Fritz Bosshof (Bossie Knives in Clarens, SA)
Thank for the fantastic pics Chui, I wonder if any of those SA makers have ever thought about adoption, I am available.
yes thanks chui great to see how the other half work
come on then paul,whats the delay ? you cant just leave a comment like that here surely
Some wonderful photos you have posted Paul, I cannot help but feel that some are too tidy!!
Can't wait to see more
Kevin & Heather Harvey (Heavin Forge) - both of them are also ABS members as well as SA Guild
I've stayed with K&H at their place........as is usual with SA hospitality, just wonderful. We went fishing as well to a really scabby place nearby...
Some great photos, truly inspirational thanks
Des is a retired dentist. Besides being a world-class knife maker, also a pistol marksman.........he's even made a gun from scratch
- hmm, a pretty shabby view from his house over the sea and the bay where the whales come to play about this time of year...
- that big blue lump of Pietersite hails from Namibia - not easy to work, as you can imagine, but stunning results (my pics don't capture the beauty of it
If any of you ever meet Des, you'll find him one of the world's nicest guys, an utter gentleman.......who will go to extraordinary lengths to help people and explain how he does stuff too - all supported by equally wonderful wife, Lynda...
- some pics of the type of folder Des is capable of...
Some amazing workshop there, and amazing pieces of machinery.
You must be like a kid in a sweet shop!
- Des horns place is amazing, it looks more like a machinery showroom than an actual workshop! Is it any wonder his work has such high standards
- yes, I understand what you are saying!
However, you have to look at all these knife making aspects in their own context.
Des has far more machinery than he'd likely actually confess he needs for knife making - as I said before, he once made a pistol from stock steel..!
But Des pushes the boat out...........if I could sit at a table with you and have other folders with us, and demonstrate the differences, the tolerances, the new methods, the new materials and the way these are all all done by him in ways many others don't.
And let's not forget that having all the good tools/machinery doesn't make you a great maker - sure, it helps
On the flip side - I unfortunately cannot find the pics I took inside Rob Brown's workshop - but let me tell you, it's pretty Bob-basic. Despite this though, I have sat (with others) and compared examples of Loveless styles from around the world, and no-one can do it the way Rob does..........it's fascinating. You can pick up a stunning Loveless d-p hunter from one guy that looks immaculate.........then pick up Rob's and put then side by side and compare - you'll soon pick up the differences and his amazing eye for finish and detail.
Having a brilliant 'tooled-up' workshop isn't always the answer to quality work. However, if you are lucky enough to have really good equipment, it can significantly aid the process - and in this respect, for many, it makes the difference of being able to make a profit or not.........or a real living
Found this quote in the book "Notes from Walnut Tree Farm, this I found very enjoyable and relevant to this thread. It also ties into the "what are you reading thread?"
"There are many of use for whom the shed is a natural habitat. Mine is full of woodworking tools: a classic Myford ML8 lathe, band-saw, circular-saw and various drills, Skil-saws, planes. A whole wall of screwdrivers, chisels and gauges, and little drawers full of screws and fixings. Shelves of varnish, oils, stains and paints, and more drawers with drill bits, seeds, cramps, vices, an adze and several wedges for splitting wood. Hand-saws, jigsaws.
The big workbench once belonged to the communal farm Middleton Murry founded at Thelnetham when he lived there. It is tough and scarred, pitted and ingrained with the marks and grime of eighty years of hard work.
There is other furniture too, of a kind: and old table with drawers where all the chucks and spindles for the lathe live, with the long-handled chisels and gauges in a rack above it, and the electric grinder to one side for sharpening them. On the wall beside the chisels is a photograph torn from a newspaper of the woodworker David Pye, and his obituary. DP was the great champion of diversity, in his own work, and in all made things, as the tonic our souls require.
The shed is lit by a collection of theatrical floodlights slung from ceiling beams, and a pair of anglepoise lamps that can be focused on the lather.
A variety of hunks or oak, cherry, sycamore, ash, hazel, hornbeam and walnut sit about in various corners or help weigh down the lather and other electrical machinery. Stabilizing the lathe is crucial to woodturning. This is the reason woodturners often covet the big old machines like the Harrison graduate, a bowl-turning lathe whose sheer weight in steel will ensure that is never moves or so much as vibrates. The slightest vibration can cause the chisel to jump on the spinning wood and split or tear into it."
Deakin, Roger, Notes from Walnut Tree Farm, Penguin Books, 2009, 22-23
That paints a picture of what the workshop looks like