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Loft bunk beds with desk plans Must see
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The Finished Bench
Well, after a few coats of oil/varnish mixture and some good furniture wax, the bench looks pretty good. Now it goes to the client to help them welcome guests as they enter their home. I hope they like it.
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The Desk Keeps Moving Along
Greetings. The big statement desk has been moving right along the past couple of weeks. In the last post I ended by showing some of the parts of the web frames that make up the main desk pieces. Since then, the frames and panels have been assembled and prefinished ...
... and the cabinet carcasses have been glued up, finished, the drawers installed, and the drawer fronts fitted. Below you can see the various stages....top - the glued up parts are dry assembled to assure proper sizes and fit (you can see how the prefinished panels are taped off to protect them as the frames are finished); middle - the glue-up of the finished pieces; bottom - the unfinished drawer fronts test fitted to check size and alignment.
Another unique feature of this desk's design is that the desktop slab will be floating about the storage cabinets. On one side the top will float on two wooden disks made from the ends of veneer logs. To make the disks, a two foot round was first squared off. Next, because the round was unevenly shaped, I made a plywood sled to help feed it through the band saw safely. Then the disks were sliced sequentially by mounting the round to the sled.
Now its time to complete the finishing, and put it all together. Stay tuned!
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... and the cabinet carcasses have been glued up, finished, the drawers installed, and the drawer fronts fitted. Below you can see the various stages....top - the glued up parts are dry assembled to assure proper sizes and fit (you can see how the prefinished panels are taped off to protect them as the frames are finished); middle - the glue-up of the finished pieces; bottom - the unfinished drawer fronts test fitted to check size and alignment.
Another unique feature of this desk's design is that the desktop slab will be floating about the storage cabinets. On one side the top will float on two wooden disks made from the ends of veneer logs. To make the disks, a two foot round was first squared off. Next, because the round was unevenly shaped, I made a plywood sled to help feed it through the band saw safely. Then the disks were sliced sequentially by mounting the round to the sled.
Now its time to complete the finishing, and put it all together. Stay tuned!
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How to get your work in Stores and Galleries
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.
Read More..
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.
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Museum Show Chiffonier
Here's the next installment on the making of the chiffonier that I'll be showing at the Santa Cruz Museum of Art and History show the coming summer.
Two of the most distinctive elements of this piece's design are the sculpted bonnet and base. Both are made of wenge, a dark, dense, black/brown wood, that will give weight to and ground the piece. Both are stack laminated and then shaped. This series of photos shows the steps involved in making the bonnet:
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Two of the most distinctive elements of this piece's design are the sculpted bonnet and base. Both are made of wenge, a dark, dense, black/brown wood, that will give weight to and ground the piece. Both are stack laminated and then shaped. This series of photos shows the steps involved in making the bonnet:
First, pieces are face-laminated to achieve the required thickness for shaping. In this case, to accommodate the width of the part, it was made in three sections and then glued together after shaping (you can see the mortises for the floating tenons that will help with both alignment and glue joint strength) ....
Next, the built up blanks are rough cut to shape on the band saw....
Finally, the subparts are glued together and the entire piece is shaped ....
The base was created in much the same way, with the pieces in each layer being bandsawn roughly to size before glue-up, then the whole part being shaped afterward ....
Stay tuned for the next installment on the making of this piece, when I'll talk about the distinctive features of it's seven drawers.
Q & A with Furniture Maker Andrew Pitts
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.
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
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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
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
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Transformation Complete
Well, its been a while since the last post about the boat salon tables, but they are finally finished, and look great. After wenge edging was applied to the tops and bases, they went to the finisher and got a high gloss boat-worthy finish.
The afromosia is a great match for the rest of the interior, and they now look like they belong. A special thanks to John Gilham finishing for doing a great job with the finish.
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Coming to a bookstore near you ....
Coming this summer I will have a piece in a new Lark Publishing book titled "500 Cabinets". This is the latest in Lark's "500" series of books. Formerly, I have had my original designs appear in their "500 Tables" and "500 Chairs" books. My work can also be seen in Taunton Press's "Design Book Eight", which came out last year.
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John McAbery- Solo Exhibit
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
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Designing for Movement
Even though its been dried and milled, solid wood lumber still experiences expansion and contraction with changing environmental conditions. This movement must be taken into account when building furniture because if seasonal movement is restricted, the internal forces brought to bear can cause cracking and splitting. The challenge with this piece was to come up with a joinery system that would allow the spare design, just two slabs and two leg assemblies, to be strong and rigid, while still allowing movement of the slabs. Because the grain orientation of the seat and back supports are perpendicular to the grain of the slabs, simply doweling, tenoning, or screwing the pieces together would not allow the slabs to move, and result in failure. The answer that best suited this project was to attach one edge of each slab with a mechanical fastener (aka, a screw), and the other edge with a form of sliding dovetail, known as a blind keyhole dovetail. In this type of joint a dovetail-shaped tenon fits into an elongated sloped-sided mortise - the dovetail shape keeps the slab firmly snugged to the leg structure, but allows the slab to expand and contract by sliding along the tenon.
This is a picture of one of the mortises. You can see that half the mortise is square in profile, to allow the tenon to be inserted, while the other half is dovetail-shaped.
Here is the fully assembled bench (upside down) showing the slab-to-leg assembly attachments.
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This is a picture of one of the mortises. You can see that half the mortise is square in profile, to allow the tenon to be inserted, while the other half is dovetail-shaped.
This photo shows one of the back supports. You can see the attachment screw near the top of the support that is the fixed attachment point, and below it the hard maple dovetail tenon that will slide into the blind mortise. To the left you can see the other leg assembly already attached to the back slab.
This next photo shows the similar arrangement for seat slab attachment. You can see that the front of the seat slab will be fixed, with the rear of the slab allowed to move in and out.
Here is the fully assembled bench (upside down) showing the slab-to-leg assembly attachments.
Stay tuned for more images of the final, finished piece. Thanks!
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