Boatshed

Made from recycled Oregon.

It never ceases to amaze me how a sharp hand-plane can swiftly transform ‘old’ wood.

Tatsuo Kawashima  (b.1939)

The endliner, made of Queensland Kauri,  is now installed along the inside edge of the lute body – where the construction is at its weakest.

Later on I will glue an endclasp to the outside edge, for additional strength.

I am pleased to report that the little wooden clamps did their job perfectly well. It seems they are not merely charming to look at, but more or less functional….

 

Here are two fine recut prints from the Hiroshige Mt Fuji series in vertical format.

There wasn’t much online interest, presumably because they show ‘foxing’ (brown spots) here and there. I secured them for scarcely a song.

The blemishes don’t bother me at all. These are old prints – maybe from the 1950’s, if not before. And  besides, I can choose to adopt the Wabi Sabi philosophy – celebration of imperfections….at least when it seems appropriate (or convenient).

Lute 2 is taking shape.

I have fastened the poplar block from the inside of the mould. Now comes the tricky task of carving facets to house the ends of the lute ribs.

Tricky, but I have done it once before; I should be able to do it again….

Tsuda Pine Grove:  Shiko Munakata (1903 – 1975)

I want to strip my work of ‘effects’ until it stands monolithic, based on reality and yet transcending it. It must flow naturally from my materials, from the way of the chisel and the way of the block…..

Tomioka Tessai  (1836 – 1924)

Woodblock prints from the Winter group: Four Seasons of Flowers (1907)

 

Here is my little fleet of wood clamps awaiting their first task: the gluing of an endliner  at the stern end of the lute. I enjoyed making them, and I tried to make them well; they are meant to last the distance – whatever that may be.

To my prejudiced eye they look quite charming and companionable….but apart from that, I am hoping they can actually do the job.

 

 

Black and white are absolute – expressing the most delicate vibration,
the most profound tranquility, and unlimited profundity.

I make black and white prints because I want to go back to the beginning.

Shiko Munakata (1903 – 1975)

The beginning of a new Lute Shell. I thought I might as well work on a second lute, while completing the first.

As before, I will shape the neck-block from a piece of quarter-sawn Poplar. There is no need to ‘loft’ the mould and templates; it’s all done, and ready to go.

The search is on for a suitable wood:  possibly (recycled) Huon Pine. I have been told by those who know that it produces a gentle sound – which is fine by me. Any sort of lute sound would be gratifying.

I hope I can remember what the Learning Curve taught me….