This bedside table is my latest commissioned work. It is made of butternut.
Although some woodworkers don’t like to use knots in their work, I really like the focal point which a knot can provide. The grain around the knot is also very interesting and pretty.
In the past, when using wood with two live edges, I have employed a few different techniques for addressing the cut ends. In this case, I sculpted the ends so that the profile at each edge matched the angle of the live edge. Since the angles of the live edge were not equal, this of course resulted in a twisted end-grain surface.
You can find the product page for this table with the critical details HERE.
Also, please have a look at my newly formatted Gallery.
Broken Square originated from a drawing in my sketch book. I had been playing with variations of a cube when this form emerged. In the drawing, it stood on two edges but I later realized that it would sit nicely on three points.
Intrigued by the form, I built a version using square cherry stock. Although I liked the appearance, I was surprised at how expansive it was – at only 14.5″ tall, it approached a diameter of 40″.
I mitred the corners and reinforced them with floating tenons. Rather than leave the supporting corners sharp and vulnerable, I flattened them slightly. I was relieved that this did not diminish the effect of the form.
Originally, I built Broken Square to help visualize the form and saw it as a sculpture of sorts. When I stood back and looked at it, I realized that the design would work well as a table, particularly if scaled to be taller.
When posts on my blog are infrequent it’s usually a sign that I’m preoccupied with other tasks. Here’s some of what’s keeping me busy.
My exhibition at Gallery Bistro (2411 Clarke Street, Port Moody) is being extended and there is no closing date set at this point. I am spending Sundays at the gallery, and I encourage you to come by if you have not already. The gallery is open Tuesday through Sunday, 10am – 3pm. The bistro next door (and connected to the gallery) is a great lunch spot and I have a new favourite – the smoked turkey sandwich.
When I have spare time, I am working on the hand-cut joinery for my insane V-table which I had prototyped a few months ago.
The centre section is the most difficult. As I progress, I am taking pictures which I will share in another post and I may record video as well.
I also have other projects on the go, at different stages, which I will share at a later date.
In other news, Todd Butler is giving away a starter set of tools. If you’re just starting out in woodworking and could use some tools, head over to his blog, The Butler Did It WoodWorks.
Be sure to keep an eye on my blog for more Overflow items that I’ll be purging. I would suggest that you subscribe to my blog so that you never miss a post.
I’ve installed Reaperin the tree outside of Gallery Bistro, where I’ll be showing my work during Artwalk. I made signs for it, too.
I’ve also installed Graft (table in a tree) and more signs.
Newspaper Publicity I, along with Reaper was featured on the front page of the Arts section of Tri-City News in print and online. (Also included with the online article is a list of all the artists, what they do, and their venue at which they’ll be exhibiting.)
Updates to my Store and Gallery
I’ve updated my Store to include Reaper and Graft, each of which will be on a silent auction April 13-14, as well as my recently completed sculpture which is currently untitled.
I also updated my Gallery to include the above three pieces, and the cherry coffee tables.
Featured at Port Moody City Council to Promote Art and Artwalk
My cribbage board was this week’s Art at Council feature piece, shown at Port Moody’s City Council meeting on Tuesday.
This is the write-up from their website:
Chris Wong is a Port Moody artist who works under the name of Flair Woodworks.
He draws inspiration from the unique characteristics and natural beauty of local trees that have fallen due to storms or building development. Rather than start with a plan, then find suitable materials, Chris starts with materials full of character and develops a design to suit. This process leads to very unique results that maximize the potential of the wood.
Chris’ work comes in many sizes. From small items like the cribbage board we have on display tonight, which happens to be made from an apple tree he found in Burnaby to large items such as free-standing sculptures and tables. All of it has one thing in common: Chris’ flair.
A Busy Weekend Ahead!
Thursday, I, along with three other artists, will begin setting up our work for Artwalk in Gallery Bistro. Friday I teach a seminar at Lee Valley Tools Ltd. before attending Artwalk’s Opening Reception. Then Saturday and Sunday feature Artwalk – the main event!
This is the nineteenth slide from my PechaKucha presentation.
Last weekend, I met with some of my fellow Artwalk participants and showed them the yellow cedar chair that I’d built to hang in the tree outside The Bistro Gallery where I will be showing my work.
Chair in a Tree
They loved the concept and encouraged me to make another piece for a second tree. So, that’s what I decided to do.
I documented my progress live on Twitter using hashtag #FlairWW (follow me @FlairWoodworks) which was useful because each update had a time stamp so followers could see the rate at which I progressed. I compiled the photos and Tweets into a video (duration – 10:21).
This is the eighteenth slide from my PechaKucha presentation.
I recently completed this pair of coffee tables for a patient customer. They were made from a local fruit cherry tree.
The client wanted two tables that could be used together or independently. Both tables were physically identical, with minor character differences.
The design was the client’s, but I was allowed creative license. One of the customer’s requests was for dark inlay in the tops and I couldn’t resist doing this.
This is the fifteenth slide from my PechaKucha presentation.
Saturday was a full day in the shop. After breakfast, I went down to the shop and built 90% of a chair which will be installed up in a tree. (In case you missed it, here’s the back story.)
I documented my progress live on Twitter using hashtag #FlairWW (follow me @FlairWoodworks) which was useful because each update had a time stamp so followers could see the rate at which I progressed. I compiled the photos and Tweets into a video (duration – 22:41).
This is the fourteenth slide from my PechaKucha presentation.
Power carving is unlike working with hand tools because you can remove wood without regard for grain direction or knots. To me, this is liberating as I can focus on form.
As I work, I constantly ask myself, “Do I want to save this section or obliterate it? My sculpting approach is to simply remove the parts I don’t like and leave the parts that please me. I often emphasize form and encourage the sculpture to be caressed by using a combination of hard and soft edges (something I learned from the work of Sam Maloof).
Although I use an angle grinder with a power carving attachment to establish the rough shape, the final shaping is done with abrasives – first on a sander, then in my hand. The sanding stage is perhaps the most critical stage of sculpting and I spend more time sanding sculptures than I do carving them.
The sculpture shown here is made of Pacific yew with a concrete base. It will be for sale in my store when I finalize the price.
This is the thirteenth slide from my PechaKucha presentation.
Some of my recent designs have involved complex angled joinery, such as the base of this table inspired by a sketch by Vic Hubbard. I was having a hard time visualizing in my head how the joinery would work, so I built a prototype to help me understand.
Since it’s only a prototype to explore the mechanics of the base, I didn’t bother to make the top with the fancy joinery where one V penetrates the edges. The base was made from two Vs joined with cross laps for a strong connection. For the top I chose a piece of cherry that tapered in width, to match the footprint of the base and I secured it with dowels.
This is the twelfth slide from my PechaKucha presentation.
As a table it works, but not very well. However, I now know how to improve the next one.
You can see more pictures and read details of this table here.
Of all the bench planes (bevel-down) I have acquired, the Veritas ones have been by far the easiest to adjust and for that, I love them. Blade adjustments have always been responsive and predictable; I could set the mouth to let through only a sliver of light quicker than you can read the upcoming quote, all without using any tools.
However, I never found their bubinga totes very comfortable. To me, they felt too flat, too upright, too narrow, and the sharp horn made it uncomfortable to brace against my stomach (as I do when drawing small pieces of wood across the plane’s sole). Rob Lee, president of Lee Valley Tools Ltd. (Veritas is the manufacturing arm of Lee Valley Tools Ltd.), once made this comment:
“You all should be modifying all of your tool handles to suit your own handle preferences in the first place. Any single design will only suit a part or the population in the first place.”
(Find this quote, among many others, on my page titled Quotables.)
I have made custom totes and matching knobs for most of my tools but a few have only seen minor modifications such as a touch with a rasp or the removal of the shiny plastic finish with a spokeshave or coarse sandpaper. Shiny handles suck!
Three years ago, I made a new tote and knob for my Veritas #4 which is my favourite bench plane. I used some really unique dogwood and the result was not only comfortable and non-fatiguing, but also beautiful.
Last Sunday, I had some free time in the afternoon so I decided to make a better tote and knob for my newest Veritas bench plane, the #5-1/4. For Veritas bench plane totes, the recesses and bores were a little more complicated to make than with others, but all it took was some careful layout and a little creative jigging.
Making the knob was simple in comparison.
I tried to find cherry with some character but was disappointed, especially so for the tote. Once I was done, I noticed that the light-coloured grips reminded me of Lie-Nielsen planes. Does anybody else agree with me?
I documented my progress live on Twitter using hashtag #FlairWW (follow me @FlairWoodworks) which was useful because each update had a time stamp so followers could see the rate at which I progressed. I compiled the photos and Tweets into a video (duration – 5:50).
I also updated my 
I documented my progress live on Twitter using hashtag 
