Fine Wood Artists

Honorable Mention Winners, Woodworking Business Design Portfolio Awards

2011-12-26T11:00:00.000-08:00

Hi Friends,

I've got some good news! I was just informed that my "Rosalie Sideboard Buffet" won an Honorable Mention in the 19th Annual Custom Woodworking Business Design Portfolio Awards for 2011! This is the fourth time my work has won that honor, and for that I am very grateful!

The sideboard buffet was custom designed and made for clients who needed the perfect piece to fit a space in their dining area and function as a serving surface. It features a solid mortise and tenoned cherry frame with three cabinets that seem to float in space. All the cabinet surfaces, inside and out are veneered with the finest curly maple, and the top is a rare book matched set of quilted bigleaf maple from Oregon. This was a delightful piece to make, and it is my pleasure to share with you. I've made a full set of videos that chronicles the making of the piece. Click here to see part one of the series and link to the whole set.

Merry Christmas and Seasons Greetings,
Andy Pitts

Andy's Gallery on Fine Wood Artists-

http://www.finewoodartists.com/gallery/pitts/andrew_pitts.htm

Andy's Website-

http://www.andrewpittsfurnituremaker.com/

********************************

Fine Wood Artists Member Michael Singer also won an Honorable Mention for his Jewelry and Art Display Cabinet

Michael's gallery on Fine Wood Artists-

http://www.finewoodartists.com/gallery/singer/michael_singer.htm

Michael's Website-

http://www.msfinewoodworking.com/

Congrats to Andy and Michael!

New Work and Upcoming Show - Craig Thibodeau

2011-12-05T11:57:00.000-08:00

Fine Wood Artists member Craig Thibodeau shared with us images of his new work, a beautiful Cherry, Carpathian Elm Burl and Ebony dining set with matching chairs.

He is also showing in January at this upcoming show-

WOOD, A Furniture Show
Escondido Municipal Gallery
262 E. Grand Avenue
Escondido, CA 92025
Jan 13, 2012 through Feb 3th, 2012
featuring about 30 pieces of mixed woodwork from a variety of local artists

For more of Craig's work, please visit his gallery-
http://www.finewoodartists.com/gallery/thibodeau/craig_thibodeau.htm

And his website-
http://www.ctfinefurniture.com/index.php

New Work - Dale Larson

2011-11-16T09:36:00.000-08:00

Some new pieces by Fine Wood Artists member Dale Larson.

For more, visit his gallery
http://www.finewoodartists.com/gallery/larson/dale_larson.htm

Spheres.

Turned Bowls.

photos by Dan Kvitka.

New Work by Craig Thibodeau

2011-10-24T13:31:00.000-07:00

Two new pieces by Fine Wood Artist member Craig Thibodeau a cabinet and a table, both feature marquetry but in two different styles.

More on of Craig's work can be found in his gallery.

Oak Leaves and Acorns Cabinet

Size: 33" high by 14" deep by 31" wide
Materials: Claro Walnut, Curly Maple, Birds Eye Maple, Abalone, and various marquetry woods.

Another cabinet in my fall colors marquetry theme, this one featuring White Oak leaves and acorns on a Curly Maple background. The marquetry once again focuses primarily on natural wood tones for the contrasting leaf colors but I did add a bit of dyed green Poplar for the acorns and a few leaves. The acorns also have a small amount of sand shading to help enhance the depth of the acorn and cap pieces. The interior of this cabinet is veneered in very heavily figured Birds Eye Maple and has a small area of Abalone inlay for accent. The handles are once again integrated into the doors and the cabinet is finished with satin Lacquer.

Tulip Table

Size: 84" long by 44" wide by 30" high
Materials: Curly Anigre, Ash Burl, Anigre, Ebony, and various marquetry woods

A large elliptical dining table veneered with Curly Anigre, it has marquetry imagery of two red Tulips on a background of Ash burl bordered by dark green and white squares highlighted with thin Ebony inlay. The base is composed of several bent laminations finished with satin black Conversion Varnish. The table was designed for a client with strong interest in the Ottoman Empire so the Tulip marquetry drawings were based roughly on artwork of Tulips we found from that era.

Fine Wood Artists Member John Shrader- Winner Carol Duke Awards of Excellence

2011-08-22T13:07:00.000-07:00

Sea Cottage by John Shrader

Fine Wood Artists member John Shrader has won the Carol Duke Award of Excellence at the Bellevue Arts Museum Artsfair July 29-31, 2011 in Bellevue WA for his outstanding woodturnings.

There were approximately 1,000 submissions to the fair for the 325 booths available. From these 325, only ten were chosen for the Award of Excellence. The Bellevue Arts Museum Artsfair was recently chosen as one of the top 100 art fairs in the country, and drew an estimated 330,000 people to the three day event.

John's work can be found in his gallery on Fine Wood Artists-
http://www.finewoodartists.com/gallery/shrader/john_shrader.htm

His work is also featured in and on the cover of Fine Wood Artists, Volume One-
http://www.blurb.com/bookstore/detail/2038877

News, Shows and New Items

2011-07-28T14:41:00.000-07:00

The following Fine Wood Artists members will be showing their work this weekend at

the Bellevue Art Museum Art Fair
Bellevue Square in downtown Bellevue, Washington.
July 29, 30 & 31, 2011
Friday and Saturday 9:30 to 9:30, Sunday 9:30 to 6pm

Michael Hampel - Booth N-05
John Shrader - Booth F-14
Martha Collins - Booth S-14

Stop by to see their new work!

*********************

There is a new article in the Woodworker's Journal E-zine online magazine featuring Fine Wood Artists member Andrew Pitts-
http://woodworkersjournal.com/Ezine/Articles/Andy_Pitts_Curved_Work_Clients_Trees_8593.aspx.

********************

New Work by Fine Wood Artists Jim Probst- The Meander Extension Table in Walnut and quilted Maple. 42"w x 30"h x 84"L Extending to 104".

For more information, visit his website-
http://www.probstfurniture.com/store/probst/meander_extension_table.html

Big Leaf Maple- the Big Giving Trees of the Pacific Northwest

2011-07-11T14:49:00.000-07:00

These large sprawling trees are a common sight in the South End Seattle, so common in fact, that one rarely takes a second glance.

A closer look is however warranted for these wonderful and important trees in our neighborhood. These native maple trees can be found from California to Alaska, but are at their peak form here along the Oregon and Washington coasts and British Columbia.

The name Bigleaf Maple (Acer Macrophyllum), or Broadleaf Maple as it is sometimes called, is obvious, since some individual leaves can reach a foot or more across. The trees themselves can top over 100 feet tall and are fast growing, making them excellent for creating shade or for large natural gardens with plenty of room.

Bigleaf Maples are wonderful hosts for natural plants such as moss and ferns. Seward Park has excellent examples of Bigleaf Maples covered in a green coat of ferns and moss along their trunks and limbs. Crows often nest in the higher branches, which also provide cover for many other native birds, squirrels, raccoons, possum as well as insects. Their heavy leaf fall in autumn may be a bane to those growing a lawn, but it is actually a wonderful enrichment to the forest floor. The plentiful seeds these trees produce are food for birds, squirrels and rodents as well.

Bigleaf Maples have extensive root systems that are ideal for holding on to steep slopes and wet forest floors, just don’t plant them near water mains, as they are known to damage underground pipes. Topping these trees is not only unsightly but defeats the purpose if a better view is desired, since doing so not only encourages twice as much growth, but also produces weaker trees and limbs more likely to break. It’s better to get a trained arborist in to carefully thin the growth, or to remove the tree entirely and plant something more low growing.

The wood of the Bigleaf Maple is commonly cut and used for firewood, but it is also prized by crafts people, and commonly used in piano frames. The wood is not as dense as sugar or Eastern maple, so it is easier to work with, and the burl, or densely figurative growths found on some mature trees and its roots, is very decorative and sought after for furniture, turning and ornamental uses.

And did you know you can also make maple syrup from Big Leaf Maple sap? Every February there is a Big Leaf Maple Syrup festival on Vancouver Island.

For more:

http://www.ecy.wa.gov/programs/sea/pugetsound/species/maple.html

http://en.wikipedia.org/wiki/Acer_macrophyllum

http://www.rainyside.com/features/plant_gallery/nativeplants/Acer_macrophyllum.html

http://www.discoveryforest.com/?maple-syrup,142

More woods:

http://www.finewoodartists.com/wood_and_trees.htm

Acticle writen originally for the Southend Seattle blog
http://southendseattle.com/

Upcoming Events - Spring 2011

2011-04-25T13:21:00.000-07:00

Fine Wood Artists Member Andrew Pitts will be showing at One Smart Gallery in Williamsburg, VA, May 14th and 15th, 2011
For more information-
http://www.onesmartgallery.net/

More of Andrew's work can be seen in his gallery-
http://www.finewoodartists.com/gallery/pitts/andrew_pitts.htm

***********
The International Contemporary Furniture Fair will be held May 14th through the 17th, 2001, in New York City at the Jacob K. Javits Convention Center. Featured artists include FWA members Brian Hubel, Alison Swann-Ingram and Carl Johnson

For more information, visit the website
http://www.icff.com/

************
The Association of Woodworking & Furnishings Suppliers (AWFS) is having a fair at the Las Vegas Convention Center in Las Vegas, NV, July 20-23rd, 2011.

For more information, visit the AWFS Fair website
http://awfsfair.org/

New Work - Deborah and Jerry Kermode

2011-03-31T16:37:00.000-07:00

Deborah sent along some stunning photos of their new work with old growth Redwood, salvaged from Northern California.

Here is more about the unique and beautiful wood used to create these pieces-

"Our current source is old-growth redwood cut in the late 19th century in the Eureka area of Northern California. Because of the wavy grain often found in the lower section of the trees, the stumps, sometimes as tall as houses, were considered inferior for lumber and left in the ground. Growth and gravity have created compression, which, when cut, presents as wavy, flame-like patterns. Some of our bowls show this figure dramatically. Others show the elegant, very tight, straight grain for which old-growth redwood is prized.

Though these magnificent trees should never have been cut, they were. Over the 100+ years that these stumps sat in the cleared forest, their already beautiful interior aged and darkened. What an honor it is to be able to turn this majestic wood! Our joy and responsibility is in sharing the bounty of the forest, unwrapping this beautiful gift of nature while leaving nature to continue her magic." - Deborah Kermode

For more of Deborah and Jerry's turnings, please check out their Fine Wood Artists gallery-

http://www.finewoodartists.com/gallery/kermode/jerry_kermode.htm

And don't forget to check the previous blog post to read more about the AAW symposium, where they will be giving demonstrations.

AAW 2011 Synposium

2011-03-21T16:06:00.000-07:00

Here's an informative video of the upcoming June Symposium of the American Association of Woodturners (AAW).

There will be demonstrations by Fine Wood Artists members Allen Jensen, Jerry and Deborah Kermode, and Cindy Drozda, and other well known wood turners, as well as exhibits, auctions, youth programs and more.

The symposium will take place in Saint Paul, Minnesota, Friday June 24th through Sunday June 26th, 2011, at the Saint Paul RiverCentre. For more, visit the AAW website-
http://www.woodturner.org/sym/sym2011/

Doug, Doug Fir

2011-03-15T09:50:00.000-07:00

Meet Doug. He Built Seattle.

Chances are, if you have an older house in South Seattle, at least some part of it is constructed from Douglas Fir wood. It was readily available, locally milled and grown, and easy to work with. Everything from the framing, to windows to flooring in some older homes is made from Douglas Fir. They even paved the sidewalks and streets with it, before laying brick and other more permanent road surfaces down.   

When the pioneers first came to what is now Seattle, it was a forest, dominated by huge Douglas Fir trees, hemlock and other native species. You can recognize the old wood by its wide, pine like grain of dark orange against a lighter orange or cream color. It’s also a pretty soft wood, a fact that those of you with fir floors like ours are probably well aware of. Like most coastal evergreens, it is somewhat resistant to rot and moisture and has a wonderful smell when freshly cut.  

Douglas Fir is not a Fir in the true sense. After long taxonomic discussions between the experts, it eventually ended up in it’s own scientific moniker Pseudotsuga Menziesii. It is a generally fast growing, deep rooted, and a long lived tree, often grown for Christmas Trees and particularly suited to the local climate of wet winters and dry summers. In ideal conditions and left alone a long time, these trees can top over 350 feet, with some unique specimens on record reaching over 400.  

Local parks such as Kubota Gardens and Seward Park have some nice specimens of Douglas Fir, but before you run out to plant this native tree in your garden, keep their fast growth and large size in mind. They also have a tendency to shed their lower branches, which in a mature tree, can be substantial logs capable of serious damage to cars, buildings, power lines and people.  

More on Doug, our local wonder tree-  

http://www.christmastree.org/trees/douglas.cfm  

http://community.seattletimes.nwsource.com/archive/?date=20000319&slug=4010893

  http://forestry.about.com/od/conifers/ss/dougfir.htm

  http://forestry.about.com/library/silvics/blsildou.htm  

http://lewis-clark.org/content/content-article.asp?ArticleID=1502

Reprinted with permission from the Southend Seattle Blog-
http://southendseattle.com/

Upcoming Events and Shows - Fine Wood Artists

2011-03-09T13:41:00.000-08:00

The 1609 Artist Invitational: A Collaborative Show Featuring Seven Local Artists

The public is invited to join proprietors Carl Johnson and Alison Swann- Ingram of Franklin Street Fine Woodwork, Friday, March 11, 2011 from 5 to 10 p.m. to celebrate the collective creativity of 7 artists combined with works by Carl Johnson and Alison Swann-Ingram at their woodworking space, 1609 N. Franklin Street in Tampa.

Participating artists for The 1609 Artist Invitational: A Collaborative Show Featuring Seven Local Artists include: Kim Radatz (mixed media), Ugo Mazzarolo (photography), Marc De Waele (metal sculpture), Lydia Rupinski (printmaking), Ernesto Piloto Marquez (mixed media), Daniel Mrgan (wood burning), Sean Fitzgerald (ceramic). Fine wood craft from Franklin Street Fine Woodwork artisans will also be on display. The presenting artists range in experience from established to emerging artists. The result is a collegial intimate show in a fabulous, gritty, renovated, industrial space.

The evening includes live music and performance by the Nuestra Tierra Trio, a donation Bar and hors d’oeuvres. The event is open to the public. The work will be on exhibit through March 20, 2011 during business hours.

For more information about the Franklin Street 1609 Artist Invitational please call Alison Swann Ingram, 813.223.3490 or info@FranklinStreetfw.com. Visit Franklin Street Fine Woodwork Studios online at www.franklinstreetfw.com.

**********************

Arts Alive 2011 Artists Studio Tour

An Artist Studio Tour to raise funds for the Northumberland Public Library will be held on Saturday April 9 from 10 AM to 5 PM and Sunday April 10 from 12 – 5 PM.

The event will feature 19 artists using a variety of media including FWA member Andrew Pitts . the tour covers 15 studio locations throughout the lower Northern Neck. Tickets are $20 (children 12 and under free) and may be purchased at the Northumberland Public Library, The Bay Window in Irvington, Wildest Dreams in Burgess, Material Girl in Burgess, and EVB bank locations in Heathsville, Callao, Burgess, and Kilmarnock, or at any of the studios on the days of the tour.

A brochure with map will be provided, and door prizes of artist’s work, on display at the library, will be awarded. For more information, call the library at 580-5051 or visit the library website at www.nplva.org.

Or visit Andrew's website
http://www.andrewpittsfurnituremaker.com/Shows_and_events_current_files/links.html

***********************

The Philadelphia Invitational Furniture Show (PIFS)

March 25-27, 2011

at the Cruise Ship Terminal in the Philadelphia Navy Yard
5100 South Broad Street (South)
Philadelphia, PA 19112

Welcome to the 17th annual Philadelphia Invitational Furniture Show!

This year our show will be held March 26th and 27th, with a special preview party night March 25th. The PIFS features a great range of work reflective of the diverse creative directions present in the field of artisan-made furniture. There is shaker and arts and crafts influenced wooden furniture, historically based Grandfather clocks as well as contemporary timepieces, modern functional-sculptural pieces in metal and wood, table top accessories, wall art and much more. The price points span from the affordable impulse purchase to works suitable for long-term investments as future heirlooms.

Exhibitors include Fine Wood Artists member Tom Lederer
http://www.philaifs.com/featured-exhibitors-2/thomas-lederer/

For tickets, hours and all the information you need to experience PIFS 2011 please visit the ticket and prices page.

Now in its 17th year, the Philadelphia Invitational Furniture Show is the longest running craft show devoted to furniture and furnishings in the US. Please come and join us at the Cruise Ship Terminal in Philadelphia. We will see you there!

Philadelphia Invitational Furniture Show:
The Philadelphia Cruise Terminal at Pier 1
Philadelphia Naval Business Center (PNBC)
5100 South Broad Street (South)
Philadelphia, PA 19112
215-387-8590
215-387-8591 fax
info@pffshow.com

Office:
3605 Hamilton St. Philadelphia, PA 19104
215-387-8590
info@pffshow.com

New Shows and Events 2011 - Jennifer Schwarz, Martha Collins

2011-02-11T20:43:00.000-08:00

Fine Wood Artists Member Jennifer Schwarz has a show opening tomorrow-

Lavender Moon Gallery presents

“Two Woman Show, EARTH and FIRE”

JAN BOVARD, Pottery

JENNIFER SCHWARZ, Fine Furniture

To view “Cyber-Show” click on the link below:

www.lavendermoongallery.com/show

Pottery & furniture are available for viewing & purchase at

Lavender Moon Gallery, Kainaliu

Exhibit from Feb. 12, 2011 – Mar. 12, 2011

Artist Reception on Sat., Feb. 12^th, 4-7pm

For further information call 324-7708

lavendermoongallery@earthlink.net

******************

Fine Wood Artists member Martha Collins has several shows and classes coming up-

February 24 -27 Demonstration at the ACC show in Baltimore.
March 12 -13 Contemporary Craft Market in San Francisco

April 9 -10 Wooden Jewelry Class Woodcraft Store, Seattle

April 30-May 1 Making a Quilt rack Port Townsend School of Woodworking (PTSW)

May 14 -15 Small project class ( boxes) Woodcraft Store, Seattle

May 30 - June 3 Woodworking fort Women 1

Introduction to hand tools and hand held power tools PTSW

June 6 -10 Woodworking for Women 2 Machine tools PTSW

August 1 -2 Wooden jewelry 1 at PTSW

August 3 -5 Wooden Jewelry 2 PTSW

******************

Best of luck to these talented woodworkers, please click the links or contact the artists for more information.

New Work by Boykin Pearce

2011-01-24T12:31:00.000-08:00

Kimono Buffet

For more of Dave Boykin's work, please visit his gallery
http://www.finewoodartists.com/gallery/boykin/dave_boykin.htm

The Banksia Seed Pod - Australia’s Native Treasure - by Cindy Drozda

2011-01-03T15:42:00.000-08:00

Banksia is a genus of plants that occur in Australia and Papua New Guinea numbering 75 named species. Of these, 61 are found in Western Australia, including the Banksia Grandis, the species that generates the large seed pods.

The Banksia take their name from Sir Joseph Banks, the botanist who was on Captain Cook’s ship “Endeavour” that arrived in Australia in 1770.

It was from a subsequent trip to Australia that specimens were gathered resulting in seeds being grown in European glasshouses and 2 new species being named. One of these was the Banksia Grandis named by Carl Wildenow in 1798.

Although it’s the size of the seed pod that makes it attractive to artists, the name probably refers to the tree’s large leaf size.

Banksias in general occur as plants ranging from prostrate shrubs, to larger bushes, and trees of around 50 feet in height. The Banksias Grandis is restricted to a natural occurrence in only the southwest corner of Western Australia. More specifically, the coastal plain and Darling plateau from a point some distance north of Perth extending over an area about 650 miles southwards and eastwards along the coast and about 100 miles inland at most.

Banksia Grandis grows as either a large shrub or a small tree depending on its location, either on the coastal plains or as an understory tree in the eucalyptus forests.

The cones commonly used for woodturning are the fruit body remains from the flower head spike that blooms from October to January. These cones can be from 4 to 16 inches long. Once the stunning, upright, golden yellow or red flowers fall off, the cone matures on the tree and the seeds develop. Often it is the heat of a forest fire that causes the seed case holes, which give these pods their unique appearance, to burst open and release their seeds.

Banksia Seed Pods are a truly renewable resource, since no trees are cut down to harvest the Pods. Working with Banksia Pods is an adventure, but the results are well worth the effort!

***
Article reprinted with permission from author, Cindy Drozda.
More of Cindy's work can be found in her gallery here-
http://www.finewoodartists.com/gallery/drozda/cindy_drozda.htm

New Work by Andrew Pitts

2010-12-10T15:20:00.000-08:00

Snowflakes ... a new blanket chest for the season

Cherry, red cedar, tulip poplar
Milk Paint and Shellac Polish Finish

36"H x 51"W x 20"D

Enjoy the festive spirit of the season all year long with snowflake carvings in the tulip poplar front and back, highlighted in white milk paint on a background of bayberry green contrasting nicely with the bookmatched cherry crotch on the ends and the cherry legs. The gently curved hardwood laminations are from local Chesapeake Bay trees that have fallen in storms or were dying and given new life. The finely finished shellac polish on the cherry is a joy to touch. Open the blanket chest on its fine brass hardware and take in the soothing aroma of the red cedar laminations on the inner walls. A wonderful piece that will bring years of joy to a home!

Here are more photos of the blanket chest

This piece will be in the window of the Studio Gallery, Kilmarnock, VA
30 November thru 2 January

Please visit Andrew's gallery on Fine Wood Artists to see more
http://www.finewoodartists.com/gallery/pitts/andrew_pitts.htm

Woodworker Scott Armstrong- On the Radio

2010-11-08T10:06:00.000-08:00

Scott Armstrong, a member of Fine Wood Artists will be on the radio, this Saturday. Please tune in if you have time!

More about Scott can be found on his gallery

http://www.finewoodartists.com/gallery/armstrong/scott_armstrong.htm

Antelope Table by Scott Armstrong

Please join me this Saturday, November 13th between 10:00 a.m. and noon mountain time on the like talk radio and webstream show "Circles of Change with Dr. Zara Larsen: Where Your Path is Created by Walking on It". Tune in to Journal Broadcasting KQTH via computer http://www.1041thetruth.com/ or in southwestern Arizona, 104.1 FM.

Dr. Larsen has hosted over 200 shows in over two years, generating some 350 informative and inspirational podcast segments. The show is dedicated to spotlighting the careers and organizations of business professionals, non-profit leaders, entrepreneurs, and public servants, as well as artists, consultants, academics and those with inspirational stories to help others embrace personal career and organizational change. Arrowleaf Studio and my career as an artist and entrepreneur will be featured in a special segment, along with other guests as committed to offering pragmatic advice and likely some unconventional wisdom in the mix.

If you are unable to join us live, the podcast will be posted by Wednesday, November 17th in the 2010 Featured Guest library on http://www.thelarsengroup.com/ Or "opt in" to Dr. Larsen's iPhone/smart phone mobile site by sending the simple text message of drzara (no spaces) to box 69852 to receive every Thursday the direct link to the four segments from the preceeding Saturday. An example is posted at http://echoflyer.com/m/drzara

Hope you can join us!
Best regards,

Scott

In depth, Artist Dean Robertson

2010-11-03T15:33:00.000-07:00

Tennessee Cedar Earring by Dean Robertson

Dean Robertson, a Washington based member of Fine Wood Artists kindly offered to talk a bit about himself and his work creating and selling his his wood jewelry.

***********************************

My name is Dean Robertson. The name of my business is Forestlife Creations. I am a woodworker and bone/ivory carver, amongst many more skills that I have.

I have been making things since I was about ten. I like to keep my hands busy. My skills didn’t really develop till I moved into the Alaska wilderness to learn to live like the old Native Americans, or maybe it was Grizzly Adams. Either way I spend eight years learning to make most things the Northern Natives used to make. My specialty was bone, antler and ivory tools and hunting weapons.

Eventually I moved south again. Not finding satisfaction working as a carpenter I signed up for Wood Boat Building School, The Wood Construction Center of Seattle, Marine Carpentry division. During the two year program I learned to make use of the amazingly exotic wood scraps in the recycle bins. I was making toys for kids, gifts for people, and wood pendants for my wife.

Custom Hair Rods by Dean Robertson

The pendants seem to have been a hit since her friends and relatives starting asking for them. My wife was a beaded jewelry vendor at farmers markets at the time, so I decided to show my wood pieces too. They turned out to be quite popular, so any time the teachers weren’t looking I began making jewelry during class.

It was not long before I discovered earrings are where it is at, so I went into production. I scored some used tools through a tool swap and set up shop in my garage used the wood from the schools refuse.

The rest is history. I’ve been making wood jewelry now for over two years with over six thousand pairs of earrings sold. I sell at markets and fairs. I’m represented in about 30 stores in 7 states and I sell on Etsy.

California Buckeye and Epoxy Earrings by Dean Robertson

I think I have really found a way to express myself artistically and make a living, following my passions. Since I began I have tried many different products and often introduce new ones, going with the ones that sell best. I have found many creative ways now to come by reclaimed wood, or buy bulk quantities of end cuts from other wood workers. I feel this is a sustainable way to run a business and to bring the beauty of nature to the public the way I see it…

In the future I would like to expand my business to 100% wholesale and let go of the markets, but for the time being they are a really great way to get yourself out there and network.

I’ve always believed in following my dreams and see no reason why one could not. There is always a way.

Dean

More about Dean can be found in his Gallery
http://www.finewoodartists.com/gallery/robertson/dean_robertson.htm

To purchase his work, visit his Etsy shop
http://www.etsy.com/shop/forestlifecreations

Woodworker Video- Andrew Pitts

2010-10-14T11:48:00.000-07:00

Andrew Pitts, a fine woodworker in Virginia, shares a glimpse into his studio with this video showing the carving an oak candle stand.

For more about Andrew, visit his gallery on Fine Wood Artists

www.finewoodartists.com/gallery/pitts/andrew_pitts.htm

Tree in peril, the Whitebark Pine

2010-10-07T18:12:00.000-07:00

Photo by Misty Garrick Miller

Whitebark pine is regarded as a keystone or “foundation” species. Keystone species are considered important in their promoting of biodiversity in a habitat.

The majority of the range of Whitebark Pine habitat is on public lands in Canada and USA, in national forests and protected lands. Even though most of these trees are on protected lands, they are threatened by an introduced disease and fire suppression, as well as a surge in the Mountain Pine Beetle populations.

White pine blister rust is a fungal disease which was inadvertently introduced to Vancouver, British Columbia in 1910. Whitebark pine mortality from the combination of blister rust and Mountain Pine Beetle exceeds 50% in many areas. Widespread mountain pine beetle outbreaks killed many trees throughout the Rockies, creating "ghost forests" of dead pine trees. In the Greater Yellowstone Ecosystem, more than 700,000 Whitebark pines were killed in 2004.

Several conservation groups are working to restore, preserve and protect this species and the ecosystem they are part of. For more, please visit-

www.whitebarkfound.org
www.americanforests.org
www.ecologyproject.org

Q & A with a Woodworking Gallery Director

2010-09-23T12:30:00.000-07:00

Sharon Ricci, the director of Northwest Fine Woodworking in Seattle, kindly offered to answer a couple of questions about the business of selling fine woodworking.

Sharon Ricci

Please tell us about your role at Northwest Fine Woodworking.

I am Director of the gallery which entails managing day to day business, developing and orchestrating events to engage the community about fine woodworking in the Northwest, and selecting a revolving inventory of furniture and craft that meets the criteria set forth by the cooperative membership. Being a coop, the gallery is run by many helping hands so my role is key in keeping things on track toward the bigger picture.

When an artist approaches a gallery with intent of showing there, what do you think are the most important things they should consider?

A gallery is a business geared toward customer service. Be prepared before you approach any gallery with a clear idea of how to describe your work, and have professional looking images of current designs that are available. Know that each gallery has its own rules for reviewing new work and if you want to succeed you will have to work with them on their terms to get your foot in the door. Also there is a fine but definite line between persistence and annoyance.

What is the biggest mistake in your opinion that woodworkers make in regards to showing or selling their work?

Not having media worthy photos of their creations! Bad lighting, wrinkled bed sheets, a cluttered background, blurriness – all of these things can be corrected so that a photo is crisp, clear and appealing.

What do you think is the best way a woodworker should market themselves and their work?

Be prepared with the above (good photos, a brief but direct description of your work and a body of available designs) then talk to lots of people about what you do. You have to visit many shops and galleries to see where your work would be a good fit, absorb what else is out there as competition or compliment and talk to the sales staff about what clients respond to.

Woodworking is a rather solitary career pursuit and many artists and builders get into a grind of working in the shop for long stretches of time at the sacrifice of social interaction. If that sounds like you - force yourself to go to at least one gallery, museum or community event a week so that you can talk about what you are in the process of making and grow connections. Having a website and dropping off cards will never be as appealing a meaningful conversation and a hearty handshake.

Any advice for seasoned and aspiring woodworkers in this tough economy?

Follow your inspiration! When you make something from a place of passion and enthusiasm it generates passion and enthusiasm. We are all starved for those things that are genuine and uplifting. If you can work in that state of mind the end result will be successful on multiple levels.

30th Anniversary Show at Northwest Fine Woodworking

2010-09-14T12:25:00.000-07:00

John Thoe with his Mirror

I was privileged to attended the recent opening on Friday night for the 30th Anniversary Show at Northwest Fine Woodworking in downtown Seattle. The large gallery was not only full of beautiful furniture, turned wood and wood art, but a great crowd of admirers, collectors and resident artists.

Northwest Fine Woodworking started 30 years ago as a woodworking cooperative and has been a Seattle destination for woodworkers and collectors alike. This show embraces the new work of some of its long standing members such as David Gray, Grady Mathews, Tom Stangeland, and Curtis Erpelding, as well as relative new comers such as Hugh Montgomery and Seth Rolland.

There was also a wonderful showing or new work by Fine Wood Artists members John Thoe, Brad Gallahar, Robert Spangler, Spencer Horn, and Tom Deady.

Northwest Fine Woodworking is indeed a unique institution in the field of fine woodworking and this historic show is worth a visit. Whether looking for inspiration or a heirloom quality item for your home, now is the chance to see some of the best craftsmanship and innovative design out there.

You can see more of the show on there website here:
http://www.nwfinewoodworking.com/

Northwest Fine Woodworking is located in downtown Seattle, in the historic Pioneer Square district-
101 S. Jackson St, Seattle WA 98104 (206) 625-0542

New Work- Andrew Pitts

2010-09-07T12:38:00.000-07:00

Cherry, walnut, white oak, red cedar, tulip poplar
Shellac Polish Finish
36"H x 51"W x 20"D

The gentle curved hardwood laminations that make up the Blanket Chest are from local Chesapeake Bay trees that have fallen in storms or were dying and given new life. The ebonized carvings in the Tulip Poplar on front and back are two different coastal bay scenes with whimsical play, and the bookmatched cherry crotch laminates on the ends lend a bit of formality to the piece. The ebonized white oak laminated legs and the top and bottom of walnut with the sapwood intact build on the theme of my Shadows of Night cabinet. The finely finished shellac polish exterior is a joy to touch. Open the blanket chest on its fine brass hardware and take in the soothing aroma of the red cedar laminations on the inner walls.

But this is only part of the story! The back is another scene from our shoreline!

Please click here to see the entire piece!

More of Andrew's work can be seen on Fine Wood Artists
http://www.finewoodartists.com/gallery/pitts/andrew_pitts.htm

More Thoughts on Sustainability - Erik Wolken

2010-09-03T11:36:00.000-07:00

Bench by Erik Wolken

When last I visited the issue of am I green enough, I was reluctant at best to take on the moniker of a green maker, but considered myself at least on the right path. Now the subject has come up yet again.

I was recently approached to join a website selling eco friendly art to the the design trade. So once again I must ask myself if I am worthy to join such a select group? My first thought in responding to the request was to chant my mantra, “I am not your typical green maker who uses groovy bamboo recycled plastic and Forest Stewardship Council (FSC) certified wood in their work. I just make well-crafted work mostly in solid wood from mostly locally sourced materials that hopefully will not end up in a landfill for a couple hundred years.” The response I got back, “ yeah that works for me,” was not what I expected. I expected to be politely declined and to take the easy way out of having to further explore my greenness. Instead, I felt like I had just gained entry into a club in which I did not belong and now had to come up with a new rationale to justify my membership.

So I set out on a quest to make myself greener. My first step was to call my local family run lumber yard, where I buy most of my lumber, and see if I could get that holy grail of greenness - FSC certified wood for future projects. When I spoke with the owner, he replied that because he was not FSC certified he could not sell FSC products and because it cost $3,500 a year to become certified it was unlikely he would be able to do it. That seemed like a lot of money to me as well but I figured as long as I had him on the phone I would ask a few more questions. I was curious if he knew the source of most of his domestic hardwoods, to which he replied all most were from the southeast and mostly came from Appalachian hardwoods or roughly about a 200-mile radius from us. He also went on to say that he had certificates from the U.S Forestry Service certifying most of his hardwoods as sustainable harvested. While not the green seal of approval I sought, that all seemed pretty in line with my own beliefs on green and it would allow me to continue to support a small family run business instead of a large corporation - something also in my belief system.

But I decided to continue my search anyway. I did a Google search and called the large local lumber yards. As I had suspected, nobody local stocked FSC products but it could be found within a couple hours drive. The suppliers were almost all the big boys and I would have to pay trucking fees, buy in larger quantities and of course pay more for the materials as well as not being able to hand pick the lumber for color, grain, and the least waste as I usually do.

If there is a moral to this story it is that being green involves trade offs. I might like to build my furniture from FSC certified woods, but to do so the wood would have to be trucked in from further away, bought from a large corporate entity and would result, ironically, in more waste than carefully hand picking what I need from my small time local dealer.

It was a long trip, but I've returned to my beginning. Being green is many things. I may not be able to claim the sexy aspects of it but I do my best.

Lessons in Woodworking, A Cautionary Tale - John Thomas

2010-08-16T14:01:00.000-07:00

September 20, 2008 will be a day that will be etched in my memory forever. I've been using table saws, routers, and the regular run of power tools since the winter of 1994. I have owned my personal saw since 2003 and have felt very comfortable using it. On this day I learned that I was too comfortable. I was tired and in a hurry. I had overwhelmed myself with getting ready for my first ever Arts and Craft show in Asheville, NC.

I think the night before I had worked until 2 or 3 am and only slept for maybe 3 hours. The project was something I've done countless times; build a box. With this particular box, I decided that I wanted to run a couple of strings of Purple heart around the perimeter to spice it up some. One of the lessons here was to leave a perfectly fine figured plank alone, the other make sure you have a splitter if you plan of using your table saw to resaw anything!

I had the blade raised more the half the width of the plank and was using my trusty orange push stick. I had about 1 to 1.5? to go before completing the cut when I was blinded by pain in my hand and bizarre sounds from the spinning blade. It was over before it began. The pain wasn't searing, but more like blunt force trauma.

I remember thinking, So this is what is feels like to get you hand smashed with a 2x4? Of course that thought was a hour of so later, but it's the closest memory I've got. Lucky for me I wasn't alone, my wife Dawn was sweeping just on the other side of the saw. She heard the unfamiliar sounds and quickly turned to see me hopping across the shop floor, and flinging the orange push stick as hard I could. I could see the droplets hitting the floor way to quick, and knew this was bad. I couldn't look
at my own hand.

It's different when it's your skin and blood. IIn my life prior to working wood full time I spent seven years of working the worst neighborhoods, the true "Wrong side of the tracks". I enjoyed being the first cop on scene and remember all of the carnage I saw. What people can do to each other is frightening. Well, it never phased me much, the carnage. We treated like the job that it was then figured out where we would go eat, and no, it was never once Dunkin Donuts. The lesson I learned from this is, no matter how strong a stomach you thnk you have, that all changes when you see your own finger splayed open to the point you can watch the actuall knuckle pivot when that same finger is being bent.

John's hand, the saw blade (now a clock) and the piece of Purpleheart.

My whole life changed. I can no longer play guitar and was a very avid guitarist all through the 90s, the Gen X thing and all that good stuff. Now I'm lucky to play one chord and get the notes to ring clear. On the bright side to all of this, my work excelled much past the injury. The hand surgeon told me to allow my hand 6 months to heal. I asked him for living expenses for the next 6 months. He just gave me a weird look.

I cranked the saw back up after one month. It took about five minutes to hear it run before I could send a piece of wood through. I needed to feel the resistance we ALL should feel, and not forget its distinct feeling.

Separating age old dense fibers with super sharp high speed metals and the results that came forth are what I now show in my gallery on Fine Wood Artist. A lot this work was started with the mean
tools then brought to life with some pampered hand tools. Right now I feel a change coming and I'm letting it happen. I'm not questioning too much, just going with it.

As convenient as a well turn table saw can be I'd trade in for a nice Bad Axe Tenon Saw and maybe a refurnished Disstion rip saw. I could honestly do this with out looking back. I'm excited to see what's next and glad to share my story with you.

Being safe means don't work fatigued, or stressed, and make sure you remember the sharp tools are safe tools.

All the best-
John A. Thomas
http://www.finewoodartists.com/gallery/thomas/john_thomas.htm

Q & A with Furniture Maker Andrew Pitts

2010-07-26T14:57:00.000-07:00

Andrew Pitts is a self taught furniture maker, working out of his shop in Heathsville, Virginia. With over 35 years experience, he kindly answered some of our questions.

What is my favorite wood and why?

I can say Cherry is clearly my favorite wood, seconded by Red Oak. Both these woods grow locally in Virginia, and I use a lot of windfall wood I mill with a Woodmizer sawmill and dry in a solar kiln, so it is somewhat plentiful. Cherry looks great, works well, and the combination of cherry and red oak in the same piece, well, I just really like it!

Do I have a favorite tree?

Hmmmm ... I live and work in an eastern Virginia hardwood forest and I really like just being among the trees here. For milling and making lumber, I like the tall straight trees that grow in the forest. Tulip Poplar comes to mind, not a true poplar but a member of the magnolia family, I believe. These grow like an arrow and are the tallest trees in our forests, and they mill and dry great! For peace and quiet I love the tall pines, but I am not a softwood artisan (except for the occasional cedar) so I just like to see and smell the pines and keep it at that. Although I love the grain of small pieces of American Beech, the trees themselves are too full of sucker branches that mar the wood with knots and cause drying defects, so beech is not my favorite milling tree, but as gnarly as beech can be, I have never seen one fall in a hurricane so they are good protection. The oaks in the forest are majestic, although the mighty oaks are real targets for wind storms as the roots don't go too deep. I guess I'm giving a bad answer to the question, because I really like all the trees - like people, they each have their own personalities!

What pieces that you have crafted from wood are you most proud of and why?

Another tough question to answer. Don't we love all our pieces? They are our "children", after all. Lately, I have moved from doing mainly rectilinear work to using a lot of curves - using bent laminations and such. So, I am partial to the really graceful pieces such as my Shadows of Night cabinet, where the ebonized legs sweep the bent laminated upper cabinet away. I also like that I could do some carving in the doors, making a Chesapeake Bay wetlands scene. The same can be said of Chest of Drawers sans sides, which also uses a curved leg structure but as the name suggests has no sides, but simply drawers with all the joinery exposed. But some of my more "square" work is also nice, as the beauty is in the details. Take, for instance, the Roll Top Desk with walnut as the main wood but cherry trimming it out and a red oak tambour (there is that cherry and red oak combo I like so much). The desk has few curves, but is still delicate and nice and I am very happy that I was commissioned to make it.

Chest of Drawers Sans Sides

What is the hardest piece you ever made from wood and why?

I would have to say that Chest of Drawers Sans Sides was the most technically difficult piece to build, because just does not have any square corners! All the joinery had to be figured out at weird angles ... ditto with the drawer dovetails. I think the second most difficult piece may have been my jewel chest, of which I made two. These use drawers that are pie shaped and pivot on a steel rod. The drawer sides are curved bent laminations of holly, and the dovetails had to be cut on the curve - a first for me - and then the swing of the drawers had to be made smooth. And above all, the piece had to be made so when the humidity changed the parts would not all lock up or come out of alignment. Both cases have been through several summers and winters, and all is still well!

More of Andrew's work can be seen in his gallery here-
http://www.finewoodartists.com/gallery/pitts/andrew_pitts.htm

Northwest Fine Woodworking Box Show

2010-07-05T12:11:00.000-07:00

Ocean Cathedral by John Shrader

Northwest Fine Woodworking here in Seattle getting ready for their annual Box and Container show and are looking for entries.

Over the years several Fine Wood Artists members such as Jim Christiansen and John Shrader have had wining pieces in this annual event.

There is no fee to enter and the rules are simple-

Items must open and close in some manner, be constructed primarily of wood, be for sale and be new to the competition.

Completed applications are due by Saturday September 18 th , 2010.

This is a juried show; artists will be notified if their work is accepted by September 30 th .
Show opens November 4th and runs through to January 30th, 2010

People's Choice is voted for by customers.
The NWFW Jury and staff select 1st , 2nd , 3rd and Honorable Mention.

To apply, click this link on Northwest Fine Woodworking's website.
http://www.nwfinewoodworking.com/boxshow.htm

Virtual Shop Visit with Jennifer Schwarz

2010-06-14T10:44:00.000-07:00

Jennifer is a talented woodworker who blends art, sculpture and fine craft in her work. Here is a little about her in her own words.

I work in a studio on my land on the Big Island of Hawaii. When I moved here, I bought raw land, had some of it cleared, and built my wood studio and a small sleeping cabin. I can see the ocean from my place, and incredible sunsets. It takes me about an hour to drive to the nearest real town.

My schedule varies depending on what I am working on. Since I am still actively building my place, I split my time between construction and fine woodworking. I have also been playing with dying silk scarves.

I brought quite a lot of wood with me when I moved here. Most clients in Hawaii want local hardwoods. The best source for the local woods is small mills. I was lucky enough to get introductions to the owners of two very good mills, and can buy directly from them.

I love to have a lot of space to work in. The studio I built has 1200 square feet of workspace. There is an additional office, bathroom and storage room on the building. Unfortunately I have the tool lust common to most woodworkers.I have beautiful equipment. Of course it would be lovely to have more! It is a challenge here to keep the machines from rusting. I do regular maintenance of the machine beds, and also keep them covered with canvas drop clothes when not in use. This is a tip I got from a boat builder friend.

When I am designing a piece, I start with some small "thumbnail sketches". Then I draw the piece full size. This usually takes place in the shop because of the space demand. I actually love the completion of pieces... that moment when you see your imagined piece come to fruition in three dimensions.

I am just beginning the discussion of several possible pieces with a new client. I will probably use Koa for all of the pieces... I am awaiting a call about dimensions so that I can come up with the thumbnail sketches.

Q & A

What is your favorite wood to work with and why?

I fall in love with every wood as I use it. Some woods are just so pleasant to use.... with even grain and dependable stability such as Honduras Mahogany. Other woods have fabulous grain patterns with color and sheen that is extraordinary like western walnut, and Curly Koa. Other woods smell wonderful as you saw and machine them... such as cherry and walnut. Each wood has its own beauty and characteristics that make it unique and wonderful.

Do you have a favorite tree?

I love the big old trees.... giant cedars and firs in the northwest, giant Koas and Ohia's here in Hawai'i.

What piece have you created from wood are you most proud of and why?

This bench was commissioned by a woman for her husband, an avid fisherman. She wanted a bench that had carved fish and a feeling suggestive of water. Technically this piece was very challenging. I wanted the wave pattern of the back rest to be exact. I needed to make a jig that had perfect sections of arcs so there would be a perfect spacing to the repeating waves. After carving the fish, I needed a way to connect them to each other and the bench that would hold up through the years....My client and I were equally pleased with the results! It is a showpiece as you enter their home.

What was the hardest piece you ever made from wood and why?

This piece was challenging in many respects. It is the "Gift Table" for a church in western Washington. Liturgical work involves working with a committee of volunteers to identify the congregation's needs, and then coming up with a design to fit. The design must fit the very personal spiritual needs of literally hundreds of people. This particular table was to include a piece of round stained glass that was made with drawings done by the elementary school classes. The glass needed to be sandwiched between, but not touching, two layers of clear glass. The table itself was to be octagonal to match the other Altar pieces. It stretched me in my ability for interpersonal communication, as well as woodworking skills, and there was a short turn around time on its construction!

Do you prefer working for clients, or doing "spec" pieces?

I like to make a mix of custom pieces made specifically for a client, and "spec" pieces that I make and then see who falls in love with them. In both instances, it is seeing my work in my client's home, office or place of worship that allows for the final sense of completion that, as an artist, I truly value.

To see more of Jennifer's work, please visit her gallery

http://www.finewoodartists.com/gallery/schwarz/jennifer_schwarz.htm

Q & A with John McAbery

2010-06-06T19:13:00.000-07:00

John is a talented wood sculptor living on the rugged coast of Northern California. We asked him a few questions about his work.

What is your favorite wood to work with and why?

California Bay Laurel (it masquerades as Myrtle in Oregon) is my favorite wood to work with because it has an interlocking grain which makes it possible to create very thin pieces. The wood has strong grain definition and has a variety of colors.

Do you have a favorite tree?

I'd have to say that Madrone (Arbutus in your neighborhood) is my favorite tree. I'd love to work with it but it checks violently when it is cut into. I did manage to create one sculpture out of it and a couple of spoons, but most of my attempts to work with it have ended up in the wood stove.

What piece have you created from wood are you most proud of and why? What was the hardest piece you ever made from wood?

My sculpture titled "Whelk" on the Previuos Works page of my website is the piece that I most proud of because It was radically different from anything I had done before and probably the most difficult piece I ever attempted. When I started it, I was almost positive that I would never complete it, but it came out perfectly.

Where do you get your inspiration and ideas?

From my enviroment. "The coast is alive, full of magic, music and motion. Some of that is bound to show up in my work."

More of John's work can be seen in his gallery-
http://www.finewoodartists.com/gallery/mcabery/john_mcabery.htm

The Shangrila Rocker

2010-05-24T09:31:00.000-07:00

This is a new piece made by Scott and Stephanie Shangraw of Shangrila Woodworks. Made from mesquite wood, this rocker is all about comfortable and eye catching curves.

They are limiting the production of this piece to only 10, so if you are interested, be sure to contact them soon.

More of their work can be seen in their gallery
http://www.finewoodartists.com/gallery/shangraw/scott_shangraw.htm

And see the building process on their website here
http://www.shangrilawoodworks.com/rockerbuilding.html

Jim Christiansen - In his Own Words

2010-04-28T09:35:00.000-07:00

Offering to Narra by Jim Christiansen

Like many others who have become serious woodturners later in life, I had my first exposure to the lathe in high school shop class. I completed two projects, a walnut bowl turned with very dull scrapers and a gate leg table that was mostly shaped with sandpaper. While these projects were challenging at the time and turned without any finesse or skill. The most important thing I learned was an appreciation and love for wood.

My life has been quite varied. After military service I moved from being a teacher to a professor to consultant to school administrator. There was always lots to do to keep my type-A tendencies at bay. It seems, however, that I have always spent a lot of energy in a search for meaning and purpose. My thoughts frequently focused on the how and why of design. I developed a deep admiration for those who created objects of beauty. Without realizing it, I was setting the stage to make another big change in my life.

On a whim, I purchased and restored an old Oliver lathe. At over 800 pounds and running on a leather belt, this lathe turned out to be a very competent machine for a beginning woodturner. I began where I had left off thirty years before—dull tools and literally sanding the work into submission. Then a fortunate event took place; I attended a Utah Turning Symposium. There I was exposed to the work of turners such as John Jordan, Michael Hosaluk and Hans Weissflog. I remember having a very intense emotional reaction to the beauty of the creations I was seeing for the very first time. I recall a level of excitement and wonder that I could not explain. I knew from that day that I wanted to create work of that caliber.

A chance meeting with another person who shared my fascination and interest in woodturning led me to discover the value of collaboration and sharing. Later I met others who were seeking to learn new skills. This led to an acceleration of my learning and to the opportunity to develop deep and satisfying friendships. I learned that the turning community has strong traditions based on sharing and friendship. There is a very obvious network that has led to the rapid evolution of woodturning as an art form.

Hollow Vessel with Carved Figures by Jim Christiansen

My personal work has largely reflected my deeper feelings about the mysteries of life. I am constantly experimenting with new ideas only to move on to something else when the spirit moves me. I have been fortunate enough to have my work included in many national and some international exhibitions. It has been featured in several books as well as in a number of periodicals. I have published articles on critique and design, and I have had the opportunity to travel widely teaching others about critique and design. I have also curated two major woodturning exhibitions with Gerrit Van Ness. I spend a lot of time sharing my studio with anyone who expresses an interest in becoming a wood artist.

Woodturning is a very large movement. I feel I am fortunate to be a part of it all. I am pleased to have a continued association with a large number of very dedicated wood artists. They will help us shape the future and provide excitement and meaning to the lives of many men and women who will follow. We are limited only by our imagination.

More work by wood turner and sculptor Jim Christiansen can be seen in his gallery
http://www.finewoodartists.com/gallery/christiansen/jim_christiansen.htm

Interview with Wood Turner Roger Dunn

2010-04-21T08:43:00.000-07:00

1. What is your favorite wood to work with and why?

Pacific yew, Taxus Brevifolia, because it is rare to find in a decent size to work with. But once found and turned it produces beautiful pieces with almost no need for a finish. The tree has healing properties as described on the National Forest Service website: “Pacific yew is again being used for medicinal purposes. In the late 1960's, taxol-a complex compound extracted from yew bark-was identified as a possible anticancer agent (18,48). The National Cancer Institute (NCI) has found taxol to be one of the most promising of more than 120,000 plant compounds tested for anticancer properties. Taxol appears to be effective against a wide range of tumors, and good responses have been obtained in the treatment of refractory ovarian cancer (9,38)”.

2. Do you have a favorite tree?

The beauty and mystery of Madrone, Arbutus menziesii, is unique. It has deciduous looking leaves but is an evergreen. Its bark is smooth like it has already been stripped. The bark sheds like a molting animal. The wood is pink when freshly cut. Turning it very thin when green produces wonderfully warped forms. In order to create a, uniform shaped bowl, the rough turning must be boiled to avoid the cracks that usually tear an unboiled rough turning apart.

3. What piece have you created from wood are you most proud of and why?

Spalted translucent Monkey Puzzle, Araucaria araucana, bowls take a lot of work but the end result is gorgeous. The pieces are turned end-grain very thin, sanded thinner and then soaked over and over in a concoction of boiled linseed oil, varnish and mineral spirits.

4. What was the hardest piece you ever made from wood and why?

I turned a tree’s fork in end grain orientation once, and only once. I wanted to make a bowl with a rabbit ears look. The spinning ‘ears’ were like a boring machine trying to bore a hole through me. The finished ‘object’ wasn’t what I thought it would be and I abandoned further attempts.

5. Is there a question we didn't ask that you would like to answer?

The ‘addiction’ of turning includes the thrill at getting a phone call from someone with a downed tree; traveling to see the wood, seeing promising blanks in the log, cutting it up with a chainsaw and harvesting the promising blanks, the journey back to the studio with the new found treasures, the roughing to discover the grain orientation and form, waiting for the rough blank to dry, final turning, sanding and finishing the bowl, the approval from a buyer who appreciates the bowl for the beauty of the wood and what became of the tree after the phone call.

To see more of Roger's work, visit his gallery
http://www.finewoodartists.com/gallery/dunn/roger_dunn.htm

Jim also curated the book
Masters: Woodturning Major Works By Leading Artists

Andrew Pitts in WoodShop News

2010-04-06T08:44:00.000-07:00

A wonderful article about Fine Wood Artists member Andrew Pitts has been published in WoodShop News April 2010 edition, you can read about it on his website here (.pdf document)
http://www.andrewpittsfurnituremaker.com/Shows_and_events_current_files/Press/WSN_April_10.pdf

And see more of Andrew's work in his gallery here
www.finewoodartists.com/gallery/pitts/andrew_pitts.htm

Virtual Shop Visit with Chuck Ellis

2010-03-31T09:22:00.000-07:00

In our continuing series of virtual shop visits, we visit Chuck Ellis, a lathe artist working in the beautiful Cherokee National Forest.
******

My shop is a dedicated building my wife and I built when we first moved to Tennessee in 2005. It's a dedicated building just for my wood working. Our original plan was that we would share and she would have a corner to do her painting and craftwork, but due to a health problem, she isn't able to work in the shop and because of the dust I generate, painting and craftwork wouldn't work in the shop anyway.

This shop is over twice the size of the shop I started with... before I moved to Tennessee I worked in a small shed in my back yard in Texas... that shed was 10x9 and held almost the same number of tools I have in my new shop. I actually had to take tools out of the shop in order to change lathes about when I would switch from the little lathe to the larger one or if I needed to use the table saw I had to set it in the yard as there was no room to maneuver lumber pieces inside the little shop.

I'm in my shop most days, weather permitting. The shop isn't heated, so on cold days, I don't work out there. Since I am retired, I can work as much or as little as I want... usually from about mid day until evening when I come in for dinner. My work day is usually about 5 or 6 hours per day.

As a wood turner, I'm always on the look out for wood. I don't cut living trees. I get wood that has been cut by tree trimmers, friends and neighbors. And if I need a special wood or some sort, I have a lumber yard in East Knoxville that I do buy wood from. I also belong to several wood working forums and sometimes the members will trade woods. Just last week, I received a box of pen blanks from a forum trade from Australia.

I had a customer come by my show booth last summer and offered some wood she had in her back yard. She told me she had a tree that had "that disease" and she had it taken down.... I looked at the wood, discovered a whole tree of spalted maple... Maple is a light wood that when spalted will black lines running in a helter skelter pattern through the wood... it was a fantastic find... I had to make two trips to haul all the wood home.

I also picked up some flame box elder that I discovered in a brush pile along side one of the back country roads. I actually had to go and buy a chain saw to get that tree. When I first saw the butt of the log I thought it was another maple, but when I cut the first section to load, I discovered the flame in the wood... Box elder is normally a pale yellowish wood that is relatively soft and not useful as a timber, but turns beautifully. The flame is a fungus in the wood that makes red blotches in the wood... this log had a flame in the center that looked almost like a Phoenix rising.

As I've collected wood, I have a huge pile of wood behind my shop. I'm trying to get the pile cut into turning blanks and getting them stored in my shop and on a drying rack. I have Cherry, Hackberry, Cedar, Maple, Box elder, Mimosa, Oak, Elm, Willow, Bradford Pear and others I can't recall right now. If I had to choose a favorite wood in that list, I would probably choose either the Flame Box Elder or the Spalted Maple.

My shop is pretty well organized... I have an area that is an open work area more or less in a circle with the lathes on one end, with work benches circling the open area. This takes up about 1/2 the shop... the other half has wood storage racks, and some tool storage, plus my table saw, band saw and a chop/miter saw.

I do all of my creative process in the shop... I turn whatever I'm turning at the moment... bowls, hollow forms, peppermills, pens, etc… including the finishing. I love the turning part and do the sanding and finishing as part of the process... my favorite part is the turning.

I have a new collection of woods that I actually bought to make some new style pepper mills. I have two or three of those in process as well as some bowls. The new woods a multi-color laminate wood. I am doing a test of the woods to see how they will work and then have been in conversation with the supplier to perhaps represent the company in this area as a vendor.

More of Chuck’s work can be seen in his gallery
http://www.finewoodartists.com/gallery/ellis/chuck_ellis.htm

The Philadelphia Invitational Furniture Show

2010-03-23T09:09:00.000-07:00

Lily Cabinet by Tom Lederer

Held this weekend, The Philadelphia Invitational Furniture Show is one of the longest running craft furniture show in the US.

"The PIFS features a great range of work reflective of the diverse creative directions present in the field of artisan-made furniture. There will be shaker and arts and crafts influenced wooden furniture, historically based Grandfather clocks as well as contemporary timepieces, modern functional-sculptural pieces in metal and wood, table top accessories, wall art and much more. The price points also span from the affordable impulse purchase to works suitable for long-term investments as future heirlooms."

FWA artists Tom Lederer and Michael Brown will be at the show, be sure to stop by and see their beautiful work in person.

More of Tom's work can be found in his gallery-
www.finewoodartists.com/gallery/lederer/tom_lederer.htm

More of Michael's work can be seen in his gallery-
www.finewoodartists.com/gallery/brown/michael_brown.htm

The Philadelphia Invitational Furniture Show
Saturday, March 27, 11am-7pm
Sunday, March 28, 11am-5pm
The Philadelphia Cruise Terminal at Pier 1
Philadelphia Naval Business Center (PNBC)
5100 South Broad Street (South)
Philadelphia, PA 19112
215-387-8590
215-387-8591 fax
info@pffshow.com
http://www.philaifs.com/

Jim Probst - Virtual Shop Visit

2010-03-17T09:06:00.000-07:00

Jim Probst, a furniture designer and craftsman, works out of his shop in West Virginia creating beautifully crafted heirloom quality furniture for the home and office. Here he grants us a virtual visit to his shop.
********************************************

The core of my shop was originally a grocery store. It has also been a restaurant and was apartments when I bought it. We have added on to it twice and now have approximately 5500 square feet.

We are in the shop at least 5 days a week and often 6. My helpers work 4, 10 hour days and set their own hours. They like to get off early so they start at 5:00 AM every morning (go figure). I've been working 6 days a week for years, and have been trying to cut back the last few years.

My primary woods all come from Irion Lumber in Wellsboro PA. We have developed a great working relationship and they saw and keep particular items in stock just for me. We work primarily in cherry, walnut, and figured maple. We order in on a per need basis, usually about every 6 weeks. We really get extraordinary material from them, as you will see from some of the images.

We are reasonably well organized, though if I had started out with the space I have now, I probably would have done some things differently. We do have our spaces divided into receiving, rough milling, assembly, veneering, finishing, and shipping. Really pretty happy with the shop.

I most enjoy the design process and love seeing a new design come into being for the first time (especially if I am happy with it).

I haven't done any shows in several years now, and have decided to do a show in Baltimore the first of May. Usually when I come up with new designs or a new line, I need to get out and do a few shows to introduce the work. I haven't done that yet with my Meander line so I am presently working on a show display of my Meander collection.

********************************************

Some of Jim's furniture can be seen in his gallery-
http://www.finewoodartists.com/gallery/probst/james_probst.htm

Mythical Woodworking - Stephen Hynson

2010-03-09T12:13:00.000-08:00

Mahogany Cupboard by Stephen Hynson

In addition to being a professional woodworker I am also a practicing Jungian psychologist. In this later role I am always curious about the archetypal and mythic contexts for the life stories I am told. Among other things, active myths are indicators of the current cultural zeitgeist as well as an individual’s strategy for engaging life and life engaging us. The myth of the flawed hero is a long standing story in American culture. Our founding fathers are often portrayed in this light. Hollywood recapitulates the story again and again, in such films as Rocky, Star Wars, and most recently, Avatar.

In myth of all types specific behaviors are modeled, various moral dilemmas are confronted, if not resolved, and unconscious elements are brought to the foreground. One theme of Star Wars is the power of unconscious forces to lead one to the dark side. Another story line is the redemptive power of love. Viewed this way, myths can be seen as a learning tool. Myths, in sense, provide a a set of idealized behaviors if not also a psychic template for all us. There is a two way street here as myth also provides a lens, a window of sorts to contextualize and understand the world around us. A world view that looks at all tasks as Promethean is very different from the world view of the followers of Bacchus. Is life a struggle, or is life a party?

During a long stretch of sanding I got to thinking about the stories and myths I grew up with that involved woodworkers and woodworking in the plot line. Pondering this I came up with two general sorts of stories and characters. First we have the woodsman. In stories like Little Red Riding Hood, Hansel and Gretel, and Peter and the Wolf, there is the heroic figure of the woodsman that slays wolves. On a metaphoric level, it is someone that has a familiarity with the forest and its wild things that is able to and does tame, if not, kill the wild things. From a psychic standpoint, there is a specific set of skills of the self that manages the wild urges.

As woodmen and women we have a direct relationship with the natural world in order to tame this world. We are the mediators between the wild world and the civilized world. This might also be thought of as a more general definition of the artisan and our world of craft. The tales of Paul Bunyan pick up on these themes also. An extra large character with a large blue ox for a buddy, Paul Bunyan is also often in the role of the Trickster as well as the lumberman mediating nature and civilization. Like Hermes and Ulysses, Paul Bunyan has a bit of mischief and mishap in him, and is a mediator between worlds, wild and civilized, unconscious and conscious.

The other set of stories deal with the working of wood directly. There is of course the story of Jesus and his filial responsibilities. Leaving the family and the world of carpenters, he of course goes onto something a bit different. Among other things, it is the story of the heroic.

Another story about a woodworker is the tale of Geppetto, a very poor woodcarver, and Pinocchio, an animated marionette. Like the early story of Jesus, it is about the relationship between a father and son, and family life. Created from a piece of talking pinewood, Pinocchio goes on to live the life of the Trickster. Something wild, the pinewood, has the appearance of humanness. Yet it is only through the tempering fires of his misadventures that he finally becomes truly human.

Both the story of Jesus and the story of Geppetto and Pinocchio offer ways of deepening into our human nature, the former through transcendence and the later through engaging the travails of the mundane and every day. Woodworking offers a very hands on experience for this work of the soul. It is wild stuff we work with. And that which is wild, untempered and unconscious is worked, whittled down and refined into a gift from our self to another. It is a very alchemical process of transformation. And like Paul Bunyan we also have a bit of mischief about us and a glint in our eye. Next time, ask your clients what they see.

©2010 Stephen Hynson, reprinted with permission.

To see more of Stephen's work, please visit his gallery
http://www.finewoodartists.com/gallery/hynson/stephen_hynson.htm

Am I Green Enough?- Erik Wolken

2010-02-22T12:08:00.000-08:00

Bench by Erik Wolken

I recently completed a project for a small town near me to make a couple of outdoor benches. Nothing complicated, just big chunky sturdily built benches made from cedar I bought from a local mill and put together to last many years in the wind and rain. The whole process of doing this project got me to thinking about those trendy words flying around these days, green and sustainable, and how they apply to me as a builder.

There are lots of new materials and recycled products out on the market to work with now, many of which claim to be green and sustainable and many of which visually are quite exciting. Bamboo and all of the different ways they have been able to manufacture it, is cool stuff and I would love to use it in a piece someday, as well as recycled beams from an old factory or plywood made from wheat. But alas all of the above are expensive and I have as yet been unable to convince a client to use them in a piece of furniture. So because of this am I not a green maker. Am I part of the problem and not the solution?

My little bench project helped me to gain some perspective on that matter. Here I was building something for a local town out of locally sourced materials built to last decades and most of the money stayed within my local community. All in all I would say that should score pretty high on the green and sustainability scale, so should I now pat myself on the back and call myself green worthy? The answer is unfortunately more complicated than that. Not all of my work meets the standards set by the bench project. In fact most does not. But it has caused me to think and compelled me to come up with a useful definition of “green” that I can work with.

For me the best definition is a personal one that reads more like a laundry list than a written in stone definition. I try and use local wood whenever possible. Short of that I try to use mostly eastern hardwoods. I stay away from exotic materials unless the client demands it and then I put on an environment surcharge which gets donated to a fund for forest stewardship. I try to use less toxic water-based finishes and non-toxic milk-based paints. As I learn more, I expect will add more to my laundry list. But in the end, the bottom line for me is building work that is of the highest quality construction designed to last for lifetimes.

When I sold my very first piece of furniture, my clients proclaimed that it would be in their family for generations. That is a powerful statement of sustainability in a disposable society where things are destined for the landfill almost from inception. While not as sexy as using recycled wood or bamboo or recycled plastic bottles, building furniture to last generations is my main contribution to helping create a better environment. I am still reluctant to pat myself on the back and call myself a green maker - there is still plenty more I could do for mother nature - but I am part of the solution.

-Erik Wolken, Fine Wood Artist member.

To see more of Erik's work, please visit his gallery-
http://www.finewoodartists.com/gallery/wolken/erik_wolken.htm

Shows update- Martha Collins

2010-02-17T10:38:00.000-08:00

Fine Wood Artists member Martha Collins will be showing at The American Craft Council show in Baltimore, February 24-28 at booth 130. Stop by and say hi!
Next she will be showing at the Contemporary Crafts Market in San Francisco March 13 and 14.

March 29-April 2 she is offering Women in Woodworking Class through the Port Townsend school of Woodworking, it's an introduction to tools class.

To see more of Martha's work, please see her gallery
http://www.finewoodartists.com/gallery/collins/martha_collins.htm

Shop visit with John Shrader and Joel Shepard

2010-02-05T08:44:00.000-08:00

It’s a pleasant winter afternoon in a very busy Seattle neighborhood. I am lucky to find parking across the street from a typical industrial building, one that could be offices or upscale apartments if it weren't for the familiar hum and whine of a large table saw emanating from inside. In this building, several different woodworkers rent workspace, with communal use of some of the more industrial equipment.
Joel Shepard at his work table.

Here I am welcomed with a friendly greeting from John Shrader who soon introduces me to Joel Shepard. Both are Fine Wood Artists members who rent shop space in this building. Joel is bent over his worktable, carefully taping together impossibly thin sheets of veneer for a box. His space is organized, yet full of plans, half finished projects, and inspiration. Several old chairs wait for restoration on one side, and under a blanket, a designer's desk with a unique poured resin top. The box Joel is working will incorporate a beautiful piece of spalted maple. I can tell from the plans it is going to be a real show piece once finished, but he says it's a present, not something he will sell.

Joel is an adaptable and multi disciplined woodworker. He will work with both individuals and designers to create new furniture, but he also repairs and restores antique pieces, and currently on his plate is the restoration of a Japanese lacquered chest. Like many woodworkers in the Pacific Northwest, Joel is influenced by classic Japanese furniture design. He also is very capable of creating his own unique pieces. "I enjoy working with designers and from my own designs," he says, “they both have their challenges, and working with someone else’s vision... brings in new ideas to my own work."

After greeting some of the other woodworkers who share the shop, we come to John's corner studio. Every inch of John's space is filled with wood, tools and his unique segmented bowls in various states of completion. He tells me there are over 60 bowls currently in progress. Though small, each part of his space is utilized efficiently. Unceremoniously in the center of his space is his variable speed lathe with a rough turned bowl waiting for the next stage.

Next to his cleverly improvised spray booth and drying cabinet is an organized stack of different exotic and hardwood boards that would make any woodworker envious. Unlike most turners, John doesn't often work from a solid block of wood; rather he takes flat boards, and using a method he perfected, carefully cuts them, layers them, glues then turns them. This method actually uses the wood very efficiently, and since it doesn't require starting from a large block, it allows him to use woods that aren't often used for larger turnings such as wenge and ebony. Each board is quarter and angle cut in circular strips, then stacked in such a way to create a pleasing pattern in the grain of the finished bowl. Some of the pieces he bleaches or sandblasts to accentuate this pattern, and for some he adds a band of silver or brass along the rim. Many of these bowls are finished with a high gloss lacquer almost like glass, and they are all turned perfectly thin.

On the wall above his tool cabinet are images of pieces from his sea series. These award winning, delicately pierced vessels are somewhere between science and art. He tells me the pleasure of being at a show and having someone recognize his inspiration for the series, tiny microscopic radiolarians that are found in the ocean.

Normally John doesn't have so many bowls in progress, but with a big show coming up (Best of the Northwest in Seattle, Magnuson Park, March 27 & 28), and having sold well over the Holidays he is looking to get ahead. He spends most afternoons in the shop, working on his unique and beautiful creations.

John Shrader

“My goal is to make enough to show a profit on my taxes" he says jokingly. In reality, he turns for the same reason most woodworkers do, for the joy of creating something beautiful from wood.

More work by John Shrader can be seen in his gallery-
http://www.finewoodartists.com/gallery/shrader/john_shrader.htm

Best of the Northwest Show information-
http://www.nwartalliance.com/events/Spring_Best_of_the_Northwest/

More of Joel Shephard's work can be seen in his gallery-
http://www.finewoodartists.com/gallery/shepard/joel_shepard.htm

If you are interested in purchasing work by either artist, please contact them from more information.

Andrew Pitts Awarded Honorable Mention

2010-01-23T09:31:00.000-08:00

Fine Wood Artists member Andrew Pitts was awarded an Honorable Mention in the Custom Woodworking Business 2010 Design Portfolio Awards competition for a custom cabinet in the Residential Furniture, Freestanding category. The piece was featured in the December 2009 issue of Custom Woodworking Business Magazine and on the Custom Woodworking Business Magazine website, http://woodworkingnetwork.com/.

Andrew Pitts at work.

The piece, “Sideboard Cabinet”, was custom made for a local client using walnut from a tree they had felled last year. Said Pitts, “I worked closely with my clients to design this piece, modifying the various options before we settled on the final design. I used CAD (computer aided design) software to draw realistic renderings and make detailed design drawings. I could also draw the 3-D home space the piece would fit into so we could visualize exactly what it would look like in its final environment.” With the exception of the quilted maple veneer on the door and back panels, all the wood used in the cabinet was local hardwood that Pitts milled himself with his WoodMizer sawmill and dried in his solar drying kiln.

Competition for the award was stiff, with only six winners and 18 honorable mentions in the various categories. The awards program was sponsored by Custom Woodworking Business Magazine, the exclusive trade publication wholly dedicated to serving the custom woodworking market. The Design Portfolio Awards program judges custom woodwork on the basis of appearance and quality of construction, with emphasis on design creativity and functionality.

Andrew's work will be in an upcoming show ArtAwards 2010 January 30-31 at the Virginia Beach Convention Center, VA.*UPDATE* dates are now February 20-21 for this show.*

More of Andrew's work can be seen in his gallery
http://www.finewoodartists.com/gallery/pitts/andrew_pitts.htm

The Art of Intarsia

2010-01-14T12:39:00.000-08:00

detail of Monticello Intarsia by Mike Mathieu

Fine Wood Art member Mike Mathieu is a master of the Art of Intarsia. Wanting to know more about the subject, I asked a series of questions to help illuminate others on this fascinating art form.

Just what is Intarsia?

Intarsia is a centuries old art form that uses different colored woods to create pictures. By using the different grains and natural colors plus the different thicknesses, a 3D mosaic is created unlike any other type of woodworking. The simpler description is “painting with wood”.

What are the main tools used to create Intarsia Art?

The basic tools required to create Intarsia are a scroll saw, and different types of sanding and shaping tools.

What first drew you to using this technique to create your art, boxes and urns?

I began creating Intarsia in 1992 after reading an article in Wood Magazine by Judy Gayle Roberts about how to make 3D pictures using only the natural colors and grains of different woods. I began by doing a couple of the free patterns that were offered in the magazine and went on to creating my own patterns. I began collecting as many different woods as I could find to use in my art and put together my Intarsia Project Kits which were sold through a few woodworking catalogs. My kits included all the woods, patterns and instructions to complete the projects. To this date I have sold more than 15000 project kits to woodworkers all over the world. It gives other woodworkers a chance to try Intarsia without the expense of buying so many different woods. The Boxes and Urns were done to make use of thinner pieces of wood and to make functional art while maintaining the beauty of the art form.

What do you most enjoy about creating your Intarsia art?

The challenge of creating Intarsia begins with an idea or a photo that the client gives to me. I enjoy designing the pattern and picking out the different woods that will make the Intarsia come to life. I incorporate as much detail as I can in the form of carving and utilizing the good contrasts and textures of the different woods.

Do you have any recommendations for woodworkers that want to try Intarsia?

Intarsia is something that is very labor intensive and does require lots of patience. To someone that is just beginning I would suggest that they read as much as they can about the art form, learn to use the scroll saw proficiently, try a few simple patterns, and have fun. Just like all woodworking it is very satisfying to stand back when the project is complete and say-“This was fun, I learned a lot, let’s do it again only better."

More of Mike's work can be viewed in his gallery-
http://www.finewoodartists.com/gallery/mathieu/michael_mathieu.htm

Cube within a Cube

2010-01-04T14:38:00.000-08:00

We found this fun and quick woodworking project on YouTube by Steve Marin to make a cube within a cube using just a drill press and square block of wood.

Happy Holidays!

2009-12-22T17:07:00.001-08:00

We would like to wish everyone and their families a Happy Holiday Season and Peaceful new Year.

2010 Niche Awards

2009-12-14T10:45:00.000-08:00

Fine Wood Artists' Andrew Pitts is a finalist for the 2010 Niche Awards with his "Shadows of Night" cabinet. The winners will be announced in February.

This is his third consecutive NICHE Finalist award for Andrew. The same piece won "Best in Show" in the Rappahannock Art League 48th Annual Exhibit in Virginia.

Congratulations Andrew on your success!

You can see the other woodworking Niche finalists here;
http://www.americancraft.com/NICHE_Awards/2010Wood.html

See more of Andrew's work in his gallery here;
http://www.finewoodartists.com/gallery/pitts/andrew_pitts.htm

Winner!

2009-11-26T08:38:00.000-08:00

Based on a number generated by random.org, the winner for our Thanksgiving giveaway contest is

Wild CloudBerry!

Congratulations on your win, we hope you enjoy your original art!

To be kept updated on Fine Wood Artist events, artists and future giveaways, please sign up to be on our emailing list at this link

http://www.finewoodartists.com/contact_fwa.htm

Thank you everyone who participated!

Giveaway!

2009-11-17T09:39:00.001-08:00

In honor of Fine Wood Artist's successful launch, we are having a giveaway!

Enter to win this beautiful 10" diameter Pacific Madrone Burl Bowl by wood turner Dale Larson, AND this fabulous Bloodwood Egg by Artist Jerry Johnson.

THANK YOU ALL WHO ENTERED! This Giveaway is closed.

Giveaway ends Wednesday, November 25th.
The winner will be selected by a number generated by random.org. They will be announced on this blog on Thanksgiving day, Thursday the 26th, 2009

The Fine Print
Open to anyone, except where prohibited by local laws, and the Fine Wood Artist members and their immediate family.

More About the Artists-
Dale Larson has been turning wood for over 30 years. He is an active member of the AAW and lives in Oregon. View more about Dale and his work at this link-
http://www.finewoodartists.com/gallery/larson/dale_larson.htm

Jerry Johnsnon has been working with wood for over 12 years. He enjoys working with wood burl and lives in Washington. You can read more about Jerry and view his work at this link-
http://www.finewoodartists.com/gallery/johnson/jerry_johnson.htm

Wood Gift Giving for the Holidays

2009-11-09T11:06:00.001-08:00

Madrone Salad Bowl by Dale Larson.

Thoughtful and one-of-a-kind gifts are often a challenge to find. Why not go with a functional, durable and creative gift made from sustainable materials?

Nothing beats serving a fancy salad out of a large hand turned wooden bowl, any gourmet would appreciate it! Artists Dale Larson, Roger Dunn and Dan Thoreson specialize in functional and beautiful serving and salad bowls.

Looking for something more feminine? How about mosaic jewelry made from many different colorful woods by Martha Collins.

Turned wood pens by Todd Zurik would make a great gift for dads, executives and those hard to buy for.

Hand crafted jewelry boxes by John Thomas or Paul Tokarowski would make a great useful gift for him or her.
Valet Box by John Thomas.

For the art collector, or someone looking for a true one-of-a-kind gift, why not go for a hand craved sculptures or ornamental turnings by one of the following artists-
Brenda Behrens
Jim Christiansen
Ron Gerton
Michael Hampel
Jerry Johnson
Jerry Kermode
Art Liestman
John McAbery
Milo Mirabelli
Randy Rhine
John Shrader

Sculpture by John McAbery

Contact the individual artist if you are interested in purchasing their work, they would love to hear from you!

Upcoming Member Shows and Events

2009-11-02T09:57:00.000-08:00

New Fine Wood Artists member Martha Collins will be at

Best of the Northwest Show, Seattle Center, Nov 13-15
http://www.nwartalliance.com/events.php
and
Bainbridge Island Studio Tour, Dec 4-6
http://www.bistudiotour.com/

Several Members including Tom Deady, Randy Rhine and John Shrader
will be part of Northwest Fine Woodworking's Annual Box and Container Show in Seattle
November 5th- December 31st
http://www.nwfinewoodworking.com/furniture_events.htm

Dale Larson will be showing at the Larch Mountain Country Artist show Nov 20-22 in Troutdale, OR.
http://www.lmca-artisans.com/index.htm

Roger Dunn has new works for the Holidays at Northwest Fine Woodworking and The Gift Shop of the Seattle Art Museum.

How to get your work in Stores and Galleries

2009-10-05T11:55:00.000-07:00

Many artists and crafts people love the idea of selling their work in upscale galleries, stores and boutiques but don't have the first idea how to go about it, or what it really involves. Here is a basic overview.

Pricing: Can you afford to sell? It may seem odd to think about it, but a lot of woodworkers sell their work at cost to their customers. This means only their time and cost of goods are covered, if that. Stores will often mark up 30 to 60% of the cost to cover their overhead and make a profit. When you wholesale or consign your work to a store, they take care of customer service, marketing and selling of the item. When a woodworker sells their own work directly to the customer, they often don't take into account this work and time. Most stores will not sell your work if they know you are undercutting their prices, meaning their customers can go directly to you for a better deal. So before you begin to approach stores about selling your work, ask yourself if you can afford to sell your work at true retail prices, or be willing to sell only through the store and not your workshop.

Do your Research First. Before approaching a gallery or store about selling your work, get to know that store. Ideally you can visit and see the kind of work they are selling, evaluate the staff and level of professionalism and see how work is presented. If you can't visit in person, look through the website. You want to be sure your work will fit in and that it will be presented in a positive way.

Make Contact. Whether in person or online, try to find who you should contact about your work. Ask if there is a purchase manager or artist liaison or representative, and ask if they are accepting new work. It's important to be professional, always try to make an appointment or ask if there is a good time to come in and present your work for review. Some retailers may only want to see brochures and price lists, others may want to see the work in person or have a different set procedure for accepting work.

Presenting your work. Again, professionalism is important. Be serious about your work and take care to put your best foot forward. This means having a price list, or at very least an inventory list of your available work. If sending a brochure, make sure that the photographs are the best you can afford, and the descriptions are accurate. Be sure to include your contact information on any correspondence. Always be positive about your work! Enthusiasm is contagious.

Accept rejection. It's always a risk when putting your work out there that it will be rejected. If this happens, there is no reason to go back to the woodshop, close the doors and never show your work again. There are many reasons for work not being accepted, and you have to trust that the person who runs the store knows their business just like you know yours. It may be a timing issue, a cost issue or a saleability issue. It's better to learn from the experience. Whatever you do, don't get angry or pushy with the contact person. They might not be in a position to carry your work now, but they may be able to in the future, and they may also have important information about where you can market your work or what you can improve upon. Don't give up! Sometimes it takes time and effort to find the perfect store to sell your work.

Look ahead. Selling your work in a store or gallery may open many doors but it also has challenges. In this very competitive economy you need to periodically evaluate what you are doing and how you can improve. Look at what is selling and see if you can expand on that market. Customers and stores get excited about new work and designs, so try to avoid getting into a rut or relying on past designs that did well. There is some risk in trying something new, but it can sometimes pay off in a big way.

About The AAW

2009-09-28T10:49:00.000-07:00

The American Association of Woodturners (AAW) was founded in 1986. It is an educational organization dedicated to the promotion of woodturning. From our bylaws: "The Association's purpose is to foster a wider understanding and appreciation of lathe-turning as a traditional and contemporary craft and a form of art among the general public, amateur turners, part-time turners and professional turners."

The AAW provides a basis for woodturners from around the United States and the world to get together, support each other and to learn from each other in all areas related to woodturning. Currently the AAW has over 13,000 members in over 315 chapters all over the world. Each chapter is an independent, locally run organization. Local members typically meet once a month to watch demonstrations of woodturning and related subjects.

A growing part of AAW is the regional symposiums where several chapters will put on a multiple day seminar covering all areas of woodturning. The AAW puts on an annual symposium each year rotating around the United States. They try to plan the symposiums so that every five years a member can drive to the symposium.

These symposiums bring in demonstrators from all over the world. Typically, there are 15 classrooms with different demonstrations going on for three days. There are related art shows of turned art. There is a huge Instant Gallery where each member can put three turned items for show or sale. The symposium has the largest woodturning vendor show in the world where all kinds of lathes, wood and related equipment is for demonstration and sale.

The AAW is a big supporter of education and we have a youth turning room where classes go on during the symposium. At the end, all the kids that took a turning class have their names are put into a hat and 25 lathes, chucks, tools and face shields are given to the winning kids.

The members of AAW are not a physical community but they are a community related by a common love of turning. While the name is the American Association of Woodturners, anything that can be stuck on a lathe gets turned. It is generally wood, but fiber, plastic, stone, bone, and pinecones are turned, and I have seen fruits and vegetables turned. There are also special interest groups within AAW that cover such topics as ornamental turning, segmented turning and collecting.

The AAW has a great journal that has articles covering a wide range of topics from beginning turning to advanced art work. Each year at the annual symposium we have an auction of turned art. The proceeds from the auction go the Educational Opportunity Grant program. In 2009 AAW handed out about $60,000 to individuals, schools and chapters for programs related to woodturning.

You can learn more about the American Association of Woodturners and its programs by going to www.woodturner.org. Here you will find out how to join and other information about AAW.
-Dale Larson

Dale is on the Board of Directors for the AAW. More about Dale can be found in his gallery-
finewoodartists.com/gallery/larson/dale_larson.htm

Fine Wood Artists Slide Show

2009-09-21T09:24:00.000-07:00

A short overview of some of the great work featured on FineWoodArtists.com

Brenda Behrens Showing this October

2009-09-21T09:18:00.000-07:00

Fine Wood Artists member Brenda Behrens will be showing every weekend in October at the Windmill Farms Pumpkin Festival in Chino Valley, AZ.

The show runs Saturday and Sundays 9 am. to 5 pm.

See More at the Windmill Farms Pumpkin Festival website

http://www.jcranchaz.com/windmillhouse_events.html

More of Brenda's work can be seen on her gallery
http://www.finewoodartists.com/gallery/behrens/brenda_behrens.htm

RIP James Krenov

2009-09-15T18:09:00.000-07:00

Fine Wood Artists joins the many who mourn the passing of the Fine Woodworking master James Krenov, who passed away last week at the age of 88. James influenced many aspiring woodworkers through his years teaching at the Fine Woodworking Program at the College of the Redwoods in Fort Bragg, California.

Our thoughts go out to his family and friends.

His family requests that donations be made in his memory to the James Krenov Scholarship Fund, care of the College of the Redwoods. Contact (707)962-2663.

The College of the Redwoods website:
http://www.redwoods.edu/

James Krenov's offial website:
http://jameskrenov.com/

"Live the life that you want to live. Don’t be unhappy in your work."- James Krenov

Best In Show

2009-09-14T09:38:00.000-07:00

Fine Wood Artist Andrew Pitts had his incredible cabinet "Shadows of Night" win Best In Show over the Labor Day weekend at the 48th Annual Art Exhibit of the Rappahannock Art League. Congratulations Andy!

See more of Andrew's Fine Wood furniture in his gallery
http://www.finewoodartists.com/gallery/pitts/andrew_pitts.htm

and his website
http://www.andrewpittsfurnituremaker.com/

Interview with Brenda Behrens

2009-09-07T11:11:00.000-07:00

Arizona artist Brenda Behrens combines wood turning and wood carving in many of her works including "the Ballet of the Leaves" in Carob wood shown above. Her favorite wood to work with is Myrtle wood.

"I have always enjoyed Myrtle Wood from the earliest that I can remember and that is back more years than I can remember." She says. "The process that I use to develop each carved piece begins with a wet chunk of Myrtle, turn it and then the carving begins with the traditional hand carving tools. Wet wood carves easier than dry and the Myrtle works well using this technique as it is a very stable wood, holds detail well and dries to a beautiful color."

Brenda is not afraid to take chances with her work, which often are labor intensive because of the amount of carving involved. She considers "Love of Nature" in Myrtle wood to be her most challenging piece, and the one she is most proud of.

"This piece is entirely hand sculpted using traditional hand carving tools and this made the work time extensive and consuming, however it was very satisfying." She says.

Not a woman of many words, she prefers to speak with her carving tools.

More of Brenda's work can be seen in her gallery at this link.

The Woodworking Process

2009-08-31T11:25:00.000-07:00

Fine Wood Artists member Andrew Pitts has a new write up on his website about several pieces of woodworking he completed using salvaged walnut trees. Andrew's website has a wealth of information for woodworkers and admires of fine woodworking.

Read the informative (and entertaining!) write up about the process of creating a new piece of fine furniture here.

More about this beautiful sideboard cabinet with quilted maple panels, can be seen at this link.

John McAbery- Solo Exhibit

2009-08-24T09:54:00.000-07:00

Fine Wood Artists member John McAbery will be having a solo exhibit, September 4-7th at the Mattole Valley Community Center.

Mattole Valley Community Center
29230 Mattole Rd
Petrolia, CA 95558

This show is to benefit local community groups and environmental organizations. Call John for more information (707) 629-3549

First there was a Tree

2009-08-10T09:56:00.000-07:00

Dale Larson is best known for his wood turning.

"I'm a bowl turner." he says. "I like to turn the local hardwoods because it directly connects me to the environment around me. As I drive around I am always looking at trees and identifying them and mentally looking at where the prettiest bowls are in the tree."

Here is a huge walnut tree that was being cut down to be replaced by a gas station.

Dale had his arborist friend Craig Smith take it down.

Dale ended up turning over 140 bowls out of the wood, and shared the wood with other turners and artists. This beautiful wood would have otherwise been burned for firewood.

"I find it hard to turn wood that I don't know where it came from or what it is." Dale says. "Most of my wood comes from trees that otherwise would be burned or chipped for pulp."

Dale's favorite wood is Pacific Madrone Burl, which is both beautiful and has great working properties. Like many turners, he can recall what tree his bowls came from and where that tree once grew.

His favorite tree was one he calls the "goat tree". His father found this walnut tree standing in a farmer's pasture. The farmer's goats had eaten the bark around the tree, killing it. The farmer was glad to be rid of the tree, and when it fell it was discovered to be the most highly figured walnut Dale had ever worked with. This old tree found new life in a kitchen table, bed and many turned bowls.

This bed showcases some of the wonderful figure in the "goat tree". The spindles are all one piece and the longest Dale has ever turned.

"I like the idea of using wood for a higher use." he says. "Some trees are fire wood, some are best used in art work. Turning trees I know directly connects me to the world around me."

Dale's work can be viewed in his gallery;
http://www.finewoodartists.com/gallery/larson/dale_larson.htm

Oppertunity for Woodworkers

2009-08-03T10:19:00.000-07:00

Northwest Fine Woodworking, America's most successful woodworking co-operative is having their annual box and container show. They are now accepting applications from woodworkers. It's a great chance to showcase your work during the busiest time of year, and the rules are simple; the item must be made of wood, open and close in some manner, be for sale, and be new to the competition.

This is an annual show that is free to enter. The deadline for submitting an application is September 18th.

You can access the application on their website here

http://www.nwfinewoodworking.com/boxshow.htm

Good luck!

Free Web Exposure for Woodworkers

2009-07-12T18:48:00.001-07:00

There are many on line opportunities to find new customers for woodworkers who don't have their own website, and even for those who do. Social networking is the new advertising for many individuals, the trick is to have an understanding of the rules and find out what works best for you.

Even if you don't have time to learn or the money to hire a professional to build a website, you can still have a web presence for little or no up front cost.

Free photo hosting sites are one of best way to get your work out to the world, assuming you have good photos that represent your work. Bad photos do more harm than good, so be sure any images you put out to the world wide web represents your work at its best. Your images may be the first exposure someone has to your work, make it a good one.

One such free photo and networking site is Flickr.com. But be warned, Flickr is explicitly for non commercial uses, any outside links or sales verbiage in your photo's descriptions will have you removed from the site, often with no warning beforehand. You can however put your website or contact information in your profile so people can find you. Do read the terms of any site before becoming a member.

Flickr allows you to upload up to 100 MB worth of photos and videos for free (and unlimited if you pay their small yearly fee for Flickr Pro). If you consistently use relevant tags for your images, they will end up in search engines such as Google images. Paying for Flickr Pro also gives you access to statistics, so you can see how people find your images.

You can't just post an image and run with Flickr, or any other social networking site for that matter, if you want a lot of exposure. Flickr has groups and allows others to comment on photos. You can add your images to relevant groups and comment on others' photos, as well as following other people as "contacts".

Even if you are not interested in doing the leg work, Flickr and other photos hosting sites such as Picasa and Photobucket, allow you to have a site url or address to point your customers to if they ask to see your work on-line.

Another option is a free blog site such as blogger.com, where you can upload images with text, and whatever widgets you like. The learning curve may be a little steeper than Flickr but it's also free. Blogs also give you a url to point customers to, and if you like to talk about what you do, it gives you a platform in which to explain the nuances of one wood lathe over another, if you so desire. For best results, include keywords, labels or tags (all the same thing, depending on which blog site you use).

Another way to get out there on line is to join a forum. It doesn't have to be about woodworking, it can be pretty much about anything that strikes your fancy. When posting on line in a forum, be sure to put your web address (url) in your signature, if the forum allows it. This actually gives you a lot of free exposure and will help search engines recognize your website.

Finally, one option if you don't have a website is to simply buy a domain name and forward it to your free site on Flickr or Blogger or wherever site you wish. Now a domain is different from a website, think of it as the address in a phone book, rather than the location of your business. You can buy a web address that is simple to remember like 100woodworkers.com and point it to an existing website. A domain usually point to a website that you own, however it is standard practice now to point to other sites as well. You can even have multiple domains point to the same site. Before you rush out and buy domains, be sure to check with the company if they offer free domain forwarding like GoDaddy.com. Some hosting companies do not offer this, or charge a fee.

If you have time and inclination, more free sites to look into are Myspace, Facebook, Linkedin, Twitter and the selling sites Etsy.com, 1000markets and Artfire.

When in doubt, remember to find the best professional you can afford to help you with your site. You may be able to build a cheap site using a template driven company, but often times these sites look like they were built with a template, and don't inspire confidence in the content. Remember to always put your best foot forward on line.

Welcome!

2009-06-17T09:53:00.000-07:00

I have just posted the preliminary layout of our new website gallery http://finewoodartists.com.

This has been a website project I have thought about for years and I am excited to finally have the means to bring it to fruition. We are in "phase two" of the site; finding artists to represent and building the artist directory and galleries.

Stay tuned for more news and showcase spots on the artists we are representing. With luck our official launch date will be mid August or September.

If you are interested in being a part of this new site, please contact us through the website.

-Nakisha