Curach builders' meeting

This week I met with Ian & Edward to discuss our currach building project. I’ve been thinking about another boat project since I finished the recovery kayak and I was attracted to the curach as another lightweight skin-on-frame boat.
The curach is a traditional skin-on-frame boat from western Ireland similar in construction to a coracle. It has a solid set of gunwales built from sawn timber with the hull made of bent hazel rods which are fitted into holes in the gunwales and lashed together. A canvas covering is stretched over the frame and waterproofed with coal tar to make a seaworthy fishing craft.
Currach framesFirst we went into the bottom of the mill and brought out a Dunfanaghy curach built in the 50’s by Jack Robinson. Edward got his first curach at age 14 and told us the story of when his father took him to Mr Robinson’s workshop to buy a curach. “How much will it cost?” asked the rather straight-talking Mr Acland. Mr Robinson explained that the currach was “priced at one pound per foot. This one’s 7ft 6in, so that’ll be seven and a half pound.” “I’ll give you eight” came the reply.
With the curach out in the daylight we looked over the size and construction, marvelling at how such a simple and primitive craft was capable of going to sea and had lasted all these years. After discussing options we decided for our first project to build a two man craft 10ft long with a single rower but capable of carrying two people, using a set of gunwales Edward  has as a pattern. I took measurements of the timber required and after a hearty dinner of soup, we set off to the woods.
Hazel rods for currach 'couples'The gunwales for our curach will be sawn from local spruce and the body of the boat made from hazel cut from Edward and Romola’s coppice wood. They’ve been managing the 2 acre site for 24 years, restoring it from a neglected and overstood coppice into a beautiful, productive woodland almost entirely by hand. We’ll be learning as we go along exactly what the ideal material looks like but there was no doubt that the woods were full of suitable rods, enough for a great flotilla of currachs.
The first stage is to research materials and order up the timber so we can start making the gunwales. Our primary aim is to have the curach ready for a big coppice association exhibition next spring at Farfield Mill, Sedbergh but ultimately to produce them as a sustainable craft for the Lake District and beyond.

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Spoons, birds and baskets at Brantwood

My stall at Brantwood Winter FairI had a lot of fun at the weekend running my stall at Brantwood House. It was a beautiful weekend and something of a shame to spend it indoors but we were fortunately in a brilliant location in the Studio with a window overlooking Coniston Water. It is a beautiful spot and, on days like these, easy to see how it inspired John Ruskin while he lived here. I was running the stall with the help of my friend Susan who’s starting out as a basketmaker and did a good trade in willow stars. My fan birds were also selling well, catching nearly everyone’s eye as they entered the room especially once they realised that each bird is carved from a single, solid piece of wood.
Phil Sanders trug makerOutside I met Bill Sanders, a trug maker from Shropshire. We talked about making and people we both know from the Greenwood Centre at Ironbridge. I particularly liked the caption on his sweatshirt which highlights how trug making is just one more traditional craft in danger of disappearing. While we chatted,Bill l carried on working on his trugs. Demonstrating your craft at shows like this helps you engage with visitors and show them your skills and the time involved in producing the products. It’s also a good way to keep up your stock and helps the day go by too. Although we were a bit more pushed for space up in the Studio, I brought along my chopping block and carved a few greenwood eating spoons from a lovely bit of cherry.
A steady stream of people over the 2 days kept us all busy and it’s a pleasure to meet people at these events, share my  passion for greenwood carving and swap a few stories.

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Hay rescue in Transylvania

During the summer, Christiane Lechner and I set off for the far east of Romania to attend the International Haymaking festival at Gyimes in the White Carpathain mountains of Transylvania. During the week we learned a huge amount about haymaking, building haystacks and the local culture but for me the highlight of the week wasn’t even on the programme.
Rolling hayWe’d been working hard all morning turning and raking down the hay and stacking it into pikes. It was a difficult morning, the heat was oppressive for us Brits and we struggled to understand Attila’s instructions on how he wanted us to be working. Once we’d finished, we returned to the courtyard tired and dirty. We ate an excellent meal prepared as always by Attila’s mother and girlfriend then settled down to relax for the rest of the day. Not half an hour later, Attila appeared and told us that he’d spotted his neighbours still working in the next field. There was no obligation, but he was going over to help and, if we wanted, we could join him to help them gather in their harvest before the coming thunder storm.
building a hay pikeOff we went, half running up the lane with rakes and forks in hand while Attila shouted back that it was just like we’d been doing all morning, to work the same way. In the field we found the farmer with his son and daughter working to stack up a single pike while hay lay on the ground covering almost an half an acre of steep hillside. We set to work and suddenly everything fell into place and the confusions and irritations of the morning fell away, leaving an efficient haymaking team in its place. I could certainly feel the adrenalin running through me as we raced to beat the weather while lightning crashed around us. Everyone found unknown reserves of energy which at times came out as whoops of joy which were echoed back by others.
We finished just as the rain started, shook hands with the farmer and headed back to the shelter of the courtyard barn, still fizzing with excitement and telling stories of the adventure. Attila’s father brought out his fiddle, Tom picked up his accordion and five minutes later the neighbours arrived with a crate of beer to thank us for our help. Attila said they’d resigned themselves to only saving a small part of the hay and were amazed to see us arrive and how well ‘the English’ could work’! Attila himself was rightly proud and it helped give credibility to his project.
With music and beer we passed the rest of the afternoon drinking, talking and learning traditional dances from the local boys, flushed with the feeling of tired satisfaction.
haymakers' dance hay dance

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Robin's fan bird

It’s a nice feeling anytime someone buys something I’ve made: the idea that the person likes my work enough to want to swap some of their own time, skills and labour (through the exchange medium of money) for some of mine is a huge compliment. It’s especially pleasing when that person is a fellow craftsperson and someone I admire.
So you can imagine my inner glow when Robin Wood decided my fan birds are nice enough to want to buy one to for his van where he’ll see it pretty much every day.  I’ve got one hanging from my own rear-view mirror, it’s great to watch how it glides and banks as I drive around the windy roads of the Lake District. Visit the site to grab your own fan bird.
Robin Wood with fan bird

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"Mowing" by Robert Frost

Winter time and the mowing season is well and truly over in my neck of the woods, hence the smaller number of posts (why not check out my green woodwork blog SteveTomlinCrafts which gets more active in the autumn and winter – life is seasonal).
This part of the year gives me more time to think about mowing and research scythes, haymaking and cereal harvesting which I enjoy almost as much as actually working with the scythe. From time to time it turns up some gems, like this poem by Robert Frost.

Mowing

There was never a sound beside the wood but one,

And that was my long scythe whispering to the ground.

What was it it whispered? I knew not well myself;

Perhaps it was something about the heat of the sun,

Something, perhaps, about the lack of sound—

And that was why it whispered and did not speak.

It was no dream of the gift of idle hours,

Or easy gold at the hand of fay or elf:

Anything more than the truth would have seemed too weak

To the earnest love that laid the swale in rows,

Not without feeble-pointed spikes of flowers

(Pale orchises), and scared a bright green snake.

The fact is the sweetest dream that labor knows.

My long scythe whispered and left the hay to make.

Robert Frost

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Damson Ladles

I seem to have been so engrossed in making fan birds lately that I haven’t done much spoon carving but there’s a few spoons that I carved during the summer that haven’t yet made it onto the web and I finally got round to photoing them this weekend.
These 2 ladles are carved from the two halves of a single damson branch. It’s very unusual to get a branch that splits evenly enough to be able to use both halves so I’m really pleased with the results.
The ladles are for sale: £30 each (please specify either inside or outside of curve) or £50 for the pair.
Please use the order form or send me an email.

Inside curve ladle:

Ouside curve ladle:

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Making fan birds

When Christiane came over to visit me this week I told her she could have a fan bird like the one’s I’ve been showing her via skype. The only catch was that she had to make it herself. Christiane’s made a few spoons and she’s got good knife skills so I knew that a fan bird would be no trouble for her and we’d enjoy making them together. It’s good for me to see how Christiane manages with the techniques and the best way to show and teach them. It’s a good way to refine my own skills in preparation for teaching a fan bird carving course next year.
First off, we prepared the blank from a small larch log. I use the wood green and find I don’t need to boil it as some makers do. You can see one of our other finished fan birds in the photo.
preparing a fan bird blank
The feathers and hinge are carved using simple knives, chisels and gouges.
Carving fan bird hinge
Then the feathers are split out to approximately 1mm thick. This is a time to concentrate but with the right technique it’s surprisingly easy.
riving fan bird feathers fan bird feathers
We used a Frost knife to carve a body and head then it’s just a matter of carefully open out and interlock the feathers to make the wings and tail. During this process, I showed Christiane how to weave in a thread to hang the finished fan bird.
bending out fan bird wings Christiane's fan bird
And I made one too.
Steve's fan bird

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Brantwood Winter Fair

Next weekend I’ll be at Brantwood Winter Fair at Brantwood House, the former home of John Ruskin. There’s an interesting range of craftspeople attending with demonstrations and have-a-go sessions. I’ll be there with bowls, spoons, chairs and fanbirds for sale and also carving spoons during the day.
Brantwood Winter Fair

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Birch bark pot

birch bark potAlthough I make as part of my living it is still also my favourite hobby and now and then it’s lovely to work with a new material and make something just for the pleasure of it. This weekend I got out some of the birch bark that I collected on a North West Coppice Association day in the spring. It’s thin, delicate stuff to work with and needed a fair bit of preparation to clean and smooth out the surface. I followed a traditional pattern, cutting notches into each end of a strip of bark which is then curled round and interlocked. A second piece of bark is glued inside to add strength and so the inside and outside of the pot can have the smooth inner bark showing though I decided I wanted the outer bark on the inside for texture. While the glue sets I used carved blocks and wedges to press the layers together. A handy hazel stick was cleft and shaved to make the base and lid. I carved the lid with a taper so it is a snug push fit and the pot makes a satisfying subtle ‘pop’ when opened. The handle is another piece of hazel with a round tenon carved onto it which passes through the lid and is fixed with a tiny peg inside.
It seemed to occupy a lot of the weekend though I wasn’t working on it solidly and it was very pleasing and satisfying to do. I’m very pleased with the result and will definitely make some others.

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Otherhandedness

One of the most exciting parts of the spooncarving course with Fritiof Runhall last week was his advice on learning to carve with both hands. By making the same cuts with the same angles but mirrored by using the other hand is the truest way to achieve symmetry in carving. Normally, when carving the outline shape of a spoon one side has to be carved looking from underneath. If you use both hands you can work on each side without turning the spoon and while looking at it from the same angle.
Carving left-handedI started with practising  axing with the left hand which was a brilliant experience. I kept swapping the axe back and forth to feel the action in my dominant hand and try to copy it in the other. The key is to relax and be confident at which point I started to feel comfortable with it and quickly got the accuracy to start axing spoon blanks with both hands. After that I worked on some simple knife cuts and straight away saw the benefits. It was also really fascinating to have to ‘learn’ to carve again, examining the way my hands normally work together and transpose this across to the other side. It’s a brilliant exercise for anyone thinking of starting to teach spooncarving. You also see how the ‘non-dominant’ hand is doing just as skilled work in holding and manipulating the spoon while adding support to the cut.
Since then I’ve been swapping hands on all kinds of tasks from brushing my teeth to operating the computer mouse and cutting vegetables. It all helps build dexterity, confidence and ease of motion into the ‘other’ hand and best of all, it’s fun.

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