Dovetails & Tool Making

October 9, 2018 Studio Tupla

Segue

August 6, 2018 Robert Van Norman

This past term, we said goodbye to a dear friend, who has began her much anticipated sabbatical. After the third week of the program, Caroline returned to Singapore to visit her family, before beginning an exciting new chapter in her life. For the last few years, she has talked about building a workshop on her property, so that she can return to the work that so inspired her before turning her attention to learning the craft of teaching at the school. While I already miss her, I am excited that she has begun the process. I very much look forward to returning to our amateur development with her on Sunday mornings later this fall when the dust settles.

Wood

Andreas Pfister with his final three pieces

I have always maintained that images, never seem to do our work justice. David Welter did as close a job as I have ever seen, and Tim Andres has done an amazing job here at the school since taking over our photography a few years back. Tim is scheduled to return to the coast later this fall to photograph student work from this term and next and bring the images from the last few terms. I will at that time post more student work, including a couple of exceptional pieces made by Andreas Pfister, from Munich Germany, shown above, in his last term at the school. With that said in this past term, one of the pieces made in the Upward Spiral program was JK’s chess board. The piece was made by Sam Gapic from Perth Australia, and as he will be leaving before Tim was able to photograph the piece, I used my very limited photography skills to photograph Sam’s lovely piece.

playing surface of Upward Spiral Chessboard by Sam Gapic

underside of Upward Spiral Chessboard by Sam Gapic

The playing surface of the chess board is bubinga and arbutus, or madrone as it is known, and the frame is doussie. The doussie, is from the plank used for Tang Chung Leon’s pipe cabinet, durning his Upward Spiral. Tang is returning from Malaysia for his third term this fall for Vidar’s Chair. We are very much looking forward to having Tang, and his lovely wife Judy, back at the school. Below is an image of Tang's notebook from his first term at the school.

The bubinga in the chessboard is from a plank used for a stand in by Jake Maughan’s composing piece, who we received a visit from this past term. Jake is working out of a cooperative space in Vancouver and has continued to produce some exceptional work. His piece shown below, continues to be a favorite of mine.

'Homage' composing piece by Jake Maughan

Workshop & Tools

Each Term I ask one of our students to read ‘The other end of the plank’ passage from A Cabinetmakers Notebook. That book, along with the conversations that took place between Jim and I in the years that followed lead to the opening of our school in thirteen years ago. I read that passage that appears on page 73 at the presentation of my first piece at the College of the Redwoods nearly twenty years ago, paying homage to my soul mate, my partner in life and work, who has been with me my entire life as a craftsman. As Yvonne say’s “it feels like we grew up together.” Last term I bestowed the responsibility to Dave Beauchesne who completed his Impractical Studies program. This past term I asked Geoff Munday, who after five years, completed his Impractical Studies program. Geoff and Dave are two of the last students who were grandfathered in from the one week format which phased several years ago. Geoff came to the school as a student, and left a very dear friend. Yvonne and I have so enjoyed Geoff and Victoria’s visits over the years, and dearly look forward to their next visit.

During the final Elephant of the term, students received their certificates, listened to one of Jim's farewell addresses and after saying a few words myself we did our quarterly walkaround. While surrounded by family and friends, each of our students shared their triumphs and tragedies of the term. I said to Yvonne later that evening that it was one of the most heartfelt presentations we have had at the school in the past thirteen years. I was filled with immense gratitude and afirmation that we are on the right path.

Details

laptop writing desk parquetry by Marion Couvreur from France

This past term Marion completed her second term of residency at the school. In addition to completing her beautiful lap desk in English walnut, she acted as a teaching assistant for much of the term, taking questions from her classmates, and assisting Yvonne and I in the daily operations at the school. I cannot imagine how we could have managed without her. Watch for images of her work in the winter addition of my Notebook.

Marion Assits Iain during with the layout of mid rail of his back frame and panel

Merci mon cher ami

Marion and Yvonne during drawer assembly (on one rare occasion that beer is not involved)

Inspiration

We received as special visit from one of our alumni in the final weeks of the term. The last Saturday of class, just after Jk's lecture and slideshow. Juan brought by three of the pieces he made at the school several years back including 'Trinity' pictured above. As always it was inspiring for our students to see the many possibilities that exist in our craft and meet an equally inspiring and gentle man.

I have been reminded on an all to regular basis, that our school has fallen behind the times with all the developments in social media. Many schools including my alma mater, now the Krenov School use Facebook, and now Instagram to share there work. I have not because, I would rather spend the time in my workshop and look for any excuse to avoid screen time. Perhaps one day, we will have someone at the school who wants to take this on, but it will not be myself. In the mean time, I thought I would include a few of our alumni instagram pages below that our current students frequent.

Peter Freeman

Jacques Breau

Kylee Sebree

Jay Miron

Jason Klager

Juan Carlos Fernandez

Craig Johnson

With Immense Gratitude

Robert getting an Origami lesson from David

I would like to take this opportunity to thank our students, past and present, and remind you that our school not only exists for you, but because of you.
Be well and enjoy your work, I know I do,
Robert

My Friend

May 15, 2018 Robert Van Norman

At the end of this past term, I said good bye to a student, a friend, whom I will dearly miss. It has been such a pleasure watching Andi’s progress as a craftsman at the school. More than two years have passed since Andi suggested to a friend he was looking for a place to train in our craft. His friend replied, “my sister is teaching at a school in Canada, you should look at that school.” Michael, Caroline’s brother, visited us shortly after and we sent back a copy of A Cabinetmakers Notebook. A few months later Andi, left Munich to join us for the first two terms of the Impractical Cabinetmaker Program, where in his second term completed one of the most ambitious Upward Spiral pieces to come out of the school. The truth is that piece has caused me nothing but trouble since, raising the bar for feasible second term pieces. After his second term, Andi returned to Germany to set up his workshop and made several pieces before returning last May for what was was supposed to be two more terms, he ended up staying for a year. He has been an wonderful mentor at the school this term most notably Matt who had the pleasure of being his bench mate this past term. Matt mentioned to me more than once the influence Andi had on his work.

During one of my final consults with Andi, I suggested to him that he was ready to go out on his own, that the yellow cedar is getting thin. We shared a laugh, as he immediately knew to what I was referring. When he returned to the school last May for Vidars Chair, and then through each of his composing and residency terms that followed, he would arrive at our Saturday afternoon consult with a stick of yellow cedar and something to write with. He would take notes on the fine grained fragment wood, durning our consult, then later organize his thoughts in his notebook. In preparation for our next consult, he would take a few shavings from the yellow cedar, giving himself a clean slat so to speak. Over the months that followed, I noticed the piece of wood, with a couple of bandsaw kerfs on the one end was approach the thickness of a shop sawn veneer. I’ll remember him fondly each and every time the fragrance of yellow cedar drifts through the workshop.

I am coming up short on words to adequately express my gratitude for having the opportunity to work with such a fine young craftsman at the beginning of his journey. I will on this occasion, as I have in the past, defer those words to Jim’s. At each term end Elephant, we listen to one of the many farewell addresses Jim gave to my students. In one of those lectures, Jim relays a story, I have included it below.

In each successive term of the Impractical Cabinetmaker program, students are gradually working towards working more independently. Andi and I spoke of this early on, and as the months passed our consults took the shape of him arriving and suggesting his next principle steps. Initially we would adjust them together, when I would suggest a change in the sequence or method. In the later consults there was less and less to adjust. As a teacher this is confirmation that the program is working. Our attention drew us more to the subtleties of the craft, and as I reflect back on all of the beautiful moments I have had as a teacher. I am not sure there has been anything that I have enjoyed more than my Saturday afternoon consults with Andi. Be well my friend and enjoy your work.

Wood

In my last notebook entry I spoke of a wood run to the island, that Yvonne and I went on just before our spring term. The image above was taken the day we arrived home with a woodworkers lifetime supply of wood, and shows approximately half of our precious cargo. We came back with a very full cargo van filled with Pear, english brown oak, Andaman padauk, European sycamore, teak, Cuban mahogany, several pieces of massive genuine mahogany, English elm, tulip wood, Brazilian rosewood, ziricote, partridge wood and various other rosewoods, forty years of collecting wood. He has since bought a old wooden boat already keeping him busy. Ron joined us for a mid term elephant to share his thoughts on making a living at the craft. Ron was introduced to us by Geoff, a student, and friend, shown below who will be returning to complete his program this term.

Kwila, was one of Jim’s favorite woods. It is an open grained wood, with grain similar to mahogany, but harder. Its colour varies from rich dark red brown to pail light brown. It it typically has yellow or even black specks, and is also known as Merbu. It is lovely to work with shearing tools but can be tough on cutting edges. When we opened the school, we purchased a thousand board feet of doussie and kwila combined. Over the past thirteen years, our stocks have dwindled, and it has become more and more difficult to obtain, especially with Canada’s very strict import restrictions. While it is not on the CITIS list as of yet, I suspect it will find its way there soon. A few years ago, while on a woodrun with students to Sydney on the island, I came across a couple of sticks. They were narrow, just seven inches wide, but long, fourteen feet, straight and rift to quarter sawn. I purchased them with stands in mind.

Andi was immediately drawn to them and wanted to use them as the starting point for his final cabinet at the school. He worked much of the kwila with a high angle wooden plane, with a cutting angle of approximately sixty degrees. He was using Jim’s no glass showcase, featured in Worker in Wood as a starting point. The kwila would be used for the frame work, with complimentary woods used for the panels and veneer. At the time there was just one of the planks left and after carefully looking through the plank there would not be enough wood to build the piece, to the size of the original. I suggested to Andi that we could scale the piece down, or use a sacrificial wood and skin the rails. In the Details section below I will describe where it is useful and the process.

Matt used the same method when it came to one of the rails for his frame and panel back. I think for me what is most appealing about this method of work, is that, like shop sawn veneer, it stretches a precious resource. The image below, shows the teak rough sawn and shows the intimate relationship of what will become two doors and the sides of his cabinet. Watch for images of his lovely cabinet in next terms entry of the Teachers Notebook.

Matt's graphics for two door curved front cabinet in teak

Workshop

This past term saw a few changes in my home workshop. I began by moving Jim’s jointer and planer adjacent to the bandsaw. I then moved Jim’s shaper and mechanical press where the jointer was. Jim’s original bench was then moved into the benchroom adjacent to my workbench.

I made a small shelf that is mounted above his bench that houses fourteen of the more than two dozen drawers I have made as at the school in our Impractical Studies Program. I am currently making a small rack that holds the last four planes Jim made, in various stages of completion. As the jointer is still not connected to power I came full circle dimensioning the pieces of the bandsaw with a plane. I told my students in the final weeks, that I was thinking of leaving it disconnected as it was bringing me back to the days when thats what I did, without access to a thickness planer.

This past term, I also made a few things for our home, including the tea shelf above. The redwood came from Jim, the river redwood used in the panel/ shelf came from Monroe Robinson, when I was in school. The wall hangers came from Caroline who made them in her demo this past term.

Tools

When I was in school, we used inserts to fit the mouth of our curved bottom planes. Jim had always done it this way, and the insert could be replaced as the sole wore over time. I remember arriving at school, with what I thought was a brilliant modification on one of my curved bottom planes, an adjustable mouth. When rough shaping concave work, where significant material needed to be removed, I would open the mouth to facilitate heavy shavings, then closing it off when I wanted to dial in the final shaping and surface quality. When I proudly showed Jim, he seemed less than impressed so, I took it out and put an insert in. I have thought about revisiting this concept again, and still may at some point.

a few of my curved bottom planes, one third from front with applied sole is one of Jim's earlier planes

Above images shows a few of my curved bottom planes. third from the front is one of Jim's earlier planes. The plane in the foreground is a plane of vera that is curved front to back and side to side. The second plane in is a plane of tulip wood with a modified one inch straight Hock iron. Over the years, we have also made our own irons from old files and breakers of spring steel, tool making and modification continues to be a ongoing activity at the school. Below is an image of some of Mario's efforts from this term.

a few of Mario's shop made or modified tools

In the mean time, when we started making planes at the school, I explored another option. I decided to carefully pre-shape the forward ramp, before assembly. When I shared this idea with Jim, he approved, and we have been making them that way since. As the sole of the plane wears, an new insert can be added to extend the life of the plane.

Details

In the final week of the first term, after working exclusively with solid wood, students are introduced to real veneer as Jim discusses in The Impractical Cabinetmaker. While there are many benefits to working with shop sawn veneer, the one I would like to focus on is the stretching of a precious resource.

Jim used to say that one of the reasons he worked in modest scale was that our material is precious and the most pieces of special wood are often small. He would say jokingly, that “Good wood doesn’t grow on trees!”. While I continue to use shop sawn veneer in my own work, and in our advanced programs at the school. Even when working in solid wood, there is occasion when we do not have quite enough wood to do what we want to do. When this issue arrises we skin the wood, that is we laminate a precious piece of wood over or around a sacrificial core that has similar seasonal movement characteristics. The thickness of these skins can be as thin as a shop sawn veneer to significantly thicker to facilitate shaping. Unlike veneer we have found that it is not necessary to balance the piece by applying to both sides. The skin is applied early on in the process, it is taken close to dimension and allowed the time to rest before taking down to final dimension and completing joinery. We have used this process in frame and panel where we can give ourselves a panel that is the primary wood on the outside and a lighter coloured wood in the inside to brighten up the interior of the cabinet. We have used it to create harmony grain in frame members and even drawer fronts.

Inspiration

image from our schools archive passed along to us by JK in 2005

The James Krenov Archive is now available online. A few years ago, our small school passed along Jim’s archive of earlier work to Kevin Shea to digitalize. David Welter, the Archives curator said the final push took five months to complete. It is a real treasure, he, David Mathews, Jim son in law and Kevin Shea deserve all our gratitude in undertaking such an ambitious project.

I would like to take this opportunity to thank the people who have made this school possible. To our students, this school not only exists for you, but because of you. Caroline, my student, colleague and friend. Michael Burns, Jim Budlong and David Welter, my other teachers at CR now The Krenov School. Jim and Britta, I dearly miss you presence, there is not a day that goes by that I don’t think of you both. And last but, certainly not least, soul mate, my partner in life and work, Yvonne, for continuing to carry the other end of the plank.
In Gratitude,
Robert

Home

February 11, 2018 Robert Van Norman

I’m just not good with change, Yvonne would be the first person to tell you that. A few weeks back, we signed a lease, that will ensure our small family run craft school will remain in its current location for at least another ten years.

As I reflect back on the nearly decade and a half in our current location I am filled with a deep sense of gratitude for all the beautiful work, but mostly the beautiful people who have past through our doors. On behave of Yvonne and myself, thank you.

Wood

We returned from Portland and our visit to our friends at Gilmer Wood Company, with several blanks for planes and wood for pulls and latches in various exotics not on the Cities list. I hand picked an epic plank of 5/4 Cedar of Lebanon, a 12/4 wonderful plank of Swiss Pear and five pristine planks of 8/4 Sucupira all of which is being shipped to the school.

Brett & Torrie with English walnut planks

Brett and Torrie stand beside two of their exceptional finds during our annual woodrun to Portland which took place the day after our term ended. At Goby Walnut some of the finds were English Walnut, Oregon Walnut, Myrtle, figured walnut, and Madrone, what we call arbutus in Canada.

Before heading out on our wood run, we received our annual shipment from A & M Wood Specialty in Cambridge Ontario. In this years shipment included Burmese teak, narra and English brown oak. We also purchased some 8/4 ipe for plane making.

Yesterday, I received word from a friend, also an alumni of the school telling me of a Vancouver Island woodworker selling off all his wood. The wood being sold was wood that had been carefully selected over the past 43 years, wood dating back from the early years at A & M and Unicorn. Tulipwood, English brown oak, European pear, English elm, various rosewoods, South American and Cuban mahogany. After talking things over with Yvonne, we rented a truck and will be heading over to the Island in the next few days.

Workshop

Andi & Yvonne sawing plank of English brown Oak

A student recently said to me that it is Yvonne really is the glue that binds everything at the school together. She loves working with the students and tolerates the office work better than anyone I know. Over the past two terms, she has really embraced the machine maintenance at the school. While I have always taken pride in the state of our facility and machines, in a recent feedback form from one of our returning students, they suggested that the machines have been at their best since Yvonne took them on.

Over the last few weeks of this past term, Caroline replace all the fences on Jk’s table saw, the Wadkin dimension saw and the General table saw. In the coming term she will be replacing the fences on both the General shapers. She is using some well seasoned European beech that Yvonne milled at the beginning of last summer’s term.

The image above, was taken by a student on Friday evening. While Yvonne and the students were enjoying a pint, I sat at the front bench and refined a stet of pins on my drawer. I was lost in the work, something that has been happening more often in my life since I have cut back on teaching and returning to my own work. While Saturdays continue to be my favorite day of the week at the school. With the machines off, it gives me a chance to have quiet conversations with our students. I have yet another reason to look forward to on the weekends in the coming term. On Sunday mornings, when our students are sleeping in or catching up on their chores, Caroline and I will be heading into the school for amateur development. I have a set of four chairs in narra, that have been sitting under Jim’s bench in my workshop for a few years now. Over the break, I took the parts down to the school and found a place to store them. Caroline and I have had very little time together in the workshop since she took on a teaching role at the school. I am very much looking forward to spending this time with my co teacher and friend as we will be working on the chairs for a few hours each Sunday morning.

Details

Robert using negative templates to demonstrate rotation of grain

In the first week of the program I tell students that the two of the most important things they will learn at the school, they learn in the first week; one of these things is a very much neglected aspect of our craft, grain graphics.

Shortly after leaving my spacious mountain side workshop just outside the Banff National Park gates; a rather large, glass front workshop with two skylights over looking mount Rundle to a small dimly light workshop in behind our Exshaw home, I discovered just how important grain graphics is in our work. Its where I had been the most happy in my work, up until recently. It was in that little workshop in the mountains that I really discovered the playfulness in the use of grain graphics.

Jim talks about the use of graphics in his books. In The Fine Art of Cabinetmaking, on page 33, he does an admirable job illustrating with photographs and text what is a inherently difficult subject to articulate in words. I had spoke to him about this before, but it was while making two rocking chairs for a client in the Netherlands, that it really hit home for me.

I had just cut the crest rails for the chairs, the first chair was in olive ash the second in figured eastern maple. While the chairs were essentially identical, as Jim talks about in the Impractical Cabinetmaker, different woods gave each of the chairs, a very different feel. Some of the dimensions had been adjusted. I had straighten the grain and it was rift to flat sawn. I cut the curves and the rails were clamped in place. It was then, when I immediately realized that I had reversed one before cutting the curve. The crest rail on the chair in ash, with very dominate annual rings and lovely colour had strong oval pattern in the center. While it was symmetrical, it was not harmonious with the shape of the rail, and not what I had hoped for. The chair in maple had a stretched pattern, which was my intention, however due to the fine grain and heavy figure it was less noticeable. I looked through what was left of the plank of olive ash and was unable to find the stock for another rail in a similar cut to that of the maple chair. I was able rotate and straighten a piece, giving me rift cut with a a bit of colour to the bottom at the back. Cutting the curve in this piece changed everything for me. Now, I couldn’t leave the rail in the maple chair I returned to what was left of the figured maple plank and was able to rotate the stock for a similar cut. This was the starting point for my fascination with the use of grain graphics in my work.

Robert making rotation cut on the bandsaw

This would later become an obsession when I made Vidar’s chair and was unable to find stock thick enough for the crest rail. On a quiet Sunday in the school back in 2006, I made a discovery that enabled me to get the crest rail for that chair in 8/4 stock, which up until that point had only been made with a minimum of 12/4 stock. The method continues to be used at our school when making Vidar’s chair, and has been adopted by our friends at the Krenov School where the chair continues to be made on occasion. Jim often spoke of the importance of curiosity in our work.

Vidar's chair in ash with seagrass seat by Andi Pfister photography by Tim Andries

Andi completed Vidar’s Chair program this past summer, and in the fall was invited to give a presentation at the local wood guild to present his chair, talk about his experience building it, and talk about the significance of this chair at our school. Jim suggested to our students that it is an emotional craft. While we do not open the reproduction for any interpretation or change, each chair reflects the sensitivity of the student making it and is evident in the details such as edge treatment.

Andi with completed showcase cabinet in English brown oak

Andi just completed his fifth term at the school and will be staying on for another term with the residency program. In this past term, Andi, as the first recipient of the Doug Ives Scholarship, completed rather large showcase cabinet in English Brown Oak mid term.

Andi shaping the legs of new cabinet with integrated stand

He has moved onto another large cabinet with integrated stand in kwila, doussie and boat wood, a lovely piece of vary heavy wood that we are unable to identify donated by a local boatbuilder.

games box reproduction in French walnut by Marion of France photography by Tim Andries

Marion completed her reproduction of Jim’s games box in French walnut in the Upward Spiral Program. It features a sliding lid with lock, and whimsical use of the delicate fine grained wood.

Marion and Robert selecting wood for her lap desk

Marion has discovered the playful use of Parquetry in the Composing program and will be staying of for a short residency before returning to France at the end of March. She is shown here selecting her shop sawn english walnut veneers with Robert for her parquetry lap desk.

Pipe cabinet reproduction in garry oak by Andre

Pipe cabinet by Andre  of Sooke British Columbia photography by Tim Andries — Pipe cabinet by Andre of Sooke British Columbia photography by Tim Andries

The images above show Andre’s pipe cabinet reproduction in garry oak with a tray of bocote.

Above he is shown wrapping his chair in the final days of Vidar's Chair program at the school. I am very much looking forward to Andre’s return for the Composing program this fall. The chair was a gift for his lovely wife Andrea. Just a few days after completing his chair, he joined us on another another epic wood run to Portland. The enthusiasm shown by our students on the wood run was worth the trip for me.

Fine dovetails by Tang from Malaysia  photography by Tim Andries — Fine dovetails by Tang from Malaysia photography by Tim Andries

Pipe cabinet reproduction in doussie and cocobolo by Tang of Malaysia photography by Tim Andres

Tang completed his reproduction of JK’s pipe cabinet during his Upward Spiral program this past fall. He chose doussie, one of Jim’s favorite wood, wit the tray of cocobolo. The doussie has a similar feel, yet different than the English brown oak that Jim used on the two versions he made the originals.

curved front cabinet in makore by Leanne featuring amazonian rosewood drawers and locally harvested spalted maple back panel photography by Tim Andres

Last spring in the Upward Spiral program Leanne completed this lovely curved front wall cabinet in makore with locally harvested spalted maple back panel. The drawers are amazonian rosewood. The frame and panel back features a veneered section in behind the drawers and pocket using lumber core and shop sawn veneers. Leanne is currently building a tiny home in Roberts Creek.

Torrie, from Vancouver just completed his Upward Spiral program at the school, shown during a walkaround. The walkaround, is an opportunity for students to share the triumphs and tragedies of their work. His ambitious curved front cabinet with dovetailed case in the background with three curved front drawers in granadillo underway. Over the coming months, Torrie is in the process of gathering wood and setting up his workshop in Vancouver. We are very much looking forward to his return for Vidar’s Chair.

Brett and Marion setting up high fence to cut the veneers fro his sailing exercise

Brett from friendly Manitoba, is shown here with Marion, setting up the high fence to cut the veneer for his sailing exercise. Brett completed all the exercises in the Impractical Studies program. We are grateful that Brett will be staying on for the entire Impractical Cabinetmaker program. Brett shared with me just how much grateful he was to have Torrie, also originally from Manitoba as his benchmate in his first term. One of the benefits to having four programs running simultaneously at the school is the sharing of knowledge between students.

David carving a pull for his drawer in European cherry

David, from Seattle shown carving the finger pull for his drawer in European cherry. Jim often suggested that knives were an often neglected tool. It is for that reason that we have always made and used knives in our work. When shaped thoughtfully and sharpened well, these very personal tools are as sensitive as any of our tools and capable of everything from rough shaping to the final surfaces, leaving subtle fingerprints, or finger candy.

“The manner in which you get ready for work, go to work, and the way you are while you are there affects not only those you work with, but also the quality of your work. Everything we do in our lives has an effect on our work. I, myself, am a poet but I love working in the garden growing vegetables. One day an American scholar said to me, “Don’t waste your time gardening and growing lettuce. You should write more poems instead; anyone can grow lettuce.” That is not my way of thinking. I know very well, that if I do not grow lettuce, I cannot write poems. The two are interrelated. Eating breakfast mindfully, washing the dishes, and growing lettuce in mindfulness are essential for me to be able to write poetry well. The way someone washes the dishes revels the quality of his or her poetry. Similarly, the more awareness and mindfulness we bring to our daily actions, including our work, the better our work will be. “ - Thich Nhat Hanh

Each year, Yvonne and I retreat to a little cabin on Vancouver Island, where I have used the time to reflect on the previous year, in an effort to continually improve the program and our school. There has always been a rule though. Yvonne’s rule, that for the first three days I couldn’t talk to her about work. So, I would reflect and write in my notebooks. On the fourth day after her morning coffee, I was permitted to share my thoughts. This year was no different. I have often spoken about balance, I’m obviously a slow learner but for me the quote above says it all. Since returning to my own work, teaching has become a new playground for me, one I am grateful to share with so many curious students.
Be well and enjoy your work,
Robert

Wood

Workshop & Tools

Details

Merci mon cher ami

Inspiration

Peter Freeman

Jacques Breau

Kylee Sebree

Jay Miron

Jason Klager

Juan Carlos Fernandez

Craig Johnson

With Immense Gratitude

Wood

Workshop

Tools

Details

Inspiration

Wood

Workshop

Details

Robert's Journal

Caroline's Journal

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