By James Krenov
Synopsis from Amazon:
Cabinetmaking on the maximum point is an paintings, a self-discipline, a philosophy--even a fashion of life--in addition to being an invaluable craft. during this publication one of many maximum residing cabinetmakers displays at the deeper meanings of his craft and explains for much less complete staff how definitely the right attitudes towards fabrics, instruments, and time can bring up the thrill of this advanced job. Craftspeople in each medium can be encouraged by way of this account of having begun and constructing behavior that decrease the problems of a fancy craft.
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Additional resources for A Cabinetmaker's Notebook (Woodworker's Library)
For me, now, it is the tool, in the sense that I enjoy planing the wood with a true plane more perhaps than any other aspect of working. Well, I like also to carve with a knife, and I enjoy working with sharp chisels or a nicely shaped spokeshave, but planing is something special-like the music of the violin. When I think about a plane, I am thinking about the fine points. That is, how well it is made, how much work it will do for you, and how much enjoyment it will give. I know very well that a boatbuilder or a carpenter doing very large, rough wopk needn't be affected by this because the final sensitivity that I am talking about in planes is for the person who wants them and needs them and will appreciate them when doing smallish, sensitive things.
Right: Polishing-plane of cocobolo. Compacl, easy in the hand, a joy 10 use. 34 * Wall cabinet in pearwood. Natural pearwood, mauvecolored, with the center pallern like pinkish smoke. " The rippling grain was difficult to work with culling tools, and had to be sanded-but very lightly. The detail shows the color patch on the door. , depth 13 em. Untreated. 1970. 36 Wall-hung bookcase of cherry wood, inside of drawer in fragrant juniper. , depth 21 em. Oil-polished. 1967. 37 Above and opposite: Carving a handle for a cabinet door.
Around originality there is no doubt a law of diminishing returns; nowadays there has to be. Though maybe we are drowning not so much in the original as in the imitation, in just things. For many of us originality is a pressure; we are being pushed around by people wanting something new, different. Then there's the other pressure of doing the new without borrowing too much of the old, or at least without getting caught at it. Students are forever running to libraries to get various books-on peasant art, Scandinavian modern, Shaker, Colonial, Indian-one this and one that.
A Cabinetmaker's Notebook (Woodworker's Library) by James Krenov