Studying with Yann Giguère of Mokuchi Woodworking


I managed to sneak in a few lessons between his busy production schedule with Yann Giguère of Mokuchi Woodworking in the Bushwick area of Brooklyn, NY. Yann undertook a nine year apprenticeship in traditional Japanese carpentry with Dale Brotherton of Takumi Company, and there are few people more capable of teaching hand tool skills and passing on knowledge than Yann at the moment. Interestingly enough, Yann was also there in Iowa when Yataiki was teaching, and I heard about him from a traveling shakuhachi musician/carpenter Max Citron who visited with a trove of great photos and video from Takenaka carpentry museum while I was in Vermont.

What a great teacher! Like most of the people you’ll meet that work in this field Yann showed a total lack of pretentiousness or aloofness. You might imagine that we dived right in to the intricacies of koyabari, hip roof layout, and joked about the frustrations of kumiko-zaiku work. However, of far greater utility was working at the fundamentals of good carpentry; marking, sawing to a line, sharpening, and tuning kanna. I could have spent three times as long learning this and not have gotten it all.

For example, even more than discussing what a good layout looks like we started with exploring the sumisashi (bamboo ink brush). I’ve made a few of these in the past for marking logs to saw to boards, but approached their use with a admittedly western mindset, placing the bevel on the wrong side of the pen for right handed use. You see, I was assuming that the greatest accuracy came from holding the marking tool plumb against the straight edge. The reality of this is that you can’t very well see the line that you’re marking, and tend to draw less than straight lines. Ever wondered why your marks don’t come square around a piece you’re marking even though you know the piece is perfectly square? By holding the bevel edge of the sumisashi against the square you’re hand is out of the way allowing a clear view of the work.

And neither in this regard did Yann have a slavish attitude of adherence to one particular marking instrument. In his shop at the time was a bunch of white ash being joined into a low bed for tatami, marked with pencil because the ink might bleed into the open pores of the wood and require too much material be removed at finish planing to remove the marks. So too did I see a nice selection of left and right hand marking knives.

Next, having myself had the need to show the use of the hand saw, I was greatly impressed to see the ease and naturalness with which Yann let the saw work. We discussed the problems I’ve seen in my own work with producing flat sawn surfaces, mostly related with pushing the saw too hard into the cut and using too dull of a saw. You might expect that Yann used only the highest quality saws, but everything of what was demonstrated to me was quite intentionally with saws of the disposable blade variety. And he had quite a nice collection of hand made saws.


Including three maebiki-oga, one of which you can see in the background!

We covered snapping lines with sumitsubo, Yann demonstrating how, and why, to snap curved lines by twisting the ink line. Most of my last lesson was devoted to sharpening and tuning of kanna, which opened my eyes on what good sharpening looks like, and its not like I’ve failed to spend my fair share of time learning this skill. Will I be able to sharpen while squatting on the ground? Lets find out…

I feel ready to make my first foray into Japanese structural carpentry now, for better or worse, daiku means action and practice, and I can see the road ahead quite clearly.

Even in the short period of time I spent at Yann’s shop I learned more than could possibly be discussed in a simple blog post, and that would miss the point in any case.  Having come from a fine music background previous to carpentry it was not hard for me to appreciate the relationship of student and teacher for the direct transmission of knowledge. Some things are still most easily communicated person to person.

Imagine then a gathering of many skilled carpenters! Kezurou Kai NYC will be held August 26-27, 2016 in the Bushwick area of Brooklyn, NY. Last year Jim Blauvelt won the planing competition, and he not only cut the dai he used, but forged the kanna! Want to go?


From Tree to Something to See


Well, I’m heading home to Colorado for the summer by way of Brooklyn to visit Yann Guigere of Mokuchi Woodworking, which has given me some time to catch up on the last stuff I worked with Mark in Vermont.

The last bit of joinery I cut was a ramp for a deck, and it gave me the chance to use some of the Black Locust I sawed to boards at the beginning of my stay. The slope of the deck to the ground wasn’t enough to justify stairs, but the construction was similar, using wedged mortise and tenon and a sliding dovetail at the bottom of the stringers. I used a 6-3/4″ Makita planer to smooth and square the lumber prior to layout. God I need one of these machines! And I got to play around with a Hitachi hollow chisel beam mortise. The stringers I was mortising were too wide to seat the mortiser properly, so it ended up being faster to simply drill and chisel the mortises, but man, what a sweet machine.

This lumber made a bitch out of my disposable blade saws, by the way. I wouldn’t have been able to saw the tenons without some of Mark’s big ryoba nokogiri.


The stringers for the ramp were live edged, with a beautiful curve that really fit the naturalistic round timber element of the deck railing. Everything cut, of course, to a center line.


The locust was still very green, so I tried to cut the wedges extra long so they could be pounded in further as the wood dries, but also took the measure to back the joinery up with a few screws toed in on the inside in case someone failed to do so. I never seem to cut long enough wedges, in the future its a safer course to just make wedges several inches too long.


It would have been nice to attach the ramp with sliding dovetails to the rim joist of the deck, but the decking was already down so it was attached with your conventional hanger and screws, landing on some local stone for a floating foundation. A heavy coat of Linseed oil/pine tar/turpentine finished things off and will help control the drying now that its in the sun, and Mark helped me chisel the corners to round and touch up a few details.


We took a break at some point and went over to the neighbor who now owns the farm that was part of the property that Mark’s on, which has an enormous old timber frame dairy barn that is in places still sitting on a dry stone foundation. It had very workman like construction, no superfluous details, and it was great to see a timber structure hold up so well in wet Vermont.


Back over at the house we finished up the railing.


It was my intention when I first traveled to Vermont to help Mark cut the frame for his forge, but the universe is a funny place. And three months is only enough time to scratch the surface of saw making. I’m heading back to Colorado to take care of family and help my mother cut a small structure, keep her property development moving along as we permaculture the shit out of the place in the hope that it will help secure a sustainable future for friends and family. Being with Mark, a gentleman and a scholar, has changed how I approach my craft, in ways I am sure to still be contemplating for many months to come.

And, I left Mark with the beams of lumber for the forge frame stacked in the right order and ready for layout and joinery. My hope is to make it back out to Vermont in the near future and finish what we have started, and see this knowledge preserved for the next generation and beyond.

On another note, I’ve been drafting the fuigo plans based on Hirota’s fuigo, but have been unsure of the best way to present the material to people that want to make use of it. My free trial of Adobe that allowed me to make .pdf files has expired, so I would need to either publish a design thread with illustrations from sketchup, up simply make the Sketchup file available for download. I’d like to hear from people what would be the most useful format for a set of plans, please let me know.


Brought to you by a happy woodworker.