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Interior Design, an Ethnic Approach
04/28/2008, 04:41 | Wood ShuttersSo what do we mean by ethnic?
Ethnic basically means native or indigenous people from a particular area so in relation to Interior Design it means to bring the natural elements that are representative of whatever culture, land or peoples you choose to portray into your own home to define your space.
Naturally the world is your oyster as they say so there are countless cultures to choose from, all you have to do is bring a particular ensemble of colours, patterns, materials and artifacts together to create a "look" that is recognisable and distinctive. What about a Mediterranean flavour, Native American Indian symbolism, or perhaps Tibetan Buddhism? Popular themes include African, Mexican, and Asian but you can go with whatever inspires or appeals to you. Here are a few ideas to get you started.
African Theme
Think of Africa and all that it conjures up in your mind, the landscape, the sounds, the smells, the colours, the mood, and then if you try to pick out the key points, what would they be? Colour schemes might include earthy colours like green, beige, browns and tans, set off with orange and splashes of red. Think about floor and wall coverings, natural substances would probably work best. Finishing touches can include wall hangings, African artifacts, drums, rugs, African fabrics and prints, animals made of stone, clay or wood, ceremonial masks hung on the wall, brightly coloured African bowls and pots, and so on.
Mexican Theme
What does Mexico mean to you? Perhaps desert colours with sandy tones, beige and khaki, along with reddish, rustic colours and hues. Blankets and woven fabrics in bright colours, perhaps terra cotta pots and bowls, pine wood is popular for furniture. Artifacts can include symbols of the South West or from the Spanish influence, or from the Aztecs, Mayans and other ancient civilisations, all of which can add an interesting and authentic Mexican look and feel.
Asian Theme
There are many variations within an Asian theme but two quite popular ones are Japanese and Chinese. Japanese themes tend to lean towards a more minimalist look and have a tranquil and peaceful feel. Consider a futon and using screens to get that Japanese ambiance. Colours tend to be natural and objects from nature often feature as focal points, for example, smooth stones and pebbles, water fountains and bonsai trees. Chinese themes on the other hand might involve brighter and bolder colours, lanterns, dragons and other mythological creatures, artwork depicting the traditional people colours and landscapes and Chinese handwriting.
How to get started
Once you have established which particular ethnic culture appeals to you, browse through books and magazines and the Internet to get ideas that will spark off your own imaginative flair. Identify what elements go together to make up that particular look or feel that you want to create.
Consider the walls, ceilings and floors carefully as this will provide a base for you to work from and then you can add in the details to finish it off. For example, is the texture and appearance of the walls and ceilings rough or smooth? What floor covering is appropriate, should it be wood, stone, tiles or carpets? Will rugs and mats make a difference and if so what are they made of? Are the windows better suited to drapes, blinds or shutters? What style of furniture works? What about plants, motifs, pictures and wall hangings?
The theme you adopt and the way that you choose to portray specific elements of that theme is entirely up to you and your imagination, the end result will be your own unique interpretation of a culture or a place and you will have added a touch of the exotic to your home.
David McEvoy is an expert in interior design. If you are looking for a leather sofa to give the finishing touches to a newly decorated room then please come and visit our site http://www.leathersofa.uk.com/
A Knife That Never Needs Sharpening? We’ll See!
00/00/0000, 00:00 | Woodworking blog Woodworking Magazine
When I first opened the package, I assumed that the tool inside was a prototype that
had a plastic blade. That happens occasionally here at the magazine when a manufacturer
wants our opinion on a tool’s ergonomics before they crank up production.
But no, the white chunk of stuff at the end of the Gladstone
Tools marking knife actually was the working blade. And this was no prototype.
The spear point of this 8”-long knife is ceramic. Ceramax 80, to be precise, a material
you can find in a variety of industrial and home applications, including some kitchen
knives.
According to the manufacturer, the knife is second in hardness only to diamond and
“will never need sharpening.”
That is quite a claim, and so I immediately put the knife to work today to see how
it performed. The ceramic blade is a spear-point shape that is about 1/8” thick. It
has the same general shape as the now-discontinued Veritas marking knife we reviewed
a few years ago.
The knife’s edges don’t feel as keen as a freshly sharpened steel knife, but the tool
does lay down a fine line with little effort. It also offers the same feedback to
the user as a steel knife as it makes its mark. I thought the Gladstone might feel
a bit gummy (like a stainless tool), but perhaps I was just getting over the shock
that it wasn’t a chunk of white plastic.
The handle that was shipped to me is not the same shape as shown on the Gladstone
Tools web site. This knife has two pronounced flats that prevent the tool from rolling
on the bench (always nice) and has a thin neck for your middle finger while marking
joints.
The padouk handle (it’s also available in zebrawood) is well finished. It’s not as
nicely turned and finished as the Blue Spruce knives, but it is nicer than most manufactured
knives I’ve used. The price is $29.95 for the padouk and $31.95 for the zebrawood
– those are fair prices for a nice piece of work like this.
Will the edge hold up? I sure hope so. Gladstone Tools is run by a man that many of
us simply know as “Manny,” who runs Manny’s
Woodworkers Place in Lexington, Ky. When I was first taking woodworking classes,
I and my fellow students would hang out at Manny’s place and drool over the amazing
selection of books (still the best, even today) and hand tools. Manny was always patient
with us as we would fondle the Japanese chisels but purchase a small set of brad points.
Though Manny carried a few machines and power tools, the majority of his inventory
has always been hand tools, including many hard-to-find things. When I first started
woodworking seriously, it was Manny’s place that made a huge impression on me. I thought
all furniture making used both hand and power tools. (A rude awakening was to follow.)
If you purchase this knife, add a comment below after you use it for a while and let
me know how it held up. I’ll use it exclusively for a while and report back as well.
If Manny has come up with a way to ensure that I have one less tool to sharpen, that’s
a pretty amazing accomplishment.
— Christopher Schwarz
Wesonbirt 2008 - still the perfect woodworking show.
00/00/0000, 00:00 | Sauer & Steiner
I had the good fortune to attend the Festival of the Tree again this August, and like last year - was not disappointed. The format was the same - camping on the grounds of the Westonbirt Arbouretum, large scale sculptures in a picturesque setting and very fine food prepared by “cheffie” (pictured below drying some tea-towels).
One of the most enjoyable things about traveling is the incredible people - and this year's adventure was no exception. There were many familiar faces to catch up with and just as many new ones. We were set up in the Classic Hand Tools marquee again - situated off to the side of the display area. But judging from the well worn pathways inside - we were certainly not out of sight.
There was a new demonstrator at the show this year - and for all intents and purposes - he stole the show. Steve Woodley specializes in supplying hand hewn timbers for restoration work and provided four days of inspirational demonstration.
He was supplied with 3 oak logs and over the course of the 4 days, managed to square up two of them. I found myself stopping to watch every time I walked by - with several additional deliberate trips to watch his progress. I was struck with the simplicity of the process - and the incredible skill and precision required to execute it properly. Steve taught me two very important lessons about axes. First - he taught me how to sharpen them - and yes - they should look like the backs of your plane irons. Secondly - a mediocre axe is not worth the struggle. He had at least 8 axes with him - all made by Gransfors. These are available in the UK from Classic Handtools or in North America through Lee Valley. Not only is he highly skilled - he is a fantastic guy. His brother lives less than an hour from my house and I am hoping to figure out a way to get him over to this side of the pond. I am working on it Steve.
It was great to see Jolyon Reynolds again this year - he was set up around the corner from Steve. Between the two of them - they had an amazing demonstration.
Mark Hancock and his charming wife Karen were at the show again and were a crucial part of the good natured fun and frolic in the classic handtools compound. There were only a few “safe” seconds for me to capture the above photo before Mark shifted his gouge and showered me with shavings. Typical : )
I was thrilled to see my good friend Michel Auriou again - it had been far too long since our last visit. I always enjoy Michel's insight into toolmaking, steel and business. The best piece of news was that Auriou is back in business. Hopefully some more left handed rasps will be in my future...
David Charlesworth and Pat stopped in on Saturday - it was great to see them again. They were set up beside me which gave us a chance to catch up a bit and talk shop. Here we are discussing one of Bill Carters planes (nice segue, eh?)
That same day - Bill and Sarah Carter arrived. It is always a thrill to see them. Bill had over a dozen planes with him - from wee little 1/2" boxwood smoothers, to an incredible 28-1/2" jointer. Bill was kept very busy with a steady stream of admirers and Sarah kept the three of us content with coffee and homemade cake.
If I had the money - this pair of mitre planes would have come home with me.
Another fine planemaker stopped in for a visit - Christopher Martyn. I met Christopher at last years show and was very impressed with his instrument planes. Some of his planes were featured in Fine Woodworkings 2007/2008 Tools & Shops issue.
My friend Tony stopped in to try a few planes - here he is testing out a No.4 smoother.
I also met Mike Riley and had a great visit with Phil Edwards. The Romanesque fellow is Alex Primmer - he works for Classic Handtools.
It is amazing how much changes in a year. Last year, Phil was contemplating making a few planes - and this year he had his own line of tools and was conducting a brisk business. A few days before I left for England, Phil sent me an email asking if there was anything he could bring along to help reduce my luggage. It was an extremely thoughtful offer and as it turned out - I did use many of his things over the course of the event. My deepest thanks Phil for taking good care of me during the show. I hope I can return the favour in Berea.
Mark Bennett was a new demonstrator at the show and I have to say I was quite impressed. He is a very kind, soft spoken fellow and we found ourselves discussing the finer points of plane design, our respective wood stashes (I suspect his will knock my socks off when I see it) and design in general. I thoroughly enjoyed his company. He was also a wealth of knowledge and passed on several great insights. One of the more interesting one was tree warts. I have to admit I was a little skeptical until he showed me one. He handed me a holly wart. He said they are very tight burls and cuts them into disks and uses them for inlay work. So I now have a Holly wart to add to my growing pile of timber.
Fun & games
The show was not just work - there was tremendous play as well. I sometimes feel guilty about it - and there were two instances where I found myself beautifully derailed.
The other derailment was Mark and I cleaning up a large piece of boxwood (with an Auriou rasp of course).
Philly and Mike Riley planting some vile shavings.
Chris Pye being majestic even when he is trying not to be. Chris was set up about 30 feet away but I was able to watch him transform a rather non-descript bit of wood into a very fanciful beast. I only wish I was able to pay closer attention - I know he has a lot to teach and I have a lot to learn.
I also had great visits with John Lloyd and Rob Cosman but did not manage to find them when I was collecting photos.
And last but certainly not least... a rather tuckered member of the International football team who was sadly defeated at the third annual “Billy Hancock Birthday showdown”. The Brits won 3/0. Mark shared a very funny comment on the last day. He was telling a few of us how surreal it was to be the keeper for the British team and seeing all these faces he recognizes from magazine head shots rushing at him. The quote went something like this... “and there was Rob Cosman - with the ball... rushing towards me. Bloody hell!”
I would also like to express my thanks to Mike Hancock, his lovely wife Mary, and their kids Alex and Billy. The Classic Handtool marquee is not the focus of Westonbirt - but it has become a very important part of it - and clearly inspires people to work with wood. Mike has done an outstanding job, and has proven that a vision of something different and a little creativity can make something very special happen. Congratulations Mike.