Le Vrai Roi Roy!

My Small Tribute to Roy

A true philosopher is a person who is in touch with his immediate surroundings and understands the complex relationship between the physical existence and limitations of the human body as well as the unlimited rational and spiritual potential of the human mind.  For countless centuries, philosophers have been driven to develop a complete cosmology that would help to explain simple existence.

It has always been summarized by the running joke which ends up with the person climbing the hill and asking the guru  who is sitting at the top of the hill the same question: "What is the meaning of life?"  The punch line varies from story teller to story teller, depending on their agenda.  In fact, there is never a clear answer to this question, as the true meaning of life is constantly evolving.  It is the process of living that defines life, and the ends do not justify the means.  In fact the end is the same for all of us.

What matters is "how" you live your life.

It is also important "when" you live your life, as those events and people who surround you and influence you must be considered as significant contributors to your understanding of your "purpose."

"No man is an island" is another common expression, and it is true, unless you were raised by wolves actually on an island.

I am fortunate to live during the same time as Roy Underhill.  His career and teaching has touched literally thousands and thousands of people, and they are changed forever by his unique approach to life.  I still remember the first time I saw him on television.  There was no laugh track.  There was no quick edits to distract from what he was doing.  There was no diversion.  It was simply a man working a simple material, wood or iron, and telling a story about how and why it was done that way.

Like the Shaker expression: "Hands to work."  I was fixated as I watched him work and sweat and talk and bleed, constantly in motion, always on task, guiding the viewer step by step through the ancient process of creation.  For the past 30 years The Woodwright's Shop has remained one of the most important "reality" shows on television.  There is nothing fake about Roy.

Meeting Roy and working with him on his show years ago was not only a great influence on my life but a verification that my belief in hand tool methods was important and worth preserving.  Walking with him through the native hardwood forests which surround his home was, for me, a humbling experience.  His understanding of his surroundings and ability to communicate his knowledge in clear concepts allowed me to appreciate the subtle meaning of nature and man's relationship to nature.

After all, I was born and raised in Southern California.  Our "native" hardwood forests are all planted in front yards by residents.  There is nothing more artificial than the environment that has been created out of the desert in SOCAL.

I am thinking of all this today, since I discovered a  VIDEO on the web which is an interview with Roy.  He is older and wiser these days, not much slower, and just as involved with his career as he ever was.  He remains a leader in a historic movement which has persisted through time.  To me, the old joke is slightly changed: As I climb the hill and reach the top, seeking truth, I find Roy sitting on a stool he has just made from a tree, with his axe resting beside him.  "What is the meaning of life?" I ask.

Roy simply replies, "Work with your hands."

Someday, his hat will rest in the Smithsonian Museum, and we can all thank Roy for his wisdom.

"Classic Method" Video

Oeben Table J. Paul Getty Collection

Several years ago the J. Paul Getty Museum had an exhibition which illustrated the various stages of making a table by Oeben which is in their collection.  It was a well produced effort, and involved many of the workshops and artisans who I know from my time in Paris.

In particular, Michel Jamet was involved in the ebenisterie, and Pierre Ramond directed his top students in the recreation of the marquetry surface.  They are not given credit in this video, but I would like to mention that they produced this work at ecole Boulle, in Paris.

The exhibition discussed the sawing of the veneers, the making of the carcase out of oak, the bronze dore mounts, the polishing and, of course the marquetry.  Note the veneers used were sawn veneers which are 1.5mm thick and supplied by Patrick George, in Bagnolet, France.

If you have visited the museum, you will recognize this table as one of the great masterpieces in their collection.  It was made by Jean-Francois Oeben, around 1754.  The top of this table slides back which opens the drawer for access.  That, in itself, is a neat trick, since you do not have to move any of the stuff sitting on the top and get full access to the drawer for the writing tools inside.

The inside of the drawer is finished as elaborately as the outside of the table.  I particularly love the grill and flower motif ("jeux de fond") which decorates the aprons and sides of the drawer.  In this method, each of the individual flowers were cut into their respective backgrounds with conical cutting.  Then the grill was laid down and, one by one, the flowers were positioned into their appropriate cavities.

The video is a very accurate representation of the Classic Method, invented by the French in the 18th century, also called "element par element" or "piece by piece."  The essential part of this process was making copies of the design using the picking machine, or even using a pin to poke the holes by hand.  This early "Xerox" method allowed the artist to make as many exact copies of the drawing as needed.  Each part of the design was then cut out and applied to a packet of veneers, held together by nails.

It is important to understand that this method relied on cutting the outside half of the line away for all the inside elements and the inside half of the line away for the background.  The accuracy required for the proper execution of this method depended on two things: using a chevalet, which is the most controlled and accurate tool for cutting veneers, and the simple trick that the inside elements were cut clockwise around their perimeter and the background packet was cut counter clockwise around the perimeter.  Once you understand this, you will see the advantage of this method.  Not only does it minimize waste and eliminate the saw kerf completely, it allows the worker to make many copies of the marquetry as he wants, all exactly identical.

I was fortunate to be involved in this exposition.  I was hired by the Getty Education Department to make twice weekly public presentations in the Gallery adjacent to the installation.  I had a picking machine, chevalet, and all the tools and materials used to make marquetry set up and demonstrated the techniques which were shown in the video.  These 2 hour talks allowed the visitors to ask questions and see exactly how marquetry is traditionally made in France.

Demonstrating Marquetry at the Getty Museum

Let me know if you have any questions.

Getty Video

Paris 11th Arrondissement

They Have Everything You Need!

There are, in my mind, three basic types of Americans.  The first type is an American who lives their whole life in the same town, city or state, never venturing outside the limits of their horizons.  The second type is an American who travels within the USA and takes the time to visit other states, gaining a wider view of different lifestyles and cultures.  Even though there are accents which reflect the diversity of our heritage, this visitor can rely on speaking English to communicate.  The third type of American is the one who leaves this country and travels to foreign countries.  This requires a bit of physical stamina, a willingness to learn other languages and taste sometimes strange food, and an open mind.

My advice is to travel while you are young.  Too many wait until they retire and then are physically limited in the scope of travel available to them.  I first went to Europe when I was 18 and travelled for three months on a bicycle, visiting 7 countries.  It was the most important decision I have ever made, and I still reflect on the events of that summer, as if they were yesterday.  Later, when I was in my early 40's I lived in Paris for a few years while I was a student at ecole Boulle, living most of that time in the 11th arrondissement.  The city of Paris is divided into districts, called "arrondissement" which are numbered and start in the center, rotating like a spiral out to the limits of the city.

The 11th district is the historic furniture making district in Paris.  It is a district which is not often visited by tourists, as it is mainly full of furniture stores, workshops and the different speciality supply shops which furnish the materials to the trade.  It generally starts from the Bastille and goes to Nation, where ecole Boulle is located.  I walked those streets literally thousands of times, and it became my "neighborhood."

Years ago there was a series on TV called "Barging Through France" with the host, Richard Goodwin.  I just found a copy of an episode on YouTube where he explores the 11th.  A highlight of this video is a visit with my dear friend, Patrick George, who supplies the most exotic materials in France for woodworkers.  This is a special video, where George, in his distinctive beard, speaks English, although with a heavy accent.  I think you will immediately appreciate his personality and passion for the trade which he pursues, and with the understanding that he is the 5th generation of his family to keep the business open.

Enjoy:Paris 11th Tour

Mr. Goodwin ends this segment with a prophetic wish, "Let's hope the developers don't move in too soon and rip out the heart of Paris."  In fact, each time I return to this district, I find fewer and fewer actual ateliers and more and more condos and upscale gift shops.  Paris is changing, and modern lifestyles have little interest in ancient trades.

Lumberjocks

I have given lectures, done numerous television and video episodes, written articles and taught for years, but nothing compares with the worldwide influence the web has provided these past few years.  It is truly amazing that I can sit down in my office at work,  turn on my computer, and create something that literally thousands of other like minded people with be able to see in seconds.

A good example of how this works as a specialized communication tool is the emergence of focused speciality interest group sites, like Lumberjocks.  On the one hand, it provides a central discussion and information platform for thousands of woodworkers who can share their experiences and talent.  But at the same time, I wonder how much work is actually being done, as these guys spend their days in front of the computer instead of standing in front of the bench.

My partner, Patrice, is spending a fair amount of time posting online lately.  He cuts some marquetry, then posts.  He designs some more marquetry, then posts.  He does some French polish, then posts.  I can't complain, as the publicity is great for business, and it is important for others to see the kind of work we do here.

Recently, he posted a wonderful series of photos which explains in detail how we made the Treasure Box.  His post in Lumberjocks is much more clear than the post I made here on this blog.  You should check it out and can find the link here.Patrice Lejeune Treasure Box

Also on Lumberjocks is a new club, started by Paul Miller, who lives in Vancouver and is a big supporter of marquetry.  He had the idea of having a "chevalet club" where others can share their photos or questions about this unique tool.  What a great way to spread the news.

You can see this thread here. Chevalet Club

I remember the first time I saw a real chevalet and realized how cool that tool was.  That was nearly 40 years ago and it was virtually unknown to woodworkers in North America, except for a couple of workshops where Italian, German or French workers operated in secrecy.

Well, the secret is out!

Cross Grain Molding

A Reasonable Day's Effort

When I was a young cabinetmaker, I did not have a lot of money.  Actually, I still don't have a lot of money.  However, I do have a lot of clamps.  I was joking with my wife today and said that if I just sold all my clamps for a dollar each, we could pay off the mortgage.  Almost.

I was fairly smart back in the 1970's to invest in tools and clamps.  There was a store, which was way before WalMart, Costco, or any of those "big box" stores which cover the landscape these days.  It was called "Fedco" and you needed to be a member to shop there.  The prices were great, and since I was employed part time as a teacher at the local colleges, I was eligible to join.  Something like $25 or so, as I recall.

We bought everything there, from kitchen sinks and paint to cameras and film.  One of the most important acquisitions I was able to find there was a beautiful woman in the Kitchen section, who was kind enough to become my wife.  But I digress...

Each time I went there to get something, I budgeted $25 dollars on clamps.  They had a neat hardware section, and the large iron "C" clamps were $3.99 each and the Jorgensen Pony clamps were not much more, depending on the size.  So I always returned with 5 or 6 clamps, no matter what.

Over the years, I eventually got hundreds of clamps.  One of the nice things about clamps is that they don't need sharpening, hardly ever break, and make money.  I used to tell my clients that they could pay me $75 to glue their broken chair or $5 per clamp, which would actually cost more.

From time to time, other cabinet shops in my city would go out of business, due to the economy.  I would show up at the sale of tools and watch as all the other woodworkers rushed to buy table saws, routers, sanders, drills, and diverse power tools.  I went straight to the clamp pile and immediately staked my claim.  Often they were sold as a lot for $1 each.  Gee, I wonder if I could pay off my mortgage?  But I digress...

The past few days I have spent some time preparing the molding for the Lecount clock.  Since the grain of the molding is usually cross grain on clocks from this period, it is usual to cut the stock and glue it onto some long grain backing.  I know what you are thinking.  Cross grain and long grain will eventually come apart.  Exactly.  Take a look at any late 17th century clock or cabinet in any museum.  If it hasn't been restored, there is always a gap between the edges of the short grain molding elements.  That's authentic work.

The reason they used cross grain was so that the wood grain would be vertical and add a visual height to the design.  It was also because they were a little crazy about doing things the most complicated way possible.  Note that with a complex molding profile, and cross grain wood, you cannot use standard molding planes to make the molding.  You must carve it by hand and finish off with a shaped scraper.  Take a look at the first clock I made, a copy of the Tompion clock at the Metropolitan Museum.  All the molding was hand carved.  I earned my stripes on that job.

This clock has much more simple profiles, and the olive is contrasted with ebony molding, which will naturally be done long grain.  There is no reason to use ebony short grain, since it is absolute black and you cannot see the difference.  With the olive, the figure is so strong, it becomes a very decorative element.

So I cut a lot of olive into short grain elements, and used Old Brown Glue to press these onto oak sticks the proper size for each of the molding lengths.  Each stick had a single clamp to pull the pieces together and individual clamps for each piece to hold them in place. Using the OBG allowed me the longer open time I needed to get everything properly positioned.

Rolling Work Table with Clamps

The next day I removed all the clamps and put them on my rolling work table.  Just a note here about the table.  I have used this table during my entire career.  It is just one of the most practical "tools" in the shop.  It is low and on wheels.  The top is covered with a rubber linoleum which has survived 40 years of abuse, glue and chemicals.  I use it to hold work while I upholster, sand, glue, finish, or clamp.  Then I use it to hold all the clamps, so I can push it around as I place the clamps back on the wall.  You need one of these.

Cross Grain Molding Blanks

Here is a shot of the molding elements, roughly cleaned up.  They will now be shaped to the final profile and cut to fit the case.  There are three of each profile.  The long one is for the front and the two shorter ones are for the sides.

It is a good day at work when you run out of clamps.

Lecount Project

Just Enough Clamps and Old Brown Glue

I was able to clean up the marquetry and oysters on the base and sides by using water and scraping away the Kraft paper.  Then I cut some boxwood strips a few mm wide from some sawn boxwood veneer I had.  I selected a few pieces of sawn olive wood veneer to cut into crossbanding and applied them around the panels.

I placed the boxwood inlay strips in their position and held them with veneer tape to the center panels.  Then I squared off the edges of the rather short strips of olive wood crossbanding so they would nicely fit side to side along the edge.  I taped them together with veneer tape, so that I had the entire frame of crossbanding and boxwood inlay assembled in one piece.

Then I carefully cut away this veneer "frame" from the center panels, which were already glued down in place.  I warmed up some Old Brown Glue, and heated up an aluminum panel for the manual press.  By brushing the OBG onto the edge of the panel, all the way around the center oysters or marquetry, depending on which part I was gluing at the time, I could then simply replace the taped "frame" of crossbanding in place and put the panel into the press, face down on newsprint.  The heated aluminum caul would allow the glue to liquify and flow evenly under the veneer.

Removing the panels from the press the next day, I moistened the veneer tape and scraped it off.  That exposed the nice crossbanding, inlay and oysters, which are similar to the original Lecount clock case that I saw on the internet.

Now I could add OBG to all the joints and clamp up the case on the bench.  The lower box has full blind dovetails on the corners, and a dado joint on the back board edge.  The side panels are also joined to the back board with a dado, and the face frame is loosely clamped in place to keep it square.

This morning I removed the clamps and, for the first time, sat the Lecount works in place, in a case which is a copy of the original long lost marquetry case, from about 1690.

Lecount Stands Again

It's about time...(pun intended).

Lecount Project

The Design Department of ASFM

I received an interesting email recently from another furniture maker who asked me where I got the designs for my work.  He said that he was an amateur and had made some pieces "in the style" of a current studio artist.  That artist had threatened him with legal action and he had to take down pictures of his work from his website to avoid trouble.

That reminded me of another incident which happened a few years ago.  One of the students who had taken classes from me at ASFM had gone on to produce some amazing work.  His favorite style was Ruhlman, and he made a magnificent sideboard, which was influenced by that great French artist.  This student was impressed with some photos I had taken of myself standing next to my work, and decided to do the same, but dressed in a tuxedo.  He printed up some postcards and was immediately  served with a legal "cease and desist" letter from some attorney in New Jersey.  This student lives in Southern California.  The attorney was representing a well known marquetry artist who has made his living with Ruhlman copies, and, in this letter, claimed to have "trademarked" the image of an artist in a tuxedo standing next to his work.  Wow.

When I searched his website, I found that he preferred jeans and shirts, like all of us guys, and no photo of him in a tuxedo could be seen.  In any event, be careful not to dress too fancy when you get your photo taken.

All of this leads me to try to bring some perspective to the issue of design.  We all know Sam Maloof made an iconic rocking chair.  Honestly, how many hundreds of furniture makers have copied his rocker?  There are several issues to consider.  Sam was a professional, and master of promotion.  Most of the copies are by amateurs, who just aspire to create something "Maloofian."  No one seriously would value a copy of a Maloof rocker as much as the original.

The irate artist in New Jersey who made his living with Ruhlman copies has no reason to be concerned with another artist in California who also was inspired to do the same.  What is that about "imitation is the sincerest form of flattery?"

As to my career, I can say that I have made exactly one original design in my life.  That was the RockeTable,  which I have never sold and have only made the single prototype.  All the other pieces in my portfolio are either exact copies or strongly inspired by "dead" cabinetmakers who lived in other countries centuries ago.  So far, their attorneys have not contacted me, thank goodness.

As to the marquetry designs for the late 17th century clocks, I have two sources to access, which are "public domain."  The first is the excellent three volume set by Pierre Ramond, "Masterpieces of Marquetry," which has dozens of precise drawings of antique furniture.  I have made lots of copies of these designs in a range of proportions of enlargement.  I can select an element, like a flower or leaf, from this stack of drawings and place it in exactly the position I want to create a new design.  The design is new, but the elements are old.  I suspect period designers did the same, as many of the elements have a similar form, from one piece to another.

The second source of design is from the many pieces of period marquetry I have restored and conserved.  I take thermal fax paper and make rubbings of the marquetry, which works really well, and also use tracing paper to copy elements for my archive.  Some of the flowers are simply amazing, and may contain as many as 50 pieces of wood, just for one flower.

So, nothing I do is original except that I sign my work and brand it.  Go ahead and feel free to copy any thing I have made.  Fine with me, as long as you don't sign my name on it.

Toothing The Groundwork

Over the weekend I took a toothing plane and surfaced all the oak material for the clock.  Then I selected some nice yew wood oyster sawn veneers, which I purchased in 1994 from Patrick George, to decorate the sides of the case.  I prepared them, glued them to Kraft paper and cut the joints for them to fit together.

Back of Panel with Mastic

I also took some hot water and diluted the hot protein glue, then added some very fine hand sanded Cuban mahogany wood dust to make a mastic.  I prefer mahogany for the mastic, as it is a fine powder and doesn't swell up in the wet glue, like some woods.  It also has a very nice dark brown color.

Finally, I have all the panels ready to glue down, which I did in the press today.

Panels Ready for Glue

As to the copying of designs, even Chippendale stole from others!