The Saga of a Wood Turned Pot

One of the great things about being a woodturner is that I’m constantly being offered different kinds of wood – sometimes even a whole tree (IF I agree to take it all away, of course….)  Most of the time, I politely decline the offer.  But occasionally something really unique comes along.  Such was the case at a show last fall.

A couple approached me saying they had a decently sized maple burl sitting their garage for a number of years and asked if I could make something from it.  After studying the burl for a week or so and further discussion with the client, we agreed on a wooden pot that would preserve the overall shape of the original burl.

These pictures show the progression from the original piece through to the finished product.  (I’m happy to say that the client was delighted with the result!)

Posted in Announcements, Techniques | Leave a comment

To Connect or Not to Connect….

“The worst thing about the miracle of modern communications is the Pavlovian pressure it places upon everyone to communicate whenever a bell rings.”
-Russell Baker, No Cause for Pain, “Times (London)”, November 28, 1991

I wrote this post in response to a former colleague’s thoughts concerning “work-life balance” – a common pass phrase favored by Human Resource professionals and others in Corporate America.  I hope you find some of it worth your while.

————————————————————
Constant interconnectivity – the ability to interact with just about anyone, at any time, no matter where they are – is a fact of life in our postmodern society. Indeed, it has become an overriding requirement for those caught up in large corporate subcultures! Interconnectivity can be a good thing.  It keeps us in touch with each other, allowing us to share our joys and concerns in ways never before possible. But underneath it all, postmodern culture, which corporate subcultures greatly magnify, uses this technology to put intense pressure on the individual to conform to the needs of the moment – to function on a sliding scale based on the perceived priorities of the “here and now” – to focus on self-preservation (that is: keeping one’s job!) to the exclusion of all else.

This relativistic norm, which philosophers of my parents’ generation termed, “situation ethics” has led human persons into behaving in whatever manners (or taking whatever actions) “feel right” in the moment. Like ships without rudders, we now bounce through life like balls in some cosmic pinball machine. And in so doing, we deny (or ignore) the standards of behavior, of truth, of modesty, – and yes, even of beauty that previous generations held sacred. We have lost respect for authority, for others, and ultimately for ourselves.

The truths (proofs, if you will) of this are self-evident. One sees them every day. We, as a society, as a culture and as individuals, have forgotten that we are accountable to ourselves, our fellow men, and ultimately to our Creator. The teacher in Ecclesiastes instructs us (in 3:13 and elsewhere) to “take pleasure in (our) toil….” (ESV). But whether one believes in God or not, there is within each of us a sense of Moral Law, or Law of Human Nature, a Law of what is Right and what is Wrong – a Law of Common Decency. We feel it every time someone cuts us off, butts in front of us, or wins the big promotion.

“It’s not fair!” we cry. But what is the origin of that cry?

Like a child begging for a piece of candy, the Rule of Right and Wrong (or whatever else you might call it) nags at each of us. And because of it, there is buried (sometimes very deeply) within all of us, the realization that there is something above and beyond the ordinary facts of human existence: something that is real – a real law, one not made by the imagination of men, pressing in upon us.

Following this Law is not something that’s necessarily easy or popular, because, as C.S. Lewis wrote almost 70 years ago (in “Mere Christianity”), “it has more to do with working honestly when it would be easier to cheat, leaving a girl alone when you would rather make love to her, staying in dangerous places when you would rather go somewhere safe, keeping promises you would rather not keep, and telling the truth even when it makes you look like a fool.”

Why then should we follow this Law? Of what possible benefit can we gain by its observance? Simply this: however we choose to behave has ramifications far beyond our immediate circumstances. We can never predict how what we do – or what we say – will impact the attitudes and subsequent behaviors of others. That statement is obvious for those in positions of responsibility. But also applies to each of us, regardless of our stations in life. Paul admonishes the us to avoid placing stumbling blocks in front of others (Rom. 13:15, 1 Cor. 8:9, et al.) But let’s face it: if the universe is not subject to an overriding, governing force of absolute good, then it’s “eat, drink, and be merry for tomorrow we die!” Those are the watchwords of contemporary westernized culture; but our innate knowledge of the Moral Law tells us: it’s a lie! (Oh, we may deny it, but our actions and attitudes ultimately circle back upon us. “What goes around….” I’ve seen it happen many times as, no doubt, have you.)

So what does all this have to do with the price of eggs? Why have I taken the time and expended the energy to write this? Simply for this reason: I had a good career in Corporate America. I did what I thought “had to be done.” (Machiavelli would have been proud!) But along the way, I lost a part of my humanity. It took being laid-off, among other not-so-nice shocks, for me to realize (Ecclesiastes again) that “all is vanity.” By the grace of God, I have recovered some of what I had lost – and gained far more than I ever imagined: the sure and certain knowledge that there is a God; a God who loves us, who sent his Son to die for us, who calls his people to something better than the ephemeral trappings that our postmodern culture terms, “success”, who calls us to something REAL! My parents taught this to me as a boy, but it took a lifetime for it to begin to sink in. I hope that you – and any others who might read this – will take this lesson to heart sooner than I.

No, I haven’t “lost my marbles” or “have a loose screw” – though many will conclude that that’s the case(!). No, I write this because I care about you – and about your impact upon those around you. I write so that you may be a blessing to this world!

Posted in Ruminations | Leave a comment

A Call for Domestic Manufacturing

This gallery contains 2 photos.

While I’ve been fortunate to find quality components around which to create my functional work (e.g., salt & pepper mills and coffee grinders), it irks me that, in many cases, it’s impossible to find domestically manufactured equivalents that meet my … Continue reading

More Galleries | Leave a comment

The Best of Both Worlds

”Making money is art and working is art and good business is the best art.”
-Andy Warhol

One of the greatest challenges faced by the aspiring artist is (please excuse the poor grammar) “getting found.”   For most artists, “getting found” requires becoming proficient at running an “Arts Business.”  Because unless the artist knows how to manage time, money, and resources, artistic success is often limited to technical and artistic mastery – not earning a living.

Artists have traditionally solved this problem by selling their work through professionally owned and managed galleries.  In return for paying a commission (often 35% to as much as 70%) of the sale price, the artist gains representation by experienced professionals who are (presumably) able to match the artist’s work with patrons’ tastes and budgets.  While commissions charged by traditional galleries are often high, many artists feel they are more than worth it, as these galleries, by virtue of their reputations and existing clientele, are able to ask – and receive – premium prices for their artists.

One alternative to the traditional art gallery is the cooperative (or “co-op”) gallery, where “member artists” share in the cost and management of the gallery space.  For many artists, the co-op is an attractive alternative to professional management.  But like any business enterprise, success of a co-op is dependent on the business (that is: financial, organizational, managerial, human resource, et al.), interpersonal and “sales” skills, industry expertise, and community connections of the member artists – not to mention their motivation and ability to work together and persevere over the long haul.  Nevertheless, cooperative galleries can and often do offer rich and varied artistic experiences for both member artists and their patrons.  Artists certainly learn a lot about the arts business very quickly, while artwork costs can be (but are not always) somewhat lower than similar work sold in traditional galleries.

Another, more recent alternative is what I’ll call a “hybrid model.” Here professional arts management combines with working artists to address some of the challenges associated with the high commission rates of the traditional gallery and the often massive “sweat equity” associated with the co-op.  In our hybrid gallery, professional management selects member artists, who then rent gallery exhibition space and also participate in running the gallery under the guidance of experienced professionals.  In many ways, the hybrid approach offers the best of both worlds.

One of the most recent examples of a hybrid gallery is SOMI Fine Art Gallery, which recently opened at 50 Mine St., in the heart of Flemington, NJ’s emerging Arts District.  This writer is honored to be a member artist at SOMI.

Finial Box,, "Out of the Deep."  English Walnut, African Blackwood; lathe turned.

Finial Box, “Out of the Deep.” English Walnut, African Blackwood; lathe-turned. 6×9.5 inches. Available through SOMI Fine Art Gallery.

 

Posted in Announcements, Ruminations | Tagged , , , , , , | Leave a comment

A New Student?

It looks like I might be back in the bowl turning business – what can I say:  gallery demand.  But the point of the story is that a guy came by yesterday to service the emergency generator, which sits right outside my shop window, while I was rough turning some large walnut salad bowls.

All the flying wood chips apparently aroused his curiosity because the next thing I knew, he was knocking on the window wondering what was going on.  So I invited him in, explained the process then let him stand to one side while I roughed-out a 16″ bowl.

May have recruited another student….

Salad Bowl: black walnut, 17 x 5" deep; lathe-turned.

Salad Bowl: black walnut, 17 x 5″ deep; lathe-turned. This bowl, and others like it, may be seen at the SOMI Fine Art Gallery, 50 Mine Rd., Flemington, NJ

Posted in Ruminations | Tagged , , , , , , , , , , , , , , | Leave a comment

What’s Your Favorite Finish?

Every time I meet with patrons and potential patrons, I can count on getting at least two questions.  Question number one: “what’s your favorite wood?” and (number 2) “what’s your favorite finish?” I’ll leave the question about favorite woods for another time; but for now, let’s delve into favorite finishes.

First off:  I don’t have a “favorite finish”, per se; rather, I base my choice of finish on essentially three factors: (1) how the piece is to be used, (2) the species of wood and (3) the expected selling price.  (Basing a finish on selling price might seem a bit crass, but I promise to explain.)  But going back to the first two factors, I choose the finish to be both practical (that is: it must protect the piece for its intended use) and beautiful (meaning that it must enhance the natural colors and grain of the wood while still being “practical.”)

With limited exceptions, I strongly favor eco-friendly finishes:  pure walnut oil (yep, the same stuff you get at any health food store), shop-compounded shellac (shellac buttons or flakes dissolved in a 190-proof grain alcohol like “Everclear”), beeswax and carnauba wax.  The exceptions are “Deft”, a nitrocellulose lacquer and micro-crystalline wax (sometimes called “Conservator’s wax.”)

So let’s first talk about “intended use.”  All my work intended for direct food contact (bowls, platters, cutting boards, etc.) is soaked in  pure walnut oil until the piece reaches saturation – that is: until it won’t absorb any more.  Generally, that means soaking in a tub of walnut oil overnight.  In the morning, I remove the piece, wipe it off and set it aside for a day or two to allow the oil to polymerize (that is, harden).  This “finish,” unlike the more commonly used mineral oil, resists washing off.  That means, you can wash the piece in normal dish washing detergent without fear of washing away the protective finish.  (I have one bowl that’s seen daily use – often several times a day from everything from salsa,  salad, to ice cream and pickled beets – for the past four years and it’s still protected.)  The appearance of an oil finished piece varies depending on the type of wood.  Very hard woods, like this red oak burl candy dish, take on a pleasing satin, almost semi-gloss finish, while softer woods like walnut and cherry, yield a flat matt finish.

Candy Dish, Red Oak Burl, Walnut Oil, 7 x 3 in. - sold

Candy Dish, Red Oak Burl, Walnut Oil, 7 x 3 in. – sold

Vases, urns and my “Classic Series” pepper mills are often French-Polished.  French-Polishing is a technique developed in Europe back in the 19th century for finishing fine furniture.  It’s an extremely time-intensive process whereby thousands of micro-coats of shellac “polish”, pumice and walnut oil are rubbed into the piece over a period that can range from several days to a month or longer.  (Note that I use shellac I mix myself.  Commercial shellac contains preservatives and other adulterants that interfere with the french-polishing process.)  Also, due to the time and degree of experience/skill involved, I now reserve french-polishing for high-end pieces priced at $200 and above.  You can read more about French polishing in these posts http://wp.me/p1u5Hd-2R and http://wp.me/p1u5Hd-7.

Coffee Grinder, "Classic Series": Cocobolo, French-Polish. 6 x 12 in.

Coffee Grinder, “Classic Series”: Cocobolo, French-Polish. 6 x 12 in.

An alternative to French-Polishing, for those who prefer a more subdued finish, is the oil and wax-polished finish.  Here, the workpiece is soaked in walnut oil, allowed to dry/harden, then re-mounted the piece on the lathe and, turning at high-speed, a stick of carnauba wax is pressed into the spinning workpiece – then, holding a wad a paper towelling against it, pressure is applied to generate friction that melts the wax into the wood.  I’ll often follow this up by rubbing a coat of Conservator’s wax into the piece to further protect the finish.  (Beeswax can also be used, either in combination with or as a substitute for carnauba wax.  Beeswax yields a softer, less brilliant finish, which is appealing in some instances.)

At first glance, it might seem that the oil and wax-polishing process is not as time-intensive as french-polishing.  And that’s true.  But because this finish magnifies even the smallest defect in the wood, achieving an acceptable oil/wax finish requires absolutely perfect surface preparation.  I often spend as much time sanding and burnishing the surface of a piece to be oil/wax-polished as I did turning it.

Pepper Mill, "Classic Series"; Cocobolo, Walnut Oil & Wax-polish. 14 x 4in.

Pepper Mill, “Classic Series”; Cocobolo, Walnut Oil & Wax-polish. 14 x 4 in.

A final choice of finish, which I’ve recently started using for some of my more moderately priced pieces, is a Deft lacquer finish.  Marketed a “clear wood finish”, Deft is a brand of nitrocellulose lacquer that’s durable and, unlike other lacquers I’ve tried, non-yellowing.  Although surface preparation needs to be almost as good as the oil/wax-polish process described above, the Deft finishing process is comparatively quick.  After sanding and removing the sanding dust, leaving the piece on the lathe, we apply a generous coat of Deft with either a rag or paper towel.  Slowly rotating the piece by hand for about a minute, we tear off 2 – 3 pieces of towelling, then running the lathe at about 500 rpm, wipe off the excess Deft.  After a minute or so of wiping, the surface is dry and hard.  Keeping the lathe running, we burnish the surface with either 0000 steel wool or a fine abrasive hand pad (the grey one).  Remove the surface dust, then burnish with an ultra-fine abrasive hand pad (the white one).  We next speed up the lathe and burnish with a piece of brown paper bag.  (Apply some pressure here.  We’ll generate some heat, but that really levels the finish in preparation for the final coats of Deft.)  Apply two more coats of Deft, removing the excess as before, then wax-polish with carnauba wax, just like we did with the oil/wax-polish process, and we’re done.

Pepper Mill, "Antique Series"; Walnut, Deft finish, 8 x 3"

Pepper Mill, “Antique Series”; Walnut, Deft finish, 8 x 3″

As a final note, Deft is available in a number of versions (satin, semi-gloss and gloss.)  I use either semi-gloss or gloss.  Semi-gloss might be a bit better at grain filling than gloss due to it’s higher “solids” content, but I’ve yet to see a real difference in the final product.

At the end of the day, it’s important to realize that there are many choices of finish available to the modern wood turner – along with an infinitely variable number of techniques for applying them!  As a full-time professional, my objective is to produce high-quality work at prices that fairly reflect the value my patrons receive when they purchase it and that, at the same time, provide a reasonable return for my time and costs.  The finishes and techniques I’ve described here meet those objectives in spades!  I invite you to learn more about me and my work on my website at http://www.turningarts.com.

Posted in Techniques, Wood Finishing | Tagged , , , , , , , , , , , , | Leave a comment

Distinguishing Your Work

I think many – if not most – artists/artisans struggle for ways to distinguish themselves – make their work/”businesses” distinct and “relevant” (if I can use that term) in today’s world.  That said, here a few thoughts I developed for friends on Etsy that I would like to share with you as well:

"Classic Series" Coffee Grinder

"Classic Series" Coffee Grinder; cocobolo, french-polish, commercial mechanism, lathe-turned; 13 x 5 inches (33 x 12cm)

- First:  Focus on delivering sterling service to your patrons! Notice I said “patrons” not “customers.” Those who buy from you are the most important people in the world next to your family. (Hey, they’re the ones who put their money on the line for your work, which pays the bills!) View them as such, treat them as such and they will reward you with their patronage.
(Another thing: when patrons have a complaint/comment about your work, be gracious. Remember: one ‘awe shucks’ is worth a hundred ‘attaboys/attagirls’ (“The customer is always right” – Marshall Field; “even when s/he’s wrong” – Brad.)

- Second, write – and stick to – a business plan (there are plenty of resources on the web to help you, if you – like many – aren’t sure how to write one.)

- Third, as part of your business plan, look at all reasonable venues for selling your work: art/craft shows (juried, high-end shows are usually best – just look carefully at what’s being sold, show history, etc. before entering) and art galleries (again tough, but very profitable, when you find the right ones) in addition to online sales. Just recognize that online selling (Etsy, eBay, et al.) has particular challenges. By that I mean: (a) your photos and descriptions have to sell work work. That’s a very different – and much harder to make – proposition than having (say) a booth at an art/craft show where patrons can see and touch before deciding to buy. (b) Establishing your credibility as a serious artist/artisan is essential. Your patrons need to view everything about your shop as “quality.” That means not only your photos and descriptions, but your shop layout, banner, policies, pricing, reviews, everything(!) must quietly, but firmly say, “I’m a pro – and I’m here to stay.” There are numerous resources to help you with that as well.
-3a: According to Invespblog, 80% of online sales occur outside the U.S. – word to the wise: consider paying special attention to potential international patrons – show dimensions in metric as well as English units, set shipping options accordingly, etc.

-Fourth, get a shop critique from an expert. You will probably have to pay a nominal amount – and some of what your hear might tough to swallow; but pay attention and take the expert’s advice. You’ll be glad you did.

-Fifth, always, always, always strive for improvement.  (They don’t need to be “big” improvements – small, (even tiny) incremental improvements are often best.)  (a) Set targets to increase both the quality and quantity of your work. Try – for example – to increase your production by (say) 15% over last year. (Counterproductive, you might say; but the evidence from every professional artist/artisan I know suggests that the more original work you produce, the better – and faster – you become). (b) Work to improve your product descriptions to make your work more attractive to potential patrons; (c) similarly, look for ways to improve your product photos. In short: NEVER be satisfied with where you are. ALWAYS look for little ways to improve!

-Sixth, to point 5: become an expert in your craft. The best way I know is to teach it. Community colleges, craft stores and craft shows are always looking for people to demonstrate, hold workshops, etc. to show people how you produce your amazing work!  Compile a portfolio of your work, research and make a list of all likely places where you might demonstrate and go visit each one IN PERSON.  Never, ever call in advance or follow “submission guidelines” (EXCEPT when applying to juried art shows!  In those cases, not following the rules WILL get you disqualified!) Otherwise, “rules” are simply ways curators, store owners, et al. use to keep “vendors/salespeople” away. When a college, store, or gallery is interested in your work, those “rules” go out the window.  Instead, go in the door, go up to the first employee you see (receptionist or whomever), hand them your portfolio (I guarantee they’ll take it!) and ask for two minutes to show it to them. Expect that 4 out of 5 will say “no” – but that’s OK. Thank them (graciously) for their time and go on to the next place.

-Seventh – join a like-minded group of artists/artisans and go to their meetings.  Here in PA we are fortunate to have the Pennsylvania Guild of Craftsmen, an incredible group, by the way, but there are others out there.  Find one in your area and become active.  The idea is to share experiences, techniques, etc.  Personal interaction is wonderful “therapy.”

-Finally, be patient – but work like heck while you’re patient. As was remarked above: it takes 3 – 5 years (on average) for a business to turn a steady profit – but that happens ONLY if you work at it. I spend 70 – 80 hours a week working on my business – far more than I ever spent working in private industry.  But I love – indeed I am passionate about – what I do.

I hope you are too.

-Brad

18th Century-style Candlesticks

18th Century-style Candlesticks; English Walnut, Black Walnut, French-Polish, Lathe-turned; 10 x 4 inches (25 x 10cm)

Posted in Ruminations | Tagged , , , , , | Leave a comment

Columbine Student’s Father – 12 Years Later

The following might not be popular.  It certainly is not “politically correct.” It was forwarded to me by a friend.  I’m taking the liberty of passing it along verbatim.

On Thursday, Darrell Scott, the father of Rachel Scott, a victim of the Columbine High School shootings in Littleton, Colorado, was invited to address the House Judiciary Committee’s subcommittee. What he said to our national leaders during this special session of Congress was painfully truthful.

They were not prepared for what he was to say, nor was it received well. It needs to be heard by every parent, every teacher, every politician, every sociologist, every psychologist, and every so-called expert! These courageous words spoken by Darrell Scott are powerful, penetrating, and deeply personal. There is no doubt that God sent this man as a voice crying in the wilderness. The following is a portion of the transcript:

“Since the dawn of creation there has been both good & evil in the hearts of men and women. We all contain the seeds of kindness or the seeds of violence. The death of my wonderful daughter, Rachel Joy Scott, and the deaths of that heroic teacher, and the other eleven children who died must not be in vain. Their blood cries out for answers.

“The first recorded act of violence was when Cain slew his brother Abel out in the field. The villain was not the club he used.. Neither was it the NCA, the National Club Association. The true killer was Cain, and the reason for the murder could only be found in Cain’s heart.

“In the days that followed the Columbine tragedy, I was amazed at how quickly fingers began to be pointed at groups such as the NRA. I am not a member of the NRA. I am not a hunter. I do not even own a gun. I am not here to represent or defend the NRA – because I don’t believe that they are responsible for my daughter’s death. Therefore I do not believe that they need to be defended. If I believed they had anything to do with Rachel’s murder I would be their strongest opponent

I am here today to declare that Columbine was not just a tragedy — it was a spiritual event that should be forcing us to look at where the real blame lies! Much of the blame lies here in this room. Much of the blame lies behind the pointing fingers of the accusers themselves. I wrote a poem just four nights ago that expresses my feelings best.

Your laws ignore our deepest needs,

Your words are empty air.
You’ve stripped away our heritage,
You’ve outlawed simple prayer.
Now gunshots fill our classrooms,
And precious children die.
You seek for answers everywhere,
And ask the question “Why?”
You regulate restrictive laws,
Through legislative creed.
And yet you fail to understand,
That God is what we need!

“Men and women are three-part beings. We all consist of body, mind, and spirit. When we refuse to acknowledge a third part of our make-up, we create a void that allows evil, prejudice, and hatred to rush in and wreak havoc. Spiritual presences were present within our educational systems for most of our nation’s history. Many of our major colleges began as theological seminaries. This is a historical fact. What has happened to us as a nation? We have refused to honor God, and in so doing, we open the doors to hatred and violence. And when something as terrible as Columbine’s tragedy occurs — politicians immediately look for a scapegoat such as the NRA. They immediately seek to pass more restrictive laws that contribute to erode away our personal and private liberties. We do not need more restrictive laws. Eric and Dylan would not have been stopped by metal detectors. No amount of gun laws can stop someone who spends months planning this type of massacre. The real villain lies within our own hearts.

“As my son Craig lay under that table in the school library and saw his two friends murdered before his very eyes, he did not hesitate to pray in school. I defy any law or politician to deny him that right! I challenge every young person in America  and around the world, to realize that on April 20, 1999, at Columbine High School prayer was brought back to our schools. Do not let the many prayers offered by those students be in vain. Dare to move into the new millennium with a sacred disregard for legislation that violates your God-given right to communicate with Him. To those of you who would point your finger at the NRA — I give to you a sincere challenge.. Dare to examine your own heart before casting the first stone!
My daughter’s death will not be in vain! The young people of this country will not allow that to happen!” – Darrell Scott

 

Posted in Ruminations | Leave a comment

Why Woodturning?

While completing the Jurying Application for the Lehigh Valley Guild of Craftsmen, I wrote the following in answer to the question: “Please explain the process of your craft and describe your background.” I hope you enjoy this answer.

Starting with a piece of raw wood resembling “firewood” rescued from local trees destined burning or reduction to mulch – or sustainably-harvested blocks of exotic wood purchased from FDA-certified companies, I craft a variety of beautiful, functional art and fine craft on a wood lathe.  Some works are “rough-turned” to their approximate shape and allowed to air dry for 6 months or more before being re-mounted on the lathe and “finish-turned” to their final shapes and dimensions.  Others, made from wood already “dry,” are turned to completion in a single session.

I try to put thought into the design and execution of my work so that it performs its intended function as flawlessly as I am capable of producing at the time:  components that come together with the fit and finish typically associated with a fine motorcar.  Woods appropriate to their intended application are selected so as to produce heirloom-quality work that will be treasured and hopefully passed down for generations to enjoy and treasure.

Do I always succeed?  Am I completely satisfied with my work?  The answer to both is: “no” – or perhaps more accurately, “heck no!”  I always look at ways to improve technically and artistically – in ways best summarized in the words of woodturning artist Cindy Drozda, who once remarked: “What’s my favorite work?  My last one.  What’s my BEST work?  My NEXT one!”

I am passionate about preserving our environment, thus all of my work is finished in eco-friendly materials.  Work intended for food contact, like fruit and salad bowls, is soaked in FDA-certified pure walnut oil, which penetrates the wood and hardens to form a durable, food-safe (what the FDA calls “GRAS” – “Generally Regarded As Safe”) finish.  Other work is finished using my adaptation of the classical “French-Polishing” technique, a process whereby thousands of micro-coats of eco-friendly shellac (which I compound myself using grain, as opposed to toxic denatured alcohol), walnut oil and pumice are carefully rubbed (“polished”) into the workpiece over periods ranging from days to, in some cases, weeks.  This process is my own adaptation of techniques perfected in the early 19th Century, which are arguably some of the most beautiful methods of finishing fine wood.

"Presentation Series" Coffee Grinder: Cocobolo, French-Polish

"Presentation Series" Coffee Grinder: Cocobolo, French-Polish

I have worked with wood seemingly my entire life.  Whether running a chainsaw to cut firewood to warm the house or crafting furniture, fine gunstocks, 18th Century reproduction powder horns and other work for personal use or sale, wood creates warmth in the soul.  However, it was through a basic woodturning class conducted by a fellow woodturner that I found my greatest satisfaction in “working wood.”  After being laid-off from corporate America about 2-1/2 years ago, and with his (and others’) encouragement, I turned (no pun intended) a woodturning hobby into a business that has become a source of immense – and growing – gratification.

The vibrancy and creativity of the American art scene – and the fine craft movement, particularly here in our home state of Pennsylvania – are sources of intense satisfaction and inspiration for me. I am honored to participate in both.

18th Century-Style Candlesticks in French-Polished Quilted Maple

18th Century-Style Candlesticks in French-Polished Quilted Maple

Posted in Ruminations | Tagged , , , , , , , , , , , , | Leave a comment

Selling Fine Art/Fine Craft on Consignment

The American craft movement is an exciting, vibrant and amazing place to be!  Meeting the public at art and craft shows, explaining your work, selling on-line, and pursuing gallery and consignment sales can produce an incredible “high.”  It can also be a complete nightmare, if you’re unprepared.

One of the questions artists and fine craftspeople often ask is: how do I start selling to consignment shops and art galleries?  Having gone that route, here are some thoughts that might help with that question.

Having made the decision to pursue consignment sales,  it’s best to pick a market that has an “arts culture” that’s reasonably affluent, with lots of foot traffic.  A number of Pennsylvania towns like Lancaster, Bethlehem, Milford and others have days set aside for “Art Walks.”

Next, look for shops in your potential market that appeal to your medium (for example: artists and fine craftspeople might look at The Banana Factory in Bethlehem, Goggleworks in Reading, and so forth) and browse them in person (just don’t take any of your work on these visits – or expect to speak to someone about consignment just yet. Shop owners are busy people, who get unsolicited sales calls every day. Respect them and their time. You’ll stand out on that point alone.) Just ask for the manager’s business card, if the shop looks promising, and leave quietly.

Once you’ve selected some potential shops, send the manager/curator an email/letter describing your work, indicating your interest in consignment and attach professional-quality photos. Ask to set up an appointment. If they respond positively, then call and set up an appointment.

Once you get there, you’ll want to see their contract to make sure you’re OK with their terms and conditions – and that you feel comfortable around the folks with whom you’ll be working.  The latter point is key: you need to be confident in the people you’ll be working with.  A gallery can be your best friend, if you get along.  The lesson is: treat galleries and consignment shops like your best friends.  Contracts are vital, but if you get into a dispute (and have to go to the contract), you’ve already lost.

Finally – and this is huge – do NOT undersell the shops/galleries that display your work!  Realize the shop will take from 25% – 50% commission (hey, they need to eat, too!), so you need to price your work consistently across the board.  That means: if you sell an item for $200 in a gallery, it’s a big no-no to sell the same piece for $100 on Etsy.  It’s an article of faith in marketing circles that craftspeople typically sell their work at wholesale prices.  But once you start consigning/selling to galleries, the world changes.  Shops sell at retail.  So you need to price your work accordingly if you expect to stay in business.  The Arts/Crafts community is smaller than one might think.  Never forget that your reputation is everything.  Word gets around (one aw *%$! is worth 10 attaboys/girls!)

Carpe deum!

Vase, 2011

Vase, 2011 - Black Cherry Burl, French-Polish

Posted in Ruminations | Tagged , , , , , , | Leave a comment