Many braiders who choose to work in silk buy premeasured bundles of silk threads. These bundles are usually designed to produce braids that are a good length for the obijime braids worn with formal kimono.
When sweetie and I braid, we are often aiming for other lengths, or specific colors that it is more economical to buy in bulk on spools. Then, we measure out our own bundles. Traditionally, this would be done on tall warping stands called bodai. We use a kind of mini-bodai that clamp to the edges of a table. I have made a few sets of these in the past, but I just made a nice set for Sharon.
They are made entirely from cherry wood, except for the screws that attach the pegs to the bases, and the hookie thingies of course.
I bent the metal rod in a 4″ metal brake that I had to buy a 4″ bench vise to use. It was super easy doing it this way. The bends are exactly where I wanted them and used the mechanical advantage of the vise instead of brute force.
With the “2 and 1” pegs that i normally make, if you have a 4 foot table you can measure out 4′, 8′, and 16′ warps fairly easily. By making this “2 and 2” set, she can now add 12′ and 24′ to her repetoire for those longer or more complex braids.
An andon is a type of Japanese lantern that is usually used indoors by people who are seated on the floor. I think that, technically, any “framed paper” lantern is an andon, but the word is most often used to refer to the floor-standing version. That may be because most hanging lanterns you see are the collapsible paper chochin type.
I’ve been wanting to make a tall, floor standing andon for about five years, and took the opportunity to cut pieces for this one when I was preparing materials for the Cherry Solar Flicker Lantern project.
This andon is about 34 inches tall and 7.5 inches deep/wide. It’s made from cherry. To keep it from being tippy, the base is a solid block of cherry two inches thick. It uses a different lighting system than the hanging lanterns. This one is designed to suspend a NEBO Tools “BIG Poppy” lantern inside.
Here you can see how the Poppy is suspended from the diagonal crossbeam. This is also a better view of the handle. I cut the through-mortise into a rectangular block first, then cut the curved handle from that block. You can also see the seam where the paper is taped closed at the front corner. Even in the light it doesn’t look bad.
This is the third lantern in a series of at least six. This simple Japanese frame lantern is made from some Western Pennsylvania cherry lumber that I bought a bunch of years ago and am still working scraps out of. It follows the same design as the Oak Solar Flicker Lantern and Maple Solar Flicker Lantern before it.
I have a new method for applying the paper that I think yields a much tighter and smoother result. I’m using Warlon Taf-Top shoji paper, so I can’t just dampen the paper to shrink it. Unless the lantern is perfectly square, wrapping a correctly-sized strip of paper around it leaves wrinkles or bulges. Instead, I cut the paper oversized, apply it to the lantern, then trim the paper down so that it is perfectly straight and flat. It watses a bit more paper, but I think it is more attractive.
The shoji in the background were made about a decade ago, and are made from cedar. I bought the bunny painting from an antique store.
Just in case you are under the impression that everything I do is always perfect, here’s a little project I had to make because I messed up my first try on the Sake Cup Box project. Sometimes I kind of “wing it” on projects, making decisions based on dimensions that are are penciled on cardboard boxes or post-it notes instead of sitting down to draw up formal plans and doing calculations. As you might expect, sometimes this bites me in the butt.
I made this box bottom, then when I tried it out with the dividers to check for size, I realized it was too small. I set it aside while I started over on a new box bottom, kept it aside while I made a lid for the Sake Cup Box, then I made a lid to fit this “surplus” box bottom instead of smashing it to bits in frustration.
This time, the top of the lid is made from more strips of cherry, edge-glued together. I am getting tired of seeing this big stack of cherry scants in the shop, so this was a good way to use up a handful of them. The walls are also cherry strips, but I was able to get better glue joints this time, so there is no metal hardware. Hopefully, the whole thing doesn’t wind up smashed to pieces at some point.
The floor is maple, resawn and bookmatched, but as this was my first try it is much more uneven than the floor of the Sake Cup Box. In a way, it’s a good thing this one was unusably small because the bottom it’s definitely not as nice.
The whole thing got the same walnut oil finish as the Sake Cup Box, because why not, so it also spent the last month in the drying closet. I’m no entirely sure what I’ll use this box for, but I am sure that I will use it for something. It’s big enough to hold 16 tama and some braiding supplies, and since it obviously matches the Cherry Marudai, maybe that’s what I will use it for.
It spent a month in the furo, and now it’s ready to show off. This was one of my big projects last month, and it has been on my to-do list for a while.
Back at the SCA 50-year anniversary event, we purchased a dozen sake cups for a very good price from a merchant. Since a dozen is one box of cups, the merchant threw in the box so we could safely transport the cups home. This was just a cardboard box, so we have been keeping the cups in a plastic bento box ever since. The cardboard dividers between the cups got destroyed at Pennsic last year, so I made some new dividers from cherry, but still sized to fit in the plastic bento. Now, I have made the final box.
The top of the lid is made from some rough-sawn lumber I salvaged from Mr. Arimoto’s workshop during the restaurant furniture project. The walls of both the lid and the box body are made from off-cut cherry strips from making maurdai. I was having some trouble gluing the strips to the lid and floor pieces, so all the joinery is secured with brass escutcheon pins. This should also make it a little more durable. It’s finished with food-grade walnut oil, which is why it had to spend a month in the drying cabinet. That oil takes a really long time to cure.
Here’s what it looks like with the lid off:
The dividers are neither glued together, nor are they glued in. If I need this box for something else later, they will lift right out. The floor of the box is some resawn and book-matched maple that I had in the shop. I didn’t have enough or thick enough cherry left over. It started as 4/4 (roughly 1-inch thick) maple, so I resawed it to roughly half-inch thickness, then sanded it smooth and even.
I am really super-happy with the way this came out. It is significantly larger and heavier than the old plastic box, but it is also significantly classier.
A furo is a “drying cabinet”. It’s where you put urushi lacquered objects to keep them warm and humidified until the lacquer has fully cured. Depending on the type of lacquer, this could take a number of weeks. In my case “furo” is actually short for “furnace room”, which is a nice warm room in the house that also contains the hot water heater.
I’ve been working on a couple of wooden box projects, and I decided to finish them with walnut oil. Walnut oil is a drying oil (like boiled linseed oil), but it contains no chemical drying agents like BLO does and is food safe. The down side is that it takes about a month to cure, so I can’t show these boxes as finished projects for some time.
Both boxes are constructed primarily of 1/4″ cherry scants. These are off-cuts from trimming down the legs of the two cherry marudai I made. The floors of both boxes are bookmatched resawn maple. The floor of the smaller box is the result of trying to make the larger box and having it come out a little small due to lack of planning. The lid of the smaller box is more 1/4″ cherry that has been edge-glued into a single panel. The lid of the larger box is 3/4″ rough-sawn cherry salvaged from the scrap pile at Mr. Arimoto’s shop. Once the oil went on the raw surface of the cherry, the whole thing went deep and beautiful.
I’m going to try to resist the urge to peek in on them constantly. We’ll see how they look in a month.