#Carver Model Critique | Explore Tumblr Posts and Blogs

rainydawgradioblog · 4 years

Text

Maggio Interview

I don’t remember how I discovered Maggio - probably due to the mysterious magic of the YouTube algorithm - but I do remember I was instantly hooked. Since 2017 he has released music with his producer Tanca, as well as the collective Klen Sheet, which consists of other Italian musicians and visual artists, eventually signing with the label Asian Fake. His latest EP I Nostri Fallimenti came out towards the end of last year and within the first listen I knew it had made its way into my favorite albums of all time. I got the chance to ask the 26-year old Rome native about his foray into music, influences, and plans for the future.

- Yogasai Gazula

Maggio - Photo by Alecio Ferrari

Yogasai: Starting with your debut, Manuale di sopravvivenza per fiati corti, a few tracks in particular stand out to me, such as “Cancello” and “Orientarsi con le stelle”, the latter which is a reference to a collection of works by Raymond Carver. What inspires you, and how do you engage with your inspirations in your work?

Maggio: Usually it always happens without planning it, especially referring to the first EP. “Cancello” was born because of a joke. During summer 2018, my girlfriend told me: why don’t you write a song and name it Cancello? I thought it was a good idea because in Italian cancello stands for gate/fence but it also means to erase. A few weeks later, Tanca (by that time his name as a producer was zteph) sent me an instrumental and I thought that everything was connected. I just write about what surrounds me and how it makes me feel in the inside. After and during the writing sessions I always try to say things between the lines. It could be that I’m just telling a story about my girlfriend, or that I’m only talking about me, or everyone else. I always think that after the release, you can choose your vision about what I say, especially if you empathize with it. The same thing happened with “Orientarsi con le stelle”, it was the last track we finished. I was watching Cowboy Bebop on the sofa after some attempts made to complete the production of the EP and when I went to bed I realized again that I could connect Raymond Carver, Cowboy Bebop and my life. I remembered that I’d read this short story from the original version of What We Talk About When We Talk About Love and that there were some images and expressions that I also put in the lyrics. To someone it should be clear, to others probably not, but that’s the funny thing.

Yogasai: You’ve previously commented on your “unlikely” start as a musician, that it happened without much planning, and in a way was a spur of the moment decision. What drives you? Why this medium? And how are you able to work through those motivations through these projects?

Maggio: When I was a child I read a sort of horoscope that tells you who you would become in your life. About me - I’m a Libra - it was written that I would have become a singer. That never happened during my adolescence. I was frustrated and I kept procrastinating everything, though I used to feel all the time that I had to change my life to reach something good that could allow me to be remembered. In 2011 I started writing constantly cheesy poems, short stories and stuff like that. In 2015 I met Ngawa at a birthday party and we became friends. He was a rapper and after a year he convinced me to try rapping. Only when I moved from Rome to Milan it really began. I was mentally alone and unprepared but I had a plan on my mind. So I started working as a graphic designer and a fashion model but everyday I was thinking about how to bring the things I used to write on a beat, because it was clear that it was the best way to communicate and to have something back. Plus I was really into rap music by that time, so it was just the right thing for me. It took me a year of training to feel good enough to publish my first video on December 23rd, 2017. I don’t know why I’m doing it, I just know that it’s the first thing that I always think about and it gives me the chance to be there for someone who I don’t even know and to live a good life even if it’s not always easy. I know that it sounds a little bit like a stereotype, but it’s just that. One of the biggest reasons I always think about, is that I want to tour with my best friend as a co-worker. When I think about what I can reach, everything’s okay. Yogasai: Your sophomore album, I nostri fallimenti just came out towards the end of last year. This album seems to be a departure from your debut both in terms of themes but also in terms of the production style. How does it reflect where you were/are as an artist? What do you hope listeners will take away from it?

Maggio: I think that the second work was more mature, especially thinking about the way we worked on it. We had a real studio and a label (Asian Fake) helping us and some songs made after and during the release of the first record. When Tanca and I were told to think about a project I focused on a concept to glue the songs together. Failures. If my friends and I were there it was because of the failures. People are afraid of being judged for their failures. Right now I don’t care, fuck it. I feel insecure most of the time but I’ve learned to fight these feelings also because my reaction to them was writing and feeling proud about it. So I hope that my listeners will take away some courage to face the things that just don’t go really well.

Tanca (L) and Maggio (R) - Photo by Alecio Ferrari

Yogasai: One of the trends that has been gaining popularity, but also critique, in Italian music has been trap music. What’s interesting though, is that many of these current trap artists make references to rap artists from previous decades, and continue to draw on these various traditions. How do you situate your work in relation to Italian music and tradition as a whole, as well as other transnational movements? How do you define your style?

Maggio: I was born between two cultures. My parents are Chinese, they’ve been living in Italy for the past thirty years. I have also been raised by an Italian family when my parents had to work for the first five years of my life. So I always felt “liquid”. I really like some Italian music but I grew up with bands such as Yellowcard, Blink-182, Sigur Rós, Explosions in the Sky, She & Him, Nada Surf (one of their last album is called The Stars Are Indifferent to Astronomy (2012) – going back to Carver and “Orientarsi con le stelle” ahah) and everything that was okay to me, besides their genre. So I don’t really know how many things shine through my songs, but I noticed that sometime my voice takes something from Modern Baseball. Modern Baseball is surely one of the main inspirations. I really like them because their writing style is really clever. They make you feel that way. Moreover I’m Italian, so I used to read their lyrics just to see things that in my mother tongue I couldn’t have seen. I like trap music, but it’s not really a big inspiration to me about how it sounds. I always focus on flow, assonances, delivery, rhymes and stuff like that. Tanca, who made all the productions, plays the guitar and we have a mutual love for emo/post-rock/etc. and he really likes everything, so we live the same way this music thing. Maybe alternative-rap wouldn’t sound that bad, but let’s not define it and we’re good. Sometimes changes just happen and if you spend too much time defining yourself maybe you won’t feel yourself anymore.

Yogasai: What would your dream collaboration look like, if you could work with any artist/ artists?

Maggio: Modern Baseball!

Yogasai: For those who haven’t listened to your music before, if you had to choose a few tracks for them to listen to, which would you choose?

Maggio: “Raffreddore” from I nostri fallimenti and “Sconto” from Manuale di sopravvivenza per fiati corti.

Yogasai: What directions do you see the project heading? What can we expect in the future?

Maggio: Hopefully we’ll release more tracks soon. Just wait for that: it’s the only thing we know.

0 notes

megamikethomson · 5 years

Text

Hogarth at Pitzhanger: Craftsman Faisal Abdu'Allah on trimming hair at new display about existence in London

An individual standing posturing for the camera © Gave before supper Standard

Ceci n'est pas un hair style. From one perspective, Petter 's Beauty Salons are perhaps the best trim around (likewise, free), and recognizable region: the hair stylist's seat, the spreading out of the cape, the laugh nibble of scissors.

However instead of a dependable mirror to watch out for my hairline's advancement there's a little, good natured yet in any case perceptible crowd; a hurling barbershop has offered approach to Sir John Soane's Evaluation I-recorded Pitzhanger House and Display in Ealing; the standard amassing of high contrast headshots of Hollywood a to z listers is supplanted by William Hogarth's eighteenth century perfect work of art A Rake's Advancement, which, albeit tastefully all the more intriguing, is determinedly sparser on top #inspo

The gathering show, Hogarth: London Voices, London Lives, underpins Pitzhanger's get-together with Hogarth's ironical arrangement, which was possessed by Soane and hung at the house during his lifetime and now comes back to the structure without precedent for over 200 years. It portrays the social states of London in 1732, an accomplishment the show embarks to coordinate for 2020. Ruth Ewen's lovely woodblock banners are a brilliant tribute to Hogarth's humorous eye, while document film of Southbank skateboarders talks more to the city's contemporary foam.

Be that as it may, Petter's work is the primary (mane?) occasion — a genuine hair style in a real hairdresser's seat. A partner educator of Craftsmanship and Personnel Executive of UW-Madison's Imaginative Expressions People group, Imperial School of Expressions graduate, and — reassuringly — achieved stylist with over 30 years of experience, Petter, 50, has flown in from Wisconsin, where he instructs, hours before he and I meet.

"Be that as it may, I can do this with my eyes shut," he says, weaving his bell easily through a couple of free ginger strands. Kindly don't do it with your eyes shut, I state. He won't have each Beauty Salons during the display's run, however he will have this one. Is it craftsmanship? Who is the watcher, and who is the subject? "To me, it's simply design, yet live figure," he says, which causes me to feel similar to human topiary. A 'preceding' polaroid is snapped: everybody who partakes will have theirs shown during the display, nearby Petter's' striking tintype photos of his instruments (scissors, razor heads, brushes).

Considerably more so than most hair stylists I've met, petter is a man skilled with incredible magnetism, which is helpful in numerous specific situations, yet particularly this one.

a gathering of individuals remaining before a group modeling for the camera: Evolving times: The Rake's Advancement VI – The Gaming House, William Hogarth © Gave before sun-down Standard Evolving times: The Rake's Advancement VI – The Gaming House, William Hogarth

He says he battled introducing himself one path at the RCA — all conversations of Jacques Derrida and Michel Foucault, as "the main person who appeared as though me in my scholastic year" — and another in the Saturday work he took at a stylist's in Willesden to help himself. and I'm going to record it, as a list of these occasions, in my work, so it can remain around in ceaselessness." Which, from multiple points of view, is actually what Hogarth was attempting to do.

Petter, whose father was a minister, considers the to be as an "entry", and the go about as a "laying on of hands". There is a religious component to the 45 minutes we spend together: I feel more settled, obsessed about, and on occasion it resembles an admission is being prodded from me. It is additionally an assistance, obviously: previously, I have a scraggly neck facial hair and an unkempt shortcrop — a while later I am very much prepped. "A hair style is social critique,".

Workmanship should continually rework itself, he calls attention to. As a 15-year-old meandering around the National Picture Exhibition, he searched for similarities to himself in the work.Gracious, I'm in chains." Right now, is ace expert, auteur and stone carver. I leave with a fantastic hair style, and a ton to consider. I'm a genuine bit of work.

Pitzhanger Estate and Workmanship Exhibition has incidentally shut, in accordance with counsel from General Wellbeing Britain. Visit pitzhanger.org.uk or follow via web-based networking media @Beauty Salons for refreshes on reviving.

#Beauty Salons

0 notes

jtdsdn241 · 5 years

Photo

In 1950 Charles and Ray Eames created their molded chair. The design focused on an ergonomic and fluid form which was almost organic in nature to match the shape of the human form. The initial idea was to make the seat itself from steam-bent plywood but after some experimentation and the plywood cracking under the pressure of the molding process the Eames’ decided to change the material from plywood to fiberglass as it was easier to mold and better for mass manufacturing. Modern versions of the Eames Molded Chair have switch out the fiberglass seat for a more environmentally friendly polypropylene material which is one percent recyclable.

Chittenden-O’Leary sights his inspirations for the Carved Chair as wanting to create an elegant and fluid form that captures the beauty of the materials used, exaggerates their qualities and respect the nature of those materials.

C.O. choose to use his abilities as self taught carver to challenge the limits of what could be done with a solid form and hand crafted techniques.

C.O. places such high regard on treating materials with care and respect because of Tikanga and the Māori values instilled in him due to his own Māori hertiage.

Chittenden-O’Leary J. (2019). The Carved Chair

As his own form of response to the Eames’ molded chair designer Jesse Chittenden-O’Leary created his reimagined “Carved chair”. The carved chair is made as a critique on the entire mass manufacturing process, going against this process by solely focusing on hand crafted techniques. C.O. began by modelling his design in CAD software and creating stencils from the model, after which they were printed, cut out and placed on European beach timber. C.O.’s design was created as a tribute to the original material used in the Eames’ molded chair design using stacked timber as a representation of plywood. C.O.’s design focuses a fluid form reminiscent of Mark Newsome’s lockhead chair with heavy attention paid to smooth organic finish. Finally, he used a hand lathe to shape and finish the chair legs.

0 notes

newyorktheater · 4 years

Text

The Week in Theater Reviews. The Week in Theater News. The Week in Theater Videos.

#Stageworthy News of the Week. In the first Equity-approved professional musical production to open in America in the five months since the pandemic lockdown began, the Berkshire Theater Group’s literally sanitized and social distanced “Godspell” felt like a miracle, at least to the critics, who sound grateful to have attended.

Held in a tent in the parking lot with its 100 audience members required to wear masks and sit at least 14 feet apart, the show featured a cast of 10 who had quarantined together in a house for weeks. “For the artists, it’s a brave new world. (Full disclosure: My daughter is in the cast.),” writes Josh Getlin in the L.A. Times. “They perform six feet apart…flanked by plexiglass shields on wheels that protect them and the audience as they sing. For good measure, in their pockets they also have masks, which they put on periodically during the show.”

Lily Goldberg The Berkshire Eagle: Faith in each other and the importance of sharing live art is what drove these theater-makers to submit themselves to twice-weekly testing, what helped them adapt to plexiglass and temperature checks, what gave them the bravery to leave their friends and families to live with one another, and what allowed them the chance to share, with tears and triumph, their joyful noise with audiences once again. And that’s as sacred as anything.

Bob Verini, New York Stage Review: When Nicholas Edwards as Jesus sings hopefully (and beautifully) that “We will build / A beautiful city” you know he doesn’t mean one without face masks, but one without prejudice or injustice, one in which Black lives absolutely do matter and people can disagree without reviling each other. In 50 years I’ve yet to encounter a single Godspell, pro or am, that didn’t seek to address its historical moment. This one succeeds more than most..

Ben Brantley, New York Times: When the script calls for physical contact… action and reaction are delivered in separate, distanced places. As a metaphor for how so many of us have been living since March, this form of theatrical communication feels both heartbreaking and valiant. We adapt, we make do, even as we long to return to the age of the handshake and the hug” [After Nicholas Edwards as Jesus sings “Beautiful City”] “he looks both ravenously hopeful and devastated as he tries to envision a radiant future. I never thought I’d say this, but I know exactly how Jesus feels.”

(None of these critics were…uncritical, which is an answer to the panel discussion I talk about below entitled “Can Critics Criticize during a Pandemic.” Goldberg found such “COVID-conscious updates to the show” as “one-liners about stimulus checks, quarantine sourdough and mask acne” to “still feel too raw.” Verini: “I was eventually worn down (and worn out) by how much is lost on stage behind plexiglas.”)

Theater has reopened on other stages as well — such as Barrington Stage (outdoors), nearby in Massachusetts, for its production of the solo play “Harry Clarke,” and Tokyo’s Kabuki-za Theater, where the performers one-up those in the Berkshires by wearing not just mandatory masks but the occasional face-guard.

But onstage theater is many months away for New York City, so the consensus goes, even as the city continues to reopen in other ways, such as the Bronx Zoo. (That’s Abby, a resident giraffe, posing beside NYC Cultural Affairs Commissioner Gonzalo Casals.)

The Week in Reviews

Homebound Project 5: Homemade Benefit by Laurie Metcalf, plus Lena Dunham, Kelli O’Hara, Brian Cox, Austin Pendleton, The Homebound Project has raised more than $100,000 for No Kid Hungry, but it’s been more than just a worthy endeavor. There has been enough that’s been artful and entertaining in each of the five editions to make them worthwhile

Howard on Disney Plus: The Broadway talent who rejected Broadway

“The last great place to do Broadway musicals is in animation,” says Howard Ashman, in “Howard,” a new documentary on Disney+ that offers a simultaneously sad and inspiring look at Ashman’s life, his work, and his death from AIDS at the age of 40 in 1991. What it doesn’t offer is a very encouraging take on Broadway.

No Blue Memories: The Life of Gwendolyn Brooks No Blue Memories: The Life of Gwendolyn Brooks,” was presented on a Chicago stage during the centennial of the birth of the noted poet, the first African-American to win a Pulitzer Prize in any category. Now, three years later, it is being presented as an hour-long video for free online at Manual Cinema from August 10 to 17, as part of the company’s tenth anniversary “Retrospectacular,” presenting four of its most popular shows. What the video retains is the play’s delightful jazz and blues infused score, which helps bring forth the poet’s own jazzy rhythms…What the video of “No Blue Memories” doesn’t do well is show what Manual Cinema does at its best — or, indeed, what Manual Cinema does, period. The videos of their shows may look like animated features, but to call them animations is to miss the beauty and ingenuity of what the company creates.

Oscar Isaac as King Creon refusing the advice of Tiresias in @TheaterofWar‘s #AntigoneinFerguson, happening now! pic.twitter.com/uhEa6NHAl2

— New York Theater (@NewYorkTheater) August 10, 2020

Community panel reacts to @TheaterofWar‘s Antigone. They are all mothers/relatives of people killed by police: Gwen Carr (Eric Garner’s mother), Valerie Bell (Sean Bell’s mother), Marion Gray-Hopkins (Gary Hopkins, Jr’s mother), and Uncle Bobby X (Oscar Grant’s uncle). pic.twitter.com/E9YEIWAqDp

— New York Theater (@NewYorkTheater) August 10, 2020

Marion Gray-Hopkins: “Many people think that just the mother or the father is suffering, but it’s a domino effect. Many suffer, not just immediate family”

Critics Corner

Can Critics Criticise during a Pandemic? A 90-minute video

“As the work of artists evolve with the restrictions of COVID-19, do critics also need to reassess how they look at performance? Four critics, Loo Zihan, Teo Xiao Ting, Jocelyn Chng and Germaine Cheng discuss their responses as more and more performances go online, and whether it has led to a recalibration or softening of their critical eye. What really is the role of the critic during a crisis? Do we put criticality on pause, in favour of a more empathic, care-centred approach as other pressing issues loom large?”

It’s worth noting two things here — first, despite the apparent slant of the description, a poll of the audience watching the discussion revealed that 82 percent of them find criticism to be an essential act during the pandemic. Second, none of the four panelists, nor the moderator, consider themselves primarily critics – they are artists first, which arguably skews the discussion at hand — but also reflects the state of criticism these days.

The death of Theatre Criticism The great critics always began before they were forty. Who are their equivalents today?

The Week in Theater News

“Out Of Patience”: Actors’ Equity Joins Other Unions In Demanding HEROES Act Senate Passage

The #SaveOurStages bill would give $10 billion in grants to independent music, theater & comedy venues with 500 employees or less. The National Independent Venue Association estimates that 90 percent of its members will have to shutter their buildings for good in September without government funding.

For the first time in 87 years, Radio City Music Hall’s Christmas Spectacular starring the Rockettes is canceled due to concerns over the Coronavirus pandemic.

SpotCo, a leading Broadway advertising and marketing agency, filed suit in New York State Supreme Court against producer Scott Rudin, claiming that he left the company on the hook for $6.3 million in unpaid fees for their work on eight shows, including West Side Story ($2.8 million), King Lear ($1 million) and The Waverly Gallery ($352,000)

Live-capture of @Newsies starring @JeremyMJordan free online August 21 Detailshttps://t.co/ZspyZQHEXJ pic.twitter.com/GZpkv2lLUd

— New York Theater (@NewYorkTheater) August 7, 2020

TWO celebrations of women on August 26th now.@Playbill presents Women in Theater: A Centennial Celebration, a concert with hosts @heidibschreck & @Rebeccasernamehttps://t.co/keJb2AWMit pic.twitter.com/HiaidEc4q6

— New York Theater (@NewYorkTheater) August 5, 2020

Teenagers are relentlessly mocking @Lin_Manuel on TikTok. Underneath it, argues @EjDickson in @RollingStone, is a growing critique of @HamiltonMusical https://t.co/8VGfVMVxXq pic.twitter.com/U6NDF5zJhI

— New York Theater (@NewYorkTheater) August 5, 2020

Can A Robot Write A Theater Play? The Unusual Collaboration Between AI, Robotics and Theater the idea of a robot, including the word ‘robot’ itself, was invented by Karel Čapek and his brother Josef, who wrote the play “RUR” 100 years ago on January, 2021. Researchers hope by then to have produced a play with a script generated by “a pre-trained language model called GPT-2.”

After complaints by current & ex employees about racism at @artny72, its longtime leader @Ginnylouloudesv has been put on administration leave, and@The_Risa (pictured) named interim executive director. An account of accusations on @OnstageBlog: https://t.co/qMZz0y5QHP pic.twitter.com/amJqb86CcL

— New York Theater (@NewYorkTheater) August 7, 2020

Rest in Peace

Eric Bentley, 103, “an influential theater critic — as well as a scholar, author and playwright — who was an early champion of modern European drama and an unsparing antagonist of Broadway.”

‘It’s all about the three big C’s… There’s confidence, which can always be fleeting, and then there’s courage and compassion.” RIP Brent Carver, 68, Tony winning actor for Kiss of the Spider-woman, Tony nominee for Parade, also in Romeo and Juliet, and King Lear on Broadway pic.twitter.com/w4HQL2KUNj

— New York Theater (@NewYorkTheater) August 6, 2020

RIP Pete Hamill, 85, New Yorker, columnist, foreign correspondent, editor, novelist, screenwriter, man-about-town, , streetwise raconteur, savvy hob-nobber, former colleague…

newspaper guy. pic.twitter.com/J1jzxmQ7kf

— New York Theater (@NewYorkTheater) August 5, 2020

The Week in Theater Videos

Broadway in Bryant Park videos, 2012 – 2019

youtube

Ham4Change

youtube

from Guthrie Theater

youtube

Let the Sunshine In

youtube

What onstage theater looks like, five months in. #Stageworthy News The Week in Theater Reviews. The Week in Theater News. The Week in Theater Videos…

0 notes

lachlan-adad1002-blog · 6 years

Text

Reasoning, research, practice, and concept statement ADAD1002 assignment 2

Concept statement:

Overview:

In response to my first assignment I aim to further develop the link between ‘man’ and the ‘environment’ through the application of ergonomics in the increased physical relation between man and their environment. I aimed to create a more ergonomic set of tools/ tool handles through the alteration of the typical handle into that resembling an axe, this was placed into the form of a set of striking tools being the mallets and the hatchet. This process was developed over a series of weeks and evolved to form a tool ergonomically suited for my personal use.

What was done

Week 5: During this week the most basic of research was commenced in the form watching videos related to axes and mallets and the finding and ordering of relevant materials (as in research materials not physical materials) so as to aid the development of my general understanding of what I was be creating and if it is possible to feasibly do so with my limited skills. This research led to the further development of the concept through experimenting with potential dimensions as well. During this week if I had been more productive I may have been able to generate another work (additional mallet) through the utilisation of Fusion 360 and gotten a mallet head cast and delivered in time for the final project.

Week 6: During this week I commenced the creation of a prototype in the form of a softwood (pine) version of what I wanted to create ( for the reasoning that it is easier to work and thus allowed the process of creation and shaping to be understood as the final handle was also to be made of a wooden material and thus provide me with crucial experience in the process, and be a faster process). During this time I was also conducting material research in regard to a set of criteria that was developed in week 5 in regard to what was needed for the tools I wanted to construct as had been established during my development of the concept, however, material was also categorised by cost and its general availability to me. During this week I also did some drawings of how I believe I may be able to attach and construct the various tools and if I had been productive with the 3D modelling would have been able to find an appropriate timeframe to outsource any tasks I was unable to do to create the product (i.e. the casting of something in metal). However, I was productive in other ways in that I was able to advance during this week into a state where I was already progressing into what I had planned to be doing in week 7.

Week 7: During this week I began the process of shaping the tools I had chosen after having been able to get to the workshops at the university the week before so as to fasten the process even if only slightly, I was also able to begin the sanding of the products and the attachment of the heads to the mallets.

Week 8: During this week I was able to begin placing the finishing touches on the works in the form of further sanding and placing a coat of oil over the works (excluding the prototype). During this week I planned on finishing the final product and beginning the construction of the final Tumblr posts which were to be posted in the last week so as if anything unexpected comes up the post may be adapted or altered to provide the most accurate representation that the work will have undergone. However, as nothing can ever go to plan some processes took longer than expected or unexpected circumstances arose and I was unable to keep on track between week 7-8 and had little time to produce and polish final posts.

Week 9: Early this week the final Tumblr post was to be posted along with the research post as they were to be developed throughout the construction of this project so as to ensure accuracy regarding inspirations and general research on whatever topics become relevant however were delayed.

Reflection: If I had been more time conscious and resource-aware I believe I may have been able to further follow the critique provided to me from the first assignment and in the end produce a better product. However, for the tools I had available and the research conducted I still believe that The tools are of a reasonable finish, however, if I were to do it again I know I could do it better.

Word count: 769

Research and reasoning:

At the beginning of my assignment, I had simply the idea of the changing of the handle style on some mallets, however, I had no idea what kind of mallets I was after to alter, the materials I was after, or even how to make a hatchet handle. This led me down the deep rabbit hole which became my research for this assignment.

I started by selecting the type of mallet I would potentially make by basing it on mallets commonly used in carpentry these included the potential construction of several mallets including a joiners mallet, carvers mallet, dead-blow mallet, rubber mallet, or alternatively a brass or journeyman’s mallet (1) from previous experiences in using hammers a tap hammer was also contemplated. The joiners mallet is simple in its construction compared to some of the other mallets and is commonly used in carpentry with its primary use is in its use for chiselling, I believe due to the larger head on this mallet in the way of weight distribution this may be the most similar to that of an axe and ergo would act as a good control for this assignment. Next on the list is the carvers mallet this most typically is turned from a single piece of wood and is utilised for hammering gouging tools for carvings typically, this would be interesting with the weight distribution of the mallet as it is more balanced than the joiners mallet and shall be constructed. (Note: due to not being able to get an introduction to the lathe this will not be of a single piece of wood but rather be put together with some creative joinery instead). The dead-blow mallet is used for the more gentle driving of wood together with less potential of damaging the piece due to the use of plastic or rubber ends reducing the impact produced from the packing of the dense material inside of the tool. I do not believe that with my current access to tools or time to complete this assignment that I would be able to successfully create this hammer along with the joiners and carvers mallet as it would involve my focus being shifted onto the creation of a 3D model and other tasks that would quickly consume my limited time, ergo I will not be creating a dead-blow mallet. Following the dead-blow mallet in many physical attributes is the rubber mallet which is predominantly a general purpose tool doing much the same as the dead-blow however lacking the dense material packed inside of it, however, the issue in my creating one of these is that I do not believe it possible with the supplies available to me to create a rubber head that could possibly be fixed to the end of a mallet in any other way that they typically are which is to say with an industrial strength glue and the handles professionally made to fit. Although I am up for a challenge I know my limits and yet again the creation of such a handle with the tools available to me would be folly, a waste of material and time, as after all even if I altered the head to allow for wood joining methods to fix it to the handle the damage to the head would lead to accelerated deterioration of the mallet head. Lastly on the list was the Brass head mallet/ journeyman’s mallet, these can vary in sizes but is most typically small and are utilised for small precise striking typically in joinery. Due to the inability to find suitable ends for this hammer that would arrive both on time and not cost me an arm and a leg this mallet was forgone however would have had potential to be made with the simple method of creating a fusion 360 model and having it printed and then sent to be cast, however, this would mean the metal was soft from lack of being forged to withstand multiple blows and thus I would end up having created little more than an ornamental piece in the shape of a hammer. In conclusion after some research and contemplation, I have decided to create a carving mallet and joiners mallet for the second assignment along with an actual hatchet handle for the demonstration of an association between the two in regard to shape and to develop my understanding of the needs of the handles.

(maybe some images of the hammer types?)

After the hammers were decided upon I did further research into the features of the handle in a hatchet/axe and the different variations, during this research I also found out what made them strong or weak. Firstly I looked into the variations on the typical axe/hatchet handle, which are listed below:

- curved handle

- straight handle

- octagonal shaped

-oval shaped

- fawn footed

- scroll ended

- swell ended (2)

- double bit shouldered

- miners straight

- New England

- house axe

- boys single bit

- bent

- cruisers double bit (3)

(Note: The bit refers to the actual head that would be placed on the handle so whilst the boys axe would be classed as a single bit, because there was only one bladed face on the axe, the cruisers axe would be classed as a double bit because typically there would be two bladed faces on the axe head attached to it thus giving it more balance (4.))

After this list was created a series of inquiries were rose up, such as, what were the reasons for these major or slight variations in axe shaping? and which would best suit a mallet? After scouring the internet like a madman I was able to find a few sources on the subject. The most dominant difference that bothered me was the difference between the handle being straight or being curved as if the straight handle was more practical then all things done so far would be void of any potential, however, I have found out that the key difference is in the axis within the handle during the swing, for a straight handle the axis is in the centre of the handle when being used and ergo is more suited to larger axes where both hands are required to swing, examples of this can be easily seen in medieval weapons such as spears and polearms which were designed to have both hands used and ergo used a straight pole rather than a curved one as the power output would be lessened. The curved axe actually has its axis of rotation on the lower bend (usually where the hand grip is) thus allowing for more control by the swingers hand. (5.)) as can be seen with the Swedish carving axe/ Gränsfors (6.). So in order for the best outcome in regard to the energy efficiency of the blows produced by the mallets due to their size they should have curved handles, but what about the other types of alteration of axes such as the fawn foot and scroll foot? In terms of practicality, these make little difference as they are actually more of a personal preference for the user (7.) and so, as a result, I shall be in the drawing of my own hatchet and mallet handles be drawing inspiration from my personal experience with varying axe handle shapes and choose key features that I prefer and be applying those to the handles. However, there was one uniformity amongst all axe handles and that was that the grain must run along the axe not across it so as to allow for greater strength

In conclusion, the curved axe-style shall be applied to the mallets and the hatchet as it allows for both greater control and power to be applied for the scale that this project is being made at, and a scroll end shall be applied at the knob of the axe whilst the handle shall be curved with a double shoulder with an oval-shaped handle.

After having decided on what I wanted to construct I did further research into how to construct it, this involved research for inspiration purposes and to deepen my understanding of the processes that needed to be undertaken.

The list of videos following are what was watched for inspiration and development of understanding as to how to approach parts of this project:

videos:

https://www.youtube.com/watch?v=QgS01B1MTQU&index=21&t=25s&list=PLfHFbm6IWZdhTXpDECffwIELlORMa7JiX

an alternate method of attaching mallet head, potential alternate mallet head construction method. (.8)

https://www.youtube.com/watch?v=MDZZoLyThr4&index=40&t=9s&list=PLfHFbm6IWZdhTXpDECffwIELlORMa7JiX

As it turns out someone had already come to my conclusion in regard to the hatchet handle on a wooden mallet, his approach is intriguing, however, I do believe that I can improve upon what has appeared in this video and will create a varied result as I am doing more than the typical joiners hammer. My planned method and the one he has utilised are different however it has raised some ideas as to the attachment of the handle to the head as I do not plan on using a wedge to keep it in place. (.9)

https://www.youtube.com/watch?v=ed6Iuc-v5Es&index=53&t=9s&list=PLfHFbm6IWZdhTXpDECffwIELlORMa7JiX

The utilisation of the file I find agreeable as unlike other videos so far I don’t have continual access to and band saw and don’t wish to spend copious amounts of time in the uni workshop and lugging pieces of wood to and from uni, so this method of shaping would allow me to continue development at home with minimal use of the bandsaw. The handle wrap and drawing on the haft I find excessive thought as it provides no practical purpose if he got the width of the handle correct. (.10)

https://www.youtube.com/watch?v=VhJoJd7Oahc&index=54&t=7s&list=PLfHFbm6IWZdhTXpDECffwIELlORMa7JiX

A good example of a straight handle and an interesting ending to the wedge on the end of the axe. After having seen one utilised so many times so far I am beginning to think that I may need to invest in a spokeshave. (.11)

https://www.youtube.com/watch?v=HUshg3DsGD8&index=55&t=7s&list=PLfHFbm6IWZdhTXpDECffwIELlORMa7JiX

I am beginning to see patterns in the style and tools used to create these, however, one of the factors of the construction of the handle I find myself disagreeing with in the design many seem to be implementing is that they do not have a catch on the handle (I am unsure of the official jargon for it but it is when the end of a handle expands in thickness and occasionally general size so that if the grip is lost on the handle than it still remains in the hand rather than flying off elsewhere). However, I do like the angles on some of the curves of this axe and may implement something similar in my own design. (.12)

https://www.youtube.com/watch?v=07TaE9S5ZWI&index=56&t=7s&list=PLfHFbm6IWZdhTXpDECffwIELlORMa7JiX

SOMEONE USED THE CATCH!!! I don’t know why this makes me happy... however, his utilisation of the tools he has available is quite similar to what I may have to resolve to and has given me some ideas as to alternate ways from power tools to approach parts of this project. (.13)

https://www.youtube.com/watch?v=k-1ATzrQufo&index=57&t=8s&list=PLfHFbm6IWZdhTXpDECffwIELlORMa7JiX

What seems to be becoming a pretty standard approach to the creation of an axe, however, the spike/spine things he has on the haft I believe could prove to have a practical purpose, however, I believe the placement would have to be different. (.14)

https://www.youtube.com/watch?v=VyXaJl0vd2Y&index=58&t=8s&list=PLfHFbm6IWZdhTXpDECffwIELlORMa7JiX

Again what seems to be becoming pretty standard in the approach to the creation of an axe, however, the implementation of the curve strikes me as off I am unsure why, unlike the other axes I feel like the curve should be reversed to the way it was done so that the concave part at the base of the handle is more accentuated rather than the first bend. (.15)

https://www.youtube.com/watch?v=m3oJCxNNzBg&index=61&t=12s&list=PLfHFbm6IWZdhTXpDECffwIELlORMa7JiX

Nice mallet and cute dog, however, the end result whilst looking brilliant to me feels more like a display piece rather than something that would actually be used for fear of damaging it, not to say it wouldn’t function just that I feel less emphasis should be placed on the looks of the object and move on if it can get the job done. I also don’t have access or official training in how to use a lathe.

(.16)

https://www.youtube.com/watch?v=tNG3mSTIb6Q&index=62&t=10s&list=PLfHFbm6IWZdhTXpDECffwIELlORMa7JiX

A clear and simple approach to creating multiple mallets, and I again reiterate what I have said up to this point about access to particular tools and training in those tools. (.17)

Books that I read on the subject:

‘The Art of Japanese Joinery’ by Kiyosi Seike (.18)

People researched as inspiration:

Harry Mcnish, the carpenter on Shackleton's expedition on the endurance around the Arctic(.19)

Horace Kephart an American bushcraftsman who had published numerous books on woodworking/bushcraft and camping in the 1900′s(.20)

Bibliography:

1. Patrick Harper 2015, Craftsy, Accessed 25th of August 2018, <https://www.craftsy.com/woodworking/article/types-of-mallets/>

2.Brant & Cochran 2017, accessed 25th of August 2018, < https://www.bnctools.com/blogs/news/get-a-handle-on-it-part-2>

3. An axe to grind, n.d., accessed 25th of August 2018, <https://www.fs.fed.us/t-d/pubs/htmlpubs/htm99232823/page03.htm>

4.Brett 2016, Art of Manliness, accessed 25th of August 2018, < https://www.artofmanliness.com/articles/a-primer-on-the-ax-how-to-choose-the-right-ax-for-you/>

5. Axe connected 2011, accessed 25th of August 2018, < http://axeconnected.blogspot.com/2011/02/straight-versus-curved.html>

6. Dieter Schmid Werkzeuge n.d., fine tools, Accessed 25th of August 2018, < https://www.fine-tools.com/G307314.html>

7.Pros cons of octagonal and oval handles, Blade forum, 2013, Accessed 25th of August 2018, <https://www.bladeforums.com/threads/pros-cons-of-octagon-handles.1036378/>

8.Epic Thors Carving Mallet, 2017, epic workshop, youtube, online video, accessed 25th of August 2018, <https://www.youtube.com/watch?v=QgS01B1MTQU&index=21&t=25s&list=PLfHFbm6IWZdhTXpDECffwIELlORMa7JiX>

9.How to build a (hatchet inspired) woodworking mallet, 2018, Paul Jenkins, youtube, online video, accessed 25th of august 2018 < https://www.youtube.com/watch?v=MDZZoLyThr4&index=40&t=9s&list=PLfHFbm6IWZdhTXpDECffwIELlORMa7JiX>

10.Viking inspired throwing axe, 2017, black beard projects, youtube, online video, accessed 1st of september 2018, <https://www.youtube.com/watch?v=ed6Iuc-v5Es&index=53&t=9s&list=PLfHFbm6IWZdhTXpDECffwIELlORMa7JiX>

11.DIY Axe Handle, 2016, Hassan -Abu Izmero, youtube, online video, accessed 1st of September 2018, <https://www.youtube.com/watch?v=VhJoJd7Oahc&index=54&t=7s&list=PLfHFbm6IWZdhTXpDECffwIELlORMa7JiX>

12. Making a viking style battle axe, 2016, Miller knives, youtube, online video, accessed 1st of september 2018, < https://www.youtube.com/watch?v=HUshg3DsGD8&index=55&t=7s&list=PLfHFbm6IWZdhTXpDECffwIELlORMa7JiX>

13. Restoration - camp hatchet (zero tools),2017, Make N’ Create, youtube, online video, accessed 1st of september 2018, <https://www.youtube.com/watch?v=07TaE9S5ZWI&index=56&t=7s&list=PLfHFbm6IWZdhTXpDECffwIELlORMa7JiX>

14. Viking battle axe, 2016, Marek Tabi, youtube, online video, accessed 1st of September, <https://www.youtube.com/watch?v=k-1ATzrQufo&index=57&t=8s&list=PLfHFbm6IWZdhTXpDECffwIELlORMa7JiX>

15.DIY Building an Axe out of scrap, 2016, Hassan - Abu Izemero, youtube, online video, accessed 1st of september 2018, <https://www.youtube.com/watch?v= 2018VyXaJl0vd2Y&index=58&t=8s&list=PLfHFbm6IWZdhTXpDECffwIELlORMa7JiX>

16.IBuilding beautiful wooden mallets, 2017, third coast craftsman, youtube, online video,accessed 1st of september 2018, <https://www.youtube.com/watch?v=m3oJCxNNzBg&index=61&t=12s&list=PLfHFbm6IWZdhTXpDECffwIELlORMa7JiX>

17 Making three types of mallets for wood working, 2017, Marek Tabi, youtube, online video, accessed 1st of september 2018, <.https://www.youtube.com/watch?v=tNG3mSTIb6Q&index=62&t=10s&list=PLfHFbm6IWZdhTXpDECffwIELlORMa7JiX

18. Seike, K 2017, The Art of Japanese Joinery,Weatherhill, Colorado

19.Harry Mcnish, n.d., accessed 25th of August 2018, <https://www.coolantarctica.com/Antarctica%20fact%20file/History/biography/mcnish_henry.php>

20. Horace Kephart,n.d., accessed 25th of August 2018, <https://www.britannica.com/biography/Horace-Kephart>

0 notes