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Project Information

Wood And Materials Used
Basswood, Indian Rosewood, Gabon Ebony
This is a work inspired by an antique Japanese Incense Kodansu (box in a box) from the Edo period, 1650s-1850s. My original idea for the artwork was to be a story with the Geisha as the central subject, and the story unfolding on the four sides. She was to be waiting for her Man, one of the fishermen below her in one of the boats. However, I realised that fishermen do not have geishas as wives, or concubines, as traditionally, there was a strict caste system in Japan. The geishas would have consorted with upper-class aristocrats, not fishermen. So I had to adapt the plan, and resorted to traditional themes to decorate the sides of the box, with a focus on floral patterns, and some bugs.
The top pull-out tray is intended for the incense burner, made from Indian Rosewood, and the other side for incense sticks. The incense burner has a curved sculpted bottom so one need only to push one end and the other end pops up for it to be removed easily. The four flower-themed boxes in the lower tray are intended to hold the small incense cones that are more common in Japan.
Because I was under strict time constraints, to get this in the mail by a certain date, there were things that didnt get done, touchups, for example. I also forgot to get the measurements. I think it is about 24cm wide X 12cm deep X 12cm high, or so. All stock is 5mm, except the pullout trays, which are 3mm thick. The joints for the trays sides are half-lap, which I thought was a good idea at first, then, after they were glued up, didnt think so because I suspected this might not be strong enough. Turns out this is a common technique for boxes in Japan.
Building the box and interior components was the easy part. The rest, is not easy. You are looking at many many hours of work here.

Thanks for viewing
And have a great day.

Comments

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That is beautiful Brian, the finish is wonderful. I don't see where there are touch ups needed (as you say). A very well-crafted piece, and the artwork is over the top. Well done.
 

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So many artistic visuals that a once over requires at least 5 or 6 scans to see all of the points of interest. The very first thing that caught my attention was the 'used' appearance of the carrier box. Even the dragonfly wings have the worn appearance.
The rest has your signature of attention to detail as well - another outstanding endeavor
 

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Excellent graphics and awesome craftsmanship, Brian. I can certainly understand the many hours you put into it.
Well done, sir - well done indeed.
 

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Wow, really beautiful work. Can you explain the type of paint used? Is it a special lacquer? How is it applied?
 

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Thank you, Dick. Nice to see you stop by. That "worn" look is not ideal. It is the nature of the brass powder I am using as a substitute for the real gold powder traditionally used. At present I cannot afford the gold powder, 1 gram is about 200-250$, though that 1gram does go a long way. With real gold you dont get that blackish effect when you polish it. I do have real silver powder, which you may see with the next boxes I am doing currently.
 

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I have so much to learn!
 

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Brian, you set the bar high for the swap, well done my friend. And thanks for your participation, it has been fun. Waiting to see what else gets revealed.

I think I need to stick with shop tool making and lathe turnings.
 

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Thank you, BIB. I will get back to your question after a siesta.
 

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A lovely delicacy to the artwork. Just a fine piece all 'round.
 

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That "worn" look is not ideal.
Well Brian, that may be but to my eye and to my thought process I think it's an ideal look -
 

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So beautiful and well detail as always. I like dragonflies!
 

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Ok, Bill, I will try to keep this short-ish.
In Japan, for this ancient lacquering technique, they use Urushi lacquer. Urushi lacquer is highly allergenic, comes from a tree in the poison ivy family. Urushi lacquer also requires exact humidity control or it will not cure. One alternative for these issues is Cashew lacquer, which is also highly allergenic, but less so than Urushi - which is why cashews are always bought without the shells, it is an enzyme in the shells that is toxic.

If you want to investigate the technique, you can google something like: Urushi Maki-E technique. Here is one link:
Urushi: All You Need to Know About Japanese Lacquer

Anyway, my alternative is to use high-grade Marine Varnish as the base lacquer. To do the gold you see on the outer box, a thin coat of varnish is applied, then superfine brass powder (or gold) is sprinkled onto the wet varnish using a special tube (bamboo), and lightly brushed out to a uniform coating with a very fine-haired brush. Once that varnish layer is set (24hrs), I go over it with several coats of thinned clear varnish to lock in the powder. Then I begin the detailing, and if I make mistakes I can just erase them with some MS on a paper towel, and the gold layer is not affected. To get the colors that get painted on with various types of brushes, metallic powders are mixed into the varnish with a spatula, such as iron oxide black, or iron oxide red. And in the modern age, there are numerous colors like white, green, yellow, blue, etc. Depending on the consistency of the varnish required, I add mineral spirits, less so in the base layers, and much more in the final finish layers - so the application is very very thin = no brush marks. Also, as the layers get built up, at various stages, everything gets leveled with crystal water stones - up to 2000-3000 grit - which leaves a very smooth surface. And usually, I will take out the little imperfections with 1000 grit sandpaper before the next coat. Once the detailing is done, I go over everything a few times with highly thinned clear varnish. Last step is to do beeswax buffing and denib, which leaves the surfaces smooth as glass, and highly reflective. This waxing also helps to keep the varnished elements from sticking to eachother.
 
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And I eat Cashews, thanks Brian.
 

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Ok, Bill, I will try to keep this short-ish.
In Japan, for this ancient lacquering technique, they use Urushi lacquer. Urushi lacquer is highly allergenic, comes from a tree in the poison ivy family. Urushi lacquer also requires exact humidity control or it will not cure. One alternative for these issues is Cashew lacquer, which is also highly allergenic, but less so than Urushi - which is why cashews are always bought without the shells, it is an enzyme in the shells that is toxic.

If you want to investigate the technique, you can google something like: Urushi Maki-E technique. Here is one link:
Urushi: All You Need to Know About Japanese Lacquer

Anyway, my alternative is to use high-grade Marine Varnish as the base lacquer. To do the gold you see on the outer box, a thin coat of varnish is applied, then superfine brass powder (or gold) is sprinkled onto the wet varnish using a special tube (bamboo), and lightly brushed out to a uniform coating with a very fine-haired brush. Once that varnish layer is set (24hrs), I go over it with several coats of thinned clear varnish to lock in the powder. Then I begin the detailing, and if I make mistakes I can just erase them with some MS on a paper towel, and the gold layer is not affected. To get the colors that get painted on with various types of brushes, metallic powders are mixed into the varnish with a spatula, such as iron oxide black, or iron oxide red. And in the modern age, there are numerous colors like white, green, yellow, blue, etc. Depending on the consistency of the varnish required, I add mineral spirits, less so in the base layers, and much more in the final finish layers - so the application is very very thin = no brush marks. Also, as the layers get built up, at various stages, everything gets leveled with crystal water stones - up to 2000-3000 grit - which leaves a very smooth surface. And usually, I will take out the little imperfections with 1000 grit sandpaper before the next coat. Once the detailing is done, I go over everything a few times with highly thinned clear varnish. Last step is to do beeswax buffing and denib, which leaves the surfaces smooth as glass, and highly reflective. This waxing also helps to keep the varnished elements from sticking to eachother.
Wow! Well you just clarified your last sentence in the OP.... at least to me :oops: So what we see is not only amazingly detailed and beautiful, the technique to get there is painstakingly delicate and complex. Brian thanks for taking the time to tell us about the historical method as well as the safer method. ;)
 
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