Success is not a permanent achievement. We have to continually work at maintaining it.
Working in wood offers the opportunity for lots of contrast and continuity.
For about six years, I made an annual pilgrimage from Massachusetts to Maine to teach marine carving at the WoodenBoat School.
It was a slow day—the type of show where artists and craftspeople spend most of the time talking to each other.
Items like models, patterns and proportional dividers are as important to your carving as sharp gouges and knives.
Two of the best artists I've known were fluid on the choice of media.
Around late October, I put some time aside from whatever projects are ongoing in the shop to work on treen - woodenware.
A twelve-step program for compulsive tool buyers might help. But I have a thing about being away from my tools for meetings. Just taking the time to write this keeps me away from browsing the Lee Valley site, not to mention Rockler, Woodcraft, and Highland Woodworking.
Lots of us have small shops either through design or necessity. In my case, I deliberately downsized as I shifted from doing larger maritime work like quarterboards and transoms and started focusing on ship and boat portraits. Whatever reason you have for smaller quarters, I encourage you to rethink the conventional wisdom that large is always best.
In January, I started what I thought to be a quick project for a portrait of the halibut Schooner Republic. There was not much online where I began, and even less available in terms of print sources. My collection at home also came up dry. I was able to complete the project in March but wished that I had better documentation.