For those who seek to continually grow in their craft, production work isn’t something to be afraid of or to avoid. It may seem contradictory to think that repetition can open us up to new experiences, but it does. It also helps us to solidify the traits and characteristics that we need to take our work to the next level. It is when we refine our processes as craftspeople that we can increase our level of professional maturity. Production work develops our physical skills through practice and repetition, and helps us find inspiration when we reflect on the process of even the simplest task. Most importantly, production methods tune our mental state with focus, right attitude, and observation. All these...
Folk cultures around the world (including in Appalachia) have been built primarily around oral, rather than written, tradition. In song, story, and lore, truths and values were conveyed to the next generation and maintained over centuries. But to us rationalist moderns, this ancient way of recordkeeping seems imprecise and vague. Folklore scholar Richard M. Dorson describes our rather haughty perspective: “To the layman, and to the academic man too, folklore suggests falsity, wrongness, fantasy, and distortion. Or it may conjure up pictures of granny women spinning traditional tales in mountain cabins or gaily costumed peasants performing seasonal dances.” Dorson, a defender of the value of folklore, invokes in these words the unconscious bias that many today harbor toward indigenous, poor,...
Traditional icons are the culmination of many different arts. The hands in the studio are engaged as woodworkers, gilders, painters, and finishers, and our eyes see as historians, theologians, and artists. The interplay of these disciplines means that it is the joy of the studio to work with many different people in our tasks (for instance, the list of people I need to call back as I write this includes a sawyer, a priest, and a professor). It also means that what’s done here can offer a unique perspective on the purpose and consideration of the materials and methods it employs. The making of each icon begins with wood. A panel is its foundation, and like any home, the icon...
Schumacher uses an exercise in basic math to show that technology has allowed us to reduce the time spent on actual production of goods to such a tiny amount that it becomes insignificant. The prestige of being a producer, as a consequence, has greatly diminished. If we can rethink efficiency, says Schumacher, and increase the hours and workers involved in production, we could have enough time to “make a really good job of it, to enjoy oneself, to produce real quality, even to make things beautiful.” For a young craftsman seeking encouragement in following a different path, these were powerful words. Schumacher’s aim was to help developing nations by providing aid that employed the greatest number of people. For example,...
I flew into Bucharest and caught a long ride north with Mihai Bodea, our documentarian, through the broad, flat Moldavian tableland along the Siret River. In addition to breathtaking views of the Carpathian Mountains in the far west, I caught a few glimpses of distinctive Romanian traditions: vineyards; market fairs by the side of the road; lots of small roadside stands selling onions, peppers, grapes, melons, and other produce; and the iconic caruta horse carts the country is famous for. Many people still use horses in daily life as a practical option, part of a widespread living tradition of regional self-sufficiency. This way of life also manifests itself in other ways such as keeping a home milk cow, scything hay, keeping a...
Do you remember how to reboot your old PC running Windows 95 when it froze up? How about the process of uploading music to your Zune or iPod Shuffle? Even further back, remember returning video rentals to Blockbuster (be kind and rewind)? All this stuff is knowledge that many of us had to acquire in order to utilize the technology of the day, back in the day. And it is all completely irrelevant now. Here at M&T, we’re big fans of skills and knowledge that do not go out of date. Things our great-grandpa knew and our granddaughters will know; things that have brought productivity and fulfillment to countless generations. I’m talking about the timeless skills of handcraft. Not with...
Making a living as a full-time craftsperson takes discipline, careful planning, and hard work. Today’s successful craftspeople are educators, marketers, teachers, businesspeople, travelers, and community builders. It is not enough to be good at making nicely handcrafted items. You must think about your own story and why you are passionate about your craft. Your story becomes the armature for the image you create for yourself, for your products, and for the markets you develop to sell your wares. Share your story widely – use social media and other tools to reinforce your story and build your brand. Travel to meet people and build networks – the community you create around you will continue to expand and will nourish you, as...
M&T: Tell us more about how art connects with the slöjd tradition, and why it’s such a vital part of it. JS: I would say it’s about form following function. The knowledge of how to make common, functional items was always a big part of everyday life. They knew, for example, how thick to make a table so that it would be strong, how big that sliding dovetail had to be to make a stable joint. That knowledge of proportions – dimensions, thicknesses, and joinery – is part of the tradition, and is very practical. But when they made things that were connected to certain traditions, like the love gift of a spinning wheel, they made it extraordinarily delicate, with...
John Hemmings’ introduction to the properties of wood and the tools used in its exploitation came in his early teens as an out-carpenter on Jefferson’s Albemarle County estate, Monticello. Carrying axes, hatchets, froes, and mauls, teams of young, able-bodied men would trek into the old-growth forest at the edge of the Virginia wilderness to harvest trees for sustaining the body of Jefferson’s nearly 5,600-acre plantation estate. Near the age of 14, Hemmings was considered big enough to handle the heavy and unforgiving tools necessary to render raw trees into a usable commodity. For the last several years during his childhood, he had helped the older field hands with the lighter work of collecting the harvest and planting, but this year would...
The origins of the double iron are somewhat mysterious, but probably date to the mid-18th century. A double-iron smoothing plane discovered in London during an archaeological dig may have been made as early as 1750. The most interesting feature of this plane is that while the business end of the cap iron is typical, there is no mechanism for fastening the cap iron to the cutting iron. The two irons are loose, held together by the wedge, so the owner would have to set both irons by tapping them independently. This arrangement supports the theory that the earliest double iron was simply two cutting irons that some enterprising craftsman placed back-to-back. The first written reference to the double iron dates...
