78 – David Marks Furniture Gallery Tour

78 – David Marks Furniture Gallery Tour


(lively music) David:Marc as you remember I got the incredible woodshed over there which was your favorite place when you’re out here years ago. We do have a shot of Marc
at the woodshed going “Wow, this is awesome!” Something that’s new since for last year is all this concrete. What I did is I poured a slab of concrete that runs from the woodshed
into the new wing of the shop. That way I can roll different
pieces of wood in here. It also allows me to do a
little bit of outdoor cooking so to speak. Now you’re probably
wondering what I got going on in this thing over here. Times have gotten a little bit lean. We’re having to cut back, we’re having to like
cut some corners here. We’re making a wood stew in here. Basically what’s going on with this is this is a method for boiling wood. I think three or four years
ago when you’re out here, we were working on that
great big sculpture and we had to boil it to basically kind of stabilize the wood. Like I told you that I’m working on the Hawaiian marquet right now. I’m also turning some vessel
blanks out of curly koa and this is one that I just roughed out and so this is going to
be the top of a vessel. I turn it on my laid and what I was noticing was that it was
starting to end check on me. What I decided to do was … At first I did the alcohol treatment where I soaked it in alcohol for 24 hours then took it out of the
alcohol and let it drip dry. This piece is having
some stability problems so there were checks that
were opening up there. What I did was I quickly
wet it with more water. The water is going to
reestablish the moisture content and then what I do is I boiled it. I took this and basically
had this completely submerged in this pot for a couple of hours. The heat source is just a propane tank. Down here I got a little
camp stove that’s used for basically well, just
outdoor cooking I guess. I’ve got my can elevated
up on some bricks, that way it’s just a little bit safer. Basically what I do is I put the lid on and then I’ll duct tape this thing shut. Just take some duct tape and I’ll wrap it all the way
around here to seal this. Now, you might think
that that’s dangerous. We’ve got heat, we’ve got
water, we’ve got steam. Everything is duct taped
shut but guess what, the duct tape actually
is sort of a low tech kind of a safety release valve. Once this starts to boil
and you can hear it boil, you’ll hear it starting to boil
on the outside of this can. You can hear it boiling
and also once it starts to get to the point where it’s generating
enough of a rolling boil, you’ll see some steam
escaping from the tape. You’ll see the tape start to open up and you’ll see a little
fissure of steam coming out. Basically boil it for a couple of hours and then with this one, I didn’t want to take any chances. Rather than doing the paper bag method, after I boiled it, I waxed it. I basically coated the
whole thing thoroughly with some wax and now looks fine. It looks stable. After I boiled it, I did
leave it in the pot overnight so I could go all the way
back down to cool water and then took it out. At that point it was
pretty well water logged but then I just let it drip
dry for about an hour or so and then just thoroughly coated this thing inside and out with the Greenwood sealer. Basically this is probably
about $150 chunk of curly koa, believe it or not. This came up from a $450 block. I don’t want to take any chances. Putting the wax on there,
makes it good and stable. Also I’m going to be on the
road here in the next day or so. I won’t have time to babysit this thing and by putting the wax on there, that way I can come back and
it should be in good shape. Let’s take a look at the
art gallery over there. This is another new edition. We put some overhangs on here which I thought were really cool and of course being David Marks, we had it done with a patina. Copper has gotten very
expensive as you know so these are [sattered] together from some scrap pieces of copper. By the time I put the patina on there everything kind of blended together and came out looking pretty cool. Wanted to put a couple of plants out front so I got them copper piped which is just board some holes through some pieces of redwood and bolted those onto the front. In that way I have a trellis so that these plants can climb up the front of the shop there. Marc, this is the piece
that you probably recognize. Marc:Oh, yeah. David:When you’re out here
working with me years ago. This was a project that
I had you help me on and this was … I can’t remember, were you here when we did the veneering as well? Marc:No.
David: Yeah. Marc:I actually was just
working on the course. David:On the course, okay.
Marc: Yeah. David:I don’t know if you’ve seen this since I’ve veneered it maybe. Marc:I’ve seen it
because I think I was … David:EWFS, okay. Marc:I’m talking to the guys
at the William Ng School. David:Okay. All right, so this is one that this is also basically a torsion box. It’s what I call a hollow vessel form. Series of ribs inside, hexagonal ribs that are getting smaller and smaller and then the nose comes at the end. Laminated with sheets
of one eighth inch thick Italian bending plywood and then basically just block planed one piece at a time. Once I have one skin laid on there, I just take a block plane and shave that down and
get it flush with the ribs and then glue on the adjacent piece and then block plane that one down. Essentially did the same
thing with the veneer on this but what’s special about this one is this really exotic wood. This is called Afzelia, it comes from Laos which is near Cambodia
and its just got some incredible grain patterns to it. This is really three dimensional kind of well just a quilted, [veinin],
reptilian like pattern. Now just as an exercise,
well not just as an exercise but just to show people
what else was possible. I took the exact same form and then gilded this one in copper but by gilding this in copper and then doing a patina on it, you get an entirely different look. Now there’s some wonderful
kind of like a bluegreen salty formation that’s
encrusted on the surface there, and then just some of the dark colors coming through the background. You can see the difference if
you put the two side by side. Basically two really elegant forms what I would say
reminiscent of a boat shape but completely different
finishes on there. Another lesson on how the finish really transforms the
surface of an object. This is a friend of mine from
San Diego, Mike Chikowski. Mike likes to turn these
large vessel style shapes. This is a piece that we collaborated on so I don’t know if you can see it but I’ve gilded the
inside with copper leaf. It’s all copper leaf and
patina on the inside. I don’t know if that’s showing up or not but Mike’s an excellent
hollow vessel turner. This some beautiful work, a lot of words down there in San Diego. This is one that I’m still working on. This is a collaborating with Gorst, I have a hard time
pronouncing his last name. I think it’s Gorst
Duplessis from New Orleans. Poor Gorst lost his roof
in this last hurricane but Gorst does some
amazing engine turning work and these are done on I guess a duplication of a [unintelligible]. I’ve gold leaf the inside but I’m still going to put on another layer of gold leaf on this one. This is a friend of mine from Canada, Micheal Hosaluk who’s an amazing turner and Michael is out here
a couple of years ago teaching some classes. He showed people how to turn a sphere and then he came back and burned these very interesting shapes on it. Then he turned a spoon
and this was really cool. With a spoon he made a jam chuck. Well first he started
out by turning the spoon between centers, so he
turned it between centers, got that rounded shape here then he made a jam chuck and rotated this 90 degrees so that the handle is spinning this way and that allowed him access
to hollow out the inside. Then he took it one step further and wet the wood with some water, put it into a microwave
and then bent the handle. Very clever, very innovate
and a genius work there. Michael’s a brilliant craftsman. He’s one of the Canadian artist that won one of the Saidye Bronfman awards along with Michael
Fortune and Grit Laskin. Two other Canadians that have
won the Saidye Bronfman award. Here’s another one of Michael
Hosaluk’s famous forms. This is actually a box. Hold your ears as I open this thing up. It didn’t squeak this time. What Michael does is
he hollow turns these. Michael likes to use a hook tool which he refers to as a gauge on a stick and it’s a fairly aggressive tool. You want to turn that cutting
edge up to about 7:00, maybe 8:00 but you don’t
want to have it horizontal. They can use that to scoop
and cut out the insides then what he’ll do is he’ll
take this to the bandsaw and cut these into various shapes. Glue these back together at odd angles and then he’s got basically
a mortise and tenon joint so this thing will fit back together and you can put that back
together in all kinds of different positions, a very sort of a sculptural
creative piece there. Here’s another piece by Mike Chikowski, just a small hollow vessel here. This one you can probably see the finish that I did on the inside. I don’t know if you can
get the light in there but I did some gilding and patination on the inside of that one. Very difficult to get your hands in there. Probably one of my latest
pieces that I’m most proud of is this hollow vessel over here. I’ve been doing a lot of turning and I was invited to the
SWAT symposium in Texas and then invited again to the big Utah Woodturning Symposium last summer. Received probably one of my
best compliments of the year from Allen [Bedi] who is one
of my mentors from England. Allen’s just a phenomenal turner. He’s I think probably 70
years old at this point but he came up to me at the show and said that this piece
caught his eye right away and it was one of his favorite pieces in the instant gallery. That pretty much made my year. I was really stoked with that. This is turned at a California
Buckeye barrel on the top and then there’s a mortise and tenon joint connecting these two Popler on the bottom and then the Popler is basically something that gives me a surface
that I can paint and gild and do my patinas on which
is my trademark finish. On the very top I joined
together a rim out of snake wood. This is all segmented out of snake wood which is glued to a color of
ebony with Urea resin glue and also lead into the
top of the Buckeye barrel with a mortise and tenon joint. Turn a couple of beads down here with well, a tool that I
learned about from Allen [Bedi] which is the point tool. The point tool is just a really great tool for doing detailing work
like beading some stuff. Kind of works similar to a skew but it’s a lot safer than a skew. If you can get it a high speed steel, one quarter inch round stock works best. Basically the cutting geometries or whatever the diameter of the steel. You want to grind the
bevels one and a half times the diameter of the steel. If the steel is a quarter
of an inch in diameter, grind those bevels back
three-eighths of an inch long. This is of course sitting
on a stand from Woodworks. You remember that old show. That was one where I was
showing people how to, well I did some sliding
dovetails on the legs. These are all sliding dovetail
coming up to the bottom and then all these was hand carved, just laid out of spiral
pattern with some masking tape and came back with the pattern makers rasp and did the top basically the hard way. I should have turned it on the lathe but back then they didn’t
want me to do any shows on wood turning. They said there wasn’t enough
woodworkers that had lathe. I wish what they knew. Anyway, we did this one
basically with a bandsaw and a router and made that one work. Then this desk here, another
project from Woodworks, picture frame also from Woodworks, one that I gilded with silver
and did some patinas on. I found this drawing over in New Zealand which I think the colors
just were meant to be. Yeah, great match on that one. These are my bronze benches. This is all cast bronze. This thing weighs about 80 pounds, so it’s a pretty heavy piece there. Stopped making these, they
just got to be a little bit too labor intensive but there are some beautiful pieces there. The stand I made on Woodworks and the Sycamore bowl with the ebony rim. The serving tray down here, also with the double
beveled marquetry technique which we teach here at our school. Let’s see, we got this cabinet
that I think you’ve seen and some other pieces in here. This is a cool piece. This is something that I
bought from a friend of mine named Anthony Harris. I think he’s in Kansas. This is a box, this thing
is actually threaded. See those hand chased threads
so you can open this up. This is his card, it’s a wooden nickel and how cool is that, man. Hand cut threads on the inside. All out of African black wood and just exquisite detail
work and craftsmanship. This is the upstairs
portion of the gallery. We have some more pieces
from Woodworks here. This is the bench that I made on the show or one of the benches. This is out of a slab of walnut and then all the boxes down
here are basically pieces that I made this out of plywood and then I laminated
those with sheet copper and did a bluegreen patina on that. This is the lamp or one of
the lamps I made on the show out of koa. Well I’ve got the lampshade off right now because well, I chipped some of the wood on the foot moving it so I
got to repair that thing. Another table that we
made on the show here with the [unintelligible] on the top, I have zero coating, pre-named [buco] and then a shelf over here, and well, a rail over here. This is a guy that works for me part time, Derrick Moore, did an
awesome job on this railing, just a really beautiful job. I needed something to prevent people from falling down the stairs and when we built this,
we intended it at first to be a storage base and then after that it needed to become a gallery. I wanted to make this with
some really nice woods and of course I got a
ton of wood out there. I used some walnut and some curly maple and then a walnut on the top. It wasn’t quite thick enough
so we had to add on to it and I thought, that zero
[coating] would look quite nice and what the hell. I laminated someone either in there and then came back and did
some carving on the end so it’s got a nice grip there. Yeah, just worked out quite nice. This I thought you’d get a kick out of, being another drummer. It’s the drum set. This is my old set of Gretsch there and of course you want me to
play it don’t you? (laughs) Marc:David Marks, a man of many talents and someone I’m lucky to call a friend. His craftsmanship and
creativity goes well beyond what we got to see on Woodworks. From turnings, to sculptures,
to unique furniture. David constantly reminds us
that if you can dream it, you can build it. Now if you’re in the
Northern California area, you owe it to yourself to take a class or at the very least catch
him while he’s on the road. David even has a few DVDs now including a new one on
sharpening scrapers. You could pick this up at
his website at djmarks.com. David:That’s probably about
all your ears can tolerate. Marc:I’m David Marks. Okay, I got it. David:One of the most important upgrades, we now have a bathroom
over there. (laughs) And we’re back. Marc:We need to make another … David:Wait a minute. Wait, my voice was … (laughing) Okay. (laughing) The cutoff from the lid, sounds like we got a
helicopter coming over there. That’s basically what
keeps me busy these days is teaching classes, playing drums, and working on my art
pieces, having fun. (laughs)


10 thoughts on “78 – David Marks Furniture Gallery Tour

  1. I love David's work. I only saw him on TV. He is a true master. Too bad he doesn't want to do the TV show anymore. Really miss him.

  2. In Victoria BC, the parliament house's accents are all copper. When they built it, they knew it would go patchy with age. So they sped up the process, by painting all the copper with horse urine. It gave it all an even green color.

  3. i hate guys like him…. because i compare my humble stuff to his expertise. just kidding on the hate tho it really give's hobbiests like me something to shoot for. thanks for your willingness to so us how and the why! semper fi!

  4. I've always wanted to try bent lamination ever since I watched him build that lamp. The scarf joints are nuts! I just need a pile of MDF and some slow setting glue.

  5. Its too bad the show woodworks ended I loved that show because you took Norms show to the next leval turning fine american woodworking into an art form.
    By the way I don't own a lathe yet. But I find doing some projects without one and making square wood round a chllange.

    Oh I'm doing a bent wood lamanation my first try, I didn't work out the form to perfection it worked just a pain using yellow glue to clamp up I did 13
    1/4" stripe out of maple and western red ceder I'm making a handle for a pizza cutter that was made to be done on a lathe.

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