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Pole Lathe Turning- Teaching in England, Sweden and Home- Part 1

jarrod dahl

Its been quite a while since I've had the mind space to sit down and write.  The past year has been a wild one in so many ways both on a personal level and professional level. I admit at times it's hard to tell the difference. This year has been very exciting and also very challenging.

In keeping to a mostly work and wood working related post I'll share my most recent adventures in a few parts. The story is too long for one post. Looks like 3 parts from where I sit so I'll roll them out every week or so.

Always travel with baskets if you can. This is the new wood culture in real life in the public eye.

Always travel with baskets if you can. This is the new wood culture in real life in the public eye.

This year has seen the most travel for me ever. If you've been following along on my Instagram page you know. I've been across the country a few times and overseas too! As this year unfolded I said yes to about every teaching gig that came my way. It may have been too much. As the year comes to an end, I can take a step back and reflect on that. One of the things I'd like to tweak this coming year is to be a maker who teaches rather than a teacher who makes. So next year is a little more planned out with a 60/40 split of making/selling and teaching and believe it or not it's pretty much fully booked already.  I haven't updated the calendar yet, but after a few more confirmations I will.  I sure like the feeling of having a plan for the full year before this one is even finished. But I do know that whenever I'm making a lot, I long for teaching and vice versa. Maybe it'll always be that way.

Great pub roast on Sundays.

Great pub roast on Sundays.

  In September I traveled with my lovely wife Jazmin and my daughter Ayva to England.  I had scheduled to teach 4 turning classes in England and Sweden over a 3 week period. The first leg was to London which is a town too big to see in a few weeks let alone while working for two weekends. I had never been there before so it was especially exciting.  I ran two workshops at Barn the Spoon's Greenwood Guild.  In the middle, we went to the Herefordshire countryside and taught up at Mike Abbot's old place Brookhouse Wood. The second part of the trip was a week in Gothenburg, Sweden and the surrounding area teaching, giving slide show talks and demonstrations. The finale was 2 days in Stockholm just to kick around with Jazmin.

We planned the trip so we could spend 5 days in London before the first workshop on the weekend. We used Air BandB for our lodging in the Shoreditch area. I'll just say it proved to be not quite what it was sold to be. Photos are a funny thing. We did get it sorted and got a new place a few days later.

The Globe Theater

The Globe Theater

That week we went to the Globe Theater and saw King Lear. The theater was amazing and the play was pretty good too (admittedly I'm not a Shakespeare buff). When I was timber framing in the early 90's the reconstruction of the Globe was a really big deal. The building is basically built in the same construction methods as the original back in the late 1500's/early 1600's, joined timbers, thatched roof, etc...very impressive and a must see if you visit London. 

We also went to a couple very hip parts of town and walked around all the shops, had tea and lunches, ate delicious Turkish, Sunday Roast, etc... 

I got a hand poke tattoo from a tattoo artist I've been following on Instagram for a few years. This was really nice as I like it when I meet the people I only know on the web. It's my first tattoo I haven't done myself. 

The Cloth House, some great Japanese fabrics

The Cloth House, some great Japanese fabrics

Jazmin went to the Cloth House among other hip shops on her list. There was awesome cloth from all over the world, much of it handspun and woven, plus glass buttons, cakes of indigo, and other special items. She's into sewing, weaving, cloth and textures, both visual and tactile. She also visited In-ku, a cool designer and maker of clothes, and bought some pants inspired by Japanese work clothes.

Ayva got to see the London Eye and Big Ben as well as visit the Harry Potter Shop. While Jazmin and I were shopping she got to hang out in several stylish London coffee shops. It was her first time overseas and I'm super proud of her. She even flew back on her own after the England leg of the trip. She helped us navigate more than a few times in the tube stations and train stations.

old school iron work. Amazing

old school iron work. Amazing

We visited the V&A Museum. This was an all day deal with way too much to see. A lot of it was rich people stuff  like silver cups and chalices and shit. There was a lot of great exhibits about different regions and cultures of the world, filled with everyday objects and the like. There also was an exhibit on Balenciaga, a Spanish fashion designer. Interesting enough. I think there is much to learn from the clothing fashion design world in relation to craft. But that's for some other time. My favorite was the blacksmithing exhibit. Ton's (literally) of great old-school work, pierced and banded, riveted, etc..from the days before arc welders. Mind blowing work. There was a bench by Albert Paley, a sculptor and blacksmith who I was inspired by long ago in my forays into the blacksmithing world.

There was a lot of subway 'tube' and bus travel. London is a huge town.

Barn and Jazmin looking at spoons

Barn and Jazmin looking at spoons

We stopped by Barn's spoon shop on Hackney Rd. I had to see it. Barn changed the spoon carving world when he opened this shop 5-6 years ago. It is just as small as they say. It was great catching up with Barn. The last few years we have had pretty limited time together at woodworking events. This trip was nice because we were able to visit, have dinner a few times, talk about craft, the Greenwood Guild, our work, etc..I even carved a spoon in his shop.

Misc bench top goods at Barns Shop

Misc bench top goods at Barns Shop

Barn talked about his future plans with the Greenwood Guild and also his 1000 spoon project. I can't say it better than Barn so follow this link to his 1000 spoon project. The work we all do needs support, so go one of his 1000 spoons.

The Greenwood Guild is who hosted my workshops. This place is pretty amazing. Situated within a city farm, the Greenwood team, Tom, Tim and Barn, offer workshops, and are also doing an online video tutorial for members. This place is doing some great things by getting greenwood in peoples' hands and showing them how to use their hands to make useful objects from wood, like spoons and stools. They also teach youth. Really important stuff.

Barn, Tom and Tim you guys ROCK! Thank you

Barn, Tom and Tim you guys ROCK! Thank you

This was a working trip as they all seem to be. 

Teaching pole lathe turning is a trick because of 2 things, the lathes and the tools. There is no way to send 6-8 pole lathes anywhere let alone overseas. Because of this these classes are rare and hard to get set up. Thankfully the Guild had their lathes already. They just needed a few modifications to get them ready for turning bowls and cups. The other part of the challenge is the tools. As hand forged hooks, you really can't buy them anywhere as easily as say a Mora 106 knife.  I can't think of any makers that sell them that don't regularly turn with them and this I believe is very important in their design--as with all tools. The hook part is the real challenge to growing this style of turning. Most hooks will work in a pinch, but truly nice ones are hard to get even if you make them. Because of this, I provide them for my students. On this trip I brought 25 pounds of tools with me in our checked bags. It was a real pain to get them split between our 3 bags, not go overweight, and still be manageable while we travelled to and from the airport with them. Not all tube stations have lifts and they are deep down underground, so lots of stairs....

Class underway

Class underway


The two classes in London were a great success. Both were full and I met some really great folks. When I teach it's a fine balance between process and finished object focus. I always lean toward the process first. If I could --and I've tried-- I'd love to just teach process with no finished object as part of the workshop. Once the object focus sets in, skill building, the understanding of technique, and the like gets put aside. It's really a problem in many ways. But this also has to do with my own personal focus as a teacher. What I want to teach, what I see as important -- I have to put all that aside when some folks just want the thing that they made and may not ever make another again. I see the object focus thing happen with spoon carving or basketry more then pole lathe turning. With turning there is a bit more invested from the start and the process, lathes, tools, sourcing and preparing wood limit the idea that you can just give it a try once in a while at home. 

Barn turned too

Barn turned too

I like to get folks into thinking about how the tools work. I've said this before that pole lathe turning is one of the hardest things I've ever learned to do. I say this after building boats, blacksmithing, house building, steam bending, etc..It's one thing to take a class and make a few bowls under the tutelage of the instructor. But what happens after getting back home. Sometimes weeks have gone by. Then what?  I've had this happen numerous times when students can't seem to get the same results at home on their own. So I focus as much as I can on the process and the understanding of the technique. But in the end it takes practice and lots of it. It's not easy. Some folks in class were beginners and a few had some experience. I describe the classes as a tutorial style so that any skill level can attend. I try to customize the workshop for each student the best I can.

Pole lathe turning is an amazing thing to learn. It's very empowering to overcome the intense obstacles, both physical and mental that this style of turning seems to demand. There are few clear rules with hook tools besides that they need to slice the wood. Above center, below center it doesn't matter. When standing at the lathe we are bound to the foot pedal and that does limit where we can stand while turning. The low speeds and torque allow the tool rest to be placed at farther distances from the turned object than when using an electric lathe. The hooks are all different and don't forget about the shape we are turning too. Put that all together and it becomes clear that it's far from simple. There are 100's of variables to sort out. It's hard to teach and to teach it well. Many techniques just need to be memorized through practice and all I can do is support and encourage and make a simple adjustment of the tool in use as I walk around the room and show folks where the sweet spot is until it clicks.


It was a really great time teaching so many classes back to back -- I learned so much. Tuning my techniques in teaching and learning more about the tools we use, are part of it.  Having to think and step outside myself and consider what the question is and framing the answers in another's point of view is something that can always be improved. 

I hope to see more turning on pole lathes. I think it's really rewarding because it requires the full use of body and mind. The spirit part is a personal thing--I won't assume anything there. 

I also did a cameo for the Greenwood Guild video series on micro-finials.

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More next week.

Up and Coming Workshops- Minneapolis, Port Townsend, London and Sweden and more

jarrod dahl


This year is the year of travel for me.

The first part of this year has been a interesting one. There was lot's of travel. I've been to and from the San Francisco Bay Area visiting my sweetheart. While out there I ran 3 workshops in the Bay Area and one in Portland. I also spent 3 weeks adzing 750 fence parts as well as some giant timber log benches for my friend Greg Reeb. If you follow my Instagram feed you will have seen photos from all this. I am currently writing and editing a blog post about my experiences adzing those parts.

I am writing this as I settle in after teaching at Greenwood Fest in Plymouth, MA, where I taught pole lathe turning and did some demos. If you missed it, Greenwood Fest is a must attend event. Over 150 great folks were there carving, eating, and sharing stories of craft and life, and I got to work with some of the best greenwood workers in the world. What could be better?

For the next two months, besides two back to back workshops at North House, I will be staying home. I will be spending 2 weeks teaching a fellow funded by Pennsylvania's Folk Arts Apprenticeship Program here in my shop.  I am also really excited to make, to set up my new lathe, grill meat, and spend time with my daughters.

There is still room at North House's Spoon Carving Workshop

In August, the teaching tour begins again with two classes at Port Townsend School of Woodworking then in September, Spoon Carving in Minneapolis MN then over to London and Sweden!

I'll be teaching two pole late turning workshops at my friend Barn Carder's Greenwood Guild in London. The first is fully booked, but there is room in the second class. You can check out the details here. I am sure you know who Barn is, but if not, he runs the Guild and a spoon shop, and just released an awesome book called Spon. I have known Barn since the first SpoonFest and it's great to be working with him on this. His site is here.

The Sweden leg of the trip has more of a story to it. A few years ago I studied in the old turning region of Borås. You can read about it here in an old blog post. This year I will be going back to teach pole lathe turning in Gothenburg. I'll also be doing some talks and demos about the work historically turned in the area and my current work inspired by it. It seems there may be a growing interest in pole lathe turning in Sweden, so I'm excited to be part of it. Anders Lindberg, a talented craftsperson, and the Västra Götalandregionen Västarvet was instrumental in getting these workshops going. There will be info on my workshops page on how to sign up as the details get finalized.

I wanted to get the word out on all this here on the blog, but subscribing to my newsletter gets you in on this stuff before any other social media platforms so subscribe here.

Many of these workshops are nearly fully booked so if you are workshop inclined don't hesitate. It'll be a blast! or give it as a gift. I bring and share a massive amount of craft experience to my workshops. 



The Spoon Mule-Just Part of the Story

jarrod dahl

I like stories. I think they are a big part of what craft is. One of the highlights when I’m on the road teaching or attending events like the up and coming Greenwood Fest, is hearing stories. Craft objects are more than just for utilitarian use and this is because of the stories that are bound to them. Sharing stories is how we learn and have for so millennia.  Craft is very personal this way, but add everyone up and it’s a culture. 1000’s of individuals. I like to look at and consider what the collective ideas and thoughts may be. It’s just something I like to do.

In this spirit I will share my part of the story of the spoon mule.

I’m not sure exactly, maybe 6-7 years ago, I was going through a phase of purchasing woodworking books. This happens every few years for me.  I’ll spend some serious coin on out of print and hard to find books. Usually it starts with a book I’ve been considering buying showing up for sale somewhere online. This time was when the famous book, Swedish Carving Techniques by Wille Sundqvist, was out of print and was for sale at $125-$250. I ended up buying Wille’s book and another titled Carving and Whittling Swedish Style by Gert Lunberg. Gert’s book is a pretty good although not as popular or as well known as Wille’s.

Wille’s book is tied to another story some may be aware of which is worth mentioning briefly. It’s a good story and at some point I hope it will be told more completely. That story is linked to the reason most of us are carving spoons today and it revolves around three people and their meeting, the late Bill Coperthwaite, Drew Langsner, and Wille Sundqvist. If you could track your own reasons for spoon carving, where your inspiration comes from, most roads lead to these three individuals and what came out of their meeting thirty plus years ago. I got to hear this story while accompanying Wille to the airport after the first Taljfest. I sat next to him on that train ride and I listened.  I’ll tie this leg of the story in later….

Within Gert’s book was a photo of a production spoon carver. The photo showed this old man working the neck of a spoon with a drawknife. The spoon was being held in a device and was pinched by two pieces of wood along its neck. The photo didn’t show much else. I couldn’t see the whole device and how it worked, but I knew that whatever it was, it was very important. The problem carving spoons with a drawknife and common shave horse is that as the head clamps the spoon it also blocks the drawknife from getting at the full length of the spoon. Yes there are tricks to getting around this, but I find them all a little cumbersome when trying to carve quickly and that was what I was after.


At that time, mainly under the influence of my friend Del Stubbs of Pine Wood Forge. He stressed that some production work should be taken up as it is a great way to take your craft and skill to the next level. Before Del’s current profession as a knife maker he was a world class wood turner and his ideas about production work came from that experience. I had already been exposed to the idea and kind of blown away by Robin Wood turning his bowls in this way using his spring pole lathe.  At that time Barn the Spoon was also setting up shop in London and doing the same thing, cranking out lots of work. I remember we had great conversations at the first Spoonfest about the idea that large volumes of work may be part of the answer to how to make a decent living at spoon carving and possibly growing the market as well. This is nothing new if you are a potter, but within the adolescent green woodworking scene back then, production work was really not heard of. Even today production work in traditional craft is not done by hand in most of the first world, it’s left to the so-called fair trade items we buy from the third world. There are exceptions, of course, but a common method of making a living from craft today is to make and market one’s work as one-off art pieces, made by hand or with electric tools. This is a great subject for endless debate and arguments with no right or wrongs,  so I won’t go further here. I find myself running that gauntlet as most of us do.  

Back then I was selling lots of spoons at my local farmer’s market and at a few retail gallery spaces. I was settling in and getting very comfortable with production work.  I began to understand that production work was very important for skill building like Del had pointed out. I also began to be aware that there were other skills I had overlooked, one of which was my mental attitude toward my work. This sets the tone for the long haul, being comfortable with a life of repetitive work to the end of my days. I think that attitude was paramount for me and I’m sure I have wrote about it in the past. This attitude helped me relax into my profession in ways I never felt before. I knew that whatever the device was in the photo, that it was very important for the type of work I was doing. It wasn’t until a few more years of asking around that I found some answers.

click to enlarge

One of my teachers, a Swede, Ramon Persson had the answers. I can’t remember exactly, maybe I asked him in an email or in class if he knew about this device, but he sent me some plans for the ‘sked marr’. The drawing didn’t have much detail, but I finally understood what this device was. It was a long awaited answer. I set out to design and build one of them and began to explore how it worked.

Around this time I was attending the Skedfest in Sweden that I learned from talking with Jogge and Ramon that the word mare in Sked Marr (spoon mare) was not a nice word in Swedish. The word is derogatory in some way. Perhaps it’s like the word nag. I don’t remember for sure, but somewhere in that conversation the name spoon mule was thrown out as a good name. That’s what I began to call it.

Eventually I put up a Youtube video of the spoon mule I made along with a few other short videos of it in use. I felt a device like this needed to be shared with the larger spoon carving community and I hoped that my Youtube videos were all that was needed for people to build their own. 

Today we see its use here and there by folks interested in production work, those that carve who don’t have the strength and prefer to use a drawknife, or those that fetishize things like shave horses and work benches. You can see these spoon mules in use by others on Youtube as well.  Some of these seem to me pretty flimsy and they don’t look like they would take the long haul of hard production work. I think they need to be designed and built better. Folks sent me emails asking for plans and tips. I toyed with the idea of selling plans, but I knew my drafting days were over.

This brings me to Dawson. He is rolling on Instagram as Michigan Sloyd. He’s cranking out some sweet spoons and using the mule to do it. Dawson messaged me a few months ago asking if it was ok with me if he sold plans for the spoon mules he's designed.  I don’t hold any idea of ownership on the mule. I am just a part of the continuum as is everyone in this story. I really respected his attitude on this. I gave him my full support. He had taken the basic design of the mule I made from my videos and put it on the body of Tim Manney’s shave horse (which has another long story of development, ask Tim).

Dawson’s idea was brilliant. His mules are top notch. Why? because they are made from select lumber and precise joinery, and they have proven themselves through his production spoon carving work, day in and day out.

I recently got to meet Dawson and to try out one of his mules at Wood Week at North House Folk School this past March. Dawson is a great guy and talented woodworker. I love it that he’s into the production mindset too. I have a lot of respect for that and it’s refreshing to see more folks taking green woodworking and spoon carving on as a profession. Dawson is selling spoon mules and I think plans are in the works too. Check out his website here and get on Instagram (if you are not already) and give him a follow. You can ask him about having him build you a mule or sell you some plans.

As far as Dawson’s story that’s for him to tell, and I hope he does.

I think most of us agree that it feels good to meet folks in person that we know only through the social media networks. I always think that at some point one needs to put skin in the game and go meet face to face. This has great meaning in the way of intent not just in reference to participating within a community on a very real level but also reflects a level of understanding or maybe a certain perspective in regards to our craft as it ties to sharing stories. At some point we need to look at each other in the eyes when we talk about skills, design, and technique. The sharing of our stories face to face connects us to others. It helps to keep the continuum intact. In this day and age it’s really easy to go to the internet to learn and research (we all do it) and leave it at that. I would encourage everyone at some point to go meet people face to face, carve together, take a class, get to an event, organize a carve-in, whatever it is you are interested in, take it to the next level, make it a point to meet your people.

The spoon mule made it into the open for everyone’s benefit because at some point I left my house. I left home to go hear the stories of others and I returned home to share them in my own way.

If we can follow the example of those three individuals who lead the way we may come to realizes that experiences are not just for ourselves nor are the stories we tell.  We need go out of our way to look at each other in the eyes like they did. There is power in it.

The Trouble with the Green Woodworking Community or I Don’t Want to be Poor

jarrod dahl

I think this subject is a tough one to write about, but I feel it’s gotta be said. It’s been brewing in my mind for a few years. The title sums it up for me and I could probably say what I want in just one paragraph. But what’s the fun in that when I can share stories at the same time?

I love my life and my work. I always have. I also like the people it connects me to. Craft is always about stories and those stories are always tied to people. Stories bind us to each other and making stuff is what we gather around to tell them.  Meeting people is icing on the cake for me. 

Because this year has been a big one, with a lot of great and exciting things happening as well as emotionally intense stuff too, it’s easy for me to be reflect and be introspective. Over the years as a professional woodworker I have adopted and discarded a lot of different perspectives on my work. This is an attempt to share some of my experiences for those who day dream about going full time and also for those who have strong opinions on what the green woodworking scene is or ought to be. I think that there are inherent problems with the title of our genre of woodworking and I have a blog post called ‘Death to Green Woodworking” on file that I didn’t have the balls to post. Maybe someday….or maybe this post will be in a series of critical and meant to provoke thinking on deeper levels relating to making within the 'green' woodworking scene.

I want to make it clear that this IS NOT meant to disrespect anyone. I think we should all be free to make stuff for our own reasons in whichever way works for us. I think this is totally awesome and good for many reasons both for our individual and also our collective well being.  I also want to point out that this is about ideas and we are not our ideas. (This is a concept I’m afraid many won’t understand.) It’s also important to keep in mind that our ideas of right and wrong are just opinions, subjective thoughts and perspectives of them. They can exist both on the individual level and the collective or societal level but still they are not absolute.

I’ve been a professional woodworker all my life. Starting with log building, carpentry and timber joinery, with short forays (a few years here and there) into the wooden boat world and ornamental blacksmithing and tool making, then back into house building and carpentry. It wasn’t until about 8 or 9 years ago that I went full time into making spoons and other ‘crafts’ as a sole means for making my living. Before then it was a means of exploration and subsidiary income. I would like to mention that I carved my first spoons in 1993 made as Christmas gifts. I’ve been self-employed nearly all my life and have been relying solely on making and selling my work in some form or another since 1995 or so. This has been completely unsupported by a trust fund, full-time or even consistent part-time working spouse, or the like.  April (now my ex-wife) and I built our house(s), home schooled our kids, which we continue to do, all the while living primarily on the income from my work and supplemented by her basket making. It is/was the road less traveled that’s for sure.

There have been many ups and downs. We went bankrupt in 2001, and I can’t tell you how many times I’ve had to pawn my hunting rifle for a little extra cash. April and I have owned collectively over 25 cars, trucks and minivans in that time. We had many times found our check book with as little as $25 dollars in it with no idea how to make the next sale to replenish it and bills to pay. Not too long ago I’ve had to shovel side walks, mow grass, and sold personal possessions to make ends meet. These are just some of the facts that present themselves in a life devoted to craft, living close to the land, and having some strong ideas about what our life was to be and what we were willing to do for those ideas. We made a lot of mistakes. Which looking back are just simply great learning experiences. We both are pretty stubborn.

In the end, many of the strong ideas were put to the wayside as our reality weighed in on them. It seems life is about compromise and what you can live with and still feel good about yourself. I think being a parent was very much part of these compromises. But let’s put some of the personal life part aside for when we can talk face to face over an ale or cup of coffee or some such and if we meet I’d be up for it. So let’s bring this back to ideas about the business of craft and making.

I’ve always had to sell my work, whether it was my design, building expertise, labor, or the craft stuff I make and sell today. Along with this has been countless conversations about money, skill, value of labor, tools appropriate for the job being done, pricing, marketing, social media, apprentices, employees, subcontractors, insurance, taxes, web design, domain stuff and countless other details to business. I’ve made and sold literally 100’s of wooden snow shoes and toboggans, multiple 1000’s of wooden spoons, 1000’s of wooden bowls, then there’s the birch bark boxes, baskets, bentwood boxes, handles and rims for April’s baskets and on that note hand pounded close to 100 ash logs for splints. I’ve built 10 birch bark canoes, and also restored a few wooden boats too. I’ve designed and built 4-5 timber frame structures, and was part of building 4-5 more and countless building projects from wooden shingle roofs to bathroom remodels. I’ve also been teaching handcrafts since 2000 and have taught many 1000’s of people. I love it. 

Please don’t take my experience as me trying to make myself look better than anyone else. That’s not my intent. I’m just trying to say that I do have some strong ideas about craft and business and it’s from my experience that I draw them. I’ve been around the block a few times and I guess I’m to the point in life that I’m not afraid to say it. It sure doesn’t mean my ideas are right. They are just my opinions—take them for that. But I will attempt to throw down some logic and argue my point of view a little. 

The one most contentious subject within the ‘green woodworking’ community is the hand tool vs. electric tool debate. I don’t think it’s really a healthy debate at all. It’s just two sides puking their own ideas on the opposing side with no real ideas of coming to a middle ground. This can be seen paralleled within our political systems today and I wont go there here. Most of these countless conversations and remarks are from folks who make things as a hobby. It really gets to me that they can draw certain conclusions and hardline opinions on professional-level choices, from the sidelines. This is nothing new, I know. I think that these naive opinions are really disrespectful to anyone trying to make a living making things. Ideas of what is right or wrong without considering actual design first is actually slowing the maturity of the craft by creating a sort of unspoken rule that electric tools are bad or in some way inferior. If we were to argue over something let’s argue over what good design is rather than how something is made. 

I’ve been slowly building my thoughts and ideas in regards to what it’s like being a professional and willing to share them with the many who are interested, but in the face of said opinionated hobbyist it’s been hard. It seems the zealots or hardliners somehow view talk and discussion about the choices and decisions having to be made as a professional, as being elitist or somehow exclusive. This couldn’t be farther from the truth. My guess is that none of them make a living selling their work. 

Using electric tools vs hand tools and getting paid to work is something I’ve been dealing with all my professional life. This brings me to a point that I’ve been on the fence about talking about—I think the green wood community is in its adolescent stage. Mainly because it's almost and completely dominated by hobbyists. I don't think this is a bad thing, but it’s true. I skirted around this idea with my last fairly serious post called Context is Important. I’ve been wanting to discuss these ideas for some time but have been afraid to get into it with folks that can be really sensitive to the idea and they actually act like teenagers about it too!  Believe me I’ve had plenty of awkward conversations with folks that are all puffed up thinking I’m attacking them as a hobbyist when I talk about the difference in choices that the hobbyist and the professionals face. These choices could be about design, material, tools, pricing, etc…which are all linked to the market and our success if our goal is to make a living doing this type of work. We NEED to sell every spoon, bowl, chair, basket, box, chest, etc….One of the reasons I left the big Spoon Carving group on Facebook was that vocal members of the group and some admins had a hard time realizing that there could be different reasons for why we make things and that the professional perspective was also part of the whole picture. Even today a few in that group think that my desire to talk about professional level stuff was and is elitist or the like. They argue that the group is open now that a few of us professionals left or don’t post any of our thoughts there. The group has now limited the conversations from the professional perspective in a very passive aggressive way. I would ask how is that an open group where all have a place to discuss ideas? How does that help the young folks who aspire to make a go of it as a professional? That’s still a little sore spot for me. 

I was talking to a friend the other day about the fact that I’m developing the use of an electric lathe for part of my turning. This is due to serious pinched nerves in my standing leg. To be clear I’m the only person in the US making small runs of handled wooden drinking vessels and other things on the pole lathe in a sort of production/professional level. I make the handled vessels with a pole lathe because it’s the only type of lathe that does the job. From Feburary 2016 to present I’ve made over 200 of them and sold them to folks all over the world. This may not seem like a lot, it’s not really compared to the turners I researched in Boras Sweden a few years ago. Now those guys could turn. But what I’m doing is still more than anyone else in the country, actually in the world right now. 

Oh yeah, my friend said ‘just don’t turn into a factory.’ and ‘don’t forget why we got into this in the first place’

Hmmm ok, so?…If I’m to have any sort of quality of life I need to make between $500-1000 a week. So if I’m making things within the ‘unspoken greenwood ethos’ am I bound to be poor? If I consider ideas of increasing production with a band saw or an electric lathe is that somehow bad? or wrong? and to be honest I may have even bought into these thoughts a few years ago! I’ll also add I used to use a band saw to rough out blanks about 5 years ago anyway. Who the f**k cares if the design is good?

I could slowly sell my stuff for hundreds of dollars which will turn what I make into something too valuable to use. It’ll just sit on the shelf. This I feel distorts the perception that it’s something really special and rare, even though it is in some ways. I don’t want to go there with what I make. I think it turns my work into more of a luxury item than they already are. I have serious problems with that for my own work. If others want to go that route more power to them. I think the stuff I make should be affordable enough that folks buy and use it. I can tell you right now any one in my shoes is faced with the same choices if they are going to eat and pay their bills, etc. Pricing is a tricky thing and there is a really big market out there. I don’t think there are any rules or should be on pricing or methods of making. It’s whatever you can live with as a maker. If you can sell your work at whatever price you can that’s a good thing.

I’ll add advise to anyone reading this and trying to sell their work—DO NOT listen to anyone who doesn’t sell their stuff, and a lot of it, about pricing. Its confusing enough as it is. You’ll figure it out in time and it will always be changing anyway as you move from one demographic to another.

What about the idea that the more folks using wooden bowls and cups the better? What about the folks that love their factory made wooden spoons (met a lot of these folks when I was selling at shows and farmer’s markets) and they care not about how it was made? They have great stories about their grandmothers in the kitchen, stories about love and nourishment. Are we somehow creating an elitist situation when we frown upon the factory spoon? and in turn frown on those folks’ feelings of love for said factory spoons that they cherish?  

These things are made from wood. We use trees, the forest. This is the heart of what we do and I think it deserves some thought that maybe this is the ONLY thing that matters. I’ll write on this subject next.

Back to hobbyists and zealots…. that’s a problem because the fact that some of us are, or more importantly, young folk are aspiring to make a living carving spoons, turning wood, making chairs, etc… having opinions like “don’t become a factory” don't help at all. Arguably they actually hurt and send ripples through the growing green wood community that you just can’t make a living doing it or worse… shouldn’t if you have to use a band saw, electric lathe, circular saw, chain saw, etc.. 


I look to the pottery world. My friend and very talented potter served 4 years at St. John’s in Minnesota and 4 in Japan in Karatsu. He served hardcore apprenticeships.  We’ve had lots of good talks on the subject of craft and the merits of apprenticeships. From what I understand that within the pottery world nobody is having a hissy fit about kick wheels and throwing off the hump vs electric wheels and weighing clay per piece. If they are, it’s surely not as contentious as the hand tool vs electric tool debates and conversations within the woodworking world. I would argue that after the renaissance the potters had 50 years ago or more, their world is more grown up. Pottery is very accepted and potters are in what seems like every town making a wide range of good, bad and the even more rare excellent bowls, cups, etc…for prices that vary extremely. Hell they even have programs in the universities and feet into the art world.  Plenty of room to move without judgement from a bunch of zealot hobbyists and plenty of opportunity to take it up as work or hobby without having to take it on the chin which ever way they choose to fire their pots or what type of wheel they sit at. Plus they have collectively explored what good design is which I feel is a really good thing for their craft.

Looking to Japan…there is still a lot of wood kicking around, tea cups, wooden bowls, baskets etc… In my search for electric lathe styles I've noticed that there is still a lot of production work and of the highest quality for sake cups, and rice bowls. The craftsfolk are turning with amazing skill on electric lathes. I don’t think they'd consider for a second using a pole lathe for some nostalgic or ideological reason. There is a spoon carver I’m following on Instagram who carves these gorgeous spatulas. He uses a bandsaw to rough out and hand tools to finish them. The things he makes show great design, function and beauty. His designs are not at all compromised by the tools used to make them. This is mature making. Great stuff!  

Let’s look at the blacksmithing world. They too had their renaissance about 40 years ago with the formation of ABANA by 27 blacksmiths. They have local hammer in’s, regional and international conferences and many, many resources for the aspiring smiths, both hobbyists and professionals alike. I’m pretty sure there are no contentious arguments about the need to hand file or hot rasp every axe vs the use of the grinder or the need to use a few strikers with sledge hammers in hand over the use of a power hammer to legitimatize their work.  

If the wood culture renaissance or new wood culture is going to reach it’s full potential we need to grow up…and with that we need more professionals to do it. We need to realize that there is plenty of room for everyone with whatever method they want to use within the wood working scene and we need to say it loud and clear. 

For the rise of the new wood culture and the craftsperson class.