Feb 28, 2019 admin Uncategorized

Colourful motifs and abstract patterns

Mediterranean tiles

Colourful motifs and abstract patterns…

Inspired by traditional Moroccan tiles our laminate Mediterranean collection makes a practical flooring option.

The influence of Morocco’s position in North Africa, boarding the Mediterranean Sea and the Atlantic Ocean, is prevalent through its local art and design. With cobalt and saffron being reminiscent of the of the oceans and sweeping deserts. While the epic mountain ranges and ancient medinas have inspired travellers for centuries.

Originating in Morocco in the 10th century the original tiles were in subdued hues of white and grey. The pattern features geometric triangles, diamonds and delicate fauna. This is due to the representation of living beings being increasingly prohibited in Islamic tradition from the 9th century. As the style developed rich colours soon became the most popular option. There was an emphasis on cobalt and saffron being used as kitchen and bathroom walls.

The patchwork appearance of the traditional hand laid tiles is replicated in our flooring through the misaligned pattern and grout. This will also ensure that your floor will be unique to your home once laid. Each laminate piece is finished with a smooth surface to give a sleek look, reminiscent of natural stone tiling.

At the centre point between east and west, north and south Morocco’s architecture and interior design are influenced by its European and African neighbours. This results in amazingly vivid prints and patterns, with a strong focus on feature walls and mosaic tiles.

Moroccan decor is perfect for adding bohemian flair to your decor. The bright and carefree style is perfect for homes in the United Kingdom as it adds much-needed colour during winter. The use of lively colours, intricate details and texture can be found throughout walls and floors in Moroccan interior design. This is perhaps one of the easiest ways to introduce Moroccan style elements to your home. Think mosaic patterns, lantern-style lamps and textured throw pillows.

View our full Meditteranean collection now

This post appeared first on https://www.discountflooringdepot.co.uk

Jan 24, 2019 admin Uncategorized

California black oak

California black oak (Quercus kelloggii) is in the red oak group of species, but its source of supply (It grows primarily in northern California and southwest Oregon), physical properties (It is weaker than most red oaks, but machines better), appearance (It is not as red, but has tighter grain), and processing differences (Drying is difficult) merit a special discussion of this species.

The tree reaches maturity in 90 years or longer. At that age it is 50 to 100 feet high and 14 to 40 inches in diameter; the larger sizes are when the tree is growing on good sites. On poor sites, the tree is quite scrubby in appearance. The acorns were widely used as a food by Native Americans, often being dried and ground into flour. Unfortunately, many of the California black oak trees have died in recent years due to a fungal disease, commonly called “Sudden Oak Death.”

This species of red oak, also called Kellogg oak and western red oak, and in its growth area is called black oak, is tremendously underutilized. I believe that much of the reason for this underutilization is that too many people tried to use softwood drying equipment and techniques to dry this very refractory (which means prone to surface checking and cracking) wood. (California black oak is much more likely to check in drying than northern and Appalachian red oaks.) The drying results were disastrous. However, with proper “Southern red oak” drying procedures and conditions, this oak can be dried without much defect development.

Another reason for underutilization is the scarcity of NHLA trained graders in the area; the NHLA grading scheme is one of the marketing keys for any hardwood.

Finally, the typical mill supply of logs produces 38 percent No. 1 Common and Better lumber; this is marginally low and will require good markets for the lower grades in order for the sawmill to be profitable. In fact, some mills have developed proprietary grades for so-called “low grade” material; in reality, low grade is a valuable raw material for many manufacturers. Oregon State’s Wood Innovation Center can often provide technical assistance with processing this species.

The wood makes excellent lumber that is well suited for furniture, cabinets, and flooring. Developing special grading rules or adjusting the standard rules may prove to be rewarding.

Because there is not a well developed market, buyers must contact potential sawmills personally. Then try a few sample pieces of lumber that can be tested. Appreciate that most sawmills do not carry an inventory of this species, so may not be able to provide needed quantities year round. You may have to use lower grades than you are used to, or assist in locating users of lower grades if you only take the higher grade.

Processing and characteristics

Density

This is a fairly heavy wood, but is slightly lighter than eastern red oak. The green specific gravity (SG) is 0.61; at 6 percent MC, the SG is 0.67. The weight, when dried to 6 percent MC, is 39 pounds per cubic foot or 3.3 pounds per board foot.

Drying

As mentioned, the wood dries slowly and with a high risk of checking and honeycomb. Slow shed-air-drying with plastic mesh curtains to avoid excessively rapid drying conditions is essential. Kiln drying green-from-the-saw is also acceptable quality-wise, but is too expensive time-wise. End coating is also required to prevent end cracking. Other proper drying practices are essential. Most suppliers will sell only KD stock, rather than green. It is critical to check incoming stock for preexisting checking and honeycomb before accepting a load.

Staining of the sapwood from fungi and enzymatic oxidation of the sugars is common, especially when drying is too slow. Iron stain (a reaction of iron and tannic acid) is also seen.

Shrinkage in drying of 9.7 percent is lower than for eastern red oaks.

Gluing and Machining

This wood machines well, better than eastern red oaks, although being higher in density, it does require sharp tools and proper machine set-up to avoid chip-out. Avoid drying the lumber under 5.5 percent MC.

This wood, as with all higher density species, glues with considerable difficulty. Surfaces must be freshly prepared and flat to achieve satisfactory joints with conventional adhesives.

Stability

Once dried, the wood will move substantially, although less than eastern red oaks, if there are large RH changes or if the MC is not matched to the environment’s EMC conditions. A typical final MC range is 6.0 to 7.5 percent, unless used in a humid location. It takes a 4 percent MC change to result in 1 percent size change tangentially and 7 percent MC change radially.

Strength

Due to its moderately high density, California black oak’s strength and stiffness is high, although slightly weaker than eastern red oaks. For dry wood, the ultimate strength (MOR) is 13,000 psi and hardness is 1100 pounds. Comparative red oak values are 14,300 psi and 1290 pounds.

Color and Grain

The heartwood is tan with a reddish hue, but it is not as red as many other red oaks. Because of California black oak’s slow growth, the grain is finer than most southern and many eastern red oaks. The grain pattern in lumber from open grown trees can be erratic (full of character). Also, pin knots may be common in such trees.

The grain is coarse, with the large vessels that are common in red oak giving a rough grainy feel and appearance. Stain penetration is variable at times, giving a blotchy appearance; this is due to tension wood, which is common in open-grown trees especially.

This post appeared first on http://www.woodworkingnetwork.com

Dec 20, 2018 admin Uncategorized

Santos mahogany

Santos mahogany (scientific name: Myroxylon balsamum) is also called balsamo (English) and palo de balsamo (Central America) in the lumber business. Although this wood is not related to Honduran (or true) mahogany or to African mahogany, it is a rich dark mahogany colored wood and is actually a bit harder then Honduran mahogany. The wood has interlocked grain, which gives it a strong ribbon-like pattern.

The tree, which is in the legume family, is widespread, ranging from southern Mexico southward through Central American and continuing down to Argentina. Trees are usually short, 50 to 65 feet tall, and moderate in diameter, 18 to 36 inches. The typical log produces a large amount of knot-free lumber.

This tree is well known for the resin, called balsam or balsamo, that it produces. In fact, Sixteenth Century Spanish explorers shipped balsamo to Europe, where it was claimed to have extravagant medicinal properties. Indeed, the resin has a spicy aroma, somewhat similar to vanilla. Much of today’s resin production comes from in El Salvador, although plantings in Africa and Southeast Asia are now producing this resin as well. Today, the resin is used in salves, cough syrup flavorings and perfumes. When tapping the tree for the resin in the past, which required the bark to be scored deeply, the tree was severely injured and died. As a result, the availability of this excellent wood is quite limited, although it has been recently planted in plantations.

The hardness of this wood makes it ideal for flooring, although it is also sometimes used for furniture, interior trim, and turnery.

Processing suggestions and characteristics

Density. The density of this wood is quite high (around 60 pounds per cubic foot). In fact, at times some of the wood is heavier than water. A board foot of planed lumber (15/16 x 12 x 12 inches) will weigh about 4-3/4 pounds. This is roughly 30 percent heavier than oak.

Drying. The lumber will almost always be dried at the sawmill, rather than shipped green and dried in the U.S. In spite of this wood being so heavy, it reportedly dries without much difficulty. Shrinkage from green to 7 percent MC is only 4.6 percent tangentially (the width of a flatsawn piece of lumber) and 2.8 percent radially (the thickness of flatsawn lumber). These values are very low for a wood of this high density.

Gluing and Machining. The high density and some oiliness would make this wood somewhat difficult to glue with standard woodworking adhesives, but not as difficult as teak or other resinous woods. Surfaces should be prepared and glued within 15 minutes to achieve the best joint strength. It should not be necessary to clean the wood with a solvent before gluing in most cases, but for the strongest joint, this cleaning needs to be done.

It is reported to be moderately difficult to machine, as would be expected from its high density and its interlocked grain. Sharp tools and fresh sandpaper are essential for premium surfaces. Although it does not contain silica, nonetheless, tools seem to dull rapidly. The final machined surface has a high natural polish and luster.

Stability. For its density, the wood is exceptionally stable when exposed to humidity changes. It would take a 6 percent MC change to result in a 1 percent size change tangentially and 10 percent MC radially.

Strength. The ultimate strength (MOR) of this wood is 20,100 psi; the stiffness (MOE) is 2.4 million psi and the hardness is 2200 pounds. For comparison, red oak values are 14,300 psi, 1.8 million psi and 1,290 pounds.

Because of the density, all nails and screws must use pre-drilled holes (about 90 percent of the diameter of the fastener).

Color and Grain. Depending on the region where grown, Santos mahogany exhibits a range of color between light orange/brown with yellowish overtones to a dark reddish/purplish brown. Most of the lumber falls into the medium to dark orange/brown mahogany tone. There will be a slight muting of the color over time upon exposure to light. The interlocked grain gives a striped appearance especially on quartersawn grain, but not all pieces have heavy striping.

Overall, the grain is tight and fine textured with natural luster after machining and sanding.

Santos Mahogany has a strong scent when freshly cut. The scent quickly dissipates once it ages. However, this scent has been known to cause adverse respiratory reactions in some individuals. Therefore, avoid exposure to dust of this wood.

This post appeared first on http://www.woodworkingnetwork.com

Dec 19, 2018 admin Uncategorized

Lodgepole pine

Lodgepole pine (Pinus contorta) grows in the Rocky Mountains, from Alaska to northern New Mexico, in the Black Hills and on the Pacific Coast. Poles of this tree were used by Native Americans for structural supports for teepees and lodges; hence the common name of lodgepole.

Lodgepole pine trees are not very large. In the Rockies, they may reach 80 feet in height, but seldom exceed 14 inches in diameter. Oftentimes, lodgepole pine lumber and ponderosa pine lumber are grouped together. They are similar in processing and properties. Both are moderately strong softwoods, making them ideal for construction.

A special characteristic of this wood is that the tangential surface (the wide face of a flatsawn piece of lumber) has a multitude of dimples. These show up especially when the lighting is at an low angle or when the wood is stained. Ponderosa has very few dimples.

Historically, lodgepole pine has been used for railroad ties, mine timber, log cabins, furniture and cabinets, and a myriad of local uses. Today, knotty pine paneling is an important use, as well as cabinetry and millwork. Local uses are important as well.

Processing suggestions and characteristics

Density
The density of lodgepole pine is about 29 pounds per cubic foot at 10 percent MC. This means that a dried piece of lumber 1 inch x 6 inch x 10 feet (actual size ¾ inch x 5-1/2 inch x 10 feet) will weigh 8 pounds. This is about 15 percent heavier than eastern white pine, but is similar to ponderosa pine.

Drying
Drying is rapid, but the small trees and presence of compression wood mean that warp is often a possibility. Weighting the pile tops in drying is helpful, as well as good stacking and rapid drying. Blue stain can occur quickly, so storage of logs and of sawn lumber before drying must be very short during warm weather. For this reason, most lodgepole pine lumber will be dried at
the sawmilling site.

Gluing and Machining

Gluing is fairly easy. Resin exudations will interfere with gluing if drying is not done hot enough. Machining is moderately good. Certainly sharp tools are suggested. Avoid drying under 9 percent MC at all costs, as drier wood machines poorly.

Stability
Lodgepole pine is a little more stable than many common species, requiring a 5 percent MC change or greater for a 1 percent size change in the width of flatsawn lumber, and 8 percent MC change in quartersawn stock.

Strength
The strength (MOR) of lodgepole is 9400 psi; the stiffness (MOE) is 1.34 million psi; and the hardness is 480 pounds. Corresponding eastern white pine values are 8600 psi, 1.24 million psi, and 380 pounds. In other words, it is stronger, stiffer and harder than EWP. Ponderosa values are nearly identical (9400 psi, 1.29 million psi, and 460 pounds).

Color and Grain
The wood is straight grained, has a medium to fine texture and has pronounced dimples on the split, tangential surface.

The sapwood of lodgepole pine is nearly white to a pale yellow, while the heartwood is light yellow to a yellowish brown. In dried lumber, the sapwood and heartwood are not easily separated from each other.

Lodgepole pine has a pleasant resinous odor. Some people may find that pine dust and the aroma cause allergic reactions.

This post appeared first on http://www.woodworkingnetwork.com

Aug 30, 2018 admin Uncategorized

What you need to know about bamboo

Bamboo is not wood, but a grass with no woody material in its stem. But we are seeing more and more use of this grass in cabinets and as a substitute or adjunct to “good old, solid wood.” And I have seen some pretty good- looking bamboo items.

This grass that looks just like the bamboo fishing rods used by Huckleberry Finn and Tom Sawyer, only larger, is being harvested in a manner similar to trees. The round, hollow stem, with closed sections every foot or two, is sawn lengthwise into long narrow strips that are then made into rectangular-cross-section pieces that take out the curvature.

The strips are then edged glued together into veneer and glued into “plywood” panels that look similar to and behave much like wood. There is a growing list of active importers who bring bamboo products into North America.

Many species

There are more than 1,000 species of bamboo. The properties and appearance of the various bamboos varies greatly. This is where confusion lies as people tried one supplier’s material and liked it, but found a second supplier had a different product that did not work as well.

In short, not all bamboo is the same and, like wood, has many variations in appearance and properties from species to species. My advice is to know your supplier well.

Fast growing

The bamboo tree itself is very fast growing and, as such, promises to supply fiber needs in many parts of the world, especially tropical areas, where wood-based timber growing takes too long. A bamboo tree can reach 40 feet and over 6 inches in diameter within 4 years and can in a few more years, when growing conditions are good, reach a height of 90 feet and a diameter of nearly 2 feet (but it is still a hollow stem).

When harvested, the root system will send up sprouts which perpetuate the species with little human intervention. Some “wild” grass forests still persist today, although most stems are fairly small in diameter. In many parts of the world, bamboo is grown in managed plantations.

Properties of bamboo

The properties of the different bamboo species can vary greatly. For example, Calcutta bamboo has a stability when the humidity changes that is close to oak, but some bamboo varieties shrink and swell twice as much. Not all commercial bamboo lumber or plywood will have the desired properties and characteristics you need.

Make sure you talk to others who are using the same bamboo species from the same supplier that you will be using before you begin investing. Further, make sure that your supplier will not be changing species without your knowledge. Because of the potential for large movement of bamboo, you will have to pay particular attention to obtaining and maintaining the correct MC.

The piece of bamboo in the picture consists of long, narrow strips (about 1/8 inch in thickness and 1/4 inch wide) that are edge-glued together to form the 1/8 inch surface veneer.

A true picture

Most people believe that bamboo is very bendable and lightweight. However, bamboo products like the one pictured are actually as heavy (40 pounds per cubic foot) and as strong in bending as oak. The material is easy to cut and fasten with metal fasteners or adhesives. (I prefer a good PUR adhesive.)

As consumers begin to ask more and more for bamboo, we will have to learn to work with this grass, even though most of us have sawdust in our veins. Careful purchasing, handling and moisture monitoring assure us that we will not have any major problems adding bamboo to our repertoire.

Processing suggestions and characteristics

For the purposes of this article, the properties listed are for Calcutta bamboo (Dendrocalamus strictus), which is the most common bamboo in the Indian forest, making it a very important species in India and other Asian tropical countries.

Density

The density of bamboo is about 40 pounds per cubic foot, which is similar to oak. As the bamboo panels will be 100 percent bamboo, they will be slightly heavier than an oak plywood panel of similar thickness, as most oak plywood uses a lower density species for the interior plies.

Drying

Bamboo will always be dried at the site of manufacturing. Drying is not difficult. Shrinkage in drying is similar to oak, but there is little difference between radial and tangential shrinkage.

Gluing and Machining

Calcutta bamboo (and many other bamboos) do glue well when making a laminated product. The high density does mean that surfaces must be well prepared. It may take some experimentation to determine the best glue spread rates. My personal feeling is that a PUR adhesive is an excellent choice for the furniture and cabinet shops when gluing pieces of bamboo.

Machining of bamboo is reported to be very good, but again there will be variation when the species change. I could not find any allergic reactions from contact with the bamboo dust in the literature.

Stability

The relationship between relative humidity and moisture content for Calcutta bamboo is nearly identical to the standard tables used for wood in North America. Further, the shrinkage is similar to oak, with a 3 percent MC change resulting in a 1 percent size change. However, shrinkage and swelling are essentially the same in the radial and tangential directions (across the grain directions). Therefore, end checking is a risk, but is moderated by using cross-laminated plywood construction. In short, bamboo must be handled carefully when it comes to storage humidities and moisture issues, just like oak and other fine woods. As most bamboo will come from a humid, tropical location, some drying in our North American environments can be expected. It would be prudent to expose the bamboo to the drier environment, especially in the wintertime, to avoid shrinkage in a finished product.

Lengthwise (longitudinally), this bamboo species does not shrink or swell appreciably, just like wood.

(Caution: Some bamboo products being sold are very unstable with MC changes…know the material you are working with.)

Strength

The strength (MOR) ranges from 12,000 to 22,000 psi, which is a bit higher than red oak The stiffness is 1.1 to 2.9 million psi, which is again a bit higher than oak.

This post appeared first on http://www.woodworkingnetwork.com

Jul 13, 2018 admin Uncategorized

Takumi Woodwork Show How Japanese Style Woodworking Should Be Done

Credit: Takumi Woodwork

Most woodworkers know Japanese joinery is just wonderful, but what happens when two British guys start a woodworking business solely on this style of work?

The answer is Takumi Woodwork and the results are pretty special.

I contacted Louis from Takumi to ask him about featuring his business here on the blog, but as I was writing, I became more and more intrigued by the business side of these woodworking exploits. So I got back in touch with Louis to find out more about #thebusinessofwoodworking.

Takumi Woodwork was initially started by lifelong friends Louis Higgins and Ed Wilson. Louis being the carpenter/joiner of the duo established a successful woodworking business on the North Japanese island of Hokkaido before having to return to the UK. This return to the UK coincided with Ed finishing his University studies in architecture. The pair teamed up and Takumi Woodwork was born in 2016. Ed has since departed to work with motorcycles, and Louis carries on with the business on his own.

Credit: Takumi Woodwork

There’s something simple and pure about the Japanese style of woodworking that just draws you in. It is almost minimalist at times, but embraces the flaws and the character of the wood with gentle embellishments. Louis has captured the style perfectly.

Credit: Takumi Woodwork

As well as crafting beautiful furniture, Louis makes small everyday items. But for me, it’s his furniture that gets me— it is at such a high level. The Japanese word “takumi” translates as artisan, craftsman, or handmade, and Louis’ work embodies all these words superbly.

Credit: Takumi Woodwork

As a woodworker and business owner myself, I find it useful to explore the things that others do in their business. With this in mind, I plan to start a series of short interviews that can provide some insight into the ways other people conduct #thebusinessofwoodworking. I’m delighted to be able to kick it off with some views from a young, new business owner in Louis.

Dónal Moloney: Was it a risk to focus solely on a Japanese style of woodworking when you started Takumi?

Louis Higgins: I think it was a risk yes, but starting a business always includes a degree of risk. I think it’s more risky to start something with no ‘unique selling point’. Since I went to Japan I’ve noticed western culture taking more and more of an interest in Japan. People seem amazed at the level of patience and detail that the Japanese consider normal. Western woodworkers especially have a big interest in Japanese hand tools, and the joints used. I just don’t see risk as a problem. If something doesn’t work out, then accept it isn’t working and figure out how to make it work. If you have a passion for it, People will buy into your passion because it’s real.

DM: How does running a woodworking business in Japan compare to running one in the UK?

LH: The main difference is, in winter once it started snowing, I put the tools away and worked as a ski instructor. I got sick of working out in the rain as a young man so I got my ski instructors qualifications. That’s how I ended up in Japan in the first place.

The second main one is I’m not fluent in Japanese so it was more of a challenge on a daily basis, but I enjoyed learning. I was in a ski town popular with westerners with holiday homes. This meant I had no trouble getting work as there aren’t many english speaking tradesmen there. However in England I am just another woodworker, I have to actively look for work. This has been a learning curve. It’s much more difficult to run a business in a place flooded with similar businesses. The one good thing about that is, you need to try to offer something different to or better than your competitors, or the business will just go nowhere. I much prefer to just get work without trying though!

DM: What is the most profitable/lucrative type of work you have done in woodworking?

LH: There doesn’t seem to be a great deal of lucrative work so far in the new business in England. I have spent the last 18 months or so buying tools, making furniture speculatively, doing a trade show, advertising etc. I am basically throwing everything at it in the hope that one day I will make a profit. I am happy enough to do this because I love it, I come up with ideas all the time, I’m daydreaming all the time at how I can improve and what I could do in the future. I could make profit instantly by doing roofs, kitchens, and that kind of thing. I don’t find that stuff as interesting and I can always fall back on it if I have to. I do go out and hang doors or fit kitchens if I need to pay the bills.

DM: What is your greatest struggle in the business of woodworking?

LH: My greatest struggle would be time management. I’ve spent a lot of time scratching my head wondering what to do or how to efficiently do something. I think it’s better to just go for it. It’s better to try something, makes mistakes, learn from them and then improve from them next time.

DM: How has your woodworking business turned out differently than you expected it to?

LH: To be honest I had no idea what to expect. I just got frustrated as an employee and I always dreamed I would one day have my own business that treats staff well and everyone enjoys what they do. At the moment I’m not sure if I’d want to grow and have staff or just stay as a one man band with less pressures and stress. I’d love to somehow help young people learn woodworking in the future though.

DM: What is the best business advice you have received, or the best business advice you could give?

LH: The best advice I have received would be the one that everyone says – just go for it. It may sound cheesy to some, but it works for me. I think you need to love what it is you’re “going for” though. It’s not an exaggeration that you have to work really hard every day. You have to make sacrifices at least for a short while. That would be really difficult for me if it was something I didn’t love doing.

As a young man with a young business, I’m reluctant to dish out advice. When people come to my workshop they often ask where the boss is. However I do believe you can have a successful business if you love what you do, you finish every day knowing you’ve done your absolute best. Be grateful that customers want you to do the small non-glamourous jobs, and accept you don’t know everything. Accept that you can always learn something new. Don’t worry about what anyone else is doing. It depends on your definition of success, but I believe if you enjoy what you do you’re already successful.

Credit: Takumi Woodwork

Any woodworker inspired by the Japanese style of woodworking, and who wants to emulate great design, should head over to Takumi Woodwork and follow them for some creative inspiration. You won’t be disappointed.

For more;

www.takumiwoodwork.co.uk

https://www.instagram.com/takumi_woodwork/

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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Jul 7, 2018 admin Uncategorized

How to Price Your Woodwork. A Simple Technique.

Lots of woodworkers will be familiar with the YouTube videos of David Picciutto. His distinctive style and straight-talking make him an interesting and endearing character to watch.

There are a million ways to price your woodwork. In this video David outlines what he believes in regard to pricing, and why. You can’t argue with that.

But I feel it’s important to develop your own method that works for you. In the words of Bruce Lee; “Absorb what is useful, discard what is not, add what is uniquely your own…”

Let me know what you think. I’d love to hear.

Video Credit: Make Something | YouTube

For more;

https://makesomething.tv

https://www.instagram.com/makesomethingtv/

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.

This post appeared first on https://www.sawdustetc.com

Jun 26, 2018 admin Uncategorized

The Key to Consistent and Beautiful Woodworking Design

How do you go about designing a woodwork piece? Whether it’s furniture, or cabinets, or a more craft based type of woodwork— how do you design it? You can have a different technique for different types of projects. But I believe that if you want to be a successful woodwork designer/maker you must have a process. I’ve had this conversation with other woodworkers and not all agree with my viewpoint. Some arguments are; that having a design process isn’t very creative; or that some of the best work is done on-the-fly; or that it wastes time if you already know in your head what you want to make. I still stand by my argument. Here’s why.

A process is especially important if designing and making woodwork is your livelihood. But even if you’re a hobbyist it’s just as important for getting the most out of your time. A process is like a formula for success that you follow every time that gives you consistent results. It actually saves you time. If you have a process you never get stuck or have a woodworking equivalent of creative block or writer’s block. Instead you follow your process, and ideas flow. Following a process also removes a lot of opportunities for error. Especially if part of your process involves 3D modelling and producing a cutlist.

A hugely important part of woodwork or joinery design is setting out. I’ve done my fair share of setting out as part of a larger joinery design team that produced designs for up to 70 woodworkers out on a production floor. Setting out is producing accurate working drawings plus a cutlist to be followed for construction of a piece. Your drawing accuracy must be absolutely spot on when others are going to build a piece from your drawings and cutlist. In order to remove any opportunities for error it is vital to follow a process.

Everyone’s process will be a little different. Mine is very simple. I scribble and sketch any and every idea that comes into my head into a sketchbook. I even roughly draw the terrible ideas too. This helps me develop the general form and shape of the piece. I then take my outline into SketchUp and apply any measurement constraints that need to be taken into account. I work out what joinery methods are to be used. Then it’s refine, refine, refine. The small details make all the difference. Bevels, chamfers, tapers all can elevate a piece to a higher level.

Every time I go to make a piece, I know exactly what I’m going to do. I follow the steps of my process one after the other. I can design most projects in under an hour and am ready to start cutting then. I don’t spend ages staring into a blank screen, or out in the workshop holding pieces of timber up to each other to see what might work. I get consistent results all the time— quickly. This is ultra important if woodworking is your livelihood. Slightly less so if you’re a hobbyist.

But everyone has their own way. You just need to find what works for you.

Think about your design process. Do you have one? I love that my process helps me reduce errors, save time, produce designs consistently, and become more efficient. I honestly can’t think of a downside.

I’d love to know what you think in the comments below.

This post appeared first on https://www.sawdustetc.com

Jun 19, 2018 admin Uncategorized

“I talk to so many extremely talented woodworkers that make beautiful work. But we all have the same problem. We like making it but are not really sure how to sell it.”: Antony Elliot Interview

Credit: Elliot Design

Finding woodwork and furniture with a unique aesthetic can be a challenge at times. So when I first saw the honeycomb resin work of Antony Elliot I took notice straight away. It is so interesting and appealing to look at, and it really helps to set his work apart. I had never seen anything like it before.

But, no woodworker wants any one style, or one piece to define their work. This is also the case with Antony. He hasn’t limited himself and is constantly evolving and improving his designs. It’s the small details like leg chamfers and base profiles that make his work so good.

Based in his home workshop in Yorkshire, England— Antony is a designer, maker, and woodworker. He makes bespoke wood products ranging from lighting, to furniture, to key-rings. I caught up with him recently to find out a little more about him and his work.

Dónal Moloney: Antony, I appreciate you giving up your time to answer some questions, so thank you. I’d like to start at the beginning of your career. How did you get into woodworking? Was it something you started straight out of school? And was it something you had wanted to do, or something you just fell into?

Antony Elliot: Long story. My dad was a chief engineer on cruise ships. When he was home on leave he did everything around the house, and he did woodturning as a hobby. I always loved helping him and making things growing up. We restored an ‘82 Mini together when I was sixteen. After school I did A-levels, then went to Coventry University and got an M.Des in consumer product design. Whilst at Uni I did a work placement at Pearson Matthews Design Consultancy and spent most of my time in the rapid prototyping shop. Here is where everything took a detour, I had a stressful final year at Uni and after graduating I just wanted to get a summer job and have a few months back up north at home before heading out to look for a job. I fell into a job working for O’Neill surf shop— eventually becoming the manager. I never disliked it there, I got to work with like minded people, but I never really loved it. I really liked doing work on the house in my spare time and started designing and making a few wooden things. After twelve years of working at the shop and expecting our first child I found out they were closing the shop and I was being made redundant…. So I found myself with a bit of a chunk of redundancy money. I invested in a few decent tools, had a few months off with Gemma and Jed and started making some things. I started immersing myself and trying to learn as much as I could. A real turning point was watching some videos of Jory Brigham. He has a style that is similar to what was in my head and watching how he put things together made me think; I understand this, and I think with some practice and hard work I could do this. I started by making wooden lamps. They don’t require a lot of material and focusing on a small object means that the details and finish have to be perfect. Around this time I also started working with a very talented local carpenter working on a loft conversion. I was doing my own thing on the days he didn’t need me. I really learned a lot from him in a short period of time. A really good friend of mine had also just bought a house in London to renovate so I started travelling down there to help him four days a week. When he didn’t need me I was at home making furniture. Since finishing the London house I’ve just had my first year fully focusing on doing what I want to do (with a few other little renovation jobs thrown in around it).

Credit: Elliot Design

DM: One of my reasons for doing this series of interviews is to talk to woodworkers who create great work. I think your work is outstanding. I’ve never seen anyone else do the type of honeycomb resin work you do. It is so interesting, unique, and beautiful. Where did you come up with the idea for doing this? Is it a process you enjoy doing? What are the challenges in producing this type of work?

AE: I saw something similar somewhere but only focusing on the top view, and became a bit obsessed with trying to recreate it, so I bought some resin and some aluminium honeycomb and pigments and had an experiment trying to create a small sheet of it in a silicone mould. It was a disaster, didn’t work anything like I thought it would and shelved the idea for over a year. This was all before resin was such a big thing, and it was mainly used to just fill and stabilise knots. I watched quite a few videos on YouTube with people mixing pigments to best match the wood colour, and decided I was using the wrong kind of resin. Anyone worth their salt was using West Systems epoxy. I had a piece of timber that had a big soft knot that had fallen out so I thought I would have a go at filling it with resin but to be a bit different I would do a contrasting colour and drop some of the honeycomb in there. It was a massive disaster, I used a fast set resin, and poured loads of it in the hole that was about 35mm deep, the result was a massive exothermic reaction, it started smoking frothed up and I thought I was going to set the workshop on fire. I ended up routing out the mess and re-pouring the top 10mm of the resin, and this worked out okay. I posted about it on Instagram, got some feedback from a few people and figured out I needed the slow set and to limit the thickness of the pours.

The more distinctive part of the honeycomb resin (the edge) came about a bit by accident, I made a coat rack and found that when I cut away the edge on an angle that it created some really interesting depths of colour and triangular shapes. The off cut from this I initially binned but then I got it out of the bin and cut up and made into key-rings. I posted them up on instagram I didn’t think anyone would buy one but they sold out in about 30 minutes. So from then on it was all about putting the focus on the cut-away edge. It can be a bit hit and miss, sometimes you get very uniform areas that aren’t as interesting as others. I’m by no means a resin expert but I’ve found a method that works for what I want to achieve. I do enjoy the resin part, you never quite know what you will get until you cut away the edge.

However I don’t want everything I do to be about this technique. I’m actually not a fan of the big resin pours or resin river tables, mainly because too many people are doing it now. It’s not really anything unique anymore. I always like to try and do something a bit different to what other people are doing. I like to try and keep my resin details to be a small feature on a piece, and not every piece warrants it..

Credit: Elliot Design

DM: You’re a one-man business. Like many of us, you work alone in a workshop all day. From my own experience this has obvious positives and negatives. Tell me about how you like to structure your day. Do you relish the peace, or are you keen for more human interaction? And as a one-man show, what are the business challenges you face?

AE: I work from a small home workshop that is great as my commute requires about 10 steps out the back door. The lack of space can be incredibly frustrating at times though. And I can’t work at unsociable hours as I have neighbours nearby. I would love to have something bigger and better equipped in the future. An extremely good local kitchen maker Paul Barrow very kindly lets me go and use some of his big machines when I need to.

Creatively I have always worked better as a part of a group, I really like sparking ideas off other people. Although sometimes you just have to trust your instinct, other people’s input can dilute good ideas down too much. I really like Instagram. There is a really nice group of people that are incredibly supportive of what I’m doing that I chat to regularly and respect the opinion of. It takes the sting out of being on your own all day.

I can’t say I have a set structure to my day. It often depends on how motivated/creative I’m feeling. If I’ve not got any paid work on, I do try and go out to the workshop and just do something. I do find myself sitting out there for hours holding bits of wood up and trying to create something, or sitting sketching ideas. I think it would be better sometimes just to go out on my bike for a bit. It’s a kind of self imposed feeling of guilt when you are self-employed that you should always be trying to do things. I think the hip Americans on Instagram call it #hustle. Once I get something in my head I’m extremely focused. Everything else goes out the window, I even forget to stop to drink tea.

The business side is a tricky one. Some parts I’m okay with. From my previous experience as a retail manager keeping track of expenses etc, and the customer service side of things I know what I’m doing.

Marketing is an area that I really struggle on. I am looking at ways of trying to get my work noticed and start getting some more work coming through. Currently what I’m doing is making things and trying to sell them, building up my portfolio of work at the same time. I know its not the best business plan at the moment. I do have a shop in Shoreditch in London that takes anything I make to sell on a sale or return basis. I have been lucky that in the past year I have had two customers in particular that have commissioned quite a lot of furniture from me, and both have given me quite a bit of creative freedom in terms of the design too.

Credit: Elliot Design

DM: The Jed stool that you designed for your son, is one of my favourite pieces of yours. I’m sure one day when he’s older he will appreciate the beautiful craftsmanship a little more than he does now! What would you like your legacy to be for your family? How would you like your work, and your working life to be looked upon when you finish working?

AE: That chamfer on the leg that I use a lot was also a bit of an accident! It was before I had a router table and took a bit of a gouge out of the legs routing with a template and copying ring, so I ended up having to put a big chamfer on it to get rid of the gouge. It turned out so much better for doing so.

I hope that my family don’t ever say, we never saw him, all he did was work all the time, but I also hope they say that I worked hard.

I can’t imagine that as long as my mind and body are willing I will ever stop making things. I get twitchy if I don’t have anything to do. I find it hard going away on holiday. I like being busy doing things. What I really like about making things with my hands is that you start with some rough sawn timber, you put your mind and body into it, and become obsessed with every little detail of it. Then at the end there is something that you can see, and touch. It’s not like selling a t-shirt to someone.

Credit: Elliot Design

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

AE: I’m not really sure about this one. I would overall probably say; not yet. If you define success by selling lots of furniture and making loads of money then definitely not! Like I said earlier I’ve only really been fully focusing on this for about a year. I see and talk to so many extremely talented woodworkers especially on Instagram, that make beautiful work but we all have the same problem. We like making it but are not really sure how to sell it. In an ideal world I would mainly like to make what I want to make then try and sell it. With a few commissions thrown in, I think you need commissions to push you into doing different things you might not normally do.

On the other hand, I really love what I’m doing. I’m not stressed out, I make enough money to pay the bills, and I’ve made furniture that I am really proud of. I just need a few more people paying me to do it!

DM: What advice would you give a young Antony Elliot embarking on his woodworking career?

AE: Don’t be afraid to make mistakes. Those mistakes can sometimes turn out better than what you planned originally.

Credit: Elliot Design

QUICKFIRE:

DM: What was the last tool you bought?

AE: 150mm Shinwa ruler. I buy them 3 at a time. Not big or flashy but there is always one in my pocket and I use it every day.

DM: If you weren’t a woodworker, what other profession do you think you’d be good at?

AE: I would love to make props for films, especially something like Star Wars. That or, I really like being outdoors in nature and mountain biking, so maybe something to do with that.

DM: What app on your phone best helps you to do your job?

AE: Instagram – immediate feedback from peers, always learning new ways of doing things from people all over the world. If you don’t know how to do something you can ask and find out. I find it an incredibly supportive and friendly community of people. I’m always incredibly humbled when infinitely more talented people than me like what I’m doing. I feel a bit out of my depth being interviewed along side some of the other people who have featured on this blog.

DM: What is the most profitable/lucrative type of work you do?

AE: Bigger bespoke furniture items.

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

AE: Frank Turner – losing days. One of the hardest working, and best live acts around at the moment in my opinion.

THANKS

I’d like to thank Antony for taking the time to answer my questions. I’ve admired his work for a while now. It has a very unique style, and a clean, elegant look. He shouldn’t feel out of his depth at any point. His work stands up with anyone else’s. The point of these interviews on Sawdust Etc is to learn more about the people who do great work. Whether these woodworkers are internationally renowned or not is irrelevant. Awards, Instagram followers, YouTube subscribers, or Facebook likes don’t matter. What matters to me are the interesting insights from people who do great work. Antony certainly fits the bill.

To find out more;

http://www.elliot-design.co.uk

https://www.instagram.com/elliotdesignuk/

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Jun 15, 2018 admin Uncategorized

The Correct Way to Chisel Corners

Credit: Marc Spagnuolo

Unless you live under a rock, or don’t have internet— you know who Marc Spagnuolo is. The Wood Whisperer has been dishing out a wealth of techniques, tips, and tricks for years. Earlier this week, he posted this great video on chiselling out corners.

It’s short, to the point, and full of great tips. Every woodworker is faced with this issue if you use a router to create cuts and need the corners to be square.

Head back over to the website if you haven’t visited in a while. It’s always full of good stuff.

https://www.thewoodwhisperer.com

This post appeared first on https://www.sawdustetc.com

Category: Uncategorized

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