How a Wood Artist Thinks and Works
By Roger Moister
Guild member Doug Pisik
returned as the speaker to talk on Creative Design in
Woodworking on November 12th at Woodcraft. The program was well attended,
notwithstanding the Veteran’s Day holiday. Many lively and interesting questions came from
the floor.
Doug is an effective communicator, and he was quick to compliment the Show and Tell
item from Milton Miller which was a cutting board built in 2 sections and interlocked with a
curve featuring 2 heart shaped holes, this having been made for a young married couple.
Doug seized on how the cutting board demonstrated creativity in woodworking.
Doug was introduced as a self-employed wood artist, starting up a full-time business in
that area, but he adamantly insisted he was a woodworker first. For him being a wood artist is
a subset of being a woodworker. Doug’s talk gave helpful insights in what we all strive to do in
becoming better woodworkers.
As one who does not build from a set of plans, Doug proceeded to address where his
artistic ideas come from. Several sources were revealed: self inspiration, like the need to show
off; mental associations like building a vertical object based Brancusi’s “Endless Column;”
personal sketches; periods of brooding, like designing the top for a particular box; fulfilling a
need by doing a commission like creating a “whisker box” for the ashes of a pet cat or
building a dot box relating to a museum exhibition; using scraps like for a small triangular box
and finally leveraging off of a mistake. Doug pointed to some of his works to demonstrate
these points.
Doug gave us helpful tips on woodworking which revealed somewhat how he
transforms his designs into wooden objects. On finishing, he sands to 6000 grit using micro
mesh to level 9 and then puts on 2 coats Watco oil or Formby’s tung oil. He cuts 45 degree
miter joints with a router using a chamfer bit, and he makes mitered pyramid box tops
referring to a book of pyramid angles available on the web. All the miters in his demo items
were tight. Doug explained his unique technique of “Through Pattern Construction” on a
displayed box. He said the box was glued up using many small pieces of stock cut precisely
into quarter inch thick or less pieces and glued together painstakingly in sections on an
absolutely flat surface. Doug said he cuts most of his stock on a 16 inch Laguna band saw. He
explained how he uses a table saw to rip thin stock. He also uses a big belt sander and a
drum sander to help prepare his thin stock. Doug uses Titebond mostly and sometimes 5
minute epoxy for glues. Finally, he mentioned he sands the inside of his boxes before
assembly.
Throughout the evening Doug shared insights on how he works. In starting his wood
working business, he said he tries to work in his shop 6 hours a day, 6 days a week. Against
this, he spends about half his time on marketing—somehow. Recently he admitted he had to
work to midnight many nights to meet a deadline.
Doug’s mindset toward his woodworking is to work without constraints, focusing solely
on the idea at hand. He looks for ideas everywhere and all the time. He praised the Guild as a
source of ideas for himself and all of us. Sometimes he forces creativity to come out because
of limited options like the need to follow a theme or meet a deadline. He makes a decision
sometimes between a planned build - like for an object he would sell, or for an ad hoc build like
something he would build just for fun, such as the hodgepodge object he showed us made
from scraps. Above all, Doug tries to write down his ideas in words or sketches to capture
them while in mind. Work with patience he said, and embrace your mistakes and never, no
never, point out your mistakes to one who admires your work. Finally work safely, which for
Doug is not entering his shop if he has recently had even a sip of wine or anything stronger and
leave the shop at the first signs of fatigue. “I’m proud of my fingers,” he said, showing us all 10.
Doug commented on the business of woodworking, admitting the difficulty of how to
charge for his work where he must consider the originality of his design, complexity of
construction, time expended and cost of materials. Doug balances the difficulty of charging for
a piece of his work with the good feelings he gets by sometimes selling a piece at a charity
auction because he feels like he is giving back.
Doug’s program was informative and very interesting. His cards were distributed to the
If you want to talk to him, buy one of his pieces or engage him, reach him at [email protected] or phone 404-307-2185.