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Karl Carvalho

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About Karl Carvalho

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    Koolau Mtns., Hawaii
  1. Aloha Natasha, As I asked, somewhere around here, has anyone road tested these theories? At least you took the first step. It is implied that you accept the consequences, good or bad. As to assumptions made to this point, I see some holes: 1)would there be a difference between something worn on a 1,000 mile journey vs. one worn only on a night out to a Noh drama? 2)would a piece worn by, say aristocracy (and made by an acknowledged artist ) not be kept safe until placed on the person by a dresser? 3)would not a client of means take the “risk of purchase” for an exceptional work to
  2. Aloha Phil, Glad to help. Back in about 3 pages in Search Google>ranma transom, seems to be a free Ebook/PDF download on the subject as well as English translations of Japanese life style articles. Could we be seeing the birth of Haida ranma fusion? (I love fusion. ) Here's a few links of interest. http://www.janesoceania.com/palau_storyboard/index.htm http://www.washington.edu/burkemuseum/coll...e.php?ID=214153 Various Polynesian groups meet here (as well as North American Natives), and some do group carving "awakenings". Very spiritual. Dan, thanks for reestablishing
  3. Aloha Phil, I tried ranma panels as a starting point and got this, http://www.tableasia.com/Table_Asia_Galler...ese_Panels.html. I am more familiar with ranma as transoms, so I would go with ranma transom. Otherwise search engines bring up some manga name-alike. I'm guessing that art dealers are your easiest bet for images. There was a link in here regarding tortoiseshell, that led to videos of traditional craftspeople working, including ranma carving. It was through something like the "Japanese Traditional Folk Art Association" on the Tokyo Tourism website. Unfortunately, that site ha
  4. Oh c'mon, what I really want is pictures of members in their best kimonos (or yukatas). As artists, if you are going to suffer for your art, let's walk the talk. I will, of course, participate (got mine around here somewhere...this is gonna take a whole new thread). Whose's game? Karl
  5. Out of curiosity, how many out there regularly wear their kimono around town to test drive their netsuke/ojime/inro. Otherwise it's all theoretical. Karl
  6. Aloha Tom, Thanks for the quick answer. I can understand the subtleties of working in that scale, especially the photography. There is a bronze alloy from Rio Grande that you may want to check out. It has such rich warm color, patinas in a wide range (think of that Zeus statue) and good physical characteristics...I can see it working for Celtic designs. Only comes as casting grain, but is easy enough to form your own sheet stock. Maybe Dick knows of sources. Karl http://www.riogrande.com/MemberArea/Produc...e+casting+grain
  7. Aloha Tom, Another nice one. Is the shibuichi patinated (and ratio/alloy mix)? Regarding sanding lathe work... don't know your equipment, but one of the best investments I've ever made is a variable speed reversing lathe. I can take the surface to 4/0 steel wool, add detail with a honed, 55 degree detail scraper and polish out fine lines. http://www.flickr.com/photos/koolau_arts/s...ith/3279863382/ Karl
  8. Aloha Clive, First I had to wrap my head around the idea of actually talking to Masatoshi. Then I recalled reading criticism somewhere, that his more elaborate pieces were too fragile and did not conform to "accepted" convention (what do I know). So I revisited images of his work with the vision of an old Japanese man twirling his creations around his shop. All seemed to pass my imaginary test. I learned something. Thanks. Karl
  9. In traditional Japanese post construction, a cut is introduced along the longitudinal axis. This concentrates all the stress to one tangent. . If you can accept this, it keeps checking to a minimum or 0. Otherwise, seal the ends with cheap water-based paint and leave the bark on, out of the sun with lots of airflow. That's how I prep my bowl stock. Karl
  10. If you are looking for phosphoric acid in a safe, over the counter form (without logging in to Homeland Security), try http://www.ospho.com/. It's been used by welders for decades in the US. It's cheap and can be found at most old school hardware stores. Just be real careful. Karl btw - The process, as taught to me by old shipyard workers from Pearl, is to let a light rust coat form on dull files. Dip in muriatic acid (dilute hydrocloric acid from same above sources) until shiney, then Ospho. Best for larger tools as it may remove fine teeth unless you have the touch. More caution is a
  11. Aloha Clive, It is outstanding to have you share your technique with us. thanks Karl
  12. I'll second that. Mahalo
  13. I must admit that I had way too much fun building what is essentially a giant Swiss Army knife (apologies to the Swiss ). There are things that swivel out at angles, rotate, plug in, switch on and off and light up. Little trays, drawers and compartments hold all manner of precious bits and custom tools. I think we all (TCP) have some of that in us.(See previous posts by Hans et al.) That's why we do what we do. When I see some cool little thing, every instinct is to pick it up and dissect it either mentally or literally (to my wife's consternation). Don't worry Phil, I still have the out
  14. Finally, carved out ( ) a small bench space in one of the storerooms. Got most of the basics in place. Still looking for space for the second scope (on the floor) and the new guillotine shear. That's the black coral hanging off the Foredom (yes Clive, it's the red kind). Working on a deco inspired malolo (flying fish). Aloha Hans, Just caught your post. Man, that's crazzzy! I'm getting mental images of blast marks on the walls of your shop. So, when do you go kinetic? Karl p.s. Talk to you soon.
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