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Canadian Woodworking / April 12, 2016

Tom Gorman

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Photos by Tom Gorman

Discover our back address to see another of Tom Gorman's pieces – his Whale Tail cabinet.

Name and age: Tom Gorman, 59
Location and measurements of studio: 20' x 12' cellar studio
Education: Educated in Northern Ireland and completed my apprenticeship indeed there, acquiring a certificate from City and Guilds of London England, then moved to Canada in 1978.
Just how long are you currently creating studio furniture?
35 years.
What sort of furnishings would you focus on?
Modern household: family area, living area, room, cardboard boxes.
Reveal anything interesting about yourself:
I'm a bloodstream donor with 66 donations to my credit. I have peer audit certification when you look at the province of Alberta for auditing companies’ safety programmes.
So as, do you know the most important things inside shop apron?
Mechanical Pencil, 4" adjustable square, 6" rule.
Solid wood or veneer?
Wooden.
Right or figured whole grain?
Figured.
Flowing Curves or Geometric Forms?
I always work a whole lot with geometric shapes, but lately it’s much more streaming curves.
Favourite species:
Quilted maple.
Least favourite types:
Red Oak

Quilted Maple Sideboard – this might be Gorman’s favourite furniture piece he’s ever made. Thankfully for him, it resides inside the home.
Estimates
  • My studio is within the cellar of an 1100 sq. ft. condo. To state this’s tiny would-be an understatement. However, I do have access to a veneer hot-press and industrial sander through the generosity of a millwork store. I have a 10" table saw, 15" bandsaw, 16" depth planer, flooring design drill hit and an electric mitre saw, workbench, several storage cupboards, air cleanser, and store vac. All machines are on wheels. No area for lumber storage space.
  • I will be an early riser so that it’s off to work right after breakfast. I love to get just as much done when I can while I’m still-fresh.
  • We can’t remain commercial radio. It’s MP3 for me personally, mostly stone, blues, or classical.
  • Absolutely nothing beats the satisfaction of a silky smooth finish, left by a carefully set hand jet. In addition such as the mortise and tenon process. I cut my mortises with a plunge router, squaring within the ends in the traditional fashion.
  • I get inspiration from nature, structure and books. We focus on creativity, but see it is difficult, because of the fact that many of us are affected by what we have observed in past times, regardless of if its just on a subconscious amount. I really hope could work states that Im an honest, skillful woodworker – maybe not pretentious.
  • I might say that via Ireland has had more influence than anything Canadian or regional. We find Celtic designs creeping in every once in awhile.
  • We don’t have much usage for scale models. I like going directly from a sketch to a full-size layout. This can help me to look at general scope for the project. Additionally it is ideal for training the joinery to be used, as well as in nailing along the tiny details. Just occasionally do i really do a full-size mock-up.
  • Be real to your self. Don’t make slavish copies of other people. it is okay to copy design styles from the last but attempt to customize them.
  • Basically see a design goes sideways i shall both scrap it or decide to try yet another strategy.
  • Im tired of witnessing articles on Stickley furnishings. It’s already been flogged to death. It’s time to move ahead currently. Possibly we have to use the line from Monty Python: “And now for anything very different.”
  • I don’t enjoy it whenever woodworkers make use of dowels as opposed to correct mortise-and-tenon bones. Not a big fan of deal and stick joints both. Speculative work is really fulfilling
  • We now have gotten so used to mediocrity within our throw-away society, I’m unfortunately.
  • I love the job of Allan Peters, John Makepeace, Michael Fortune and John Morel. They truly are really imaginative and inspiring makers. John Makepeace’s Millennium seat is regarded as my favourites.
  • Friend and fellow furnishings maker John Morel, child of Oliver Morel which went the Edward Barnsley Workshop during WW2, has-been influential in my profession.
  • If our generation encourages studio furnishings, really there's no reason not to believe that great strides are going to be manufactured in next 50 years. The important thing would be training. Support of prospective studio furniture makers and knowledge of public regarding the advantages of top-notch, unique furnishings.
  • I like the imaginative process.
The Ring – This cherry, figured English sycamore and maple burl dining table was impressed by a ring-in a jewellery shop window. (Photo by Benjamin Laird)

Source: www.canadianwoodworking.com