(lively music) david:marc as you remember i got the incredible woodshed over there which was your favorite place when you're out here years ago.
canadian woodworking magazine, we do have a shot of marcat the woodshed going "wow, this is awesome!" something that's new since for last year is all this concrete.
what i did is i poured a slab of concrete that runs from the woodshedinto the new wing of the shop. that way i can roll differentpieces of wood in here. it also allows me to do alittle bit of outdoor cooking so to speak. now you're probablywondering what i got going on in this thing over here. times have gotten a little bit lean. we're having to cut back,
we're having to likecut some corners here. we're making a wood stew in here. basically what's going on with this is this is a method for boiling wood. i think three or four yearsago when you're out here, we were working on thatgreat big sculpture and we had to boil it to basically kind of stabilize the wood. like i told you that i'm working on
the hawaiian marquet right now. i'm also turning some vesselblanks out of curly koa and this is one that i just roughed out and so this is going tobe the top of a vessel. i turn it on my laid and what i was noticing was that it wasstarting to end check on me. what i decided to do was ... at first i did the alcohol treatment where i soaked it in alcohol for 24 hours
then took it out of thealcohol and let it drip dry. this piece is havingsome stability problems so there were checks thatwere opening up there. what i did was i quicklywet it with more water. the water is going toreestablish the moisture content and then what i do is i boiled it. i took this and basicallyhad this completely submerged in this pot for a couple of hours. the heat source is just a propane tank.
down here i got a littlecamp stove that's used for basically well, justoutdoor cooking i guess. i've got my can elevatedup on some bricks, that way it's just a little bit safer. basically what i do is i put the lid on and then i'll duct tape this thing shut. just take some duct tape and i'll wrap it all the wayaround here to seal this. now, you might thinkthat that's dangerous.
we've got heat, we've gotwater, we've got steam. everything is duct tapedshut but guess what, the duct tape actuallyis sort of a low tech kind of a safety release valve. once this starts to boiland you can hear it boil, you'll hear it starting to boilon the outside of this can. you can hear it boilingand also once it starts to get to the point where it's generatingenough of a rolling boil,
you'll see some steamescaping from the tape. you'll see the tape start to open up and you'll see a littlefissure of steam coming out. basically boil it for a couple of hours and then with this one, i didn't want to take any chances. rather than doing the paper bag method, after i boiled it, i waxed it. i basically coated thewhole thing thoroughly
with some wax and now looks fine. it looks stable. after i boiled it, i didleave it in the pot overnight so i could go all the wayback down to cool water and then took it out. at that point it waspretty well water logged but then i just let it dripdry for about an hour or so and then just thoroughly coated this thing inside and out with the greenwood sealer.
basically this is probablyabout $150 chunk of curly koa, believe it or not. this came up from a $450 block. i don't want to take any chances. putting the wax on there,makes it good and stable. also i'm going to be on theroad here in the next day or so. i won't have time to babysit this thing and by putting the wax on there, that way i can come back andit should be in good shape.
let's take a look at theart gallery over there. this is another new edition. we put some overhangs on here which i thought were really cool and of course being david marks, we had it done with a patina. copper has gotten veryexpensive as you know so these are [sattered] together from some scrap pieces of copper.
by the time i put the patina on there everything kind of blended together and came out looking pretty cool. wanted to put a couple of plants out front so i got them copper piped which is just board some holes through some pieces of redwood and bolted those onto the front. in that way i have a trellis
so that these plants can climb up the front of the shop there. marc, this is the piecethat you probably recognize. marc:oh, yeah. david:when you're out hereworking with me years ago. this was a project thati had you help me on and this was ... i can't remember, were you here when we did the veneering as well?
marc:no.david: yeah. marc:i actually was justworking on the course. david:on the course, okay.marc: yeah. david:i don't know if you've seen this since i've veneered it maybe. marc:i've seen itbecause i think i was ... david:ewfs, okay. marc:i'm talking to the guysat the william ng school. david:okay. all right, so this is one
that this is also basically a torsion box. it's what i call a hollow vessel form. series of ribs inside, hexagonal ribs that are getting smaller and smaller and then the nose comes at the end. laminated with sheetsof one eighth inch thick italian bending plywood and then basically just block planed one piece at a time.
once i have one skin laid on there, i just take a block plane and shave that down andget it flush with the ribs and then glue on the adjacent piece and then block plane that one down. essentially did the samething with the veneer on this but what's special about this one is this really exotic wood. this is called afzelia, it comes from laos
which is near cambodiaand its just got some incredible grain patterns to it. this is really three dimensional kind of well just a quilted, [veinin],reptilian like pattern. now just as an exercise,well not just as an exercise but just to show peoplewhat else was possible. i took the exact same form and then gilded this one in copper but by gilding this in copper
and then doing a patina on it, you get an entirely different look. now there's some wonderfulkind of like a bluegreen salty formation that'sencrusted on the surface there, and then just some of the dark colors coming through the background. you can see the difference ifyou put the two side by side. basically two really elegant forms what i would sayreminiscent of a boat shape
but completely differentfinishes on there. another lesson on how the finish really transforms thesurface of an object. this is a friend of mine fromsan diego, mike chikowski. mike likes to turn theselarge vessel style shapes. this is a piece that we collaborated on so i don't know if you can see it but i've gilded theinside with copper leaf. it's all copper leaf andpatina on the inside.
i don't know if that's showing up or not but mike's an excellenthollow vessel turner. this some beautiful work, a lot of words down there in san diego. this is one that i'm still working on. this is a collaborating with gorst, i have a hard timepronouncing his last name. i think it's gorstduplessis from new orleans. poor gorst lost his roofin this last hurricane
but gorst does someamazing engine turning work and these are done on i guess a duplication of a [unintelligible]. i've gold leaf the inside but i'm still going to put on another layer of gold leaf on this one. this is a friend of mine from canada, micheal hosaluk who's an amazing turner and michael is out herea couple of years ago
teaching some classes. he showed people how to turn a sphere and then he came back and burned these very interesting shapes on it. then he turned a spoonand this was really cool. with a spoon he made a jam chuck. well first he startedout by turning the spoon between centers, so heturned it between centers, got that rounded shape here
then he made a jam chuck and rotated this 90 degrees so that the handle is spinning this way and that allowed him accessto hollow out the inside. then he took it one step further and wet the wood with some water, put it into a microwaveand then bent the handle. very clever, very innovateand a genius work there. michael's a brilliant craftsman.
he's one of the canadian artist that won one of the saidye bronfman awards along with michaelfortune and grit laskin. two other canadians that havewon the saidye bronfman award. here's another one of michaelhosaluk's famous forms. this is actually a box. hold your ears as i open this thing up. it didn't squeak this time. what michael does ishe hollow turns these.
michael likes to use a hook tool which he refers to as a gauge on a stick and it's a fairly aggressive tool. you want to turn that cuttingedge up to about 7:00, maybe 8:00 but you don'twant to have it horizontal. they can use that to scoopand cut out the insides then what he'll do is he'lltake this to the bandsaw and cut these into various shapes. glue these back together at odd angles
and then he's got basicallya mortise and tenon joint so this thing will fit back together and you can put that backtogether in all kinds of different positions, a very sort of a sculpturalcreative piece there. here's another piece by mike chikowski, just a small hollow vessel here. this one you can probably see the finish that i did on the inside.
i don't know if you canget the light in there but i did some gilding and patination on the inside of that one. very difficult to get your hands in there. probably one of my latestpieces that i'm most proud of is this hollow vessel over here. i've been doing a lot of turning and i was invited to theswat symposium in texas and then invited again to the big utah
woodturning symposium last summer. received probably one of mybest compliments of the year from allen [bedi] who is oneof my mentors from england. allen's just a phenomenal turner. he's i think probably 70years old at this point but he came up to me at the show and said that this piececaught his eye right away and it was one of his favorite pieces in the instant gallery.
that pretty much made my year. i was really stoked with that. this is turned at a californiabuckeye barrel on the top and then there's a mortise and tenon joint connecting these two popler on the bottom and then the popler is basically something that gives me a surfacethat i can paint and gild and do my patinas on whichis my trademark finish. on the very top i joinedtogether a rim out of snake wood.
this is all segmented out of snake wood which is glued to a color ofebony with urea resin glue and also lead into thetop of the buckeye barrel with a mortise and tenon joint. turn a couple of beads down here with well, a tool that ilearned about from allen [bedi] which is the point tool. the point tool is just a really great tool for doing detailing worklike beading some stuff.
kind of works similar to a skew but it's a lot safer than a skew. if you can get it a high speed steel, one quarter inch round stock works best. basically the cutting geometries or whatever the diameter of the steel. you want to grind thebevels one and a half times the diameter of the steel. if the steel is a quarterof an inch in diameter,
grind those bevels backthree-eighths of an inch long. this is of course sittingon a stand from woodworks. you remember that old show. that was one where i wasshowing people how to, well i did some slidingdovetails on the legs. these are all sliding dovetailcoming up to the bottom and then all these was hand carved, just laid out of spiralpattern with some masking tape and came back with the pattern makers rasp
and did the top basically the hard way. i should have turned it on the lathe but back then they didn'twant me to do any shows on wood turning. they said there wasn't enoughwoodworkers that had lathe. i wish what they knew. anyway, we did this onebasically with a bandsaw and a router and made that one work. then this desk here, anotherproject from woodworks,
picture frame also from woodworks, one that i gilded with silverand did some patinas on. i found this drawing over in new zealand which i think the colorsjust were meant to be. yeah, great match on that one. these are my bronze benches. this is all cast bronze. this thing weighs about 80 pounds, so it's a pretty heavy piece there.
stopped making these, theyjust got to be a little bit too labor intensive but there are some beautiful pieces there. the stand i made on woodworks and the sycamore bowl with the ebony rim. the serving tray down here, also with the doublebeveled marquetry technique which we teach here at our school. let's see, we got this cabinetthat i think you've seen
and some other pieces in here. this is a cool piece. this is something that ibought from a friend of mine named anthony harris. i think he's in kansas. this is a box, this thingis actually threaded. see those hand chased threadsso you can open this up. this is his card, it's a wooden nickel and how cool is that, man.
hand cut threads on the inside. all out of african black wood and just exquisite detailwork and craftsmanship. this is the upstairsportion of the gallery. we have some more piecesfrom woodworks here. this is the bench that i made on the show or one of the benches. this is out of a slab of walnut and then all the boxes downhere are basically pieces
that i made this out of plywood and then i laminatedthose with sheet copper and did a bluegreen patina on that. this is the lamp or one ofthe lamps i made on the show out of koa. well i've got the lampshade off right now because well, i chipped some of the wood on the foot moving it so igot to repair that thing. another table that wemade on the show here
with the [unintelligible] on the top, i have zero coating, pre-named [buco] and then a shelf over here, and well, a rail over here. this is a guy that works for me part time, derrick moore, did anawesome job on this railing, just a really beautiful job. i needed something to prevent people from falling down the stairs
and when we built this,we intended it at first to be a storage base and then after that it needed to become a gallery. i wanted to make this withsome really nice woods and of course i got aton of wood out there. i used some walnut and some curly maple and then a walnut on the top. it wasn't quite thick enoughso we had to add on to it and i thought, that zero[coating] would look quite nice
and what the hell. i laminated someone either in there and then came back and didsome carving on the end so it's got a nice grip there. yeah, just worked out quite nice. this i thought you'd get a kick out of, being another drummer. it's the drum set. this is my old set of gretsch there
and of course you want me toplay it don't you? (laughs) marc:david marks, a man of many talents and someone i'm lucky to call a friend. his craftsmanship andcreativity goes well beyond what we got to see on woodworks. from turnings, to sculptures,to unique furniture. david constantly reminds usthat if you can dream it, you can build it. now if you're in thenorthern california area,
you owe it to yourself to take a class or at the very least catchhim while he's on the road. david even has a few dvds now including a new one onsharpening scrapers. you could pick this up athis website at djmarks.com. david:that's probably aboutall your ears can tolerate. marc:i'm david marks. okay, i got it. david:one of the most important upgrades,
we now have a bathroomover there. (laughs) and we're back. marc:we need to make another ... david:wait a minute. wait, my voice was ... (laughing) okay. (laughing) the cutoff from the lid, sounds like we got ahelicopter coming over there. that's basically whatkeeps me busy these days
is teaching classes, playing drums, and working on my artpieces, having fun. (laughs)