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I'm really interested in discussing design and I very much value the thoughts of the regulars in the neanderthal forum. Not so much because they are interested in hand tool work but because this group seems to place a high value on craftsmanship and design. While I use hand tools more and more, it's a mean to and end. That end is to explore and create fine furniture. The design aspects -- the visual language -- is the more challenging half of the journey for me.
-- Dan Rode
"We are what we repeatedly do. Excellence, then, is not an act, but a habit." - Aristotle
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I agree, I think there is a lot of thoughtfully considered designs that come out of the regulars of this part of the forum.
I suppose for my own specifics I think I've distilled what I like down to that which evolved out of timber framing but does not divorce the structure from the facade. So, while I greatly admire 18th century peices and they do build on a structure very rationally, I like that which reveals the structure and maintains some rustic elements.
Bumbling forward into the unknown.
Sean don't make us beg- we NEEd more build picks! I love the curves and the "non-rectilinear" (not sure that's a real word) shaping of the posts! No one will confuse this for store bought-very nice!Originally Posted by Sean Hughto;2[I
373688]Huh? My 113, drawkives, spokeshaves, carving tools, bow saws, coping saws, etc. disagree strongly. Not to mention, that I don't think any of my work in the last five years has lacked a curve or ten. Here's a small trestle I'm presently inthe middle of - a few curves:[/I]
Best, Mike
[OP]
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Wonderful work Sean, and well above my current skill level.
[OP]
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I like 18th century desings done simply and in a casual, as you say perhaps even rustic framework. I think Queen Anne stuff often looks better without all of the carvings and ornate design elements.
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I just wanted thank you for this post. I've wondered the same thing but never really tried to put it in words. I like the look of Stickley furniture, but it sure seems to be designed to be cranked out in a factory. I'd love to get some idea of light embellishments I could do by hand that would give it a unique look. I'm talking about things like this that could be done with a rasp or gouge. https://www.toolsforworkingwood.com/...20Basic%20Work.
I'm not very good with design, so it is hard to see the end effect in my mind and I get to do so little, a piece or two a year, I don't feel comfortable experimenting.
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Mike, you are kind and I appreciate your interest. Most of what I make is sort of eccentric in its way meaning it's not to a lot of folk's taste. My parents used to take me to alot of auctions and antique sellers when I was a kid in the 70's. I was always drawn to the slightly more folk art or slightly more primitive or naive stuff. So I think that influences what interests me and what I like to make. I have no interest in mimicking stuff one might find at Ethan Allen. And I often don't make a plan in advance. I design as I go. On this, I got a couple really wide and pretty burl oak planks that I decided needed to be a table top. I then decided that I would make the support a trestle design. The oak top is oval. This is where the trestle is at - btw, the posts are octagons. I only have a couple other pics to give some other angles and details:
~ Do not seek to follow in the footsteps of the men of old; seek what they sought.
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Nice work Sean!
There is some irony there as the original intention of Arts and Crafts furniture was a return to what was hand made and thoughtfully designed. William Morris disliked the thoughtless design and schlock of the early industrial revolution which was very poorly mimicking period work. He designed with an inspiration in the medieval period. He thought that creative occupation was incredibly important to the human experience.
The last 175 years ~ of design have been a tug of war between hand and machine. The industrial revolution removed creativity from the process and with regard to wooden furniture it created a lot of poorly designed furniture, so then the arts and crafts movement pops up and the the value of quality and handmade is again revived, this is fallowed by early modernism which attempts to merge the two values with modern material. You see the extreme end of that in Danish modernism where the craftsman is very highly considered, works are thought out (sometimes for years) and they nicely incorporate machinery. Fallow by American Modernism where 'seating the most for the least' was the mantra, relying heavily on machine made, then it's pulled back to some handwork with the American Craft movement which shows a heavy Danish influence (Maloof) and heavy shaker influence (Nakashima). Nakashima originally working with mostly handtools and later moving toward machinery.
Contemporary work seems to be heavily focused on specific niche's, the standouts are not afraid to show period inspiration directly influencing their work, in my opinion.
Last edited by Brian Holcombe; 02-10-2015 at 9:03 AM.
Bumbling forward into the unknown.
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I think three things are really important to consider in any design, beyond the utility of the piece.
Do you have a particular favorite wood to work with?
Not all materials are appropriate for all applications.
How will you keep it clean?
Perforated, dowelled and ornate carvings will require dusting.
Who will use it?
Things built for kids need to be tough, builds for SWMBO should work every time - without fault.
The last thing I would say is that originality, even if it's a failure is to be encouraged.
The reason we admire Nakashima is that he did something novel.
Homage or nods to a great design are one thing entirely different than outright copies.
Most of my furniture has curved elements because that's the way the boards came to me.
Anyone that's buying lumber has the same opportunity.
Use the curves the tree gave you.
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I like making my own pulls too, but I mostly just use a knife to whittle them. I guess that is kinda Neander.
~ Do not seek to follow in the footsteps of the men of old; seek what they sought.
Contributor
Hah, that is great and practical advice, anything you build for SWMBO that doesn't function perfectly every time, she will remind you of it as often as possible (at least mine will).
I agree that outright copies should be avoided, I have a few pieces guilty of heavy inspiration but have used them as learning tool. They have become a leap off point for more independent work.
Even the greats found inspiration in their early work, some damn near copying. Mira's book points to some of George's early chairs as borrowing very heavily on a design by Charlotte Perriand. That doesn't shock me all together as his early influences in architecture are the work of Le Corbusier. Corbusier teamed up with Perriand for a great deal of his work with regard to furniture.
Compare early Maloof with Finn Juhl, compare Finn Juhl with ancient Egyptian...Wegner with Ming....ect
Bumbling forward into the unknown.
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One must add to that your personal ability both as a designer and as a builder.
Also the time you want to commit to the design/build. And time is probably a much bigger factor than most will admit. After all most of us here do this for fun/hobby. Even if you have the ability you may not be able to commit a year or two of weekends to some very involved piece.
Last edited by Judson Green; 02-10-2015 at 11:07 AM.
I got cash in my pocket. I got desire in my heart....
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Love the hand carved pulls, great work.
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