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B.K. Henderson-Winnie

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About B.K. Henderson-Winnie

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  • Birthday 01/22/1970

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    Portland, OR
  1. Broken Wing Trick

    Thanks, Jim! (waves southward) Bonnie
  2. Boxwood Root, what to do with it?

    I like the contrast between the gnarly, organic root as a display base and the smooth, finished boxwood cicada. That they are the same kind of material from the same bush is a nice touch. Is the cicada a netsuke?
  3. Clover Key Sun sashi netsuke (in progress)

    Janel- I'm intrigued- I will definitely attempt a similar profile when I start experimenting with making blades. These close up images are great! Thank you, Ed- I'll share pictures when I make some, sure! Yes, it's up to each person how seriously they decide to take criticism offered. I always try to stop myself and say "consider the source, consider the motives". I'd take what you describe from a good old friend as just some ornery ribbing, or possibly start a conversation with them about it. From most anyone else, that would elicit quite a different reaction! So much depends on relationship and intent. As far as "cheating"... I am partial to hand tools, but hey, you use whatever will deliver the results you need to get, within your own philosophical and ethical boundaries! And of course, if you have budgetary and/or resource limitations, use what you have, the best you can! My heart feels very full today. Thanks, you two! Bonnie
  4. My New Animal Carvings (Dmitrygor)

  5. Magnifying glasses

    Hi Janel, What a wonderful inheritance from your uncle. I like their look, their simplicity. The magnification on the telescope elements of the lenses I'm using are 2x (+8.0 diopter in reading-glasses terms, according to their FAQ), and can be combined with whatever reading glasses diopter magnification a person wants in the lens frames, up to +6.0, I think. Or, with a person's own glasses prescription or with plain glass lenses. I don't think it gets as powerful as 10x, but I get a great deal of magnification with just a +1.5 diopter reading lens, and would probably get super detail if I had a pair with +6.0 diopter lenses under the telescopes. The interpupillary distance is adjustable, but not the strength of the magnifying lenses, aside from flipping the scopes up and using the glasses part only. I really like them so far! They do exactly what I had hoped they would. Here's a link to their FAQ for more info: https://craftoptics.com/faq/
  6. Magnifying glasses

    Well, I went ahead and did it... took the plunge and am trying out a set of Craft Optics' telescopes. I purchased the shorter focal length (10-12") with reading glasses lenses, 1.5 I've only had two carving sessions with them so far, but results are very promising. They were initially disorienting in that I am so physically used to hunching over, or having to float my hands midair close to my eyes, or drastically adjust the height of my seat often to view fine detail, that my body didn't quite know what to do with being able to see detail clearly from a straighter-spine, arms more down and relaxed sitting position. My neck and back are less tense and eye strain is noticeably reduced. Being able to flip the scopes up for regular reading-glasses enhancement is very convenient. They are a little heavy on the bridge of the nose, but I think I could get used to that. Even if I don't end up liking them so much, their return policy is very good. I did not get the additional clip-on light, because I often rely on being able to move the light around to see the shadow and light play on the work from different angles, and my bench lamp does that well enough. I need to work with them more and get used to them, but I think this was a good investment. Bonnie
  7. Magnifying glasses

    Ed, The magnifier looks like it's working very well- thanks for sharing. I particularly like the cicada. I am fond of insects, and cicadas are one of my favorites Bonnie
  8. Clover Key Sun sashi netsuke (in progress)

    Hi Janel, Thanks for your information-packed response! The photos of the tool tips are great- much clearer to me than what I was looking at in the Myhre book. The video is very helpful and makes clear the various uses of the edges. I will probably go ahead and acquire some O-1 tool steel in a few diameters during the fall/winter for making a few blade shapes like the ones illustrated above. Hardening/quenching should be no problem. For tempering I am thinking of making a sort of hood barrier, like I saw in one of your photos of Ryushi Komada's demonstration. That seems really smart to me- a good way to control the heat and see the changing color of the metal clearly. I have some 18g & 20g sheet copper that should be good for that. I have a bunch of dental tools, made with the good steel, I think, that I've horded from when I found buckets of them on sale for very little at a local scientific and mechanical odds-and-ends shop (I miss you, Wacky Willys). I will try to make some of the small-tipped triangular profiles from some of those that came with the less-useful tips to try out on the ivory, since that's something I can do right away. Thank you so much! Bonnie
  9. Broken Wing Trick

    Hello, Here's an earlier piece that is netsuke sized, but not a netsuke (no himotoshi). Carved from Siberian jet with small lacquered areas. The bird appears at a disadvantage, but carries a surprise. I didn't quite get the head and beak shape right for a crow, but I do like how compact I was able to make the rest of it. Thanks for looking! Bonnie
  10. Clover Key Sun sashi netsuke (in progress)

    Thank you Janel! I don't mind making a tool, what would you suggest? For smoothing the background I was going to use very small fragments of sandpaper as I have always done before, but I don't want the loose grit to lodge in the ivory. I did a little searching here, and saw those scrapers you made from craftsman pin punches. I thought those would be perfect, because they'd only scrape the surface I wanted to scrape, but not bite into the vertical surfaces like a blade would if I slipped. I have some very small dull drill bits that I could put the angle on the butt ends and put into a pin vise. Would that work well? I have a set of those sharpening stones with the fused bits of diamond as the cutting agent that I could use for shaping. I also thought that later on I might try to make a set of scrapers like those described in the Stephen Myhre book. Have you used those? What do you think of them? Bonnie
  11. Hello, all! Here are some images of what's on my bench right now, a few process pics. It will be a sashi type netsuke made of ebony and salvaged piano key veneer, probably old pre-ban elephant ivory I acquired from Boone Trading company about a decade ago. A small 14k gold disc left over from a guitar repair will be inlaid for the sun. It's my first sashi-type. It may not strictly adhere to what a sashi is supposed to be, but that's the shape that seemed closest to what this resembles to me The subject matter comes from an 18th century fortune telling deck called Lenormand. The image is a combination of three very good cards, the ones everyone wants to come up in their reading! Clover represents luck and opportunities, the key is often about breakthroughs and important revelations, and the sun represents personal and situational success. roughing in Ground leveled and ink wash 1 done. I was hesitant about using an ink wash, but went ahead. I used a much diluted wash of India ink, hoping it would resemble more of a collection of fine soft gray dust or shadow rather than obvious ink. Ink wash 2, under bench light and in the room light. After the initial washes, placing the gold disk before marking and carving out the inlay pocket. It is a bit too bright as shiny as it is now. I will probably give it a light brushing to mellow it out once it is inlaid. After that will come the lamination of a little more ebony on the back side to make room for a himotoshi, shaping the edges of and finishing the surface of the ebony, inlaying my maker's mark and final small carving/smoothing and polishing adjustments. Well, then making an ojime, too! It has a ways to go, but it's beginning to look like what it will be! Thanks for having a look, Bonnie
  12. inro/sagemono for phones?

    Jim, yes I can see that being a bit fiddly. One open side, though- that's a good idea. Or in more of an open-top sheath for easy removal. It would certainly need to be at least as convenient as a pocket to be viable. Janel, cool! I saw a few articles on phone charms being popular in Japan and Korea, which struck me as a similar idea in terms of decorative wearables, bordering on the poetic/talismanic. I'm unlikely to make any, but I would use one! I'm prone to going down rabbit-holes when it comes to work ideas, but have learned that I need to focus on the small scale carvings if I ever want to finish anything Bonnie
  13. inro/sagemono for phones?

    Hello all, In thinking about possibilities for functional netsuke for contemporary western dress, I started thinking about those small things that nearly everyone carries everywhere, their iphones or smart phones. I've done a little searching, but haven't come across anyone making inro or sagemono (and ojime, netsuke) for phones. I'm curious if anyone here has heard of anyone making or using that sort of thing. Bonnie
  14. They Way We Are, Go And Have Been?

    What a great question! For me, It's been an incredibly winding path. I was a ceramics major in college at KCAI ('89-91) who also did some work in fibers. I basically picked ceramics because it was the department I knew the least about. Which may have been good, or incredibly foolish, or both. I was in way over my head and burned out pretty hard. I made no visual art to speak of for several years after leaving school. My partner and I moved to Oregon, and through a completely unexpected and surprising turn of events, I found myself working in professional theater, apprenticed to a wigmaster. That work took me to the east coast for work in a summer opera festival. While visiting NYC on a day off, I picked up a copy of Ornament magazine somewhere, the one featuring Janel's work. The same day I also went to the Met for the first time, and found a stunning little show catalog full of contemporary netsuke- the one with Bishu's ".Harvest Dance" on the cover. I was completely blown away by both. That has stayed with me. When I got home I attempted a few carvings armed with just an xacto knife and some scrap from Gilmer Wood. Though I've taken some lengthy detours into metalworking and drama (I'm still working in theater full-time in wardrobe, wigs & makeup to pay the bills), the persistent thread of carving has never left me, and at this time in my life I feel it is time to simplify and focus back onto that practice. The intimate scale that invites touch and engagement in 3d- in the dimension that I live in, too!- is what I love about this form. And the challenges of working in the round, within certain compositional limitations. I love that so much of the subject matter is inspired by the natural world, and by expressions of human nature such as they are. I am still wrestling with the question of "who is the work for?", and peeling back layers of motivations built up since childhood. I'd like to be able to say I know my answer to that question, but I am still pondering and working through it. Thank you for asking! Bonnie
  15. Magnifying glasses

    Very interesting portable vise setup. Perhaps I will simply flip my bench pin over so that the angled side is up, and try that in combination with the mounting putty. thanks so much! Bonnie