Jump to content

Jim Kelso

  • Content Count

  • Joined

  • Last visited

About Jim Kelso

  • Rank
    Advanced Member

Contact Methods

  • Website URL
  • ICQ

Profile Information

  • Gender
  • Location

Recent Profile Visitors

1,578 profile views
  1. Just another thought. Almost every time I look there are 15-25 users at TCP. If you click the "(See full list)" link at the bottom of the menu page you can see the variety of topics being viewed in real time. The topic list of that number of viewers is often impressive in itself.
  2. The forums and Facebook stand as two very different resources. You're not going to find step by step detailed tutorials on a wide variety of carving techniques at Facebook. You're not going to find TCP fulfilling a need for social interaction. Time will tell the relative merits of each.
  3. Jim Kelso

    Sorry To Say

    Russ, David's comments are quite accurate. We started this forum when the format was new and exciting. Things have changed. Many of us are less enchanted with the online social interaction than formerly. I think the greatest value of TCP lay in the encyclopedic volume of information available here, accessible through the search function. A google search with "the carving path" tagged on often functions better than the native search function. Also a comment on critique, if I may. The greatest critic you have is yourself. If you want to improve, you will. Others may offer all kinds of critique, but it is you in the end that will filter what is offered and find that which is useful. Looking at the best work you can find(much of which is here) is a most valuable reference. Happy trails.....
  4. Thanks very much Ken. There is more dialogue about it's evolution here: http://www.bladesmithsforum.com/index.php?showtopic=30632
  5. I call this knife “Tender Remnants of Passage”. I chose to use feathers as symbols of passage, which in the case of birds, could be molting, conflict, flight or death. Feathers have such deep and subtle beauty. Jean and I have quite a collection and I always wonder, when finding a single feather, what the story was. The last knife work I did was 13 years ago. Much of my earlier knife and other work had cast elements, but since about 1990 I've been moving toward direct carving/sculpting, which generally takes a lot more time to produce work in a given area. As I was working on those skills and making other types of objects, I often wondered how to apply it to a knife. The direct work is very time consuming and I knew that the result would be very different than my earlier work, in terms of the newer focus on subtlety and refined detail. It has taken a long time to settle on a design incorporating the new kind of work. As the overall design for this knife emerged it became clear that it would not be conventional. This actually pleased me as I wanted to quietly play with the tension around artistry/functionality. I hoped to do this suggestively and gracefully. It’s not a knife to be used often and coarsely, but perhaps by someone highly skilled, knowledgeable and restrained. I am comfortable with romanticism, paradox and imagination. So, there is an edge, somewhat unavailable to the uninitiated. The fine pattern-welded blade was made by Rick Dunkerley, and to my mind, perfectly suits the overall design. The handle scale is shibuichi (50%copper/50% silver). The inlaid feather is also shibuichi (75%copper/25%silver). These alloys were made to order by Phillip Baldwin. The gold inlays are 22k. The carved transition collar is 18k gold. The signature plate is shakudo. I'd be happy to answer questions about details. There is a slide-show here: http://www.jimkelso.com/albums/tenderremnants/album/
  6. Thanks very much Ezz. You should see what's under the stone....... ;-)
  7. I love the Michi (Japanese) chisels and gouges: http://www.japanwoodworker.com/category/12686/michi-carving-tools.aspx
  8. Really extraordinary Janel! Incorporating the gnarly natural bits is genius. Jim
  9. So unique and well crafted Paolo! Thanks for sharing. Jim
  10. Thanks very much guys. Ed, Vera is a very interesting and unusual wood. It is a cousin of lignum vitae and is super dense(does not float) and infused with a fragrant oil. It has a strange interlocked grain which makes it very challenging to carve as the grain direction constantly changes. When freshly cut or worked it is mostly gold and yellow, but when polished, after a few days much of it turns green with some gold tones remaining. Cannot be glued effectively and I doubt there is any finish that will stick to it, but no matter as it takes a beautiful high polish.
  11. Thanks very much Ken, Dan and Nelson! Dan there is so much information available these days on the net on technique, more-so than in books. I would rather spend my time making work, as I enter the home-stretch of my career, but I appreciate your comments. My website and blog have a lot of information about technique as well as motivation. http://jimkelso.com/journal/ Thanks again. Jim
  12. So more or less done and dusted on this one. I call it Kinship of Cherished Ephemerals. My aim with this work was to evoke the mystery and fleeting beauty around the relationship of seemingly unremarkable bits of nature. Thoreau wrote much about the value of looking closely at our home ground for inspiration: “The discoveries which we make abroad are special and particular; those which we make at home are general*and significant. The further off, the nearer the surface. The nearer home, the deeper.” [Journal, September 7, 1851] Overall length is 13 inches. Vera wood with copper, shibuichi, shakudo and 18k gold. Here is a link to a gallery with more photos: http://www.jimkelso.com/albums/kinship/album/ And a tutorial of how the feather was made: http://www.jimkelso.com/tutorials/feathertutorial.html 
The wood-carving resolved into an area on one end suggestive of weathered wood or sculpted stone in a stream-bed, or perhaps both, and on the other end as a small area of moving water flowing between mossy patches. Rather than be too literal I would rather leave interpretation to the imagination of the viewer. 
The metalwork also evolved very differently than usual, the end result being the third generation of concept. Initially I had thought of a larger piece of metalwork but decided that small details would be better as the wood is so powerful. I chose to portray specimens from the animal, vegetable and mineral worlds to illustrate the harmony and relationship of elements (Classical or Asian mode).
  13. Love to see how this will progress Janel. Thanks
  • Create New...