Category: Wood

In today’s all consuming social media age, it feels that people would not pay attention to work that doesn’t look dramatic or eye catching. But often the features that make work stand out in appearance comes at the expense of compromising its function.

Simple and thoughtfully designed wood butter case by Maeda Mitsuru

Maeda Mitsuru’s butter case fits most refrigerator door compartments and carries two sticks of “Elgin-style” butter perfectly. The lid is domed so that it does not warp even in the dry climate of a fridge.

So every time I receive work from Japanese woodworker Maeda Mitsuru, I am reminded about his extraordinary ability to stick to making simple and useful wood items.

It is also clear that Maeda-san spends a significant amount of time considering what might improve the user’s experience.

Coffee measuring scoop by Maeda Mitsuru has a short handle that fits inside the palm for easy scooping

Tray made from Japanese walnut by Maeda Mitsuru. The carving on the surface is not just beautiful, but also prevents the items from slipping during transportation.

Japanese oak kitchen stool by Maeda Mitsuru designed to take up minimal space in the kitchen while providing a little resting space for the busy cook

This fall will mark the 14th year since Maeda-san established his studio called Ki-to-te (which means “wood and hand”) in Tokyo, and I feel that his focus is only getting stronger. If you have a day to spare in Tokyo, I encourage you to visit his gallery, which is open most weekends, to see more of his simple and but exquisitely elegant furniture and to meet him, his wife Yumi, and their adorable Shiba dog Moku.

Ki-to-te gallery in Kunitachi, Tokyo and Maeda-san’s Shiba dog Moku

Woodwork by Jarrod Dahl: “The New Wood Culture” of Connectedness

December 8, 2018Wood Jarrod Dahl

Woodwork by Jarrod Dahl in our shop ->

Jarrod Dahl is dedicated to creating woodware for daily use and to share its beauty as widely as possible. The woodworker, writer, and teacher from Ashland, Wisconsin says that at the heart of his philosophy is the idea that “good design is tied to utilitarian function.”

Soup noodle spoon designed and made by Jarrod Dahl. His work has marks and textures left on the surface from his hook and knife.

Jarrod’s woodenware and utensils are beautifully designed and honest to use. It is clear from his work that he has admired and researched many forms of woodenware from all over the world. As Yanagi Muneyoshi, the Japanese founder of the Mingei movement also pointed out, “we do not admire work because of the past but because of its enduring present,” Jarrod thinks that good design is timeless.

Jarrod’s noodle spoons are perfect for soup noodles and chunky stews. It was inspired by older style Japanese soup spoon and also remind of old Welsh cawl spoons.

Unlike the contemporary Japanese woodenware that I’m familiar with, which is usually sanded smooth and is pristine, Jarrod’s work has marks and textures left on the surface of the wood from his hook and knife. I found these aspects to be very attractive because I felt that they provided a sense of connectedness to the natural world around us and to the hand of the maker, which is becoming more and more difficult to feel in our increasingly technologically driven lives.

Woodworker Jarrod Dahl turning a wooden mug on a pole lathe
Photo courtesy of Jarrod Dahl

I discovered Jarrod through a YouTube video of him turning a bowl on a pole lathe. A pole lathe is a primitive, foot-powered wood turning machine that uses the spring of a wooden pole to pull a cord that spins the wood being turned. Curious to find out more, I searched his name on the Internet, and found that he also teaches woodworking and spoon carving at Gifu Forest Academy in Japan. I was impressed about his earnestness in learning about woodworking in Japan, which I later found also applied to many other cultures.

Besides creating work, Jarrod spends a significant amount of time teaching woodworking. In 2019, Jarrod will return to Japan to teach, and he is currently fundraising for his trip. In the US, he regularly teaches at the North House Folk School and Port Townsend School of Woodworking. He is especially well known for his popular spoon carving workshops in which students can learn to make a spoon from a greenwood log by using only an axe, a saw, a hook knife, and a straight knife.

A few simple tools used for carving spoons
Photo courtesy of Jarrod Dahl

When I asked the reason for the popularity of the spoon carving workshops, Jarrod observed that it was because “people in our modern world don’t get to use their hands as much as they would like.” Spoon carving can be done even in a small apartment with a few tools, and he said that it “can provide a very rounded experience of creation within the bound of creating something utilitarian.” After teaching abroad many times, Jarrod thinks that people’s desire to make things is universal, and that spoon carving is uniquely rewarding and healing.

Jarrod Dahl carving a spoon at his studio in Ashland, Wisconsin.
Photo courtesy of Jarrod Dahl

In terms of selling woodenware in the US, Jarrod finds it to be quite challenging. As a Japanese growing up regularly using wooden bowls and chopsticks, I was also surprised at how little wood vessels or utensils are used on dining tables in the US, so I asked Jarrod why he thinks this is the case. His view is that because the US was born in the Industrial Revolution era, American people viewed woodenware as from the past that only poor people used. He added that people also came to America to escape that “idea of poverty from their old countries.”

An important part of “The New Wood Culture” is the idea of reconnecting to many aspects of our lives and circumstances through the use of wood

But Jarrod also thinks that nowadays this traditional image of woodenware is slowly changing. He thinks that people are starting to remember the beautiful experience of eating with wood, and the American woodenware world has great potential to become more appreciated. Jarrod calls this “The New Wood Culture,” and he is playing an active role in promoting this wood culture renaissance.

This takes me back to the connectedness that I feel from Jarrod’s work and its significance. I think an important part of “The New Wood Culture” is the idea of reconnecting to many aspects of our lives and circumstances through wood: to our past, future, people, hands, and our natural surroundings. Because when we feel connected, it makes us feel a little more whole, and it’s a wondrous feeling.

Cooperage by Marshall Scheetz: The Keeper of an Ancient Skill

December 14, 2017Wood Marshall Scheetz

Coopered vessels by Marshall Scheetz in our shop ->

Until I saw the solid and tightly coopered sea service bucket by Marshall Scheetz of Jamestown Cooperage, I never gave much thought to how, even just 100 years ago, coopered wooden containers were essential for people in their daily lives.

A sea service bucket by Marshall Scheetz. It is so called because it doesn’t tip over easily with the wide base. This bucket has been used outdoors for carrying water and other garden chores for over a year and is still completely watertight.

“It is so interesting to look at 18th century illustrated encyclopedias. Almost every image in every chapter depicts people from all walks of life using barrels, tubs and buckets for their work”, Marshall points out. He is one of only half a dozen or so remaining master coopers in the U.S. with the ability to create and repair all kinds of cooperage using traditional tools. The types of work that Marshall makes include the most difficult watertight casks for carrying valuable liquid like wine to everyday vessels like tubs, buckets and tankards that have now mostly been replaced by plastic counterparts.

Marshall Scheetz at a coopering demonstration in Saratoga in 2016.
Photo courtesy of Marshall Scheetz

Marshall learned his coopering skills during a six-year apprenticeship under master cooper James Pettengell at the Colonial Williamsburg Foundation. Since 1971, only four people completed the apprenticeship under master coopers George and James Pettengell, who were brothers that moved from London to set up the cooper shop at Colonial Willamsburg.

Many apprenticeships failed because of the long-term commitment that is required. Also, people often entered the training program believing (as I did) that other woodworking skills like carpentry would easily translate into coopering skills that, in fact, does not. Marshall explains that coopering “requires equal parts brute strength and graceful manipulation of materials”, so “the physical demands of the trade can use you up.”

Master coopers James (on the far right) and George (in the far back) Pettengell at a traditional initiation ceremony for a cooper who completed the apprenticeship. Since 1971, only four journeymen including Marshall Scheetz completed the cooperage apprenticeship in Colonial Williamsburg. George retired in 2000 and James retired in 2016. Photo courtesy of Marshall Scheetz

With a surge of renewed appreciation and demand for liqueurs like whiskeys, wines and beers aged in wood barrels, there are currently many coopers working in the U.S. I remember reading a few years ago about a barrel shortage in the booming bourbon industry, so the cooper’s trade, in the form of barrels, is thriving. These industrial coopers assemble staves, drives hoops, and repair casks just as traditional coopers do, but Marshall is unique because while he can make and repair casks, he also creates smaller items like buckets, tankards and tubs that require an additional set of skills and tools.

Piggins at the cooperage studio of Marshall Scheetz in Williamsburg, Virginia.
Photo courtesy of Marshall Scheetz

While industrial coopers spend the majority of their time operating machinery, Marshall continues an ancient skill of cooperage using traditional tools taught by his master. As a scholar, teacher, and expert on cooperage history, it is important for Marshall to carry on what was taught to him.

Left: A hogshead sized barrel (63 gallons) just before trussing (bending of the staves to make the barrel shape).
Right: Marshall heating the barrel staves to soften the wood so they will bend when the truss hoops are hammered down onto the splayed end of the cask. The fire is contained inside a small metal basket called a cresset.

To make a cask, Marshall uses about two dozen tools. Most of the hand-tools that he uses are antiques from the 19^th to early 20^th centuries. They are oiled on a daily to weekly basis and grounded or sharpened only as needed on a traditional whet stone wheel with water.

Some of the cooper’s tools used by Marshall Scheetz
Photo courtesy of Marshall Scheetz

Marshall occasionally prepares raw materials from trees, but mostly, he uses quarter-sawn timber from mills so that he can focus his time on honing his coopering skills. Manually shaping the wood for staves and other parts of the coopered vessel require cognitive skills that are more like sculpting than woodworking. To create a watertight vessel, he measures subtle details by touching the stave and scanning for corrections, and makes them liquid tight simply by the fit of the pieces.

＞＞Click to Watch Marshall demonstrating coopering at George Washington’s Mount Vernon＜＜

The resulting buckets, tubs and everyday containers are high-quality functional items and they carry the intrinsic beauty of the hand and its work.

A sea service bucket that has been tightened, and the bottom has been leveled off with the sun place tool. The next step is to cut the bottom groove with the croze. The two hoops on the bucket are heavy “ring hoops” used to build the container, but replaced after all the wood working is finished. Photo courtesy of Marshall Scheetz

Marshall jokes that “hand-making products by yourself in the modern capitalistic society can be economic suicide”. But Marshall thinks of himself as a keeper of the cultural heritage of an ancient skill, which means that he is constantly researching about cooperage history. Some of the topics that he is currently studying include looking at the production points of Hagley Gunpowder Mills, the whaling industry of New England, and cooperage made by the Shakers in the late 18^th and 19^th centuries.

coopered bucket — Sea service buckets by Marshall Scheetz

Yanagi Muneyoshi, the Japanese founder of the Mingei movement said, “handwork, because it has nature behind it, has a way of fostering good life.” Marshall clearly has a fulfilling job with a purpose, and that certainly entails a “good life.”

Wood vessels by Nakaya Yoshitaka: The Legacy of a Tree

October 19, 2017Wood Nakaya Yoshitaka

Woodwork by Nakaya Yoshitaka in our shop ->

Woodworker Nakaya Yoshitaka resides in the sprawling foothills of Mt. Fuji in Shizuoka prefecture. Much of the wood he uses is obtained locally, often from families that needed to fell trees on their properties for safety or other reasons.

These trees often have significant meaning for the homeowners because their ancestors may have planted them or they may have played on them when they were children. Nakaya-san feels that by making vessels out of this wood, he is ensuring that the legacy of these trees live on.

Chestnut plate by woodworker Nakaya Yoshitaka

Nakaya-san’s wood vessels are shaped before the wood is completely dry and allowed to shrink and warp to provide their distinctive curves. The foot is created after the wood is thoroughly dried to make a leveled bottom. By creating vessels in this way, Nakaya-san thinks that he is letting the wood to speak, and decide the shape that it wants to be.

A Simple Tray, A Complex Tale of Progress vs. Tradition in Japan

October 25, 2013Wood Research Kobayashi Katsuhisa

In the frenzy of industrialization and urbanization in Japan in the second half of the 20^th Century, countless villages were sacrificed in the name of progress. Wagatani was one of these tiny hamlets nestled along the banks of the Daishoji River in Ishikawa Prefecture that was swallowed up by a dam in 1965. The village is remembered today through its distinctive style of tray called Wagata-bon.

Oval bowl by Hanako Nakazato on Wagata-style tray by Kobayashi Katsuhisa

Wagatani, which means ‘my valley’, was located above the famous healing waters of the Yamanaka hot springs, which to this day is a popular tourist destination in Japan. The village had been in existence since the medieval pre-Edo period and its inhabitants were mainly woodworkers that made shingles, which was the preferred material for roofs in the Kansai region.

Towards the end of the Edo period, one of the village woodworkers named Nakasuji Tasuke began to carve trays out of the scrap wood that was left over from the shingle-making process. The tray, called Wagata-bon or Tasuke-bon for its distinct style, is typically made of chestnut wood that was abundant around Wagatani. Its rim and bottom are carved out of a single piece of fresh, un-dried wood and there are vertical chisel marks left on the tray.

This style of trays appears to have been made by several woodworkers in the village and came in various sizes that depended on what scrap materials were available for use at the time. Very few of the original trays have been found outside the vicinity of Wagatani, so this suggests that they may have been locally bartered for food and daily necessities by the woodworkers.

Kuroda Tatsuaki (1904-1982), a renowned Japanese Mingei wood and lacquer artist was a collector of these humble trays. He viewed the trays to be a pure example of Mingei because of their unintentional and simple beauty rooted in the daily lives of the local people.

Kuroda sought to let the outside world know about Wagata-bon by writing about the trays in the September issue of Mingei-Techo in 1963, and encouraging the style to be revived by fellow artists. But just as Wagata-bon started to be recognized, the several dozen families that were still living in Wagatani began to move out ahead of the commissioning of the Wagatani Dam and the impending submergence of their village.

The 1960s was an era that saw tremendous growth and prosperity in Japan, which led to considerable improvements in the living standards of a large majority of the Japanese people. But this progress came with a heavy cost to the environment, tradition, and culture. Many villages shared the same fate as Wagatani.

One little known fact is that Japan has more than 3000 large dams, which for a country that is smaller in size than California is a remarkable number. By comparison, the U.S. has 9200 large dams and Canada has a little more than 1000. After the feverish building of so many dams, the public started to question their actual utility and this led to an official review of dam building and other pork barrel public works projects in the 1990s.

Through the enduring efforts of woodworkers and Mingei supporters, a small part of Wagatani’s heritage has been preserved. As we look at the tray that woodworker Kobayashi Katsuhisa has faithfully recreated, we can reminisce about this village along the river in Ishikawa that supported the lives of many generations of woodworkers. Although the village is now gone, the soul of Wagatani village lives on in this unassuming wooden tray.

The Innovation of the Old: Shaker-Style Food Boxes From Kobayashi Katsuhisa

March 25, 2013Wood Kobayashi Katsuhisa

Woodwork by Kobayashi Katsuhisa in our shop ->

There is a saying that lightning never strikes twice in the same place, but that is not true when it comes to the craftsmanship of Kobayashi Katsuhisa. When I first came across his Shaker-style tea boxes at a craft show in Himeji in 2012, the first lightning bolt struck me. I had seen Shaker-style boxes in the past, but his extraordinary ability to create a traditional Japanese functional item in the mode of a Shaker box was electrifying.

Shaker-style tea boxes on carved tray by Kobayashi Katsuhisa

The second time was when I saw his rendition of a Kiridame or a nesting box, with Shaker-style oval boxes. I was literally blown away by the exquisite design. Studio Kotokoto is honored to have the privilege of premiering Kobayashi-san’s kiridame for the first time in the U.S.

Shaker-style Kiridame & Jubako — Shaker-style nesting box and stacking box by Kobayashi Katsuhisa

Kiridame is an old Japanese kitchen utensil that is used in food preparation. It is a set of rectangular wooden trays used to store cut vegetables and other foods. Traditional kiridame came in sets of three, five, or seven trays. The ingenuity of kiridame is that the set of trays and lids are designed to nest in each other to save storage space when not in use.

Kiridame drawing — Ai’s attempt at drawing traditional Japanese kiridame or food preparation boxes

Kobayashi-san’s kiridame is comprised of 6 Shaker-style boxes. Each box can also be flipped over and used as a lid of a smaller size box, and they can all be nested together when not in use.

Kiridame 3 boxes — The box can be flipped to become a lid for the smaller sized box.

Jubako is a stacking box used to serve food. A conventional jubako is square and comes in stacks of two, three, or five. They are large enough to carry food for 4-6 people, so are ideal for families.

The top box of jubako has a groove on bottom to lock the box in place. — The top box of jubako has a groove on the bottom to lock the box into place.

Kobayashi-san’s Shaker-style jubako is smaller and perfectly suited for carrying food for one or two people such as for a picnic. Both kiridame and jubako are made of Japanese oak, with iron mordant base and wiped lacquer finish, which makes them watertight and food-safe.

These food boxes by Kobayashi-san are of classic design and solid functionality. If you are looking for something truly original to present food, these will be for you. There is nothing else comparable.

Wood Artist Nakaya Yoshitaka: Chronicling the Lives of Trees in His Work

January 8, 2013Wood Nakaya Yoshitaka

Woodwork by Nakaya Yoshitaka in our shop ->

‘Organic’ and ‘precise’ are two words that usually do not go hand-in-hand, but they were the adjectives that immediately came to mind when I first saw the exquisite work of Japanese wood artist Nakaya Yoshitaka.

His footed square plates are examples of stunning construction and clean lines. The natural rings of the wood create a beautiful contour map and it does not take long to notice how much careful planning goes into his work.

Such meticulousness is not surprising from an engineer-turned artist. Nakaya-san started out studying mechanical engineering at the prestigious Ritsumeikan University in Kyoto. “After graduating from university, I worked as a mechanical engineer drafting plans everyday. When I worked there, I had this vague but insistent feeling that this was not the career for me. I then remembered how I enjoyed building and making experimental machines at university, far more than executing the actual experiments.”

Lathe — Wood artist Nakaya Yoshitaka working on a lathe at his studio.
Photo courtesy of Nakaya Yoshitaka

When Nakaya-san realized how much he enjoyed making things by hand, the daily routine of drafting plans at the office became unbearable. So the engineer left his drafting job 12 years ago and went to work for a furniture maker in Takayama.

Mt.Fuji studio — View of Mt. Fuji from Nakaya Yoshitaka’s studio in Fujinomiya city

In 2009, Nakaya-san moved his young family to Fujinomiya city at the foot of Mt. Fuji and set up his own studio, which specializes in wood products. “I had no hesitation in choosing wood as my principal working material because I spent many happy hours in the mountains and rivers as a child” he says.

He thinks that the most difficult aspect about working with wood is that its shape can change depending on the environment. He cleverly uses his insightful perspectives on such nature of wood to his advantage.

Take for instance the wild cherry bowls that Studio Kotokoto is offering. The bowls are shaped before the wood is dried and are left to warp as they dry naturally to form their unique shape. These bowls are then finished off through careful refining that is a signature of Nakaya-san’s work.

Nakaya-san has recently been focusing on using local trees that were toppled during typhoons or by silvicultural tree felling. “I hope to let the forests thrive even as I utilize the wood for my work”, he explains.

Carving — Nakaya-san carving texture onto the foot of a cherry bowl
Photo Courtesy of Nakaya Yoshitaka

This deep love for wood comes through in the prominence that Nakaya-san gives to the natural beauty of wood rings, which transforms his bowls, plates and other products into dazzling organic and utilitarian works of originality. His work is an inspiring tribute to the grace and splendor of trees.

Please Use Often: The Philosophy of Wood Artist Maeda Mitsuru

November 27, 2012Wood Maeda Mitsuru

Woodwork by Maeda Mitsuru in our shop ->

Wood artist Maeda Mitsuru strongly believes that the special beauty of wood is only achieved after repeated use. He strives to make his designs as simple and utilitarian as possible to encourage continued use by the owner. “I create things that are used everyday so I hope that people grow to love them more as they use them.” He says.

As a young boy, Maeda-san spent many hours carving wood at the workshop of his uncle who was a carpenter. His mother also enjoyed making things by hand, so he grew up in this practical and creative environment and it was only natural for him to eventually become a wood artist. Maeda-san has now been working with wood for more than 15 years from his studio in Tokyo.

Tools used by Maeda Mitsuru — Maeda-san’s selections of carving knives
Photo courtesy of ki-to-te

Maeda-san’s care for his work is evident in the beautiful lines and slight but elegant curves that he adds to each item with a carving knife. He carves the spoons so they are easy to scoop and extremely comfortable to hold, while the spouts on his bowls never dribble. “Each piece of wood is unique, so I look at their grain and consider their quality before deciding what I make out of them” Maeda-san says.

Katakuchi by Maeda Mitsuru — Carving the spout of the bowls
Photo courtesy of ki-to-te

Walnut Katakuchi by Maeda Mitsuru — Mini spouted bowl in walnut wood

I have been using one of Maeda-san’s wooden spoons for a while now to taste as I cook. The spoon never leaves my coat pocket as I move around the kitchen and is ideal because the wood does not slip even when my hands are wet, nor does it get hot when I pour boiling sauce on it to taste.

the perfect tasting spoon — Ai tasting cream soup with a cherry wood spoon by Maeda Mitsuru

Apart from tableware, Maeda-san also makes custom-made furniture at his studio in Tokyo called “ki-to-te”, which means “wood and hand”. I think it is such an apt name for his handmade work and his wish that his wooden creations never leave the hands of their owners.

Kobayashi Katsuhisa: A Japanese Woodworker’s Homage to Shaker Design

August 28, 2012Wood Kobayashi Katsuhisa

Woodwork by Kobayashi Katsuhisa in our shop ->

These beautiful Shaker-style tea boxes are made by Kobayashi Katsuhisa, a woodware and furniture maker from Okayama, Japan.

I met Kobayashi-san at a craft show in Himeji in May. He has been making Shaker-style oval boxes for several years now, and feels that the Shaker design philosophy has truly helped to instill in him the importance of restraint in his creative process.

Woodworker Kobayashi Katsuhisa — Kobayashi Katsuhisa
Photo Courtesy of Kobayashi Katsuhisa

The Shakers were the pioneering masters of simple and utilitarian design, which is the heart of mingei as mentioned in our previous blog post. The Shaker creations, including the oval boxes that were first made over 200 years ago, are the very embodiment of their famous tenet that “beauty rests on utility”.

Shaker-style Japanese Tea Set by Kobayashi Katsuhisa
Photo Courtesy of Kobayashi Katsuhisa

Nutmeg and teabox — Shaker-style Tea Box with Inner Tight Fitting Lid Holding Nutmeg Seeds

Putting “beauty rests on utility” into practice is not easy. Kobayashi-san believes that perhaps the most important aspect that a woodworker needs is the ability to resist the temptation to be individualistic, which too often results in unnecessary form that serves no purpose. These simple yet comfortable chairs that he makes are models of utilitarian beauty.

Kobayashi Katsuhisa Chairs — Beautiful Chairs with Clean Utilitarian Design by Kobayashi Katsuhisa, Taken at Himeji Craft Show in May 2012

Making oval boxes requires much skill and patience. Kobayashi-san faithfully follows the Shaker design from the swallowtail fingers to the copper tacks securing the wood. To him, the Shaker oval box design is a perfect form that should not be altered.

Bending of Wood — Bending the Wood by Hand Around the Elliptical Form
Photo Courtesy of Kobayashi Katsuhisa

Securing with Copper Tacks — Securing the Bent Wood with Copper Tacks
Photo Courtesy of Kobayashi Katsuhisa

Meeting Kobayashi-san made me realize that a good design has no boundaries. It speaks a universal language that is understood throughout different generations and cultures on opposite sides of the world. In this sense, the Shaker design is a unique and extremely valuable American cultural treasure and heritage, whose spirit can even be found in the heart and workshop of a quiet and talented Japanese woodworker.

Kobayashi-san’s Shaker-style tea boxes are available at our shop.