WOODWORK HISTORY AND INDUSTRY RESEARCH:
1.
http://www.woodcraft.com/Articles/Articles.aspx?ArticleId=239
History of Woodcraft
"Woodturning goes back a few years: in the good old days, there was much art and much less speed than we get today. Old spindle and bowl lathes used various sources of power, but often had low end speeds of 75 RPM--and high end speed of 75 RPM! There were treadle models and pedal models--with pedals designed to work as they did on the velocipedes of the time (late 1870s in the cases mentioned…recent research indicates that woodturning may be about 3000 years old, originating, presumably simultaneously, in Great Britain [Celts], Italy [Etruscans] and by inhabitants of the Crimea).
Today, we have to look hard to find low speeds that slow, and higher speeds can range up to those that will toss even the smallest work right off the chuck if it is not securely fastened. Part of the art, and skill, of woodturning is learning the techniques that keep you safe.Woodturning is being discovered by many more people each year, and quickly shows itself deserving of a reputation as an art, though sometimes a simple one, in addition to being known as a complex and satisfying craft.Given enough skill from the woodworker, turned wood objects do not have to be simple, in any way. Art is at least partly in the eye of the beholder, so whether or not your work is art is up to you and its other viewers. One of the greatest features of turning is the chance to gain enough knowledge in short order to make finished projects in just a few hours--lathes give us the possibility of completing, including finish, many worthwhile projects inside a single evening. We can turn out good looking, useful projects after work on almost any day. Short of driving nails in a plank and then nailing the plank to the wall to hold coats and sweaters, there's nothing much else out there that allows shorter times from start to finish in woodworking projects. And the best part is, the projects are both attractive and useful--or can be! (...)
Woodturning is a great recreation, even if you don't aspire to artistry. And you might well be surprised how your aspirations change as your skills increase.
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2.
http://ec.europa.eu/enterprise/sectors/wood-paper-printing/wood/index_en.htm
Woodworking industries NOW
The EU wood product manufacturing industries or woodworking industries include the
production of sawnwood, wood-based panels and other wooden products, such as joinery
and carpentry materials, containers and other wooden packaging and other wooden articles.
Although most wood in the EU is used in construction and is not always immediately apparent
in our daily lives, wooden products do play an important role in everyday living.
In 2006 the woodworking industries had a turnover of €134 billion and an added value of
€37.2 billion, employing 1.27 million people in 197,000 firms. Most companies are small or
medium-sized. The only exceptions to this are the wood-based panel sub-sector and a handful of
sawmills having large enterprises. There are also many more full-time and part-time jobs in
micro-enterprises, which are not counted in the official statistics.
Around 90% of the woodworking industries' wood raw material comes from sustainable EU forests;
the rest is imported. As society's concern about global deforestation and forest degradation
(see section on sustainable forests), emerging EU legislation should ensure that all sources of wood
and wood products come from verifiably legal sources. Wood products offer one of the most
sustainable arrays of construction and consumer products. In terms of lifestyle and design,
wood has many advantages over other materials.
The Confederation of European Woodworking Industries has produced "Road Map 2010",
identifying actions to promote the wider use of wood."
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3.
ARTISTS WHO WORK WITH WOOD:
STEPHEN HENDERSON
He is a sculptor/carver living and working within the Walton Backwaters on the Essex coast. The formative years of his childhood were spent pursuing migrating wildfowl in winter, and fishing during the summer in the creeks and marshes around the quay. He is passionate about wading birds, with his kitchen and workshop windows looking out over the mudflats. His work is inspired by the native shorebirds and fish species of his locality, together with wildlife observed on holidays and travels from around the world. Carving out of found pieces of wood and Canadian pine, he mounts his work on driftwood and natural weathered timber. He works with themes such as motherhood, courtship and predation, trying to reflect the mannerisms of individual creatures and their personalities.
JIM MAAS
Jim uses his practiced surgeon’s capability for fine hand-eye coordination to expertly capture the realism that is so vital in the field of competitive bird carving. Of equal or greater importance to this genre, however, is a sensibility for discovering meaningful, artistic statements within these realistic depictions of avian life. It is this awareness for the beauty of the natural world of birds that has helped Jim to create many award-winning carvings. The study of anatomy in carving, as in surgery, is also important. In competition, misplaced feathers are cause for failure.
Jim favors tupelo, a soft wood native to Tupelo, Mississippi for his birds. His bases are made from basswood, walnut, or cherry. Competition pieces are required to be entirely handmade, except for the eyes. This includes the habitat the bird might be in. Therefore, all branches, leaves, flowers, rocks and other elements of setting are completely handcrafted, as well. Jim follows this procedure for all of his pieces.
He uses a variety of painting techniques and tools to bring life to his carefully fashioned carvings.
BOB SMITH
Bob Smith was born in Newcastle, Northumberland in 1951. Educated in local schools until 15 years of age, Bob spent his early working years in heavy industry as a Millwright, later moving into the construction business. At the age of forty Bob founded his own business slating and tiling the roofs of Northumberland.
Bob was introduced to rock climbing in his early twenties and quickly became one of the leading UK figures, and dominated the sport in his own area for many years, producing more than 300 new rock climbs and throwing down a gauntlet for young aspirants which has only recently been taken up.
Bobs artistic ability, the practical skills acquired during his working life and the deep appreciation of nature learnt during endless days climbing in the Northumbrian coutryside have combined to create the beautiful sculptures.
BRAD WILEY
He says: " As a young man, Thoreau's philosophy of a simple life greatly influenced me. That's why I work out of the home I designed and built myself deep in the woodlands of western Pennsylvania.
Since 1987, it is here in my home studio that I carve, paint and mount my birds. I bring a keen sense of observation and an appreciation of detail to every piece that I create. I select and sculpt the driftwood to reflect the attitude and likeness of each bird.
I love what I do. I'm blessed that my livelihood is to carve and paint birds as a full time artist."
KATHY CRUMREI
http://cathykrumrei.com/?page_id=57
An artist from Minnesota. Carving has been part of her life.
NORA HALL
http://www.carvinginnyc.com/sowc%20chapter%207.htm
One of the most accomplished female woodcarvers and top carving instructors in USA, Nora Hall is a well respected international female artist. Nora Hall is a third generation Master woodcarver, born in Holland in 1922. She apprenticed under her father, the renowned Dutch master woodcarver Johannes Leereveld.
Nora Hall immigrated to the United States in 1956 and began teaching efficient skills to American woodcarvers.
Nora believes that one of the greatest faults of American woodcarvers is that most are self taught and have never been shown the full range of work that a chisel is capable of performing. She believes that you need to start with the basics and learn proper techniques, allowing the speed to come in time after many repetitions of the same techniques. She emphasizes the importance of using hold down devices on your wood so that two hands may be used on the tools at all times. This will give the carver much better control and accuracy in their carvings.
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