented was that many of our great woodworkers have decided to teach woodworking, rather than actually DO woodworking themselves. The post expressed concern that if everyone is teaching, then there will be no one left to actually DO the woodworking. A very interesting point and certainly something for all of us to think about. I am very curious what everyone’s take is on this. Here’s mine:
No doubt, it is way too early to make a definitive call on the long-term effects of the woodworking hobby/blogging/teaching phenomenon (I like to call it a renaissance). But as I see it, its just a numbers game. A couple years ago, many of us were discussing how the craft could very well die because kids are not being exposed to this stuff at an early age. If mom and dad are the type to hire someone rather than go the DIY route, the child may never have an opportunity to develop that love for crafting things (speculating, of course). But now, because woodworking is much more popular and is accessible in formats that the younger generations can relate to, we are creating a new opportunity for exposure that previously didn’t exist. I am certainly not claiming this is filling the gap left behind by the lack of incorporation into school curriculums, but I do at least see it as a step in the right direction.
So with all this buzz about woodworking and with so many people getting into it, wouldn’t you think that at least some of these people are going to have that fire lit within them? The fire to excel well beyond the abilities of their online instructors. And even with the loss of some of our current “greats” (although I would not consider it a loss at all), the excitement and energy that surrounds the craft now could very well be what we need to keep the craft alive so that generation after generation can enjoy it. And those who want to make a career of it, will have the opportunity to do so.
Just like any professional field, some will learn a lot, and then decide that teaching is the way they want to go. Much like my college professors, these people may accomplish little in terms of cutting edge research in their respective field, but at least some of their students will go on to do great things for that community as a whole. And I see no reason why woodworking shouldn’t follow this same pattern.
As far as I’m concerned: more people teaching woodworking = more people learning woodworking = more people have the opportunity to be inspired and take their craft to the next level.
Obviously, none of us know what’s going to happen. But I am fairly certain that the net affect of all this will be better than the direction we were going prior to the teaching/web phenomenon. What say you good woodworkers?
Power Tool Guilt
I was just thinking about something and I know I can’t be the only one. As a self-proclaimed “hybrid woodworker”, I try to balance hand tools and power tools in a way that makes the most sense for the job at hand. This is a method of work that takes a certain amount of time and experience to develop. I am getting there. But one thing I have noticed about myself over the years is that I have a touch of power tool guilt. Sounds silly but its totally true.
Have you ever watched a video about hand tools where the woodworker is showing off his mad skillz?? You know the kind where the guy makes his perfect wispy shavings during a serene and peaceful milling session (I’m talking to YOU Schwarz!).
I did some milling today and you know what I looked like? A soldier about to engage in chemical warfare! Anyway, I usually finish the video, and with my head down and my bottom lip out I say to Nicole, “I’m at one with the wood too……”, almost asking for reassurance. She usually pats me on the head and says, “Of course you are dear!” and then gives me an ice cream.
Looking back over the years, this sense of guilt was what fueled a number of my hand tool purchases. I frequently bought these tools before I even knew how to use them. As a result, they became very cool looking decorations for my shop. While nearly every one of my hand tools is now in use, that wasn’t always the case. And I honestly just felt guilty about it.
But this is where the story takes a positive turn. As the complexity of my projects increased, I soon confronted problems that were not easily solved with power tools. So by necessity, the hand tools were pulled down off the shelf and placed into service. Now I may not use these tools to the extent that a hand tool only woodworker might, but who cares? I am what I am. And what I am is a hybrid woodworker! So as I continue to develop my woodworking identity, my guilt slowly fades away. And I’ve come to realize that it really wasn’t guilt over using power tools, it was the guilt associated with knowing I haven’t yet fully explored the simplest options available to me. And now that I have, I can confidently select the best tool for each job, powered or not.
Fortunately for all of us, woodworking is a process and not a destination. There are all types of tools for all types of woodworkers and there is room in the world for all of us. So my public service message for today is: End the guilt! Have confidence in who you are as a woodworker. And most importantly, do what makes you happy!
By the way, check out the October issue of Popular Woodworking Magazine for an article that covers some of my favorite ways to incorporate hand tools into a power tool workshop.
Inlay Process Pictorial - The Ottoman Tray
I’ve been getting a bunch of requests lately for a video on my decorative inlay process. This is definitely on our 2008 to-do list. But until then, I decided to resurrect an old WWA forum post from 2005. Enjoy.
The project is an ottoman tray. It will be a simple piece of 3/4 maple ply with a substantial solid padauk border. The inlay, is a simple interpretation of the sun. So here we go. It all starts with your design. Draw it out exactly how you want it to appear. It helps to have center-line and reference marks as they will make your life easier when it comes time to keep things aligned. Next, position your drawing over the substrate and tape one side in position. Now you can slide in a piece of carbon paper. Simply trace your design thereby transferring it to the substrate. For this design, the reference marks aren’t all that critical since I only need to transfer my design to the substrate once. But if you are doing a more complex design like one of my leaves, you will be re-tracing the design several times. Reference marks are then imperative.
If you havn’t already done so, you want to prepare your inlay stock at this point. I milled up few pieces of padauk for the large spikes and canarywood for the small spikes and the body of the sun. I like to aim for 1/16″-1/8″ thickness for my stock. My drum sander belt is broken so these are a bit larger than I was shooting for. Since I have repeated geometric shapes, my next step was to make a template for each piece out of 1/4″ ply. I simply used the carbon paper to trace the design onto the ply and cut it at the bandsaw.
Then I finessed the edges with sandpaper. If I were doing a leaf design, I would just trace my design directly to my inlay material and cut it out at the bandsaw or scroll saw. So now I use my templates to make my actual inlay pieces. I double-stick taped the template to my inlay stock, rough cut them on the bandsaw, then flush-trimmed them at the router table. These pieces are awefully small to rout, but with the proper precautions, it is possible. Any spots that send up the caution flags were touched up using sandpaper. Then I quickly cut the cararywood into a half circle using a quick rig at the bandsaw.
Now comes the fun part. This part of the process is exactly the same whether you are doing straight lines, geometric shapes, or complex designs. Start by double stick taping the piece to be inlayed into the substrate. Notice that the spikes are being done before the circle. This is because I want to circle to overlap the spikes. If I did it the other way, the continuity of the circle would be ruined. This concept is very important when creating the illusion of depth. The next few steps require a steady hand and patience. Lay off the coffee for a few hours. Or if you like a challenge, drink three cups before you start like I did. With an X-acto knife, carefully trace the outline of the inlay piece. Don’t rush this part. Start with a light touch just severing the top fibers. After a few passes you can increase the pressure and you will have a nice sharp outline.
Once the entire piece is outlined, carefully remove it with a putty knife. Now we need to make that outline a bit more visible. Simply grab your pencil and trace around the outline. Its ok to be sloppy. Then erase the line using strokes perpendicular to the outline. This will make sure the pencil residue gets loaded into the cut while cleaning the rest of the marks.
Now its time to do the routing. I generally use two bits. I hog out the material with a decent sized straight bit. Then I sneak up on the line with a 1/16″ bit. Yes, its THAT small!!! Set the router to cut just a bit shy of the thickness of the inlay material, strap on your helmet, and pray for mercy. A critical tool in this process is the hands-free magnifier. With good lighting, they are worth their weight in gold. Which is probably about $20. Coincidentally that is how much they cost.
Now unfortunately, no picture can do this part justice. With the 1/16″ bit, you really need to be careful when sneaking up to your line. I usually lock the router in the on position and put both hands on the base of the router. This gives me exceptional control. If you aren’t comfortable with this type of maneuver, then don’t do it. But I can’t think of any other way to get the control I need. A key point here is to watch the tearout of the router bit as you approach your line. The cool part is that as you sneak up to the line the little tearouts are clearly evident. But as soon as you kiss the line, the tearouts fly out leaving a nice clean line. That’s how you know you are there. Pre-cutting with the X-acto knife is what makes this possible.
Once the routing is complete, its time to test the fit. The piece will rarely drop right in. Usually the recess needs a bit of work. I use the X-acto knife and a chisel to hit the corner and clean up my edges. As a final touch, I sand a slight chamfer into the inlay piece. This ensures a nice tight wedged fit. Once all the pieces fit nicely, I glue them in place and clamp them down with some sort of caul. In this case, a piece of scrap ply does a fine job.
At this point, I took a lunch break. Turkey, swiss, on wheat. Light mayo. Yogurt (mixed berry). Back to the shop. Now we need to flush everything up. You can use a variety of tools for this. I like to use a block plane to remove the bulk, then I switch to a card scraper or a cabinet scraper. I finish up with a quick sanding. This is also a perfect time to hide any flaws or oopsies. Cyanoacrylate (CA) glue and a little dust from the offending inlay can give nearly undetectable repairs. A quick sanding at 150 and we are ready to add the circle part of the sun. The circle pretty much goes in like the other pieces. After hitting the circle with block plane and smoothing plane, I sanded the whole piece to 220.
As you can see, it is important to plan out the order in which you will apply the inlays. As mentioned before, I wanted to circle of the sun to be the “top-most” part of the image, so it goes on last. With my leaves, I will do one half of a leaf at a time. The leaf that is in the background is done first. The overlapping leaf is then done on top of the first leaf, giving the impression of depth.
And here is the final product with the sculpted padauk frame and several coats of lacquer.
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