Hurry! Don't Forget!

Yes, it is that time of year again. Woodwork (magazine) is on the newsstands (I picked mine up at Barnes and Noble, not sure what other newsstands carry it but you can buy it on-line as well). It comes out only once a year but it is still the best wood related magazine available. This issue has another great essay by Mark Love, and Toshio Odate continues his multi-year serial saga about "Mighty Oak" (there is at least one more year of the saga to go but I wouldn't be surprised if it goes on for another ten, it has been an epic battle (going back to 1997) and in this issue we learn that Toshio suffered a rotator cuff injury working with it in 2000). I was also interested to learn about Thomas Schrunk's work. Someone had mentioned him to me recently but I wasn't able to find much info on the Internet, so I was really happy to get the scoop about his really great, and innovative, marquetry technique. There are always great images, interesting profiles, and useful information about shows and events. Reading through it, I'm always so impressed with the people the work with wood. They always seem to be a very genuine, down-to-earth, unpretentious, and dedicated bunch (or maybe that is just the ones that get written about, hard to tell, but my experience with the ones I meet seem to confirm this conclusion so I'm sticking with it). 

Anyway, I'd be very upset in this publication stopped, so I'm asking you again, hurry! run! go by a copy now! Thank you! 

Note: I receive no compensation (of any kind) for this endorsement, nor has anyone asked me to do it.

Buy This Magazine

The 2012 issue of Woodwork (magazine) has been out since the end of November and, if you haven't yet pick up your copy, I highly recommend you do it soon.  Unfortunately, you'll have to find a pretty good newsstand to find it, I picked mine up at Barnes and Noble, airports are probably also a good bet as well as some woodworking tool stores. If you can't find a newsstand with it, it is still worth ordering directly from their publisher, which I did last year because, even at an additional $8 for shipping, it was still cheaper than making a special trip to Burlington.

Would that it came out more than once a year, as it used to, but I know to at least be thankful that it is still being published. Thankfully, this issue has a dearth of "how to" articles. As far as I'm concerned, the step by step instructions of building someone else's design that are typical mainstays of woodworking magazines are really boring -- I always skip them. Instead, Woodwork focuses on wood artist profiles, thoughts, and history, as well as inspirational and enthralling photos of contemporary wood art from various shows around the country. 

As a yearly publication, it probably isn't the best venue for serial story telling but, interestingly, Toshio Odate is doing just that with his fascinating story about "Mighty Oak," a tree with an almost six foot diameter trunk. Last year he explained how he came upon and transported it to his property; this year is he covers the process of cutting a six inch slab from its center. I'm guessing that next year we'll learn how he turned it into a magnificent table. It is unfortunate that we need to wait years to learn the whole process but, nonetheless, I love the story and learning about how he translates his deep respect for the tree into his art.  

Also, as a semi-continuation from last year is another thoughtful essay by Mark Love. Last year his piece titled Risk discussed how the potential for making a mistake, and losing hours of work, makes furniture making more interesting; this year, in his essay titled Temporary, he talks about how finding an old and forgotten brick mosaic in his backyard related to his career path and the quality of work he now makes. 

There are several artist profiles that provide great lessons in perseverance for aspiring artists. Of particular interest is Terry Martin's piece on Todd Hoyer because it is more than biography -- it gives his work context by showing how his biography has been reflected in his sculpture.

I also found the Katherine Adams piece on Christy Oates's furniture fascinating because it provides in depth insight into her process and methods. For instance, it is interesting to learn that her love of origami and her practical need to furnish a small apartment inspired her ingenious wallpaper furniture (a recent acquisition by the Smithsonian Museum of American Art).

Several articles also provide historical stories that help to give context to contemporary furniture; for example, Peter Korn's discussion about the influences of Alan Peter's designs on his own work; the article by Caroline Hannah and Mark Sfirri on Henry Varnum Poor and his close relationship with Wharton Esherick; and Tom Casper's discussion of Henry Lapp's19th century sketchbook.


Overall, the magazine is a well written, full of beautiful images, and educational. It provides a valuable resource for learning both about contemporary wood art, and the artists behind the work, as well as historical information that enriches our understanding of current work. I believe it is well worth buying, even if you don't associate yourself with woodwork, because it provides valuable insight for anyone interested in art in general. 

Hurry, Buy Woodwork (Magazine) Now, Please!

Please, don't walk, run to your closest newsstand (or go online here) and purchase the annual issue of Woodwork (magazine). I picked up my copy yesterday and have to say that, in spite of the financial problems, it is still a tremendous resource for people interested in wood art. This issue features great profiles on both established (David Ellsworth) and emerging (Yuri Kobayashi) artists; an interesting perspective/review on wood art being shown at of the Philadelphia Craft Show; great images a number of wood art/furniture shows (congratulations to David Hurwitz for the inclusion of his large taffy mirror); an interesting article on Korean furniture/aesthetic; an interesting bio on Emil Milan; an good discussion by Andy Glantz on working with clients; and interesting articles by both Yoav Liberman and Michelle Janssens Keller on the thought process that goes into making a piece of furniture.

In looking through the magazine I noticed a disturbing lack of advertisements. Hopefully, if enough people run out and buy a copy (or copies - they could make a great gift) they can get more advertisements for future issues and continue to publish this great magazine. I think part of their problem is that they are straddling the worlds of woodworkers and art collectors/galleries but that the art collectors and galleries aren't aware of it. If collectors bought the magazine, galleries would advertise in it. Perhaps it is a tough sell, and maybe too specialized for the market, but I see their competition being closer to AmericanStyle and American Craft then it is Fine Woodworking. Perhaps they should scrap the furniture construction articles all together. I don't read them and I can't image people are buying it to find out how to build something. They look out of place and I'm sure most of there readers are beyond following someone else's designs. There are many other woodworking magazines that give step by step instructions on furniture construction and that appeal more to people that need it. In addition, those kinds of article would really intimated/alienate the collector/gallery readers. Their subtitle is "A magazine for all woodworkers" but that may be too broad a goal in the woodworking world while limiting their audience in the art/craft world.

Anyway, I hope they can continue to publish this important magazine and I beg you to go out and buy a copy. Once a year just isn't adequate and never again would be a tragedy.

FAQs (and their answers)

In preparation for the Baltimore show, I decided to write up a list of Frequently Asked Questions (and their answers) to help visitors understand my work more completely. In other shows I have gone to, I have found it almost humorous to hear the same series of questions over and over, almost in the same order. It is often impossible to give complete answers without boring visitors to death so I figured a handout would be helpful.

How do you get your colors?

I seal the wood surface with many coats of clear shellac before painting with tinted shellac. It is not a stain. By reworking and mixing the colors as I build them up, I create natural looking colors with gentle gradations.

How do you get the high gloss finish?

I use a technique of applying shellac called “french polish”. It involves rubbing the surface with a ball of cloth filled with shellac, alcohol, and oil. When done correctly, a microscopic layer of shellac is laid on the surface as the alcohol dissolves the previous layer. The technique was developed by a Frenchman in the early 1800’s and was widely used on furniture into the early 1900’s. However, due to the laborious process it has been widely discarded in the furniture world for easier finishes like sprayed on lacquer, polyurethane, and rubbed on oil finishes. It is still used by specialty finishers on very high end furniture, typically 19^th century reproductions. Ironically, although a french polish is very difficult to create, it is much easier to repair than other wood finishes.

Do you use aniline dyes?

No, I use modern lightfast dyes made under the brand TransTint. They have very accurate primary colors and they retain their color much better than traditional wood dyes.

What is shellac?

Shellac is a natural resin secreted by the lac bug on tree bark in southeast Asia. It is edible and is even used as a covering for candy and pills. Unlike other wood finishes which cure after they are applied, shellac retains an ability to dissolve in its solvent (alcohol), allowing it to be reworked and repaired as new layers bind with existing layers as one single layer. In addition, its unique clarity creates a magnifying glass on the surface of wood, making every grain highly visible.

How many coats do you apply?

It is impossible to say for a number of reasons –

- I often remove layers before applying new ones.

- I don’t use the same concentration of shellac throughout the process so one layer may be several times thicker than another.

- Each pass with the cloth in the french polishing process is technically a layer (on a microscopic level) and there may be hundreds of passes.

- Different sections of a painting may have different numbers of layers.

- The process is done in stages over an extended period of time.

On the back sides I apply at least five coats of heavy shellac.

How long does it take to make one piece?

Typically, I work on a piece for several months, three to five is average. About twenty percent of my pieces have two dates on them, the first one is the date is when I originally thought I was done (or wanted to be); the second is when I went back and modified it (often six to twelve months later).

How does one care for a shellac painting? How durable is it?

Shellac paintings are comparable to encaustic (wax) paintings in terms of durability. There are no special actions that need to be undertaken to care for it. Occasional dusting with a feather dusting is all it should need. The polish and colors are archival, but as with any painting, it should not be placed in direct sunlight. In addition, shellac will soften at high temperatures so things placed on top of them can leave impressions in warm weather. When transporting shellac painting, I like to wrap them in flannel sheets; however, when shipping them in summer months I crate them so that nothing is touching the surface. The high gloss french polish finish should never need to be retouched but if damage does occur to the surface, I can repair it fairly easily (scratched wood is more problematic but still repairable). In addition, if I am not available, a furniture restorer competent in french polishing can also repair the surface.

Can you make me a table (or other functional object)?

Theoretically yes, but . . . I believe that wood is art and that it should be appreciated for what it is rather than what it can “do.” I would rather spend my time making fine art than functional objects.

What art school did you go to? Where did you learn this technique?

I am a self-taught artist. I started making furniture as a hobbyist in the mid-90’s but slowly became more interested in the natural beauty of the wood than the functional things I could create with it. The techniques I use are based in traditional woodworking methods. Although I have not taken a formal art class (since 8^th grade) I am constantly studying art informally.

Is your work in any major museums or collections?

Not yet, but I’m always preparing for a MoMA retrospective.

Sad Day: Woodwork (magazine) Update

A few weeks ago I was surprised and happy to find a new edition of Woodwork (magazine) in my mail box. Yesterday I was disappointed to receive the following email from Tom Caspar, the editor of the magazine:

Dear friends of Woodwork,

Thank you for your thoughtful letters.

When my parent company, New Track Media, bought Woodwork last year, I was one happy guy. With the help of a small but dedicated staff, I was all set to continue a great tradition in publishing a unique magazine.

I’m writing you to let you know that Woodwork is going through another major change. Not in its content, appearance, or attitude, though. Due to a major and completely unexpected disruption in the newsstand distribution business, Woodwork will not continue as a quarterly this year. Instead, we will be publishing an annual issue this fall.

Chalk this up to the weak economy. Our publisher just made this call the other day, and it wasn’t easy.

I’m not exactly sure what will happen to subscriptions. I’ll let you know as soon as I get the word. The annual issue we’ll be publishing will not go out to subscribers, as I understand it, but will only appear on newsstands.

If you have been in contact with me about writing for the magazine, please send me an e-mail so we can continue our conversation. I’ll still be looking for a wide variety of stories to include in the fall issue. Your contributions, after all, are the heart of the magazine.

Now for some good news: we’re launching a new Woodwork website May 1st. It will host blogs, forums, and galleries of photos, plus stories that have already appeared in recent issues of Woodwork. This site is our way of helping the Woodwork community grow even larger and stay connected.

In the meantime, we’ve started a forum about Woodwork on the new American Woodworker website, americanwoodworker.com. I predict that there will be a pretty lively discussion on the magazine’s past, present and future, and I welcome your contributions. You can access the forum through this link: americanwoodworker.com/forums/3000. First, though, you’ll have to sign in and become a member. I’d like to publish part or all of your letter on the forum, to get the ball rolling, but only with your permission. Please write back if that’s OK with you. I won’t publish your email address, just the gist of what you wrote.

Be assured that the whole team here is eager to publish the next issue of Woodwork. We bought a business, but we also inherited a trust. I hope that the first issue we put out, Spring 2009, shows that we all want Woodwork to continue in the same spirit, and for that, we’ll need your understanding and help.

Talk to you soon,

Tom
Tom Caspar
Editor
Woodwork magazine

So, look for the next issue on the newsstands in the fall and buy it so that this great magazine can continue!

Happy Day - Woodwork (magazine) Is Back!

It was a sad day in November when I received my issue Woodwork came with a notice that their publisher had dropped them and they didn't have plans for a future. It was a sadder day in January when I checked into their status and all indication seemed to be that they were gone for good.

Thus, today is a very happy day having just checked my mail and finding a new issue in the box! On first glance, there appear to be some changes but it looks like it is still the same great format they have always had.

What makes them great? Here is my list:

- They cover wood art, not just furniture and furnishings!
- It is written for professionals and they don't talk down to their readers.
- They have great profiles of great woodworkers/artists.
- It isn't Americo-centric, international coverage too.
- Great pictures.

The first time I saw it I dismissed it as a Fine Woodworking knock-off, but I ran across it again about three years ago and took a closer look. I found that it provides much more about what I am interested in than FW. So, go to www.americanwoodworker.co/woodwork (the magazine says this is their site but it doesn't work yet) and get a subscription if you don't already have one.