01 / The hollow
A vessel without a fixed purpose
The empty centre makes the surrounding timber feel lighter. Deep curves expose the grain from several directions, so walking around the object changes its expression.
06 / CARVED OBJECTS
What remains is the form.
Furniture solves a use. Sculpture opens a question. These small studies explore the space between the two.
OAK & CHISEL / THE CRAFT NOTEBOOK
From mass to movement.
Five decisions, revealed one at a time.
01 / 05FOLD / AN IMAGINED MAKING SEQUENCE
Read the blank
The starting mass must contain the proposed form. Grain, checks and weak areas decide whether a blank is suitable at all.
Generated concept frames, not photographs of a real fabrication. The sequence explains removal and refinement; an actual maker would adapt it to grain, defects and safe workholding.
02 / The facet
A trace of the tool
Not every surface needs to be polished into silence. A rhythm of shallow cuts can hold the maker’s gesture while remaining considered and deliberate.
03 / The edge
Softness, with definition
A delicate-looking rim still needs enough material to survive handling. The transition is gradual: strength below, a lighter line above.
A carving, in five decisions.
The objects shown are imagined design studies. A real carving must adapt to its individual piece of timber.
- Read the blank: identify grain direction, checks and fragile areas.
- Block out the silhouette, leaving room for refinement.
- Establish the deepest hollows before finishing thin edges.
- Refine the transitions and inspect the form from every side.
- Test the finish and let the grain complete the composition.