Strapwork design & carving

Strapwork pattern in progress

I have this great piece of red oak; quartersawn, 12″ x 24″, clear, pretty straight (thanks, Rick) – and after seeing the carved lid on the cedar box the other day, I decided to try a large panel of a strapwork design again. Usually when I undertake these patterns, I only have a partial idea of what it will be. Much of it I work out as I go.

The top and bottom edges are easy, they’re always those linked arches. I divided up the space, put a circle in the middle and struck all the arches with gouges and a chisel. Then I knew that this time I wanted these long, vertical leafy things. You can see in the photo below that I carved one all the way before continuing. That way, if it didn’t work – I could quit, or flip the board over. Or plane it all away. (all extreme choices that rarely get employed.)

initial pattern

But I liked it, so I went on from there. Here, I’m setting a marking gauge to strike lines that will connect the right and left sides of the panel at the middle.

striking layout w marking gauge

Below – using a 3/4″ wide gouge to strike circles in some empty spaces around the middle.

using a gouge to define elements

This time the area where those left & right halves come together get volutes carved as the ends of each section. I strike their outlines with 3 different gouges.

volutes

These patterns usually flow outward from the center – up & down, left & right. Here I’m using a compass to mark the height of one element from the horizontal centerline. Then I’ll swing it around to hit the bottom of the same form.

compass work

Most of the work is striking out the design. Removing the background is easy, there’s just a lot of it.

background removal

But you only have to solve one-quarter of it when doing the design part. Then it’s a matter of flipping it over in your mind to “see” the other 3/4. This is as far as I got yesterday afternoon, but the fire’s now lit, so time to finish this carving.

Carved box for sale: Alaska yellow cedar – SOLD

carved box; Alaska yellow cedar, white pine, red oak.

I found some quartersawn Alaska yellow cedar for sale on the web last month, and decided to make a special box from it. The carved lid is a dust-magnet; but I couldn’t leave that much blank space in that beautiful wood.

H: 7″ W: 22″ D: 11 3/4″
$1,400 includes shipping in US.

SOLD

It’s a higher price than usual, but it’s not my everyday box. I had only carved a lid on a box like this once or twice before. Some time ago, Paul Fitzsimmons of Marhamchurch Antiques sent me a photo of a box from Exeter, England that used strapwork designs all over like this. I didn’t copy that box, but copied the idea.

As expected, there’s a till inside, this time with red cedar for the bottom & side, ash for the lid.

I tend to mostly use a wooden cleat/hinge arrangement for the lid. For this reason I made the back of the box from red oak – its strength is lent to the extended pin that engages the cleat, which is also oak.

I just finished it today and shot a series of photos once the lid was attached.

the lid; fun to carve. Nice to look at. A demon to dust.

The rabbet joints are glued and pegged. I scrounged an off-cut from the lid to make these yellow cedar pegs for the front.

corner detail

And one more view of the carving on the lid.

The cover and the box

It was 1976. I was eighteen years old. My father had died the year before, and among his effects that came to me by default (I still lived at home) was a tablesaw & jointer, drill press, router, lathe, hand-held “power” tools and an assortment of handtools. I was an art student, aspiring to be a painter. I learned from a neighbor how to use the tablesaw and began to make picture frames for my paintings. Somehow made a bookcase, surfaced with a belt sander. 

That summer I accompanied my mother on a trip to Doylestown, PA to visit her childhood friend. We did the tourism routine there, including the Mercer Museum – so I saw rooms full of antique woodworking tools, but have no recollection of it. I have a vague memory that we visited Nakashima’s showroom – but I might have imagined that. But one thing I know for certain – on that trip someone showed me an early issue of Fine Woodworking magazine. And I subscribed when I got home. Back then, information trickled out, unlike today’s barrage. I used to read every word in each issue, several times in many cases. I still have many of those old copies. And I know many people who tell a similar story. It was through Fine Woodworking that I got onto John Alexander and Drew Langsner. 

The other day, Dave Fisher wrote to me to congratulate me on being on the cover of the new issue. I hadn’t seen the email from FWW and although I knew my box article was in the works, I had no idea it was going to be the cover. I remember when Pete Galbert wrote his version of this blog post – and now it’s my turn. Thanks to everybody at the magazine for making it  happen, I appreciate it. 

Barry Dima came up here in the beginning of this year to shoot the article about making the carved box. Because the whole world flipped upside down shortly after that, I forgot about it. Every now & then it would come up again and I’d be surprised. Recently I was sorting photographs and saw that box & couldn’t place it. Then I remembered I had sent the box down to them to photograph – now they’re done with it, so it’s available for sale. 

Approx dimensions are H: 8 1/2”  W: 24” D: 12 5/8”

Red oak box, pine lid and bottom. Till inside. SOLD
$900 includes shipping in US. Leave a comment or send an email if you’d like it. Check or paypal ($927 through paypal.) Or when the magazine comes out, you can make your own.

Make a Joint Stool from a Tree

2012. That’s when the Joint Stool book appeared with Lost Art Press. I forget, but I think it was one of their first “outside” books, i.e. authors other than Chris/or reprints. It is a book that is near & dear to me, representing 20-plus years of my collaboration with Jennie Alexander – I learned so much in that period it’s always fun to look back on the whole ride. 

Chris wrote to me recently, saying it’s time for the 2nd printing, and would I write something about JA for it. So I added a new short intro – that’s all that’s changed for content. Chris made some changes in paper choice, and we switched it to a board cover. The aim was to lower the price of it from here on out. 

But there’s still some hardcover copies left, and they have put them on sale to move them ahead of the new printing coming in. So if you want the original hardcover – now’s the time to get it for $27 – I think it was $43, so not insignificant. Have at it.  https://lostartpress.com/collections/books/products/make-a-joint-stool-from-a-tree 

In my back & forth with Chris, I mentioned that I had wanted to add a shaved baluster instead of a turned one. But never had the time. So I said maybe we could do it as a blog post – then I searched & realized we had already done it! I knew it was a good idea.

 https://blog.lostartpress.com/2012/07/02/joint-stools-without-a-lathe/

Carving video; the lunettes

I plodded my way through another video edit to go along with the Carving Drawings – this one the lunette above. I can’t match Daniel for speed, and this one had two good camera angles, but the sound levels dip when I switch to the canon camera view. But all the steps are there, some in detail. And it doesn’t cost you anything, so it’s worth it.

I have one more to shoot from that first group, and already have some of the next series underway. Jeff Lefkowitz and I are working on those drawings now. The first series of drawings is here, https://pfollansbee.wordpress.com/carving-drawings-17th-century-work-from-devon-england-and-ipswich-massachusetts-set-1/ and this video below shows what they contain –

Two boxes for sale

I photographed the two boxes I’ve worked on lately. These are made from quartersawn red oak, with white pine bottoms. There’s a couple things about my boxes that are different from most seventeenth-century boxes. I’ve seen a few period boxes with pegged corners instead of nailed. Mine are almost always glued & pegged. The bottoms are nailed on with handmade nails. Similarly, a few period boxes are carved on the ends, but most have plain ends and carved fronts. Mine almost always are carved on the ends too. I tend to use a wooden hinge on most of mine, another feature sometimes seen on seventeenth-century boxes. I sometimes use iron hinges, which is more typical of period work.

November box #1 – SOLD
H: 8 5/8″ W: 23 1/4″ D: 13 7/8″
$1,000 includes shipping in US.

Nov. box #1
Nov box #1 open
till, walnut lid, red cedar side & bottom
Nov. box #1; end carving & wooden hinge

————-

Nov. box #2 SOLD
H: 7 5/8″ W: 23 1/2″ D: 14 3/4″
$1,000 includes shipping in US.

The second box actually came first. The carvings on these boxes are based on work from Devon, England and Ipswich, Massachusetts. This one has a zig-zag design with what I guess are tulip shapes.

The paint is iron oxide (red) and lampblack mixed in linseed oil.

Nov. box #2
Nov. box #2, end view
Nov. box # 2 till; walnut & red cedar
Nov. box #2, detail

If you’d like either of these boxes, leave a comment or send an email. Payment by check or paypal – if paypal the invoice will be $1.030. Shipping in US included.

I take orders as well, so if there’s a box (or other joiner’s work) you see here & miss, send a note. I’ll be home all winter making stuff…

My most recent box and my first one from 1994

carved box, Nov 2020

Today I’ll finish this box by adding cleats under the lid; they’ll form part of the hinges too. As I’ve worked on it, I’ve thought about my first carved box. Between 1989 & 1994, I was a chairmaker/basketmaker learning joinery in my spare time. Now it’s flipped around just the other way. My first joinery projects were carved chests and then joined stools and a wainscot chair. I didn’t make a box until I got the job at Plimoth Plantation in 1994. They had an original box and one of my first projects was to study it & make a copy to use there. Flatsawn white oak, Mark Atchison made the hinges and nails. I hadn’t yet made a background punch, so I textured the background by repeatedly striking a nail into the recessed ground. 

my first box, 1994

I kept looking for a scheme to the layout of the design. I tried striking segments of arcs here & there, combining them this way & that. It wasn’t until I carved this design a few times that I realized it’s just freehanded. It was Victor Chinnery who told me that this box belonged to the overall group of carved works from Devon England – the material that New England works done in Ipswich, Massachusetts by Thomas Dennis and William Searle stems from. 

carved box, Devon; detail

Jump ahead quite a few years and enter Paul Fitzsimmons and Marhamchurch Antiques. He specializes in oak furniture in general, and the Exeter/Devon works specifically. https://www.marhamchurchantiques.com/

He’s been great about posting photos of his finds and I don’t miss a post from him. Over the years he’s handled a number of related boxes to this one – and nearly every one of them is different, but clearly the same general elements/composition. 

The box I made the past few days is one of my versions of these designs. I had a photo of one from Paul’s site and switched things around here and there to come up with a “new” design.

V-tool outline, over chalk
chopping a flower with a gouge

The variations depend on the scale of the board I have, and what I plan to improvise in the middle – the old ones always had locks there, and a big part of the upper middle of the design got covered. On my first take above I hadn’t yet removed the lock plate on the old box, so didn’t know what design was under there. 

Here’s a later version I did of that first box. I have no idea when this was – photo stamp says 2008. Pine lid this time, that means the museum was selling it – I kept the oak lids for use in the recreated period houses.

PF version, Devon box

This one was earlier this year. I’ve carved it a few times since Paul first posted his photo of the original.

carved box, 2020

When Pret & I built the shop, we scabbed framing in to mount the windows. I didn’t want to look at that framing all the time, so I dug out a box of carved samples and nailed them up all over the shop. From time to time, I paint them – mostly to use up extra paint I’ve mixed. Here’s some box fronts mounted now vertically.

This box is from 2013 back when I was still at the museum. Might be the last one I made there. It was for an EAIA raffle, I think. Or auction.

carved box, May 2013

It’s funny, I never drew any carving designs when I was learning them. I always worked from photos (still do mostly). But several years ago I started drawing them. These pages show a couple of these designs; the top one done as a 1/2 box front full-scale and the full box front half-scale. If that makes sense…

notebook


Floral panel, pt. 2

As promised, this one’s back to woodworking. It’s the 2nd part of the video about carving the floral panel.

Might as well stick the first part in here again too.

Links below – the youtube channel (I think most of them get copied here though) and the page where you can order the drawings.

https://www.youtube.com/user/MrFollansbee

https://pfollansbee.wordpress.com/carving-drawings-17th-century-work-from-devon-england-and-ipswich-massachusetts-set-1/

New video: Carving the Floral Panel

It’s taken awhile to get to this new video. Daniel’s dance card is getting full, school work & his own projects like animation (I thought that meant Looney Tunes, but apparently it means something else) – so I delved into editing video. That’s part of what took so long.

This panel is easier than it looks, once you break it down. The previous videos in the series have some bearing on it – some of the same accents and forms appear. Here’s the link to the “playlist” https://www.youtube.com/playlist?list=PLB2LcmbKpkcYGweT2rnyRQysMee6vWKVW

I’ve broken it into two videos, this being part 1. (Thomas Lie-Nielsen once asked me if I could do a video shorter than Ben-Hur. I’m not sure I can…)

I’ve featured this design a number of times, but never done it on video before. It’s in the book Joiner’s Work and I wrote an article once for Popular Woodworking about carving it. This is an example I carved years ago, another variation. I’ve probably never done it the same way twice.

chest panel

I’m nearly done with my work on the 2nd set of drawings. Then I’ll send them down to Jeff Lefkowitz and we’ll begin getting them ready. The first set is still available here – https://pfollansbee.wordpress.com/carving-drawings-17th-century-work-from-devon-england-and-ipswich-massachusetts-set-1/

Backing up for a head-start – Windsor chairmaking

shaved Windsor Oct 2020

I assembled my 2nd shaved windsor chair of this century last week. I first wrote about it here – https://pfollansbee.wordpress.com/2020/10/09/shaved-windsor-chair-take-2/  (all that nonsense I blathered about grain direction, ray plane, post & rung compromise is out the window. Drew Langsner set me straight after that post.)

This chair survived assembly, barely. I remember reading  a Dave Sawyer quote “If a chair survives assembly, it should last __ years.” Something to that effect anyway. 

But it was not without its excitement, all driven by my haste and being decades out of practice. One post was “windswept” – it leans out further than its mate – which is a reaming mistake. Galbert’s book has a good discussion of all the ways the posts on a chair like this can be wrong and how to avoid them. (chapter 17: Reaming in Chairmaker’s Notebook https://lostartpress.com/products/chairmakers-notebook )

The other mistake I made was using yellow glue. Never again, it’s hide glue for me from here on in with chairs. The joints seized and it took a lot of effort to get things together. I should have marked a line on the spindle tenons where they join the seat. One or two of them might not be all the way home. 

But it’s all wedged and is now a shop-chair I don’t need. But I’m determined to make a few chairs like this in succession – the first one I assembled in January, and this one here in late October. Better to not have 10 months between attempts. 

So to back up for a head start – I’ve gone back to school. Signed up for the online class with Elia Bizzarri and Curtis Buchanan http://handtoolwoodworking.com/online-classes/

ready for next class

The live class is 2 hours on Saturday afternoons, then it gets posted where you can re-watch it later if you happen to be a poor note-taker like me. And there’s a suggested price, but they want anyone to be able to take this class regardless of money, so you can pay what you will as well. Hard to beat a deal like that. And already it’s paying off – Curtis pointed out that he’s been building these chairs for a few years now, and since he made the videos about it, he’s changed a few minor things here & there…so this is the “updated” video series on making this chair.