Credit: Thibaut Malet

Do you remember the last time you made something from wood just purely for fun? The type of woodworker you decide to be is defined by the things you choose to make. So while building fine furniture, and framing houses, and making cabinetry is important— it can become just another job. Bringing a sense of playfulness to these type of tasks is not impossible, but it’s a little more challenging.

There’s a lesson for all of us woodworkers to be learned from someone like French designer & woodworker Thibaut Malet. It’s hard not to look at his portfolio of work and smile. He designs and makes objects and toys that bring pure joy and delight.

Credit: Thibaut Malet

Malet graduated from Montpellier’s Ecole Supérieure des Métiers Artistiques in 2010, and began his career in the field of architecture. However he soon realised that sitting at a desk wasn’t for him. He missed the craft of woodworking. He had been surrounded by woodworking growing up with both his grandfather and father being carpenters. So he returned to his workshop to learn the woodworking craft. Today Thibaut and his brother carry on the family tradition.

Malet says his work is inspired by the small wooden things he made as a child. I can honestly think of no greater inspiration than the child version of yourself. Most of us made ramps for bikes and skateboards, small cars, toy swords, and various other things from wood as kids. Do you remember what that excitement was like, and how much fun you had? That is a life well lived right there.

Credit: Thibaut Malet

To many people there’s no good reason to make a wooden animals. But when they turn out as well crafted and beautiful as Thibaut’s are, it is well worth the effort. This kind of work brings joy to the maker as well as the end user. Not many people can say their portfolio of work features spinning tops, and wooden animals. If a three-year-old, and a thirty-three-year-old can appreciate your work equally, you know you’re doing something right.

Credit: Thibaut Malet

Why do we woodwork? Is it to keep our heads down, and work flat out all the while worrying about profit margins? Or should we embrace how much fun woodworking can be every once in a while and make stuff purely for fun? With the pressures and stresses that come with modern day life, the latter can be a challenge. But if we can’t do it every so often, what’s the point?

To find out more;

https://www.thibautmalet.com

https://www.instagram.com/thibautmaletstudio/

 

P.S. If you liked this article, you may also like to get free and practical tips on woodworking techniques, business growth, productivity, and more in your inbox each week (you’ll also get the “How to Make a Living From Woodworking” PDF guide). Simply SIGN UP HERE to get exclusive access to a wealth of knowledge.

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Credit: Reuben Daniel / Hannah Roche

Sometimes you come across the work of another woodworker and all you can do is; purse your lips together in that appreciative way; nod your head, and think to yourself— “Yess! Sweet work man. Respect.” This is pretty much what I did when I first saw Reuben Daniel’s work.

I didn’t realise it before I asked Reuben for the interview, but like myself, he comes from a carpentry background. Seeking to grow, Reuben set his sights on mastering his craft and furthering his understanding of design. He attended Sturt School For Wood where he competed his certificate IV in Furniture Design and Technology under the guidance of some of Australia’s finest designer makers.

Today Reuben turns out some top class work that is to be admired and learned from. I caught up with him recently to learn more about the man, and the work that fills his life.

 

 

Dónal Moloney: Reuben, thanks for taking the time to do this. I’m excited to talk to you, because I think your work is really outstanding. Maybe we can start at the beginning. How did you get into woodworking? Is it something you started straight out of school and had always wanted to do?

Reuben Daniel: After leaving school I had a few different jobs, I took pride in every job I had and prized myself on my work ethic, but it wasn’t until I started working with wood did I find my ‘thing’. I worked my way from builder’s labourer to carpenter’s hand to working as a carpenter… although I must state that I never had a formal apprenticeship. I was lucky enough to work for a man called Matt Fenn a master traditional timber framer who was the guy who taught me about wood, trees and traditional joinery. Matt gave me a copy of “The Village Carpenter” by Walter Rose, which started my fascination with craftsmanship and the people who were the master of their crafts. This fascination drove me to find ways to learn more about crafting out of wood which led to me enrolling at a furniture design and making school where I was taught by some of Australia’s finest furniture makers. I graduated realising that that was the beginning of a my path as a designer maker.

 

Credit: Reuben Daniel / Hannah Roche

 

DM: I’m intrigued by your business and how you market it. How does someone who has no website* (that I can find!) bring in work in this modern age!? You have a healthy Instagram following of nearly 5K, and your work speaks for itself when people see your stuff on your feed. But you rarely ever use hashtags! How do you put yourself out there so that people can find you?

RD: My business is young and I am in the process of getting a website* made and creating a client base. I recently completed a small business course and created a business plan which was a necessary eye opener to the realities of running a small business. Learning to market yourself to sell your work to bring in work is something I would prefer not to do but know I have to do it to keep the dream alive. Instagram is great for that, having good pictures is key… half of my photos were taken by a friend who is a photographer which has really helped my work get exposure on Instagram.

I have been lucky enough to have had a good run of commissions and I have struck up a good relationship with a local woodworks gallery/shop to sell some items through but I am realistic, I may have to pick up some construction work here and there to pay the bills which I am happy to do if it enables me to chase the dream of becoming a master craftsman designing and making beautiful things.

 *Reuben’s new site is now live at; https://www.reubendaniel.work 

 

Credit: Reuben Daniel / Hannah Roche

 

DM: I’d like to remind you of something you said recently; “Details. It’s easy to obsess over them… maybe no one else will ever notice them in the end, but I like to think the little details combined can really elevate a design. Perhaps it’s a sign that the designer/maker cares.” It’s easy to see that you care deeply about your work. Your Dansk Chair for example displays the qualities of someone who cares. Do you find it difficult to have patience for the small details while trying to balance the fact that you are a small business owner and your work needs to be made quickly and efficiently in order to make a living?

RD: I am not an inherently patient person but like most people when I care about something I make time for it and this is the approach I take towards my work because I find it fulfilling. Obviously there will always be limitations like money and time… but I don’t think there is a right or wrong way of doing things as long as you care.

 

Credit: Reuben Daniel / Hannah Roche

 

DM: Tell me a little about your model making exploits. It looks like great fun! How does this help you with your process of designing furniture? Is it something you have always had as part of your process?

RD: This is something I learnt in my formal training at Sturt School for Wood. The tutors there where fantastic and taught us model making as part of the design process, I guess it’s the old school version of CAD or SketchUp neither of which I know how to use.

I find it an important process and I often make a lot of changes to the design after I have made the model, it also lets you do a run through of the construction process and allows you to get a feeling about the visual balance and proportions of the piece. I don’t always make models though, sometimes a scale drawing is enough. 

In essence it is a form of play and through play comes creative opportunities.

 

Credit: Reuben Daniel / Hannah Roche

 

DM: What does a typical day look like for you at the moment?

RD: I work out of a shared workshop which is a bit of a creative hub, the workshop is owned by sculptor and furniture maker Leon Sudubin who is a generous man and an inspiring mentor. Then there is captain Elise Cameron-Smith miniature boat builder, sculptor and furniture maker and Paul Chilton who is a designer maker of high-end fine furniture.

So it is a creative space where we all bounce ideas off each other. I generally work 8 or 9 hour days more or less if I have a deadline or the surf is good. I get excited during the making process and often get swept up the momentum, the days pass by quickly.. it’s quite the opposite during the design process though, I drive myself a bit mad until I get it, the design and my cutting list, and then  I’m off making again!

Credit: Reuben Daniel / Hannah Roche

DM: How do you define success? And do you consider yourself successful?

RD: Doing something that you feel is meaningful and doing it as best you can. That’s success to me. Do I consider myself successful? At some things but most things are a work  in progress and there are always things to improve!

 

 

DM: What advice would you give a young Reuben Daniel embarking on his woodworking career?

RD: Be authentic, don’t take yourself to seriously and be ready for opportunities!

 

Credit: Reuben Daniel / Hannah Roche

 

QUICKFIRE:

DM: Who is your favourite woodworker/designer/maker from past or present?

RD: I don’t have just one! Borge Mogensen, George Nakashima, Antoni Gaudi come to mind right now. 

 

DM: What are you not very good at?

RD: Administration, it’s gross and we shouldn’t have to do it.

 

DM: What is the one part of your job that you enjoy most?

RD: Any time I get to work with my hand tools is enjoyable.

 

DM: What tool purchase turned out to be your best investment?

RD: Festool sander or my Lie Nielsen no.5

 

DM: What’s your favourite tune to blast out in the workshop?

RD: You’re Dead by Norma Tanega… I don’t know any of her other music but this song is on repeat at the moment!

 

 

THANKS

I’d like to thank Reuben for his thoughtful and insightful answers. Chasing his dream of becoming a master craftsman, while designing & building beautiful things for a living, is a noble and lofty goal. I love how he is focused on this goal but yet realistic enough to realise that there may be times when he needs to do some construction work “to pay the bills”.

There are lessons for all woodworkers here in the realities of running a small business,  being authentic, and of course not taking yourself too seriously. I know I’ve taken a lot from hearing his thoughts.

 

To find out more;

https://www.reubendaniel.work 

https://www.instagram.com/reuben__daniel/

 

P.S. If you liked this article, you may also like to get free and practical tips on woodworking techniques, business growth, productivity, and more in your inbox each week (you’ll also get the “How to Make a Living From Woodworking” PDF guide). Simply SIGN UP HERE to get exclusive access to a wealth of knowledge.

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Credit: Reaves Woodworks

I remember my first day on a building site as an apprentice carpenter. I spent the morning stacking timber onto a makeshift bench for my boss. He then cut these into uprights for stud partitions in a house. Each offcut was no more than four inches in length. But they were all headed for landfill. I remember feeling a pang of guilt that I was contributing to this waste. I’d never thought about this when I signed up to be an apprentice. A lot of woodworkers have this awareness that wood is to be cherished. And anything that can use up waste and prevent more landfill is to be encouraged.

I think this may be one of the reasons that I’m drawn to skatewood. This process creates objects that are truly beautiful, from something that would otherwise go to waste. One of my favourite makers that works with this material is Larry Reaves.

Larry is a father, skateboarder, and woodworker based in Columbia, S.C. He always seems to get the colour and pattern just right, and turns out some amazing work. I caught up with him recently to find out a little more about his story, and to get some insight into his woodworking.

 

 

Dónal Moloney: Larry, thank you kindly for your time in answering these questions. Your work really stands out to me. In particular the stuff you do with the recycled skate decks. The patterns you achieve always look so elegant and well designed. What was the first piece you made with recycled decks? Where did the idea spring from? What is it that you like about working with this particular type of material? And what are the challenges of working with it?

Larry Reaves: Man, I appreciate the kind words for sure.  I’m not the first to use skateboards in my work by any means, but I feel I have a certain “style” to it if you will.  I think the first thing I made out of old boards was a tap stand for homebrew dispensing, this was probably around 2010.  From there I discovered the Japanese artist Haroshi, who makes the most amazing sculptures from old boards.  Another huge influence at this time was George at Iris Skateboards. George makes skateboards from recycled skateboards, pure genius. So I guess around 2011 I started gathering boards from the local skateshops, then I just started tinkering with layouts and different glueups. 

What I like about working with “skatewood” would be a few different things for sure. I’m saving stacks of useable material from going to a landfill each time I gather old boards. I know that it really stands out as something different in the woodworking world, which to me makes me smile when other woodworkers are stumped by the bright colours in my work. The material can be difficult to work with, you’re basically dealing with laminated hard maple that could have cracks and other hidden flaws.  So milling and turning can be tricky at times.

 

Credit: Reaves Woodworks

 

DM: I love how you show your work, particularly on Instagram which is where I came across you first. Lots of us woodworkers can be guilty of jamming in loads of hashtags and trying to “promote” more than to simply “share”. But with you, it seems like you have a nice, laid-back approach. The style of your posts is a short comment, one or two hashtags, and then you often just let the work speak for itself. When you started Reaves Woodworks, was this a conscious philosophy you had? A type of “build it and they will come” approach, where you just put your work out there into the world to share what you do as opposed to going for the “ hard sell”?

LR:  That’s pretty funny you notice how I post! I really like the Instagram platform, I think I switched from a personal to a business account when they first started offering it a few years back.  One thing that annoys me on other accounts, is when a post description takes up more room than the photo.  I was a photographer earlier in life, so my draw to Instagram was that is was photo driven not so much the verbiage. So I guess my posting style is just me being a stickler for a good photo with a brief description.  I’ve met some really great people on there, who have influenced my posting as well as how I do business. Shout out to Andy Vasquez @andyvasquezfurniture and Chris Patton @pattondesign for inspiring and being great friends!

 

Credit: Reaves Woodworks

 

DM: It’s great to see the pictures you post of your kids out in the shop with you, picking up the tools and learning to develop their hand skills. Is this something you actively try to encourage, or have they just picked it up and developed an interest from watching you?  What would you like the legacy of Reaves Woodworks to be? What would you like your kids to remember about your woodworking career?

LR: Yeah kids are awesome.  My wife and I really try to instil good values and self esteem in our children.  Having them in the shop is cool, no pressure really, they mostly like to make things from my cutoffs.  Occasionally they’ll ask what tool does what and I’ll let them have a go at it.  So I think they see Dad or Mom working in the shop and want to “help” when they can.  It would be super cool to see my children be craftspeople later in life, but that’s really up to them.  Hopefully they’ll have fond memories of playing in sawdust! 

 

Credit: Reaves Woodworks

 

DM: What does a typical day look like for you running Reaves Woodworks?

LR: It can be all over the place at times. Getting kids out the house is first and foremost! Some days might be doing design work/quotes for jobs on the computer. Others would be straight into the shop to crank out orders, or work on what ever was left off the following day.  Usually a post office run! 

 

Credit: Reaves Woodworks

 

DM: How do you define success in life and in work? Do you consider yourself successful?

LR: I suppose success to me is a happy and healthy family, in that aspect I am successful.  Always wanting the business to grow for sure, I always enjoy the bigger jobs!

 

 

DM: What advice would you give a young Larry Reaves embarking on a woodworking career?

LR:  Oh man ha! Maybe just don’t stress about money and such, things always seem to fall in place.

 

 

QUICKFIRE:

DM: What was the best tool you bought for under $100?  

LR: Harbor Freight 1” belt sander

 

DM: What are you not very good at?  

LR: Drawing

 

DM: It’s 9pm on a weeknight, what are you doing? 

LR: Couch with the wife, glass of wine.

 

DM: What is something you haven’t done yet that you would like to do? 

LR: Segmented bowls with skatewood

 

DM: What’s your favourite tune to blast out in the workshop?

LR: Run the Jewels – DDFH

 

THANKS

Huge thanks to Larry for taking the time to share a little more about his work with me. I love his style of woodworking and his philosophy surrounding the use of his materials. It’s a very different type of woodworking to the normal work that many woodworkers do. But it is beautiful and contemporary. Working with certain materials such as skatewood has helped Larry to express his creativity and personality. And this is something that many woodworkers aspire to.

To find out more;

http://reaveswoodworks.com

https://www.instagram.com/reaveswoodworks/

 

P.S. If you liked this article, you may also like to get free and practical tips on woodworking techniques, business growth, productivity, and more in your inbox each week (you’ll also get the “How to Make a Living From Woodworking” PDF guide). Simply SIGN UP HERE to get exclusive access to a wealth of knowledge.

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Credit: Anna Gregory Design

One of my fondest memories from when I was a child was the day I went to work with my dad.

I would have been around eleven, and on a mid-term break from school when he asked me would I go with him the next day. I’d like to think I jumped at the chance to help him. But I probably replied something sulky like; “Yeah. I suppose. Whatever.”

My dad was an architect. Still is. We were going to survey a green field site where a new government building was to be constructed. My job for the day was to stand in various locations holding a red and white staff, while he recorded the site levels using a dumpy level. It only took a couple of hours of my skinny little legs stumbling around the rocky and wet field before we were done. It was pretty boring to be honest. It didn’t exactly inspire any notions in me to become an architect. But it was a great day. I just really enjoyed the two-hour road trip, being taken out for lunch, and spending time with my dad.

I think it’s because I love and respect my dad so much that I have some sort of underlying respect for all architects.

I didn’t even know Anna Gregory was an architect when her work grabbed me. Based in central Kentucky, she is a maker focused on furniture, interiors, and commissioned art pieces— with a masters in architecture to boot.

Credit: Anna Gregory Design

One day while perusing the explore tab on Instagram, one of her wall screens jumped out at me. Instantly clicking into her profile, I quickly grew to admire her small portfolio of sublime work.

I have a background in graphic design as well as woodworking. I assumed the way she used pattern and shape was speaking to my graphic design sense. Maybe it was. But I purely loved the fact that it was simple, refined and elegant.

It’s hard not to appreciate the beautiful simplicity and geometric patterns of her wall screens. She has mastered how to create these patterns in an elegant way using gorgeous hardwoods. The graphic designer in me admires them greatly.

In contrast, I’m not sure what part of me connects with the organic shapes of her tables and boards. But they are wonderful. Organic shapes are a very difficult thing to get right. I know this from experience. Anna uses a type of avocado shape for her tables that just beautifully complements the style of hairpin leg she uses.

Credit: Anna Gregory Design

Recently, I drove past the place where an eleven year old boy had once spent the day tripping over rocks and slipping on wet grass. It’s no longer a vacant, barren site. It is a simple, refined, and elegant building.

Architecture, like woodworking, is a subjective thing. We all have our own personal influences and tastes— and I know where mine came from. 

You don’t need to have some sort of sentimental respect for architects to appreciate the work of Anna Gregory. Her work is top class and speaks for itself. 

But if spending a day grazing my ankles on a rocky site contributed to my being able to appreciate it, then so be it.

 

To see more about Anna Gregory visit;

https://www.annagregorydesign.com

https://www.instagram.com/anna.gregory.design/ 

 

P.S. If you liked this article, you may also like to get free and practical tips on woodworking techniques, business growth, productivity, and more in your inbox each week (you’ll also get the “How to Make a Living From Woodworking” PDF guide). Simply SIGN UP HERE to get exclusive access to a wealth of knowledge.

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It was a beautiful sunny Wednesday in April 2001 when I decided to embark on a woodworking career and become a carpenter.

As I left the house for university that morning, I had no idea I was about to quit. I sat in my usual spot in the massive, old, lecture hall. I settled into the aisle seat, four rows from the back, ready to soak up the information that was coming my way. Fifteen minutes into that sociology lecture — I began to daydream. I stared out the window at the fine weather and wished I was spending the day on a jobsite, just as I had done for my summer jobs. In that moment, I longed to be outside working with my hands instead of being bored to tears in a cavernous lecture hall. I didn’t think too hard about what I did next, it was just a gut feeling. I didn’t even put my textbooks back in my bag. I just picked up my now empty backpack, shuffled sideways out of my seat, walked out the door, and never returned. I gave up a university education complete with sports scholarship to become a woodworker.

Seems fucking crazy to a lot of people.

I often think about the decision I made on that day. I was reminded of it recently while talking to a friend. We were discussing our respective careers. He hates his job and would love to start his own business. His business idea is really good. He’s an intelligent, hard working guy. And I think he’d be successful.

“So quit and do it.” I encouraged.

“No!” he blurted.

“Why not?” I insisted.

“I’ve got to play it safe man. I don’t want to pour everything I’ve got into this for it to fail, or not go anywhere”.

I didn’t get it. Pouring everything you’ve got into something is one of the best things you can do. The potential to be free from your boss and your job, and to create something amazing is worth it.

It is worth it. Isn’t it?

When I left university to start a carpentry apprenticeship I loved it. We framed and roofed houses. We did all the finish and trim work. We did everything from the very start to the very finish of a build. I learned so much, and was given tonnes of responsibility. The summer months were the best. Working outside in the fresh air. Enjoying the warmth, and enjoying the work. It was as far removed from a university education as you could get. But it was one hell of an education. I learned everything that the carpentry trade involved, but I also learned to deal with egotistical contractors, and angry, stressed foremen. I learned to deal with private customers and I learned how to price work, how to schedule, and how to operate efficiently. 

I was young, I was learning, and I was earning. A long and happy career of carpentry, and making a good living stretched out ahead of me.

But then…

I grew to hate it. Wait, what!?

As seems to happen to me periodically throughout my career I got bored. Boredom turned into lethargy and all of a sudden I wasn’t motivated to work as well as I could. Apathy towards my career turned to hatred. I dreaded going to work.

Why the hell didn’t I stay in university and choose a different career?! Maybe I should have played it safe. Who in their right mind walks out on a university education to be a carpenter?!

The other day I was printing some photos of the kids for my wife. I keep them on a hard drive with all my other personal stuff, including thousands of images of the work I’ve done over the years. I cringed as I double-clicked on the first folder. I was thinking of all the mad shit I’ve made, and all the hair-brained woodworking businesses I’ve had. But as I started to browse through the photos I realised I wasn’t cringing. I was proud of the work I had done. Some of it was shit, but some of it was really good.

The images on my hard-drive charted a career, and revived memories of people I worked with. It reminded me of the laughs we had together. I chuckled to myself remembering the times we would wind up the apprentices. I re-lived the elation I felt when my businesses were flying high and the anguish I felt when I failed and had to move on to the next thing. 

And that’s the point. There’s always a next thing. You don’t have to play it safe. You can explore various avenues for your career. You can go all in and roof houses, make kids furniture, make wooden iPhone cases, make marketing material for brands, design commercial joinery fit-outs, make cabinets, build furniture — you can do whatever the fuck you want.

Because what’s the worst that can happen? If any of my woodworking business ideas don’t work, I won’t starve. I’ll just have to accept failure and get a carpentry or joinery job somewhere. That’s really as bad as it can get for me.

So ask yourself — what’s the absolute worst that can happen? It’s probably not as bad as you think.

It’s not just about having a woodworking career you can be proud of, but of having a life you can be happy with. Going all in is the only way I know how.

P.S. If you liked this article, you may also like to get free and practical tips on woodworking techniques, business growth, productivity, and more in your inbox each week (you’ll also get the “How to Make a Living From Woodworking” PDF guide). Simply SIGN UP HERE to get exclusive access to a wealth of knowledge.

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The Festool Domino is a great tool. I’ve honestly never spoken to anyone who is unhappy with a Domino.

If you’re not versed in what a Festool Domino is; it’s a hand-held power tool that allows you to cut mortises in your work piece so you can join your pieces using floating tenons (or dominos as Festool likes to call them).

The only apparent problem with a Festool Domino is it’s price. It can set you back anywhere from $900 – $2,000 depending on whether you go for the DF500 or the XL DF700, and also depending on what accessories you get with it. (Check the current price on Amazon here).

So for many woodworkers, particularly hobbyists, but also pros who only need this type of tool occasionally — this price tag is hard to justify.

There are some other loose tenon systems on the market such as the Beadlock which will give you a similar end result. But these systems tend to be a jig that are made to accompany your existing tools like your drill.

If you are looking for a stand-alone, handheld power tool that allows you to cut similar joinery into wood, I have only found one low-cost alternative. That is the Triton Duo Dowel Jointer TDJ 600.  I purchased this tool and paid around $200 for it. You can check the current price here: (Amazon link).

If you are on a budget and cannot justify the expense of a Festool Domino, then the Triton Duo Dowel Jointer may be an option for you. But be warned, it may take some modification on your part before you use it. Also be warned, it is not really a comparable tool to a Domino. It does a slightly different job. It cuts dowel joinery as opposed to loose tenon joinery. But some woodworkers may find it useful. Take a look at the video review below. You may decide it’s worth your while to modify, even though the tool isn’t perfect out of the box.

I had a very similar personal experience to that of Chris from Sharp Edge Woodworking in the video. I had to modify it to get it to work accurately. I don’t have the need for a Festool Domino. I would only use it very rarely. But for a low cost, and some slight modification, I have a tool that does an extremely good job for my occasional use.

The Triton TDJ 600 appears to be a copy of the original Mafell DD40. And to be honest the Mafell looks like a far superior tool to the Triton. Its reviews are good. It looks accurate out of the box, and has some extra features such as location stops on the face plate. But it is a similar price point to a Festool Domino in the $1,200 – $1,300 range. So that would bring you back to square one!

The Triton TDJ600 isn’t perfect, and won’t be an option for everyone. But if you are looking for a low cost alternative to a Domino and don’t mind investing some time in modifying the tool to get it accurately set up — the TDJ600 suddenly becomes a viable option.

P.S. This is not an ad. I don’t generally do tool reviews or sponsorships, and I have no affiliation with Triton, Festool, or Mafell. I bought the Triton tool knowing its deficiencies, and I still find it useful. I thought I’d share my experience to allow you make your own decision. However, in full disclosure- if you use the Amazon links to buy any of the items, I will receive an affiliate commission from Amazon.

P.P.S. If you liked this article, you may also like to get free and practical tips on woodworking techniques, business growth, productivity, and more in your inbox each week (you’ll also get the “How to Make a Living From Woodworking” PDF guide). Simply SIGN UP HERE to get exclusive access to a wealth of knowledge.

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If you’re considering buying or making plywood chairs, you definitely need to see these six great examples.

Plywood is such a versatile material. It is strong and stable, with very little wood movement due to it’s cross-grained layers.

It can be cheap to buy, although if you go for higher-end, furniture grade plywood — the costs can begin to add up. That said, furniture grade ply will give you a fantastic end result.

Here, we’ll take a look at six stunning plywood chairs. Some are by iconic designers, while others were designed by lesser known, but extremely talented people.

If you’re considering a plywood project, then one of these great designs could be exactly the thing to get your creative juices flowing.

6 Plywood Chair Designs You Should Know About

1. DCW PLYWOOD CHAIR — CHARLES & RAY EAMES

Designed by Charles & Ray Eames in 1945, the duo had spent many years experimenting with new processes for optimizing the way three-dimensionally moulded plywood fits the contours of the body. They produced designs with plywood shaped in a way that hadn’t been seen before. Comfort and functionality was at the forefront of their thoughts when they designed this chair. However it is also a beautifully designed chair. It is simple, clean, and elegant. The DCW has become a design icon.

Credit: Vitra

2. P9L LOUNGE CHAIR — ALEJANDRO PALANDJOGLOU

The P9L Lounge Chair has subtle nods to the plywood designs of the Eames’. I consider this to be more like a modern day version of the DCW (above), and one that is accessible to all. The designer Alejandro Palandjoglou admits as much when speaking about the piece; “One of my favorite chair designs is Eames LCW molded plywood lounge chair. It’s a design classic and the fine detailed surfacing work is incredible as well as comfortable. It has been a source of inspiration for quite a lot of my furniture and in this case while using a completely different technology I was able to resemble his masterpiece.” Made using a CNC Router, the plans are available for download on instructables.com. It would be far easier to have a CNC machine cut one of these chairs for you than to try to mould something like the Eames DCW. It could even be made without a CNC if you so wished.

Credit: Alejandro Palandjoglou

3. SHELL CHAIR CH07 — HANS J. WEGNER

It’s clear that this design was ahead of its time. When it was released in 1963 it wasn’t exactly an instant success. It took until 1998 when it was reintroduced before it gained the widespread acclaim it deserves. Whether this is a plywood design or not is up for debate. The elements are continuous laminated hardwood plys, giving it a flowing lightness. The three-legged design makes for a very stable chair with a distinctive look. It certainly has a unique style, with a warm inviting shape that makes you want to sit into it.

Credit: Carl Hansen

4. MODÈLE DÉPOSÉ — TIM DEFLEUR

Made from simple CNC machined panels, these designs are simple, modern, and elegant. Modèle Déposé is a collection of three different shapes of chair, a console, and a coffee table. This simplicity looks easy to design, but constantly stripping back to achieve these refined forms takes perseverance and patience. The way the chairs slot together so simply are a lesson to us all in how simply furniture can be made. Many woodworkers, myself included, can have a tendency to over complicate what we design and make. Tim Defleur has given us a lesson in simplicity and elegance.

Credit: Tim Defleur

5. SPLINE CHAIR — UNTO THIS LAST

This method of chair construction has gained in popularity with the new found affordability of CNC machines. It is now realistic that you could find some sort of CNC technology in any woodwork shop you walk into, regardless how small. There has been a quiet revolution in digital fabrication in recent years. Companies like the London based Unto This Last are pioneering a new sort of manufacturing business that can use technology to produce beautiful and cost-effective designs. This type of chair lends itself very well to digital fabrication. Two interestingly shaped sides provide the framework for ribbed laths which make up this charming plywood chair design.

Credit: Unto This Last

6. RIBBE CHAIR — PLYWOOD PROJECT

Okay, so this chair isn’t exactly going to win any design awards for innovation, but it is notable that a company should choose to manufacture all their furniture products from plywood. Polish company Plywood Project are behind the “Ribbe Chair”. This is  a very simple everyday chair. You would often see similar style designs made in some form of softwood. However, using plywood means that components can be more easily CNC machined to produce a more cost effective chair.

Credit: Plywood Project

CONCLUSION

Plywood is an incredible material to design and work with. The possibilities for creativity from a simple 8′ x 4′ sheet are endless. Cabinets and tables seem the obvious thing to make from plywood, but as we’ve seen here, a little imagination can go a long way to produce stunning chair designs. Hopefully these six great examples will spark your inventiveness if planning your very own plywood project.

 

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Bowties, Butterflies, Dutchmen, Keyed Splines — call them what you will. They look amazing, don’t take too long, and are relatively easy to do.

The whole point of these small inlays is to stabilise your work piece when it has a crack in it. You can buy router templates that will allow you to do these perfectly and symmetrically. But most will probably agree that the organic, freeform shape is more interesting and satisfying.

OKAY, LETS NOT COMPLICATE IT…

1. Choose your stock and mark out your bowtie. It doesn’t matter what the shape is. It just needs to be long grain crossing short grain to shore up that crack. Bowties can be anything from less than half an inch to a few inches thick. Depends on the work piece you’re trying to fix.
2. Cut your bowtie. Cut close to the line and then quickly clean it up with a chisel. To cut, use a bandsaw or hand saw, or whatever you’re comfortable with.
3. Lay your bowtie across the crack on your piece. Sticking it down with some double sided tape helps.
4. Mark around your bowtie with a sharp knife — not a pencil. This breaks the grain and is more accurate.
5. You can hog out the majority of the material with a router, and then chisel back to your knife line for accuracy. Nothing wrong with doing the whole thing with a chisel, it’ll just take longer. Make your depth slightly shallower than the depth of your bowtie.
6. Carefully test fit, but don’t push it in — you won’t get it back out. Just offer it up and see if there are any spots you need to adjust.
7. Apply glue and gently tap it in. Leave to set.
8. Clean up with a plane or sander. That’s it!

Take a look at a few of these videos below, if you need some more explanation.

Credit: Matt Cremona / YouTube

Credit: Samurai Carpenter / YouTube

Credit: John Malecki / YouTube

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2 min read

SPLIT

This topic can split people into two very distinct groups. On one side you’ll have people who believe it is just plain wrong to use other people’s designs and try to pass them off as your own. On the other side some people think everything is fair game, and if they can make some money by copying a design, making it, and selling it to a client— then they’ll do it without hesitation. Most furniture doesn’t have a patent or copyright, although some do. If you’re not breaking any law, you’re not doing any thing wrong… right?

Right?
 

NO NEW IDEAS

I stand somewhere in the middle on this issue. People have been designing and making woodwork for centuries. It’s extremely difficult to be completely innovative. There are very few completely new ideas. I am a product of my environment. I am a product of all the things I have seen throughout my life. If I sit down to design a piece, I am influenced by every piece of woodwork I have ever seen. I might pull an element from one piece and a couple of elements from another to make up what I consider to be a new piece. The only way I could be completely original is if I had spent my life in a completely white room and not had any outside influence. Then if I designed some furniture it would be completely original. And probably white — so I guess there’d some influence.

INNOVATION

But my (presumably white) piece probably wouldn’t be very good. By drawing inspiration and influence from other designers and makers, you’re constantly trying to make a small improvement or innovation. You’re standing on the shoulders of giants so-to-speak. So your work will more often than not end up copying other work whether you realise it or not.

BLATANT COPYING

I’m also 50:50 on the websites that sell exact copies of an Eames Lounge Chair for example. They completely rip off the design and sell it for a fraction of the cost it would be to get one from Hermann Miller. On one level this seems unscrupulous. But on another level I wonder whether the vision Charles & Ray Eames had for their designs aligns with how it exists today. Was their intent to be a premium design where only the wealthy could afford one of their chairs? I’m not so sure. Would they have used moulded plywood for example if their intent wasn’t to design a comfortable beautiful lounge chair for everyone? I’ll never know.

STIFLING CREATIVITY

By producing exact copies of Eames Lounge Chairs, or Klassen River Tables, or Maloof Rockers, or Nakashima Conoid Chairs, we probably do ourselves a disservice. We don’t give ourselves a chance to be creative or grow and develop our craft. I know I’d much rather make something beautiful that I created and developed myself, than a direct copy of someone else’s work. I feel like this allows me to grow as a person, not just as a woodworker.
 

CONCLUSION

Like all things in design (and life in general!) there are huge grey areas. If you’re completely on one side and see this as a black and white issue maybe it’s time to chill and try to see other points of view. Maybe you copy designs and see nothing wrong with it. Maybe you’ve had your designs copied. Where do you stand? I’d love to hear what you think in the comments, or on social.

 

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I love a nice light fixture where wood has been incorporated, or made the key material. It makes it seem warm and inviting. As a woodworker it’s fun to try these projects for yourself. Here’s five great ones to inspire you if you’re considering embarking on your own wood lighting project. Enjoy 🙂

 

1. HOURGLASS TABLE LAMP — SMILOW DESIGN

Classic form. Beautiful walnut woodgrain base. Vellum and birch shade. This is a sweet lamp.

Credit: Smilow Design

2. CERNO — CALX

Every time I think of wood being used beautifully in lighting I think of Cerno. They’re so good at what they do. They specialise in wood lighting fixtures. Go check out their work, it’s amazing.

Credit: Cerno Group

3. HEAD & HAFT – QUAKE

Named quake because when the light bounces off the hand carved, textured underside of the lamp face it appears to tremble or “quake”. This is very intelligent and creative use of material and texture.

Credit: Head & Haft

4. ROSS GARDAM – OAK PENDANT

Simple and sophisticated. It’s a theme for most of these examples. It most certainly applies here. An interesting intersecting hole elevates these pendants from good to great.

Credit: Ross Gardam

5. ALEX ALLEN STUDIO — 2×4 PLUS

“An iconic geometry made from common lumber”. But there’s nothing common about this pendant. It’s original concept may have emerged from the common 2×4, but this is as far removed from a 2×4 as you could get. Class.

Credit: Alex Allen Studio

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