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Workshop

Where it all begins

Not a showroom but a workbench. Sawdust, boxes sorted by colour, guides with notes in the margins, and always a board half filled.
The workbench from above: a half-finished Galata board, boxes of blocks sorted by colour, a printed guide, a pencil, a brush and paint pots.
The workbench: a half-finished board, colour trays, the guide and the paints.
In the studio, an artist paints the angle-cut blocks one by one with a magnifier and a fine brush.
With a magnifier and a fine brush, block by block.Workshop photo
Blocks sorted by colour in a compartment tray, a colour chart, a printed tulip guide and a small board already begun.
Blocks sorted by colour in a divided tray.
A pine strip being cut into blocks on the saw bench.
Battens are cut into blocks on the saw bench.Workshop photo
Freshly cut raw pine blocks on wood shavings.
Raw pine blocks fresh from the saw.Workshop photo

Notes from the bench

Cutting
Pine battens are cut first to block length, then to the angle of the face. 30° and 45° behave differently in the light; a piece uses both.
Colour
The palette is mixed separately for every piece and tried on a swatch card. The same red looks different on raw wood and on primer.
Order
The blocks are sorted by colour into divided trays. Setting them follows the guide row by row.
Waiting
Paint dries, glue settles. A good part of every piece is the hours in which nothing is done.
The faces of unpainted pine blocks: growth rings in the end grain.
Before painting: the pine’s growth rings on the end grain.Workshop photo
A framed tulip piece with corner protectors on kraft paper, half covered by thin paper, beside a blank label.
A piece with its corners protected, ready to be wrapped in foam.