Mar 2012
Naka-nuki shoji completed
17 March 2012 Filed in: Book
Yesterday I completed the naka-nuki shoji with two asa-no-ha bordering bands and a central kiri band, and fitted it into its frame. I decided against fitting the handles in this shoji because I’ve given sufficient explanations and details in all the previous shoji.
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Kumiko pattern completed
All the kumiko in the naka-nuki shoji have been safely assembled, and all that’s left is to assemble the frame and attach the paper.
The central kiri (paulownia) pattern really sets this shoji off. Multiple angles and multiple jaguchi joints make it quite a difficult pattern to fit together.
(The dark mark in the bottom left is simply shadow from a fold in the dark cloth)
The central kiri (paulownia) pattern really sets this shoji off. Multiple angles and multiple jaguchi joints make it quite a difficult pattern to fit together.
(The dark mark in the bottom left is simply shadow from a fold in the dark cloth)
The difference an asa can make
Work on the naka-nuki shoji has been a bit slow of late, but I thought I’d show how a couple of simple asa-no-ha bands can really set off a shoji.
The important aspect of the square asa-no-ha and what really gives it its beauty is the central highlighted circle formed by the convergence of the 16 pieces (jigumi, diagonal pieces, and the hinge pieces). This circle literally shines with lighter coloured wood, and can only happen when the hinge pieces fit fully into the corners. Unfortunately this requires a bit of extra time, effort, and cutting angles when making the asa-no-ha.
So to do justice to this wonderful pattern, please don’t take any short cuts. You’ll end up with a much more attractive, and traditional looking asa-no-ha.
The asa-no-ha pattern that fits into the triangular mitsu-kude jigumi is a much simpler design with fewer angles to work with, so there’s not the same issue with that.
Next will be the kiri pattern in the central band, and then it will all come together.
Unfortunately, because of a few other projects and things happening, this will be the last Book 2 shoji for a while, and my writing of the book will have to go on the back burner for quite some time.
The important aspect of the square asa-no-ha and what really gives it its beauty is the central highlighted circle formed by the convergence of the 16 pieces (jigumi, diagonal pieces, and the hinge pieces). This circle literally shines with lighter coloured wood, and can only happen when the hinge pieces fit fully into the corners. Unfortunately this requires a bit of extra time, effort, and cutting angles when making the asa-no-ha.
So to do justice to this wonderful pattern, please don’t take any short cuts. You’ll end up with a much more attractive, and traditional looking asa-no-ha.
The asa-no-ha pattern that fits into the triangular mitsu-kude jigumi is a much simpler design with fewer angles to work with, so there’s not the same issue with that.
Next will be the kiri pattern in the central band, and then it will all come together.
Unfortunately, because of a few other projects and things happening, this will be the last Book 2 shoji for a while, and my writing of the book will have to go on the back burner for quite some time.
Naka-nuki shoji base kumiko
The kumiko bases for this set of Book 2 shoji are now assembled, and it’s on to the internal patterns - kiri in the centre, and asa-no-ha in the top and bottom bands. The initial CAD drawing is in my blog entry of 29 Dec (with a couple of minor design changes).
There is a set cutting sequence for the vertical and horizontal kumiko so that the total number of cuts required is kept to the minimum, thereby reducing the possibility of error. This sequence will be explained in detail in the book.
An interesting challenge for you would be to look at the CAD design and the photo below, and think how you would approach the cutting, and see if you can work out a cutting sequence in which the same cut is not repeated, other than when there are too many kumiko for a single manageable cut. Unfortunately, though, you’ll have to wait until the book is released to find out if you’re correct.
The vertical kumiko pitch is 13.9 mm, which means the space between the kumiko is 9.9 mm. So the kumiko can snap very easily if the marking and cutting accuracy is even the slightest amount off.
The internal squares for the two asa-no-ha bands are 23.8 x 23.8 mm, so there’ll be some quite small asa-no-ha pieces.
This is quite an advanced shoji design, but the whole idea of Book 2 is to take the basic work I covered in Book 1 to a completely new level.
There is a set cutting sequence for the vertical and horizontal kumiko so that the total number of cuts required is kept to the minimum, thereby reducing the possibility of error. This sequence will be explained in detail in the book.
An interesting challenge for you would be to look at the CAD design and the photo below, and think how you would approach the cutting, and see if you can work out a cutting sequence in which the same cut is not repeated, other than when there are too many kumiko for a single manageable cut. Unfortunately, though, you’ll have to wait until the book is released to find out if you’re correct.
The vertical kumiko pitch is 13.9 mm, which means the space between the kumiko is 9.9 mm. So the kumiko can snap very easily if the marking and cutting accuracy is even the slightest amount off.
The internal squares for the two asa-no-ha bands are 23.8 x 23.8 mm, so there’ll be some quite small asa-no-ha pieces.
This is quite an advanced shoji design, but the whole idea of Book 2 is to take the basic work I covered in Book 1 to a completely new level.
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