The Natural, Hand-Built Artisan Approach:
Furniture as an Art Form
Each piece of furniture we build begins from one of two origins: original designs, or client commissions. How the design is approached begins differently for these two origins, but then tapers to the same build process, techniques, and philosophy of fine woodworking.
Client pieces are created through collaboration with the clients inspiration, aspirations and aesthetics along with our artistry, knowledge and passion for creation.
Original designs are inspired by many factors, such as things found in nature, everyday-life experience, timeless furniture, architecture, art, and people. Or sometimes, a specific piece of wood speaks, and a vision is created around it. With our original designs, sometimes plans and drafts aren’t needed, and they are built like a sculpture–completely in the moment with just a vision in the mind, and the expertise to realize that vision.
General Build
From either of these origins, we then select the wood. Our wood starts as rough cut stock which we then size to proper working dimensions. Preliminary rough cuts are done with powered tools (Lengths are cut with circular saws; widths are cut on table saws) but final sizing and dimensioning are done by hand (lengths are cut to finish size with traditional crosscut saws, widths are sized with hand-planes). Boards are planed to thickness through a careful and painstaking process with an electric hand-held plane and with traditional push-style hand planes (this is the the first step in creating our characteristic organic-feeling surface finish). Edge joints between boards on panels are almost exclusively done using traditional push-planes.
All joinery is cut by hand, being carefully measured and meticulously cut. We use complex joinery that is strong and aesthetically pleasing without being excessive and superfluous for the style. Any joinery that is structurally necessary but would be visually dull or unattractive is kept hidden from the facades of the piece. Our work aims to express elegance, refined craftsmanship and high aesthetic; we avoid rugged utilitarian design.
We build our work in stages of main components, based on order of assembly. This way, each stage is sized in congruence to the previous, so that the piece is built in harmony with itself. This is necessary when building by hand. Machines will do cuts to repeatable precision; but when cuts are done by hand, there are subtle differences that must be accounted for in every step. This takes extra time and care, but when finished, yields a piece with nuance and character that cannot be replicated by machine work.
When components are assembly-ready, they are given finish shaping. legs and contoured cuts are cleaned up with rasps and files of various grit, then hand sanded. Flat surfaces are belt-sanded through various grits, then hand sanded. This process is the second stage in yielding and organic finish feel.
Finally, the pieces are finish-ready. before assembly, the components are given an oil coat (tung or linseed), and stain (if being applied). Then the work is assembled. Then begins the intensive finish process. Depending on the work and the finish, hours or even days can be spent on the finish process. Most of our work is finished with natural shellac, which is applied in many layers, then sanded, buffed, and polished. Then the surface may be finished with a wax top-coat, which is applied by hand and buffed out by hand. Finally, all surfaces are polished with oil to bring maximum luster out of the finished wood.
Other finishes can be used, particularly various Danish oils, or just oil and wax, depending on the look and/or function desired. Polyurethane and similar finishes are rarely used, except when it is strictly necessary (e.g. waterproofing, highly absorbent wood, outdoor pieces).
Specific Components
LEGS & POSTS
Our legs are fashioned from one of two methods: lathe-turning or sculpting. From either of these two methods numerous custom options and unique details can be achieved; but overall each option has distinct form style and characteristics.
LATHE-TURNED
Our lathe-turned legs and posts have two key features throughout any style: they are straight, and they have radial symmetry. Though lathe-turned parts can be full of creative potential, these two factors limit their form. In design they create balance and stable aesthetic. They are stately and sturdy in appearance. Though they can be made with fluid or whimsical designs, they always hold their balanced character due to their radial symmetry. If there are squared-off features on a lathe-turned leg, it will follow a consistent curve relative to the depth of any adjacent curve.
Although lathe-turned components are a hallmark of simpler traditional furniture (e.g. mid-century, shaker), there is much room for creative expansion within the craft of turning. Examples of this are: hand sculpting into lathe-turned components after turning work is done; carvings; having laminated wood of different species for contrast of color in a leg or post; baroque-inspired styles; fluid curves, ascending globes, etc. The creative potential is extensive, and allows for modern and historic styling alike.
Keep in mind that our lathe turnings are restricted to ~36″ lengths and ~8′ widths at absolute limit-pushing maximums.
SCULPTED
Sculpted components describes a broad array of construction styles, falling into one of two characteristics of dimensions: 2-dimensional or 3 dimensional. By “sculpted”, we mean: legs that are cut from a board or block of wood, using saws and rasps as the first step in shaping the component (as opposed to the lathe shaping the component). Therefore, by definition, the resulting part can be of diverse appearance. So to break things down a little more, we’ll define 2-dimensional and 3-dimensional.
2-Dimensional
2-dimensional legs and posts are pieces that feature figure and shape on either side, while the faces perpendicular are flat. For example, a that is cut in an “S” curve, with the thinner edge being curved, and the wider face being flat. From the front profile, the contour is clearly visible along the wide face, but from the side profile, it appears more straight and narrow.
3-Dimensional
3-dimensional sculpted components are much more complex visually than 2-dimensional components. This form of construction is highly diverse in potential appearance. The definition of this category would be: components that have distinct contours on at least 2 perpendicular sides. This includes forms such as cabriole styles, spiraled, irregular, and figurative sculpture.
TABLE-TOPS
Our table-tops are not just flat horizontal surfaces. And while many build their table-tops as the key focal-point on a piece of fine furniture, we take the aesthetic approach another step. Our tops and surfaces are crafted as one of two overall focal areas, focusing on balance and harmony of top and bottom. The tops of our pieces serve as focuses of beauty that are also complementary and harmonious to an equally important bottom structure. Whether this is the apron and legs of a table, or the enclosure of a cabinet or drawer chest and their respective components–the top serves as a crown to the whole beauty of the piece it rests on top of.
We will pursue whatever table-top design our clients desire, but it exemplifies our skills and versatility to create table tops with unique features that stand out from much of the conventional industry. This includes contoured edges, contoured edge chamfers, inlay work, and multi-toned wood pairings. We can create tops with beautiful symmetry and balance, as well as tops with bold and assertive asymmetry. To us, a table-top is not just a surface, it is a statement. And often being the largest and most prominent facade of a piece of furniture, our tops are given incredible finish attention to ensure a luxurious radiance emanates from the character of the wood, and that it is protected in the purpose it serves.
There is an extensive and laborious process we go through to yield the unique, distinctive surface feel and appearance. This result of this process is a soft, smooth surface that feels natural, with subtle ripples that stimulate the sense of touch. Though these are not noticeable to the eye, they are subtly felt as the hand and fingers are run across it. The delicacy and beauty of it are understood best with touch, rather than with words.
This is achieved because our tops are not machine finished. Machined surfaces yield perfectly flat surfaces, which can feel sterile. Our surfaces our worked from their rough stock to their finished form entirely by hand with hours of attention and labor, with only small handheld electric tools doing some of the surfacing work. The result is organic surfaces that feel full of life and character.
*Please note: we use natural shellac as the top finish for almost all of our surfaces. The second most common finish coat for table surfaces is wax. Both of these finishes, if exposed to water, heat, or alcohol damage, are easily repaired by a furniture repair servicer, and can be done in home, or wherever your piece is kept. Repairs to small areas can be fixed quickly. With the exception of large-scale damage, repairs do NOT require refinishing. Any finish used in a piece is described on its spec sheet that comes with its purchase.
JOINERY
All of our joinery is hand-cut. We focus on complex joint designs that will be strong as well as aesthetically pleasing. We use a combination of Western-style and Eastern-style joinery.
Western-style joinery tends to be simpler, straight-forward, practical, and generally discrete. But done correctly and with attention to joint design, these joints are rigid, strong and long-lasting.
Eastern-style joinery (particularly the Japanese style that we use) is generally more complex, and has many aesthetically pleasing visual features. Designed almost like little puzzles, these joints are incredibly strong and enduring, and they yield interesting designs once assembled.
We tend to favor Japanese-style joinery for both strength and aesthetics. But where design calls for streamlined flow without visible joints, we will utilize traditional western methods.
What you will not find in our work: quality hand cut joinery being replaced with screws, nails or cheap, quick joining alternatives.
While there are some select applications where screws and nails are the more practical or sound application for fastening certain components together, they are never used in place of proper solid wood joinery. We also do not use mass-produced joinery alternatives. They may be quick, and they get a piece assembled, but they are not aesthetically pleasing nor do they guarantee longevity in the piece.
When it comes to joinery, speed and ease of assembly are not our priorities.
Quality, beauty, elegance and longevity are our priorities.
Some Highlights
Below are some visual examples highlighting key features in our work.
In the above pictures is one of our more simple and traditional-leaning designs. However, it bears many of the hallmarks of our hand-crafted attention to fine detail, such as: Natural look; Stunning table-top; Hand cut joinery that is decorative and functional (e.g. the diamond and triangle-shaped bridle joints holding the legs to the apron, shown in the table above); Accent inlay work around joints; Choice figured and patterned wood; Ornamental chamfers on corners of table-top; Custom-cut Cabriole-style legs; Hand-worked finish of shellec and oil polished to subtle gloss.
Above is an example of our creative door design: A delicate door-frame made of book-matched cherry; Maple inlaid corners; Striking lattice-style, see-through door panel made of intensely spalted maple.
Also notable in this picture is the hand-cut figured trim-work on the sides of the cabinet, made of distinctive spalted maple as well; also, custom lathe-turned feet and curving bottom shelf with decorative chamfering.
Pictured above is an example of custom lathe-work; carving; and figured braces of contrasting wood (cherry and walnut) which are both structural and aesthetic.
Highlights
Here is a list of some key defining points in our work:
| ◆ We will build our pieces to the most exacting specifications to suit the client’s specific needs in size, shape, function and appearance. Sculpted work, unusual designs–we are fully customizable in regards to design. |
| ◆Joinery is hand-cut, aesthetically pleasing, and designed to be complex and strong. Screws and nails are only used when structurally necessary, or when glue and joinery are not sufficient alone. Screws and nails are never visible from the exterior, and are never used where wood & glue joinery is the better option. |
| ◆ Finish is hand applied oils, waxes, varnishes and shellac, and can have hours or even days of attention spent on it. Our most commonly used finish is shellac–one of the most eco-friendly finishes on the market, and also one of the easiest to repair or restore. |
| ◆ Contrasting and complementary woods, as well as selecting interesting grain pairings between boards, are typically used to create complex, visually stunning work (unless client requests otherwise). This is much more labor intensive, both in design and in building, to create a cohesive piece, but yields distinct aesthetics. |
| ◆ Components and surfaces are worked by hand, whether shaping, planing or finishing. They are also worked with attention to bring as much of the grain character out as possible. This yields surfaces that feel natural and rich with character. |
| ◆ Not only do we strive to soften our edges with a natural touch, we will also create figured chamfers and corner designs that cannot be done by machines. |
| ◆ Custom designed unique components that are hand-made. Doors and drawers are designed as focal points and use highly original designs. legs are hand-made, allowing for unparalleled customization and aesthetics. Carvings and decorative components are part of our repertoire, and can be done to fully custom desires & specifications (carved designs, letter-work, figured ornamental trim) |