How to Ship a Wooden Spoon

If you sell your woodwork online at all, there’s a little challenge that you probably didn’t think about until you sold your first item: how to package it for shipping.  And if you’ve ever received an item in the mail that was damaged due to careless packaging, you know how important packing is.

I’ve been selling my wooden spoons online for some time now, and after trying several different methods of packing them, I hit on something that protects the spoon, and that is compact and affordable.

Shipping a Spoon 2015 - - 1I begin with a section of an old cardboard box.  I cut the box so as to form a cardboard sleeve that will fit into a padded envelope.  My goal is to fit everything into a 12″X12″ package, which is the maximum length/width dimensions for standard shipping at the US Postal Service.  An 11″ spoon easily fits across the diagonal of a 12″X12″ package.

Shipping a Spoon 2015 - - 2The box flaps are left on, and they get folded over the spoons’ bowls, which are the most prone to breaking during shipping.  The cardboard is then taped closed around the spoons, which are now surrounded by 2-4 layers of cardboard.  Don’t forget to include some care directions, contact information, and one or two business cards!  (You can find a copy of my care directions under the “Woodenware” tab on this blog.)

Shipping a Spoon 2015 - - 3The cardboard sleeve gets slipped into a padded envelope, which cost less than a dollar apiece.  The only other expense is for the packing tape.  I can get three or four spoons and spatulas safely packed in an envelope like this.  Now it’s ready to go off to the post office.  Paying the extra to insure the package and get a tracking number is a good idea.  It costs me about $7 to ship to the continental USA this way.

Since I’ve started packing spoons like this, they’ve all arrived safely.

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Making a Thumb-Ring Page Holder

If you’re a reader and a woodworker, you’ve probably seen pictures of them on social media.  You don’t know what they’re called, but your book-loving friends probably want you to make them some.  I’ve heard them called by several names: “book buddy,” “book bridge,” “thumb-ring-b00k-page-holder,” or some other combination thereof.

imageThey come in a number of different shapes and a few different sizes, but the idea is always the same: a wooden ring with “wings” slips onto your thumb, allowing you to hold open the pages of a book (usually a thick, new paperback) with less strain on your hand and forearm.

These objects are small and simple.  They should be easy to make, right?

Kind of.

Making one that works is not difficult.  Making one that’s comfortable and works well is a little more challenging.  Here’s how I do it.

Stock Selection and Shaping

The overall dimensions of your page holder can vary.  Something between 2 1/2″ and 3″ long is about right.  Your stock should be about 1/2″ thick.  Many woods will do, but I’d recommend something relatively easy to work, such as walnut or beech.  There’s not a whole lot of room for error on a piece this small.  If your wood has some interesting color variation, all the better.  I used some claro walnut I had on hand.

Page Holder 1You can get a lot of these things out of a single board, especially if you’re careful with layout.  I joint one edge of the board and use a sliding T-bevel, a ruler, and a pencil gauge to lay these out.  A pair of dividers might help, too.  I don’t know what the angles are.  I just played around with a couple prototypes until I got something that looked and felt right.  I set my T-bevel to that angle and saved the setting on a story-stick.

The first operation is to bore the holes.  Thumbs come in different sizes, but I find that most people like one of two sizes: large and small.  So I bore some with a 5/8″ Forsner bit and others with a 3/4″ Forsner bit.  Then I take the board to the bandsaw and cut out the pieces.

Page Holder 2

Reaming and Refining

Page Holder 3The next operation is to ream out the thumb hole.  If you look at your own thumb long enough, you may notice that it tapers toward its tip.  So I’ve found that the most comfortable shaped hole is also tapered.  I use a taper reamer that fits into a brace.  It leaves a somewhat rough surface, but it’s all I have at the moment.

Now I go to work on the outside surfaces.  The faces of the wood are already pretty smooth since I planed them down before I laid out the shapes.  I use a block plane to remove a few of the saw marks, and then I use a chisel to slightly hollow out each outside facet.  I suppose a half-round file or even a spindle sander could be helpful here.  But you use what you have at hand.

Page Holder 4The chisel creates a slight hollow that the spokeshave will then ride down into.  My low-angle spokeshave is very helpful here because I’m working all end-grain. That, and I’ll make any excuse to use a spokeshave.  It’s one of my favorite tools.

Page Holder 5 I finish up with a stiff card scraper, and then relieve all the sharp edges, inside and out.

A good dunking in Danish oil is all that’s required for a finish.

imageI can make a dozen or so in a couple hours, and they sell pretty well at the craft shows.  I price them at $5 apiece.  If you’re a woodworker looking to make a bit of extra cash, these are a good project.

If you’re a reader looking for a thumb-ring-page-holder, then support a local woodworker.  You can find many of these on Etsy or other similar online shops.  And of course, I’d be happy to sell you one, too. Just e-mail me at the address on the “About” page.

Posted in Build-Alongs, handicraft, Wood and Woodwork, Woodworking Literature | Tagged , , , , , , , , , , | Leave a comment

Take a Look at Living Woods

There was a time when American and British woodworkers didn’t know much about each other–something to do, I think, with being separated by 3,000 miles of open water and a common language.  But this is the 21st century.  The Digital Age.  The Age of Information.  Geographical distance isn’t the barrier to communication that it once was.

That’s why I think that you American woodworkers should take a look at Living Woods Magazine, published in Great Britain.  Living Woods is an eclectic magazine about every aspect of green wood crafts, from chainsaws and carving knives to woodland management and timber framing and even blacksmithing.  The magazine is light on ads and heavy on text and pictures.  The articles contain a lot of practical advice, but unlike most articles in American woodworking magazines, these articles also tell stories.

For example, in one article in the May/June issue (#36, pictured at right), Japanese woodworker Masashi Kutsuwa tells how he designed a collapsible shaving horse.  But instead of just giving step-by-step instructions on building it, he tells the story of his initial attempt to build it, and then explains each improvement he made on the design over several years.  (An added bonus is a big sidebar on building a table-top shaving horse, which clamps to any stable table.)  There are enough pictures that any enterprising woodworker could easily replicate the devices he describes, but that’s only part of the article’s value.  I came away from it not only with some ideas about building a shaving horse (some day!), but also with an idea of who the author is as a person and why he designed his shaving horse as he did.

Let me rant for a moment about American woodworking magazines. (Feel free to skip this paragraph.)  When I read articles on woodworking projects, I frequently get frustrated with the lack of context.  After four or five pages of step-by-step instructions, the articles still leave me wondering why the author made the design choices that he or she did.  Unless I want to build a copy of that exact piece of furniture (which I seldom do), I learn virtually nothing from the article that I could apply in projects of my own design.  Then sometimes the author of an unsigned article will refer to himself or herself in the first person, or even make reference to his or her home shop, while I haven’t the faintest idea who this person is or why I should care. Woodsmith is particularly bad about this.  None of their articles have a by-line.  Why do the editors allow their authors to say “I” if they won’t even tell me who they are?  Fine Woodworking articles are at least signed, but the authors seldom explain the reasons for design and joinery choices.  Popular Woodworking is measurably better, which is why I sill subscribe.  People matter, and that’s why I appreciate how Living Woods encourages authors to tell their stories.

And speaking of authors’ stories, I’ll have an article on spoon carving coming out in a future issue of Living Woods.  Editor Nick Gibbs says that he wants to give the magazine an international flavor, and my article is one small part of that big vision.  My article tells about how I take my woodworking with me when I travel, and it also includes some philosophical inquiry into the nature of traditions and innovations.  Don’t miss it.

Digital subscriptions to Living Woods Magazine are available, although for those of you Luddites who still insist on ink-and-paper, they are willing to ship internationally.  Just contact them and ask.  If you’d like to get a taste of the magazine before you subscribe, sign up for the monthly e-newsletter.  Thanks to the internet, it’s now possible to build a truly international community of woodworkers.  I hope to see you soon–in the USA, or England, or Italy, or Japan, or wherever people are working wood with their hands.

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On Failure

Every time a new woodworking magazine shows up in my mailbox, I am dazzled by a wide array of projects and techniques that promise to take my woodworking skills to the next level.  Yet there’s something missing in the usual lineup of woodworking articles: failure.

As woodworkers, we tend to learn from the successes of others, but we are left to learn from failures that are entirely our own.  In the spirit of rectifying that imbalance, I present to you several of my own woodworking failures–where I went wrong, what resulted, and how I ultimately dealt with the problem.

Dovetails and Cracks

Cracked Dovetailed Book Case 2013Dovetails are supposed to be shrinkage-safe joints.  They allow both boards to expand and contract with the seasons, so they rarely have trouble with wood-movement.

On the top of this bookshelf, however, a dovetail joint ended up causing a big crack right in the middle of the top board.  (Apologies for the grainy picture; I promise that the crack is clearly visible in person.)  I was building this shelf in a hurry, and I had just enough boards to finish the job.  When I first cut into the board that would become the top, I noticed that it was pretty wet, whereas the other boards were quite dry.  Well, I plunged ahead, even when driving my chisel into the wood to clear the waste from the joints expelled water from the wood!  I should have stopped.

Once I had the whole thing finished, installed, and loaded with books, I forgot about the top board being so wet–until one day I noticed that a wide crack had opened up in the top.  Of course the top had dried out and shrunk, but because it was dovetailed to a much drier board, the shrinkage had nowhere to go, so the wood split at its weakest point.

The bookshelf is still as sturdy as ever, and the cracks are fully contained, but every time I look at that top (on the rare occasions that books aren’t piled on top of it), I am reminded of the cost of haste.

Weak Legs

Shaker Writing Table for Grace 2-4-08 11One of my first big woodworking projects was this Shaker-style writing table made from home-center pine.  My tools were completely inadequate to the job, but somehow I got it done, and my wife used it as a desk for a number of years.

The fatal flaw was the joinery between the legs and the aprons. What were designed as drawbored mortise-and-tenon joints became pinned tongue-and-groove joints after I blew out the top end of nearly every mortise as I chopped it with a chisel.  So between the open ends of each “mortise” and the drawbore holes on each side, there just wasn’t enough wood surrounding all those holes to support the stresses of a table leg.  The legs weakened over several years (that’s my oldest daughter peeking into the lower corner of the picture–she’s now in second grade), and eventually the joints failed altogether.

I sadly discarded the legs and aprons, but I am keeping the top for now.  Maybe one day I’ll build sturdier legs for it.

Rotten Gate

Kennel Gate Failure 2015Living on the Gulf Coast, where we get enough annual rainfall to rival Seattle (no, really!), wood has a limited lifespan outdoors.  A couple years ago, however, I built a gate for the dog’s yard that I hoped would last good, long time.

It didn’t.

I carefully joined the pine 2X8s together with drawbored mortises and tenons.  I used a piece of a cattle panel for a center panel, so the cats could get in and out easily.  Then I painted the whole thing, hoping that the paint would prevent rotting for a few years.

As it happens, paint is just as good at keeping water in as it is at keeping it out.  The paint couldn’t possibly seal the water out of the joints, and when the rainwater did get into the joints, it just stayed there, rotting the gate from the inside out.

Kennel Gate Failure Detail 2015I don’t even remember if I had glued the joints too.  I probably didn’t, thinking that if the drawbore pins didn’t hold the joints together, glue wouldn’t either.  Well, no glue was going to hold up to this kind of water damage anyway.

I first noticed the joints beginning to weaken over the winter, and I knew the gate was doomed.  This spring, there was fungus growing on it.  Finally this summer, the whole thing collapsed, and I was forced to build a replacement.

This time, I determined to keep everything as weather-proof as possible.  I screwed together some treated lumber and then painted the whole thing.

Kennel Gate Summer 2015It’s not fancy-schmancy joinery, but it it should last longer than the first gate did.   I built a swing set for the kids using the same materials and methods, and it’s still standing strong after five years of heavy use.

What I Learned

I’ve learned two things from these failures:

  1. Materials must be adequate to their environment, and to each other.  Combining wet wood and dry wood is a bad idea.  So is exposing rot-susceptible material to the elements.  And no wood finish is waterproof–not even paint.
  2. Joinery must be adequate to the material involved.  Overloading a piece of wood with joints weakens the wood too much.  And insisting on using joinery instead of appropriate hardware can actually compromise the integrity of the whole structure.

I expect that this is not the last time I will describe and analyze my failures on this blog, if only because no woodworking magazine you’ll ever read will run regular articles on failed furniture.

Now I’m not saying that woodworking magazines should run a regular “Failures” column or anything. Well, come to think of it, maybe that’s exactly what I’m suggesting.  Readers could submit short descriptions of their most spectacular failures and how they dealt with them.

I would be a regular reader, and probably an occasional contributor too.

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Spoon Carving on the Road

Sloyd Spoons on the Road 6-2015 - - 1I do a lot of traveling each summer.  In the past, I often had to leave my woodworking behind because, well, it’s hard to fit a tool chest and a workbench into the back of the minivan along with all the suitcases and duffel bags.  But now that I’ve picked up sloyd-style spoon carving, I can take my woodworking along practically everywhere I go.

Recently I took a business trip to another city, where I stayed in a hotel for over a week.  I tossed my carving knives and a few bits of wood into my suitcase so I could do some woodwork in the evenings.  After procuring an extra bed sheet from the hotel, I headed down to the pool deck, spread out the sheet under a chair, and went to work.  When I was done, I gathered the shavings up in the sheet and easily discarded them.  Sloyd Spoons on the Road 6-2015 - - 2

Other evenings when the weather wasn’t as nice, I did the same thing up in my room.  I even propped up my cell phone so I could video-chat with my family while I carved out spoons in the room.  (My wife could tell which tools I was using just by their sound!)  I had picked out some workpieces with curvy grain, which made for some fun handles.  I can only wonder what the housekeeping staff thought when they emptied the trash, though.

On another summer road trip, my family and I stayed at the house of an acquaintance who was out of the country at the time.  While cooking in her kitchen, I ran across some pitiful-looking wooden spoons in the back of a drawer.  Fortunately, I had my sloyd bag along, and I had a couple finished spoons in there, so I left her a nice, handmade spoon as a replacement.

Sloyd Spoons on the Road 6-2015 - - 4

I left one like this as a replacement.  I hope she likes it.

Sloyd Spoons on the Road 6-2015 - - 5

Mass-produced spoons with turned handles often warp like this, rendering them even more useless than they were before.

My “sloyd bag” is an old Land’s End satchel that I keep my knives in.  I also like to keep a few bits of wood in it at all times–mostly black walnut, which carves pretty nicely even when bone dry.  My tool kit is pretty simple: a couple sloyd knives, a hook knife, and some sharpening equipment.

Sloyd Spoons on the Road 6-2015 - - 3I’ve also added some less traditional hand tools to my sloyd kit.  I typically carry a low-angle spokeshave, which I use one-handed as if it were a carving knife.  It works very well on end-grain, and I often use it to refine the profile of the bowl, as well as smooth down the underside of the bowl.  Because it has a tight mouth, I also use it in places where my knives leave a bit of tear-out.  It works extremely well.

The other non-traditional hand tool I regularly use is card scrapers.  I understand that most spoon carvers either leave the surface as the knife cuts it, or they burnish the surface of the spoon with a piece of bone or antler.  For myself, I’ve not been satisfied with my attempts at burnishing, so I typically scrape my spoons with a small card scraper.  I use two, a curved one for the inside of the bowl and a straight one for everything else.  The scrapers excel at smoothing rough surfaces without destroying the details.  Like the spokeshave, the scrapers are used one-handed.

Sloyd Spoons on the Road 6-2015 - - 6After scraping, I rinse the spoon in water to raise the grain.  (Walnut grain gets really rough when moistened the first time.)  Then I lightly sand the whole spoon, being careful to preserve the facets I want to keep.  I have some sandpaper in my sloyd bag, but I really prefer to sand and apply a finish at home.  So every time I travel, my goal is to return home with several new spoons in my bag ready to sand and finish.

This time around, I came home with five spoons–four mixing spoons and one eating spoon.

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Carving Spoons, Building Community

A week ago my wife and I got in a car and drove to Austin, Texas, to teach two days of classes on making wooden spoons.  We weren’t sure what to expect–what the facilities would be like, what wood or tools would be available, or how many people would show up.  But teaching is an act of faith, so we went.

Spoon Making Class Community First Austin 6-2015 - - 1The place where we taught is a community like no other.  It’s called Community First.  Ten years in the making, it is a place where formerly homeless people can live, work, and grow.  There are several micro-houses on the property, with many more under construction.  The residents pay rent and work jobs, which includes helping out around the village by tending gardens and goats, doing construction, and keeping the place clean.

My role in all this was to teach some of the community staff how to make wooden spoons and spatulas so that they could in turn train current and future residents to work wood.  There is a big demand for locally-made handicrafts in Austin, so the residents will learn to make things with their hands through ROADS Workshops.  Selling their woodenware at local craft markets will help them make a living.  But first the teachers had to be taught.  It’s something I’m accustomed to doing in my day job–teaching literature to students who will soon become English teachers in their own right.  It’s exciting to watch anybody develop a skill, but I especially enjoy seeing people gain skills with the express purpose of passing them on to somebody else.

Spoon Making Class Community First Austin 6-2015 - - 5Spoon Making Class Community First Austin 6-2015 - - 4

Spoon Making Class Community First Austin 6-2015 - - 3I was able to each eight people (four men and four women) to use a gouge, a drawknife, a spokeshave, and card scrapers to shape a usable utensil.  Only a couple of them had had any significant woodworking experience before, so we started with simple spatulas, and a few of them progressed to spoons.  We used black walnut, which is reasonably easy to shape with hand tools.  Almost everybody left with at least one completed utensil.  There were some agonizing moments, such as when a nicely-shaped spoon split right down the middle of the bowl, but everybody learned a lot, and I think everybody enjoyed the process of watching a recognizable object emerge from a block of raw material.

Spoon Making Class Community First Austin 6-2015 - - 6

These are some of the utensils that came out of the classes. One of them (the light one) is mine; the rest were made by people who had never made a spoon or spatula before.

And, in a way, that’s what was happening all around us.  We were working under a big tent in the middle of a construction zone.  Had it not been for the heavy rains just before we arrived, there would have been construction equipment roaring all around us.  The village is still very much under construction, and while many parts of it are already in place and operating as designed, there is still a lot of work to do.  The people in charge have a clear, viable vision for the community, and there are smart, talented people who have thrown themselves into building and maintaining the community.  They know they have a lot of hard work ahead of them.  If you are interested in supporting them, I hope you will visit their website, or send me an e-mail and I will put you in touch with the right people.

I have built many things, and the hardest thing to build is a community.  But it is the most rewarding thing of all to build.

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Teaching Spoon Making in Austin, TX

This coming weekend I will be teaching a class on making wooden spoons for the ROADS Workshops in Austin, Texas.

imageIt’s going to be a little different from your usual woodworking class, though.  ROADS Workshops are a part of Mobile Loaves and Fishes, a homelessness recovery ministry. They teach recovering homeless people skills and crafts in order to help them get back on their feet financially. It’s a live-in facility with housing, gardens, and workshops.

One of the crafts they’re beginning to teach is woodworking, and they’ve asked me to come over there to hold a workshop on spoon making. Soon the students will be making spoons and other wooden items to sell in local markets.  The ROADS Workshops want to be very hand-tool focused, and they also want to use locally-sourced/scavenged materials as much as possible.  That fits in very well with my own woodworking ethos.

Most woodworking classes focus on teaching amateur woodworkers.  This class, however, will be working with people who will be working wood for a living.  So we will focus not only on tools and techniques, but also on efficiency and selling-points.

I’ll be blogging here about my spoon-making odyssey.

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Colonial Craftsmen, by Edwin Tunis ~ 50 Years Later

imageI have been leafing through a fine volume, Colonial Craftsmen and the Beginnings of American Industry by Edwin Tunis (d. 1973).  Originally published in 1965, this book was reprinted by Johns Hopkins University Press in 1999.  In it, Tunis surveys a plethora of early American crafts.  Some of these trades are still familiar to us: the baker, the tailor, and the gunsmith.  Others, such as the whitesmith, the limner, and the chandler, are all but forgotten now.

The opening section of the book, “New World, New Ways,” is perhaps the most instructive for the dilettante historian.  Tunis describes the early, ultimately futile attempt by England to impose her system of guild licensing and monopolies on the North American colonies, and he explains the ad hoc system that grew up in its place.  Colonial Americans used the apprenticeship system, for example, but the terms of each apprenticeship varied more widely than in England.  There was some European-style specialization in the larger towns, but most craftsmen did a range of work uncommon in many European shops.

imageWood was the most plentiful natural resource of Colonial America.  So naturally, much of the book is dedicated to woodwork of various kinds, though Tunis also describes many different types of metalwork, as well as work in leather, horn, paper, and other materials.  It is clear that Tunis has looked very carefully at many examples of craftwork; he knows in general how each was made and can say why it was made that way.  He has spent a good deal of time with old records as well as other documents, such as Ben Franklin’s Autobiography, and he is adept at providing amusing anecdotes about the early American economy.

Tunis does make a few mistakes along the way–mistakes that wider reading in European texts would have corrected.  He says, for example, that the “smoothing plane” is ill-named and was used only for trimming.  Moxon, however, writing at the end of the seventeenth century, indicates that the smoothing plane is used for removing tool marks from the fore plane and jointer plane, thus leaving a smooth surface.  “Smoothing plane” is exactly the right name for the tool.  There are a number of similar errors in the sections concerning woodwork, and I expect there are errors in other sections as well.  Tunis has not attempted to practice these crafts himself, so it would not be wise to trust him on every detail.  Nevertheless, the book is a delightful journey into the American past.


The best thing about the book is the hand-drawn illustrations, all by Tunis himself.  Some of them show artifacts close-up, and at his best he is nearly as good as Aldren Watson at rendering critical details.  (Watson’s book Country Furniture is an excellent companion to Tunis’s Colonial Craftsmen.)  The best drawings, though, show the craftsmen themselves at work.  A few drawings are funny, such as the tanner scraping a hide while warning a stray dog away from his work (at right).  Most, though, show a craftsman or two with full attention on the work itself, whether it be rifling the barrel of a musket or spinning blown glass into a large disk.

Tunis may not know enough about every craft he writes about, but he has certainly watched craftsmen of some kind at work.  Few other illustrators I know can capture the intent focus of a person engrossed in the job at hand, and his books are worth looking at just for that.

I was several chapters into this book before I realized that I had been enjoying Tunis’s illustrations since I was a boy.  In the local public library of the town in which I grew up, there was a battered hardcover edition of another of his books, Weapons, which I must have checked out dozens of times.  I had long forgotten the author’s name (if I had ever known it at all), but I eventually recognized the style of the illustrations.  So I suppose I have a sentimental attachment to Tunis’s work.

image Tunis wrote and illustrated a number of other books, including several more books on American colonial life, which I plan to acquire soon.  Now, fifty years after Colonial Craftsmen was published, we know more about many of the crafts he wrote about.  The Hand Tool Renaissance of the last twenty years has taught us much about how pre-industrial craftsmen did their work, and it has also helped to bring old, obscure books on handicrafts back into print.

I think that Edwin Tunis would be very pleased to see today’s revival of traditional handicrafts.

Posted in Reviews, Wood and Woodwork, Woodworking Literature | Tagged , , , , , , , , | 1 Comment

Turning in a New Direction

Recently I was helping an old friend clean out her garage.  Her late husband had been an amateur woodworker and metalworker, so she encouraged me to take any tools or supplies I happened to find.  Among assorted walnut boards, hand saws, and files, I found a lathe.

Lathe 2015 - -1

There’s a little rust here and there, but the motor runs and all the moving parts move freely.  The bed, motor, head and tailstock, and a long tool rest were all there.  The only things missing are a belt and a stand.  Not bad for being tucked away in the corner of a garage for years and years, buried under old Volvo parts.

It’s funny, but it was only two months ago that a friend invited me over to his shop to learn how to turn.  I left thinking, “I should get myself a lathe… someday.”  And now a lathe has been dropped into my lap.

I do believe in Providence.

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The Most Neglected Part of a Wooden Spoon

The other day I was using one of my big wooden spoons to mash up some avocados for guacamole and reflecting on wooden spoon design.  In discussions of spoon making, we carvers focus a lot on the profile and texture of the inside of the bowl, as well as on the shape of the handle, but we don’t give much attention to the back of the bowl.

That’s a mistake.

Spoon Backs 4-2015 - 1The back of the spoon’s bowl is useful in many mashing and squeezing tasks around the kitchen.  The butter spoons I featured here a while ago are not used to scoop but to squeeze the buttermilk out of freshly-churned butter.  I use the backs of my own mixing spoons to mash lumps of flour left in batters.

That’s why a good mixing spoon should have both bowl that is smooth on the inside and nicely rounded on the outside.

I know a lot of spoon carvers like to leave facets on the backs of their spoons.  I don’t, in truth, know whether this makes them less useful for mashing and squeezing, but I prefer to smooth out the backs of my spoons fully, removing any facets left from the spokeshave.

Spoon Backs 4-2015 - 2I also find that a deeper spoon is better for mashing than a shallower one.  I have a few flatter spoons that are excellent for stirring sauces or pancake batter, but the deeper ones have a bigger curve on the back, and hence a broader surface area.  They are even more useful for mashing and squeezing.  And if the back of the bowl more or less matches the inside of your mixing bowl, all the better.

Use a well-made spoon, and enjoy your guacamole.

Posted in Wood and Woodwork | 4 Comments