Detail of chest, Chapter 6.
Although there is much educational value in exactly replicating the work of Greene & Greene, truly emulating them on the other hand is something different. For every new design the Greenes took a fresh look. They did not discard the old, but did not precisely repeat it either. Every new design had a life of its own, as if it were a new birth and possessed the family DNA. Each new life introduced new traits to the family gene pool.
With this new book I endeavor to emulate Greene & Greene. I want to encourage my readers to introduce their own decorative elements and to make new use of old elements; to keep the style alive.
Most of the details discussed in this new volume are original to the Greene’s vocabulary, but I have also included ones that have spawned from my drawing board (computer screen), such as the strap detail and the block and dowel pull. Both of these features have made their way into the greater world of G&G woodworking. Of the two, the strap has an original G&G pedigree, while the block and dowel pull is something I borrowed from the work of James Krenov. I feel it is a great compliment to my work when they are used in other woodworkers’ projects and mistaken as details original to the style.
Style is not the only thing that needs to be kept alive and ever changing—methods of works do as well. How I do things at this moment is the best way I know at this time, but sometimes there are many ways to accomplish the same thing and each has its merits, and the best way is then relative to circumstances or just my mood at the time. For this reason I have included alternate approaches for a couple of things from my previous book.
In my last book, because I took up considerable space in introducing Greene & Greene, I did not have room for any projects. In this book I have included projects of my own Greene & Greene style design. Projects are a good way to practice some of the skills discussed in both books. Projects are also good in that they focus the attention on a specific design and in so doing assist in developing a greater knowledge and understanding of what makes that design work.
Again, I would like to encourage my readers to take as little or as much from what I have to offer as suits their fancy. Staying within well-defined boundaries is where all good creative endeavors start. Being different for the purpose of being different is not what I am promoting. Let the desire to branch out develop naturally. When, and if, the urge to deviate pays you a visit, don’t hesitate—go for it!
Chapter 1
The Arched Pull
A good design should, upon first look, present the viewer with a pleasing set of proportions and a strong focal point. With the initial viewing these two elements should be unambiguous. An exceptional design, however, offers discoveries well beyond the first impression. The Greene & Greene arched pull is a prime example of this. But it is much more than just a secondary detail. Don’t be fooled by its deceptive simplicity. If there were such a thing as a default Greene & Greene pull, this would be it. This pull, in its many variations, was used on several original Greene & Greene designs.
The arched pull does not shout or draw attention to itself. Its subtleties reveal themselves only to those who look closely. It quietly performs its purpose in a humble but ingenious fashion.
A pull must be deep enough (protrude from the surface) to allow for the hand to easily grasp it. It must also be positioned so that when acted upon it opens the door or drawer in a smooth, non-binding action.
Often times the depth needed translates into “clunky.” The arched pull gets around this by starting out shallow at the ends and gently protruding outward in the center, thus providing maximum depth and easy finger access. This invites the user to grasp the pull in the center where the pulling action will naturally offer the least chance of binding.
A more perfect marriage of form and function would be difficult to find. The arched pull presents the world with a sleek form, while providing full uncompromising function.
The arched pull, in its many variations, was used on several original Greene & Greene designs. Built-in Sideboard, David B. Gamble House, 1908–09. Courtesy of the Gamble House. Photo by Tom Moore.
Built in Sideboard, David B. Gamble House, 1908–09. Courtesy of the Gamble House. Photo by Tom Moore.
Library table in the possession of the Hall family. Courtesy of the Hall family.
The arched pull. Serving Table, William R. Thorsen House, 1909–10. Courtesy of the Gamble House.
The example presented in this exercise is generic in both its overall size and placement of the ebony bars. The Greenes used this pull primarily for drawers, but occasionally for doors as well. When used on a drawer, the pull usually extended to within 2 to 5 inches of each end of the front, and was placed just a little high of center. When used on a door, the pull was usually (but not always) quite short; just three or four inches long. The ebony detailing varied considerably and sometimes was not present at all.
Getting Started
To start, cut a piece of sheet stock (Baltic birch or MDF) to about 10" x 22". From this you will make a layout template used to transfer the arched shape to the pull stock as well as a router table fence to be used for putting the cove on the backside of the pull.
A. Template Layout
B. Arched Pull Layout
1. Laying out the arch.
2. Even out the mating surfaces.
3. Lay out the location of the ebony bars.
4. Attach a piece of 1⁄8" material to the scrap wood.
5. For the longer center bar, punch the ends first.
