Television or YouTube?

My television career started early.  In 1973 I wrote and starred in a series about American Furniture for CBS.  This consisted of 10 different 30 minute shows which began with Pilgrim furniture and ended with the Arts and Crafts period.  It was called "Welcome to the Past...The History of American Furniture.

My director was pregnant during the production and was not able to direct the last 4 episodes so I guess I can also claim credit for behind the camera work as I was asked to fill in for her while I was "acting" in front of the camera.

We taped two episodes back to back every two weeks.  I was responsible for setting up the set, positioning the furniture, marking out the blocking shots and generating the "B" rolls.  There were three cameras, each the size of a Volkswagen, on rolling stands.  I had to memorize the script and end exactly at 28 minutes and 30 seconds, as the taping was live.  There were no edits.

I opened each show sitting on one of the pieces of furniture in the set and discussed the topic for a few minutes, setting the historical context.  Then I would have the director switch the feed to the "B" roll which was a series of images that lasted a few minutes.  During the "B" roll I would continue the audio, talking about each of the images, while at the same time I was moving all the furniture off the set and then placing the next few pieces in place.  From time to time you can hear me grunting and breathing heavily as I dragged something heavy by myself.

When the camera returned to the set, I was sitting comfortably in the next chair or standing behind the next table in the show.  It was a little fun and a lot of work.

After taping a show, the crew would take a half hour break.  I would change clothes and reset the set for the second show.  That meant new "B" rolls, new furniture and a completely new script.

By the way, in 1973 I had shoulder length hair, paisley shirts with high collars, and bell bottom pants...with a 30" waist.  So much has changed since then.

I was fortunate to do a lot of television over the years.  In fact I was involved with two shows which were each nominated for an emmy.  The first was under an NEA grant, working with the Timken Museum in San Diego and called "The Age Of Elegance.  France in the 18th Century."  The second was when the Mingei Museum created an exhibition comparing Japanese potters of the 19th century and their approach to their work and the Shakers during the same time.  It was called "Kindred Spirits."  I was the Shaker woodworker and talked about my relation to my tools and the process of simple perfection.

I also had the pleasure to work with Roy Underhill during one episode of the Woodwright's Shop.  That was  easily the most fun two guys can have in front of a camera.  It was a real honor to share time with an American legend and icon.

The last few years I have worked with Patrice Lejeune here at work, making short videos for YouTube.  We have a channel, 3815Utah, which is simply names after the address of the shop.  Patrice is my "French Director" and we have a lot of fun.

Usually it goes like this:  I am working, as usual.  He walks by and says casually, "that would make a great video."  I say, "Don't bother me, I am working."  Then my wife, Kristen, comes out of her office and says, "You need to document that!"

End of discussion.

Then I have to stop and "set up" the stuff for the video.  Patrice needs to set up his camera and we agree on blocking and some basic text.  Then I have to "act."

As you can see, I am never enthusiastic about my involvement.  I have perhaps the least exciting or interesting personality on screen, after all these years.  When I think I am done I am ready to go on to something else.  That is when I hear Patrice say, "Can't we do better?  Let's do it again!"

At least he includes the bloopers at the end.

Protein Glue Reversibility

SAPFM JOURNAL VOLUME XIV

This year has been a good year for me, personally.  In January I attended the SAPFM Conference in Williamsburg where I received the Cartouche Award, with as much humility as I could muster.

Then I was invited to speak at the Woodworking in America Show in Winston Salem and had a great time with all those woodworking professionals and enthusiasts.  I am always excited to spend any time with Roy Underhill, who is a hero to all of us.

Business has picked up quite a bit here and some really nice pieces are showing up in the shop for work.  I look back on my career and realize that I have been fortunate indeed to have touched so many great objects and satisfied the needs and expectations of so many clients.  Work is rewarding when it is so satisfying.

I look forward to my birthday next week, and turning 66.  It seems like such a nice round number.  I wonder what next year will bring?  Always the optimist.  I am excited to return to Marc Adam's School next year, and look forward to making another clock among other things.

In any event, last night I received the pdf files for the 2014 SAPFM Journal, which is now in the mail, and I would like to thank Carl Voss and others for their professional assistance.  I realize not all the people who read this blog are members of SAPFM or perhaps even know about the group.  It is a fantastic group of dedicated and highly skillful woodworkers, which was created in 2000.  I joined immediately and have participated in past events with pleasure, contributing articles to the first three Journals.  If you want more information or wish to join or purchase a copy of the Journal, here is the link: Society of American Period Furniture Makers

In the past decade the Journal has become one of the most important publications in the field of American furniture.  However, there have also been some articles which included European furniture influences and these are important.  That is why I wrote an article for this issue focusing on the diversity and importance of European furniture designs, "European Influences on American and Colonial Designs."

My goal with this article was to encourage more research into the wonderful ethnic contributions to style and construction which evolved into the American form of furniture.  With all the news today about immigration we tend to forget that we are all immigrants and that is what is great about this country.

I am deeply honored to be recognized by this group and want to thank them for their tribute.

Exciting WIA Week in Winston Salem

Fortunately, I had decided to arrive several days in advance of the WIA conference and stay a few days after, so Kristen and I were able to spend some quality time in old Winston Salem.  In fact, the last time I visited Winston Salem and MESDA was in 1978, during one of my several trips to visit East coast museums and historic settlements.  I am sorry it took so long for me to return.

The weather was great, in fact, with only a slight spot of rain and moderate heat.  While I was away, on the other hand, San Diego had a heat wave, with several days above 100 degrees.  Poor Patrice had to work at the bench, building the top of our Treasure Box (Series 2) while I got to wander around from place to place, thinking perhaps I should have packed a sweater.

Last year, during this time, I was teaching at Marc Adams school, and only had a short time late on Saturday to get away.  I broke several speed limits driving from the school to Cincinnati to see the WIA event.  I got there about 30 minutes before it closed, with just enough time to get my signed copies of Roubo from Chris.  As it turned out, I also had to sign a few copies, since I wrote the Forward.  The best part was that I got to have a nice dinner with Roy later that evening.

This year, I was a speaker, and presented two lectures to a rather enthusiastic and supportive audience.  The first was a talk on "Historic Marquetry Procedures,"and went through basically 500 years of the traditional methods used to create this art form.  The second was "Building and Using a Chevalet."  At the start of this lecture, I mentioned that I have been working for nearly 20 years to introduce this unique tool to woodworkers in North America.  Then I foolishly asked if anyone in the audience knew about this tool.  When nobody raised their hand, a person in the back shouted, "You haven't been very successful!"  As they always say in law school, "Never ask a question if you don't already know the answer."

I shared the lecture room with Roy Underhill, which is always an experience.  As I was setting up my talk, he was putting his things away.  They had scheduled a half hour break between speakers.  Just about the time I was ready to start, Roy had the brilliant idea to "introduce" me. You probably already know he can be theatrical, to say the least.

He said the first time we met was at the Great Salt Lake, and there was a stampede of brine shrimp.  Tim Webster was sitting in the audience, and had the quick thinking to pull out his camera and video it, posting it on YouTube soon after.  I was speechless and had to hold my tongue, while he went on and on, creating a story that was more and more amazing.  My mike was turned up to the max and when I did comment it was way too loud.  Near the end I asked him to turn down the mike, and he crawled under the screen to adjust the volume.  I thought I had a quick wit, but there is no way I can keep up with Roy when he is "on."

Here is the video: Underhill introducing Edwards

While I was having fun in the lecture hall, Kristen was in the Trade Show, where we had a booth for both the ASFM school and OBG.  She is a master of working these shows, and I am very grateful for her talent, as I usually lose my voice and patience trying to compete with the noise.

Of course, Roy had to stop by and pick up some glue...

At the end of the show, they gave away a rather expensive band saw.  I wondered if it would fit in the overhead compartment on the plane, but fortunately I was not in the contest to win it.  However, they asked all the speakers at the show to sign it.  I asked, rather incredulously, if they really want me to sign a power tool?  They insisted, so I did.  You can see my name, with the comment added 

"Use hand tools."

After the show Kristen and I went to MESDA where we had a nice tour with Daniel Ackerman.  We also enjoyed a private home tour by Tom Sears, both of which are members of SAPFM.  We had dinner with Jerome Bias, who is the joiner at Old Salem, and then visited him at work, where he demonstrated his Roubo veneer saw.

Across the hall Brian Coe was using the foot power lathe to make some turnings.  That is a rather impressive tool, made from massive pieces of oak.

All of this activity was in the Brothers House, and it was full of woodworkers from the show, having a great time sharing stories.  There was a warm sense of camaraderie and mutual friendship.

I made a promise to myself not to wait another 30 years before returning to Winston Salem.  Thanks to Megan, Don, Roy, Jerome, Daniel, Phil, Freddy, Martin, Tom, Brian, Will, and too many others to name.  You know who you are!

The Chevalet Pandemic

Suspected Source of Infection

My dictionary defines "pandemic" as "occurring over a wide geographic area and affecting an exceptionally high proportion of the population."

Here are some facts about this particular infection:

I discovered the tool through "pre industrial espionage" in 1976 and built my first tool soon after.

The first time the "chevalet de marqueterie" was published in English was in 1989, when Taunton press issued Pierre Ramond's book, "Marquetry" including blueprints.  Soon after, he published the three volume edition, "Masterpieces of Marquetry" which was eventually translated into English by the Getty museum.  In volume II, he honored me with a photograph and copy which said "The perpetual transfer of techniques between continents can be illustrated by Patrick Edwards' equipment."

I feel responsible, in some way I suppose, for introducing the "chevalet" to North America.  I had a two year contract with the Timken museum, with sponsorship from the NEA, to create a didactic marquetry workshop in the lobby and demonstrate to the public how this tool was used.  We also produced a short PBS video, "France in the 18th century: the Age of Elegance" which was nominated for an Emmy.  (We didn't win, but as they always say, its an honor to be nominated.)

Then, a decade later, I sat on stage in front of the SAPFM audience at Williamsburg and introduced it to a large group of woodworkers.  I still remember the look on their faces.

For three years after that I demonstrated twice a week in the Getty museum, with both the chevalet and a picking machine.  I was informed that I had an average of 120 people during each of my 2 hour lectures.  They monitor these things, I found out.

Then Roy invited me to be on his show, which was for me like dying and going to heaven.  I don't know what his audience is in numbers, but they must be the most interesting woodworkers in America. He has established "The Woodwright's Shop" as the longest running "how to do it" show on television.

During this entire time, I was teaching students at ASFM and selling kits with plans. I have exported my kits to Belgium, England, Australia, the Philippines, and several other countries.

Today I sat down in front of my computer and Googled the term "chevalet de marquetrie" then clicked on "images" and was amazed.

Try it.  See for yourself.  Take a few minutes and see how fast good ideas can spread.

PS:  If you are already infected and one of these tools sits in your shop, let me know.  Send photos and I will post them so others can be warned!  By the way, there is no known cure...

And The SAPFM 2014 Cartouche Award Goes To...

Micky Callahan and Steven Lash Founded SAPFM

I joined the Society of American Period Furniture Makers the first year they started, and am proud of my membership number 170, since they now have over a thousand members across the country.  I actively participated in each of their early conferences at Williamsburg and wrote articles for the first three issues of their Journal, which has become the premiere woodworking journal in the US.

Here is a short video which talks about SAPFM:  Society of American Period Furniture Makers

However, after several years traveling to Williamsburg in January, which included a blizzard that closed the colonial village down for several days, I got to the point where spending January in San Diego seemed a better idea than looking for snow.  That doesn't mean I lost interest in the activities of SAPFM.  I follow them on the web, talk to other members often, joined the new Southern California Chapter when it was organized last year, and always look forward to the Journal.

Outdoor Seating In Williamsburg

The conference in Williamsburg is held in two back to back sessions each January.  It is titled, "Working Wood in the 18th Century" and is a great opportunity to meet with other furniture makers and collectors, listen to informative presentations and attend the banquet where the winner of the Cartouche is announced.

The Cartouche is a very significant award, but, here in Southern California, not many people understand what it means.  I usually tell them it is like an Academy Award, since it is voted on by members of a group to recognize the achievements of another member of that same group.  In other words it is an award of your peers, for lifetime achievement in a particular skill.  You must be nominated and then a jury evaluates your efforts in various fields, like teaching, awards, creations, publications, lectures, etc.  I am the first person West of the Mississippi to receive it.

Past winners have been craftsmen who made American period furniture, and all of these live on the East Coast.  They include:

2013 Will Neptune
2012  Allan Breed
2011  Benjamin C. Hobbs
2010  Steven Lash
2009  Dennis Bork
2008  Alfred Sharp
2007  North Bennet Street School
2006  Fred Stanley
2005  Phil Lowe
2004  Mack Headley
2003  Gene Landon
2002  Robert Whitley
2001  John McAlister
2000  Harold Ionson


A few of these are no longer with us, but all of them are outstanding in their field, and I have been fortunate to have met all of them at one time or another.  It is a great group of talent.

In looking at the winners and their work, I never considered for a moment that I might be eligible for such an honor.  After all, I am an American who makes period furniture, but my furniture for the most part is European in style.  All of the forms which I make date from 1680 to 1840 and are completely hand made.  They are just not American.  Generally, I prefer English, Dutch, German and French.

So it was a complete shock when I was contacted late last year and told that I had won the Cartouche and should return to Williamsburg to attend the Banquet.  Wow!

Of course, watching the weather during January was discouraging.  Something about an Arctic Vortex?  All I could see on the news was "Freezing Cold!" "Dangerous Travel Conditions" "Stay Home!"

When I landed in Chicago for the transfer, it was 20 below zero and our flight out was cancelled.  We were very fortunate to find another plane which was just departing, although we sat on the runway for over an hour while they figured out how to de ice the plane.  Landing in Richmond, we got a car and made it to Williamsburg for the last 5 minutes of registration.  Then to bed at the Lodge.

Period Furniture Demonstration

The next day I attended the conference lectures and that night got ready for the dinner.  I had brought my suit and grabbed a fresh white shirt from the cleaners which was still in the plastic bag.  What I forgot was that I remove the shirt collar plastic stays for the cleaners, and I did not put them back.  During my talk, as I warmed up, my collars went from straight down to curled up, like the hat on the Flying Nun.  I had no idea why my wife, Kristen, was making those funny hand gestures from the table in the front of the podium until after the talk was over.

I can remember hundreds of lectures I have given over the years, both to large and small audiences.  I have never had the sensation of a packed room of perhaps 200 people rising as one and giving me a standing ovation.  I don't have words to express how that felt.  Holding the Cartouche Award and hearing the congratulations of the other furniture makers is indeed a special feeling.  It was also personally significant, as I have never before made a Power Point presentation of all my work.  With each new image, all I could think was, "I can't believe I made that!"  That thought was quickly followed by "How did I do it?"

Frank Klausz Teaching 9 year old Boy about Dovetails

The weather cleared up a bit on Sunday, and Kristen and I had a chance to wander around the village to see the homes, shops and take some tours.  We stopped in at the cabinet shop to talk with Brian and Bill, the two young cabinetmakers who were presenters at the conference.  They were putting their shop back together and getting back to work.  Since there were few tourists at that time of year, we had a good chance to talk for several hours.

Kristen and Bill in the Cabinet Shop

On Monday, we drove down to Chapel Hill, North Carolina to visit Roy Underhill.  He moved about 4 years ago from his home in Williamsburg and purchased a rustic mill house outside Chapel Hill, where he lives with his wife, Jane, and his dog.  It is a charming home, with a waterfall, and he teaches classes there in wild timber technology, for lack of a better term.  Essentially he cuts down trees and makes stuff using only his hands, his tools, and his brilliant mind.

Roy Is Always So Serious!

The next day, we drove to see his school, which is in a 1907 storefront in town.  It is a beautiful school room, and he teaches hand craft woodworking to a wide variety of students.  The cool thing is that he has an antique tool store on the second floor, and it is one of the most comprehensive collection of good woodworking tools I have seen in years.  The prices are right, and the tools are ready to go to work.  The owner of the store is Edward Lebetkin and you can reach him at edlebetkin@gmail.com.

I left there with a nice boxwood plough.  Like I need another plough.  I can't help it.

TOOLS FOR SALE!

You may have seen the news about Atlanta.  All day long on Monday and Tuesday there were weather reports about the storm, set to arrive that afternoon.  The low pressure system off the coast was full of water and the cold front coming down from the North was fast moving and really, really freezing.  Conclusion: Snowstorm in the South.

We raced up the freeway to get back to Richmond before the roads became impossible.  We were sitting in our nice hotel room watching the snow fall when we got the message that our plane had been cancelled the next morning.  They were working to reschedule us later in the day.

We were the first plane out of Richmond after they cleared the snow off the runway.

Back At The Shop With Cartouche

The older I get, the more I like the climate in San Diego.  Heartfelt thanks, SAPFM!

Why Not Period Glue?

Synthetic Glue Sucks

I joined the Society of American Period Furniture Makers in 2000, when they first got together.  I really enjoyed going to Williamsburg, even though it was in January, and I had been there dozens of times before.  The reason I had so much fun was the experience of spending a week with like minded furniture makers, from all over the country.  We talked about furniture styles, different methods of construction and tools from different periods, finishes and just about every aspect of our craft that was important.

Usually, when I am in a social environment and others find out I work in wood, the topic of conversation ends up with someone discussing their efforts to build a coffee table or birdhouse.  It is a completely different situation at these SAPFM events.  Furniture design and construction is a real passion with this group, and nothing is too esoteric or obscure to merit hours of intense dialogue.

What fun.

I was an active member in the early years.  I was fortunate to be asked by Roy Underhill to tape a segment on his show, The Woodwright's Shop, which required me to ship a large container of tools and materials back East.  At the same time, since I was there with all my stuff, I demonstrated on stage during the SAPFM conference and made a short video for them about the chevalet.

It was interesting, since there are two back to back sessions of the "Working Wood in the 18th Century" event, and I had a conflict with the second week.  Therefore, I asked Silas Kopf to stand in for me and use my props.  During my presentation, I had each segment of the talk prepared in boxes ahead of time.  Each box was numbered so all I had to do was reach under the bench and pull out the next box which had the materials for that segment of the talk.

I worked fine for me, since I was familiar with all the props, and had a time tested presentation developed over several years of talks at the Getty museum.  It was not so easy for Silas, who does his marquetry using a completely different method.

I need to stress at this point that I think Silas is the greatest marquetry artist working in the US.

As it turned out, he made the effort to use my props and present the talk on French marquetry methods that we had agreed to.  But, after about 15 minutes of his talk, he abruptly changed direction.  "That's the way Patrick and the French do it.  Now I want to talk about how I do it."  His presentation was excellent, but not what we had planned.

I also wanted to contribute to the new Journal of the SAPFM, called "American Period Furniture."  For issue #1 I wrote "Form Follows Process," which analyzed the different methods of work used by craftsmen before and after the Industrial Revolution.  For issue #3 I wrote about my research into the Price Guides of the early 19th century, documenting the time required to make each aspect of furniture using hand tools, "Period Productivity".

1820 Cuban Mahogany with 1980 Synthetic Glue

In Issue #2 I did something different.  During the first session I attended, I was amazed that all the woodworkers there were passionate about choosing the right woods, following period design exactly, understanding period finishes, and so on.  There was a certain amount of divergence in whether or not to use only hand tools, and that I understand.  Most of the members had access to power tools and the general consensus was that it was ok to use power as long as a certain amount of hand finishing was involved.

The area which startled me involved glues.  Practically every person I talked with used modern synthetic glues to make their period furniture.  I could not understand this "blind spot" in an otherwise very academic group of individuals.

So I wrote an article for issue #2 called "Why Not Period Glue"  I took the position that traditional glues were used for centuries and worked fine.  If there was a modern glue which did something better than these traditional glues, show me the advantage and I will use it.  The only one which comes to mind is epoxy, which can be used to repair metal parts.  Of course epoxy should never be used for wood repairs, or worse, tortoise shell, ivory or any other material.

Missing Tenon/ Covered in Plastic Glue

Most of the woodworkers used glues like yellow glue, carpenter's glue, white glue, and other glues with fancy chemical names I never heard of.  Hardly a glue pot among the entire group.

Only those who made their living restoring antiques seemed to understand why it is important to use traditional glues.

Cleaning Surface with Toothing Iron

I was reminded of this article today, as I worked to repair a broken leg on a period Baltimore dining table.  The leg was originally attached with a double tenon to the apron.  One of the tenons had broken and the repair was made by adding yellow glue and clamping.  That repair did not work, of course.

Old Brown Glue Ready for Use

In typical fashion, the clamping was not done properly.  The wood surface was not cleaned in advance.  The missing tenon was not replaced.  And on other legs of this table, the repair was "enhanced" by a series of nails, which did nothing but damage the wood.

As I removed the leg to begin the repair, it was obvious that the synthetic glue did not stick to the wood.  Using a sharp chisel, I was able to pick off most of the glue chips, which came away like flakes of paint.  I think of synthetic glue as a plastic, and plastic does not stick well to wood.  I typically use a toothing iron to scrape away the glue residue and tooth the surface.  You must be careful to not remove wood; just glue.  It takes a bit of care, and the toothing iron helps.

Tenon Replaced, Ready for OBG

 I just felt good, when I was ready to apply the glue for the repair.  All the wood surfaces were toothed and clean of plastic glue.  The tenon was made and installed.  The clamps were ready and clamping blocks were installed.  (See the post on Vector Clamping)


I warmed the glue, brushed it on and applied the clamps.  Another antique repair done professionally, using the same glue that the original maker would have used some 200 years ago.  I'm sure he would approve.

Gigi Inspecting Protein Glue

Le Vrai Roi Roy!

My Small Tribute to Roy ©Antique Refinishers, Inc.

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.

Forward Into The Past!

I take this job of blogging very seriously.  One thing the internet has provided the globe with is a chance to share a virtual collective consciousness.  That is why my personal contribution is so important.  Not because I am important, but that I may, in fact, contribute to the universal search for our place in the universe.  Defining our cosmology in a way that accepts truths and supports individuality.

I have had some significant influences in my life that have contributed to my own understanding of my place in time.  Some have been superficial, like music, for example.  Coming of age and forming my persona under the sound tract of Pink Floyd, Cream, Traffic, and, most importantly, Hendrix, mixed with all night visions created by the Firesign Theatre can be very mind expanding.  (If you are old enough you recognize the title of this blog as a Firesign Theatre cut.)

If you have never heard of them, take some reflective time and close your eyes, darken the room, partake of your favorite mind altering material and just listen to the mental movies that classic Firesign Theatre stories create.

There have also been personal influences, as I have written about before.  When you seek out a "master" and sit at their feet to humbly seek their wisdom and they treat you as equals, it can be very inspirational as well as educational.  There is a rare mix of humility, knowledge and confidence that makes a student ready when the time comes to evolve into a "master" in his field of experience.  Schools try to create this with educational programs that award degrees, but that does not always guarantee success.  What is important is how you live your life and what you do with your precious time here on earth.

One of the masters I learned from came to me over the television.  The first time I turned on the Woodwright's Shop program on PBS, more than 20 years ago, and saw Roy Underhill frantically working a piece of wood into something, using only hand tools and his copious sweat and blood, I was transfixed.  Here was a guy that I could instantly relate to.  His show depicted exactly what my life was on a day to day basis.  He loved what he did.  He understood the larger implications of what it meant to work by hand, with the element of risk.  He studied and explained the old ways of working in a way that was easy to understand and appreciate.  In short, he was a true brother in arms (Dire Straits).

Over the years, I watched Roy every chance I got.  I saw him build boats, cabins, chairs, tools, spinning wheels, whistles, lathes, and every thing else under the sun.  Each episode started with him walking out of the city and into his shop in the woods.  He worked the camera in a way that made me feel he was in the room with me, talking only to me.  I often found my self talking back, having a conversation with the TV.  It felt normal and still does.

I first actually met him when I joined the American Woodworking magazine traveling show.  I know he has a lot of fans, and yet, when we met, I found him to be honest and personally interested in my perspective.  One truth about a master is that he listens.

I was honored when he asked me to present my chevalet and marquetry experience on one of his shows.  I think that was in 2008, but my memory is not clear about dates any more.  I stayed with him and his wife in Williamsburg and we had long and deeply personal conversations late into the evenings.  When we taped the show, I was able to learn a great deal from him, even though I had a fair amount of television experience in my past.  He is certainly a master at presenting information in the most entertaining way possible.

Last night, I found a TED talk which featured Roy working the crowd.  It reminded me again of his skill at public speaking, while at the same time using an axe to skillfully demonstrate traditional workmanship.  I have personally seen him do this talk on several occasions.  At one of these talks, I was the person holding up the tree, while he took swings at it.  Seeing his abilities at close range make this presentation even more remarkable.  He can place the chips from the axe exactly where he wants, much like a professional golfer can place the ball on the green.  All the time blending his act with serious information and classic bad jokes.  Each time it is fresh, and he has done this thousands of time.

As I watched the TED talk, I sensed a certain resolve in his voice.  He has been "preaching" the virtues of hand workmanship all his life.  He is the most public face in woodworking for this position.  His show is the longest running PBS "how to do it" show, and yet Norm, with all his ridiculous and expensive power tools, has much more success and fame.  When Roy describes his axe as "a piece of metal on a stick" he brilliantly illustrates his position.  That "metal on a stick" can do almost anything, if you know how to use it.  Nothing illustrates more the relationship between man and tool than that axe in the hands of a man like Roy, or the image of Norm standing in the middle of hundreds of thousands of dollars worth of power tools, trying to make a bookcase.

I was raised and trained as a scientist.  I studied and worked in the field of high energy particle physics and my degree is in Applied Physics.  I grew up immersed in the world of technology.  I saw the first computers and was born at the same time television was introduced to the world.  I watched live as the first man stepped on the moon, and the first heart transplant occurred.  As a scientist, I understand that the industrial revolution has changed not only the social and economic fabric of the past two centuries, but is now actually transforming the global climate, and that it is measurable.  We cannot continue to burn fossil fuels at an increasing rate, just to satisfy our need for mass consumption of useless objects.

Roy, in his TED talk, says, rather ironically, that he was asked to represent the "Past."  He then succeeds in pointing out that the past is still relevant today.  The past is the way of the future.  We can learn from the past and use that knowledge to mitigate our footprint on the earth.  We can, and must, transform our relationship with our home planet, by better understanding our relationship with our global assets, like food, water, and air.  If we are just custodians of this planet, what kind of message are we leaving our children if we destroy it?

I am not crazy and do not want to eliminate all technology from my life.  Living an extreme lifestyle is not the answer.  I read the book, "Be Here Now" in 1971, the same year I graduated from UCSD, and I understood what a life, in "balance" meant for personal happiness.  I still follow those guidelines.  That is why I can relate so much to Roy, and what he represents.

We all can learn from what he has to offer.  He is a national treasure.

See for yourself:
TED: Roy Underhill and his Axe

Woodworking in America Show

I just returned from the Woodworking in America Show at the Pasadena Convention Center.  The first thing that comes to mind about the experience is, "I'm not as young as I used to be."

I have never been to the Pasadena Convention Center before.  I have driven by it many times and it looks absolutely beautiful from the outside.  At the risk of insulting someone in Pasadena, I did not find the inside to be as functional as the outside was beautiful.

The exhibit hall where the show was set up had three events at the same time.  Our event was in the center room.  On one side was an event featuring Japanese food and drink for most of the Japanese population of the West Coast.  On the other side was a wedding which must have cost some poor dad a million dollars, and essentially shut down Colorado Avenue for the day.

There was no bathroom in our hall, so we had to either walk through the Japanese event or the wedding event to find comfort.  In either choice, I think we stood out from the crowd.

For delivery and set up, we had to go down a long ramp and into the dungeon basement of the center, where large people who never see the sun toil endlessly loading, unloading, moving, dumping, and just moving around from one locked door to another.  We never found two of these people who agreed about any of the rules.  Either they didn't know, or they just find it sporting to contradict the information the last person gave out as the way things are done.

My wife disappeared for a long time to find out who was actually in charge and came back with the news that she had talked to "Shack" and he said just do what we wanted, park where we liked, and, if anybody asked us what we were doing, say "Shack said it was fine."  That particular bit of information saved our ass on several occasions.

We set up our booth and went to bed at the hotel, ready to start the event on Friday morning, bright and early.  Our booth was in the back corner, way back in the corner, away from most of the action, and we liked it that way.  These shows rely on tools.  Lots of tools.  The kind of tools that plug in and require a small nuclear reactor to power.  They make a lot of noise, and dust.  It is difficult enough to talk in a cement room which has 30' ceilings, industrial air conditioning and walls that are cement, but when you add a few stores of power equipment...well, I will just say that it is not like standing at my workbench.

At one of these shows, we actually had a booth directly behind our curtain which was selling planers.  All during the event, we would be standing with wood shavings falling down on our heads like snow.
(I accidentally unplugged their booth a few times while trying to plug in my coffee maker.)

We were relieved to find at this show that the booth behind us was set up for the "Modern" woodworker (whoever that is) and remained empty during the show, except for some cards on their table.  I still ended up loosing my voice after two days of talking.

Not everything was bad about the show, I need to add.  Many years ago I did these shows more often, and it gave me an opportunity to meet and become friends with the outstanding woodworkers in America.  So I was pleased to have the time and chance to meet many of them this weekend, and, like old friends do, discuss the state of the world and the news from our business.

People like Christopher Schwarz, Paul Schurch, Adam Cherubini and Roy Underhill have all influenced my work and encouraged me by their creativity and knowledge.  If it wasn't for these shows bringing them all together, I would never get the chance to see them.  In a very real sense, we need each other.  Together, we have devoted our lives to a career in a special aspect of woodworking, and are truly keeping alive the spirit of craft in the modern age.

This morning, as I recover from the physical effort, and the late night drive, the fresh memories of seeing good friends wash over me, and I know that it was important to make the effort, not so much for those who visited me at the show, but for me, personally, to remember why I do this.