Effective 23 October 2025 we are closing the on-line store. Not to worry, you can still get the outstanding Spinning tools from us. Just contact us directly here.
I’m a little laid up right now, so have some time to contemplate the things around me that I find “artistic”, really attractive or just plain cool. Most of it is what I consider “wabi sabi”. I’ve been tossing the idea of writing about wabi sabi in my head for quite some time but as I contemplate an old steamer trunk in our office (more about that later), I am moved to finally put key stokes to screen. I considered keeping those of you who aren’t familiar with the term “wabi sabi” in suspense by hinting at various tidbits line after line, but I think I will forego the drama.
Wabi Sabi is a Japanese aesthetic referring to finding beauty in things imperfect, incomplete or impermanent. Often asymmetry and simplicity are part of the package. It’s about things that are modest and humble and often things that are unconventional. A dandelion gone to seed is at the same time exquisite, symmetrical, yet very impermanent. Perhaps the impermanence puts the whole thing in perspective. So, you see, there is no simple explanation.
It’s good to understand at this point that wabi sabi refers not to just artistic objects but everything that surrounds us.
Not long ago, I got a book about Wabi Sabi so that I could truly understand its meaning. As sometimes happens, you must be careful what you wish for. For something that seemingly is all about “Simple”, it’s unbelievably complex and deep. In seeking the essence of the thing, I found lots of subjective substance but zero quantitative, in the end I came out more confused than I went in. I decided that I liked the fact that it is also something that is easily “felt”, so that works for me. It brought to mind a time when I decided I was going to learn the meaning of First Nation abstract symbols representing all the creatures in their world including themselves. I came away being able to identify many of them but also found that one must grow up in the culture to truly understand the meaning of the interactions between them all.
But I digress…
As a kid I was surrounded by many things from the early twentieth century, assembled by my grandparents. They were well-healed and well-travelled, so some pieces are exquisite art, some are merely decorative pieces but very attractive, and some are well-made utilitarian pieces, but with character. Together, the lot represents many types of skilled craftspeople and artists. I have always – as are many people – been attracted by exquisite forms, beautiful carving and vibrant colours. But many of the pieces that I recalled and kept close were the things that had some flaw, asymmetry or patina that made them unique. That steamer trunk, hand-built like a tank, has at the same time screws symmetrically aligned, wood joints visible but spot-on and rugged iron straps that show the blacksmith’s deftly irregular blows. The dings and scars from rough handling are evident. The package as a whole tells a story that was never intended at its inception but speaks volumes now. Time played a big role in that.
Interestingly, even though all these pieces that I find attractive may be somehow flawed, asymmetrical, or “not beautiful” in some way – none are poorly made. Usually, the craftsmanship is beyond reproach. So, in my opinion, poor craftsmanship doesn’t give a piece an automatic “wabi sabi” buy in. Telling a story does, however.
I was first drawn to consciously creating something with a “wabi sabi” aesthetic when I decided to repair cracks or inclusions in bowl blanks that had cracked during the drying process (I have plenty). It is such a shame – neigh, immoral – to toss out a perfectly good piece of wood that can do the job but has a flaw. I have made repairs out of necessity in the past when I repaired a crack after the fact that seemed attractive at the time, but this was the first time I set out to create a piece from the outset with the idea of including the repair as part of the story. At about the same time I stumbled upon a video about the Japanese art of Kintsugi, which is the art of repairing cracked or broken pottery with lacquers. Kintsugi is a perfect example of the core meaning of wabi sabi: a perhaps utilitarian piece that is broken and no longer useful, reborn as a beautifully restored and revered piece of art. As a result, I “borrowed” (stole?) the term as the title of my series of bowls repaired with dovetail patches. The idea of repairing turned items with dovetail patches (referred to as “pewa” by Hawaiian turners) is definitely not new to woodturning at large but is new to my process. Hence, my Kintsugi series.
The very first piece I repaired with dovetails came to me cracked almost into two pieces. I repaired it successfully (Whew!) and the owner now displays it upside down to show off the repair. Thinking back, this was the inspiration that caused me to start my Kintsugi series.
So, wabi sabi is new to me, but also not new to me. While doing my homework I learned some nuanced things about wabi sabi and have a reasonable understanding of the concept, but it seems that all my life, not conscious of any of that, I have been drawn to and instinctively found things “wabi sabi” appealing. I’ve loved my little hand-carved ivory Oriental gymnasts for as long as I can remember. The symmetrical, and expertly hand-woven, earthy First Nation baskets that my grandmother traded with her fine silk embroidery, are very special. The aforementioned steamer trunk always seems to offer up another new little surprise whenever I look closely. I built and live in a log house: There is a never-ending story told by the bug tracks, corked boot marks, huge randomly shaped logs tightly fitted to other huge randomly shaped logs, the startling cracks and snaps late at night (even after almost fifty years) and the cat face (large scar) intentionally placed in the front wall for all to see as they approach. The fact that it is the only log house alongside square and true framed houses speaks to both my wife’s and my individuality.
So now you know everything about wabi sabi. And hardly anything at all about wabi sabi. What I feel is important is to understand that a piece does not necessarily have to be flawlessly executed in form and finish to be artistic to convey a story. Just like a Teddy bear with an eye missing, something can be appealing and perhaps tell a greater story if it is imperfect or incomplete. Like a half blind Teddy bear, that piece can often be closer to you than you can adequately express.
For more information on Kintsugi, check out this video.
UPDATE: We have closed the on-line store. Not to worry you can still get our products by contacting us directly here.
Hi folks. I’m sorry to say that as of August 29, 2025 we will not be able to ship to the USA from our store. There will be a 35% tariff on all items we ship and we just can’t justify charging our customers that extra fee. Not to mention it’s a lot of paperwork.
As soon as the tariff or extra duty as some call it is lifted we will resume our shipments to the USA.
Sorry for the inconvenience. We hope to see a lot of you at the spinning and weaving events coming up this winter in the Lower Mainland.
Thank you for purchasing your Niddy Noddy from Ed Pretty-Wood Artist!
Your Niddy Noddy is made from Eastern maple for durability. The assembly hardware allows you to switch between sizes and also easily remove your skein. The design allows for easy storage and transportation when the niddy noddy is disassembled.
Included: cross heads (2), set of different lengths of main struts (3) and thumb screws (2).
Assembly
The “circumference” of each length of main strut are: Long – 76” (193 cm), Medium – 60” (152 cm), Short – 40” (101 cm)
After choosing the length of main strut required, insert the thumb screws through the cross heads then thread each one into the barrel nuts in the main strut. Tighten each one snugly, so that each crosshead can still be moved for adjustment.
Adjust the cross heads so that they are 90° to each other. Fully tighten the thumb screws when this is complete.
Removing your skein and disassembly
To remove your skein, simply remove the thumb screw on one end and slide the cross head off the end of the main strut, releasing the tension on the yarn.
Reassemble or store your niddy noddy as required.
If you are disassembling your niddy noddy for storage or transportation, be certain those pesky little thumb screws are threaded into the barrel nuts in one of the main struts to prevent loss. 😊
Ed Pretty’s tools are Canadian made in Langley, BC. He is a very skilled woodturner and has ventured into the world of Spinning Tools. There is more to come and we will be updating our new website as they become available.
Right now we have in stock Drop Spindles in a variety of sizes. We also have Supported Spindles, in a variety of sizes and woods. We, of course, have lap and table top cups to go with them. There are also much needed Ring Distaves and Nostepinnes. Our Nostepinnes come in a variety of sizes to fit all your needs. There are long and short handles and long and short shafts and combinations of all options. Coming soon will be Yarn Bowls, Niddy Noddys and Dizzes.
I’m just learning to spin myself and it is becoming a bit addictive. But that’s a good thing, keeps me out of trouble. There is so much to learn!
New to Spinning
Kim McKenna is an amazing spinner and a great teacher. She has been a huge help to both of us on our spinning journey. She was able to teach me and I was off to the races in only a couple lessons. Check out her website here.
Diana Twiss is another amazing spinner and great teacher. She has been instrumental in a lot of Ed’s designs with his spinning tools. Check out her Instagram page. She has some examples of Ed’s spinning tools in her pics.
Also be a good idea to check out this website. School of SweetGeorgia. There you will find a multitude of spinning, weaving, knitting and dying information and videos. Diana and Kim are both featured there as instructors.
Looking for fibre
If you’re looking for a fibre supplier. I strongly recommend Crafty Jak’s Boutique. Katrina is very skilled at dying a huge variety of fibre and her prices are very reasonable. I just love the colours and the combinations she comes up with.
Stay Tuned
Stay tuned and check back often. There will be some new products and a variety of new woods in the next run of Ed’s spinning tools.
Last but not least today is our Yarn Bowls. They come in three different sizes, small, medium and large.
Yarn bowls are made from a variety of woods including, but not limited to, Big Leaf Maple, Cherry, Oak or Black Walnut. The all have a recurve at the rim of the bowl to keep the ball in the bowl as it rolls. Typically they are between 7” and 10” in diameter. One and sometimes two curved slots have been cut in the side with a loop at the end to capture the yarn as it is pulled forward and upward. The slots have been sanded smooth to eliminate any possible snagging of the yarn.
Prices for these lovely Yarn Bowls are as follows:
$100 for small
$110 for medium
$125 for large
$150 for the two sided bowl
We have closed the store for ordering on line, but you can contact us and we’ll arrange for shipping or pick up.
Tools no spinner should be without. Ring Distaves and Nostepinnes.
There is a great post by Kim McKenna about Nostepinnes on her site. Check it out here! While you’re there, have a look around. There is a ton of stuff to learn!
Both tools are typically turned from local Big Leaf Maple because it is durable but also a little lighter than other hardwoods. Sometimes I use black walnut, ash, oak or other hardwoods simply for the sake of appearance
Ring Distaves
Prices for this series of Ring Distaves is $35.00 each CAD
To order contact us directly please. We have closed our on-line store.
Nostepinnes
What we have lots of Nostepinnes in stock right now. We have a variety of woods and sizes. Some basic woods and some premium. The shafts are pretty much the same tapered diameters, but there is an option for short or long shafts. The handles are also short or long which can come in handy for a variety of hand sizes and shapes.
Our Nostepinnes come in various handle and shaft sizes. All are priced at $50 each CAD.
Short Handle, Short Shaft (Big Leaf Maple).
Short Handle, Long Shaft (Oak, Ash, Eastern Maple, Black Walnut).
Long Handle, Short Shaft (Big Leaf Maple).
Long Handle, Long Shaft (Oak, Ash, Eastern Maple, Black Walnut).
We have closed the on line, so please contact us and we’ll arrange for shipping or pick up.
Like the drop spindles, the whorls are all balanced prior to assembly and the finish is a friction polish. The “nub” or point that supports the spindle is typically the end grain of a very hard, dense wood. Holly is my wood of choice, but I use other similar woods that are equally resistant to denting and general wear. The tips on my supported spindles are rounded to provide a steadier spin than can be attained by a sharp point. Like the drop spindles, the shaft is a dense, close-grained hardwood and has two grooves for catching the yarn. The finish is Danish oil. The taper at the top functions just like the taper on the drop spindles, taking little effort to flick the spindle while providing a high-speed start. When the yarn has just the right amount of twist inserted, the spinner will hear a subtle clicking sound as the fine point of the spindle shaft flicks against the twist in the yarn.
What we have in stock at the moment is a variety of sizes and weights. All whorls are made of Figured Maple and the shafts are usually made from Eastern Maple or Black Walnut. They are all balanced for top performance.
Prices for these right now are $75.00 and $95 CAD depending on the type of wood used.
We have closed the store for ordering on line, but you can contact us directly and we’ll arrange for shipping or pick up.
Spinning Cups for Supported Spindles
We have two types of these in stock. One is for a table top or you can make it into a bean bag and have it on your lap, the other is for having in your lap. Hint: To make the table top into a cup for in your lap I just took a couple bean bags, wrapped them in a facecloth and used a hair elastic to secure them together.
Like the point of the supported spindles, the cups are turned from the end grain of very hard, dense wood (usually eastern or sugar maple) for smoothness and longevity.
Prices for these right now are:
$35 for lap. All in CAD.
We have closed the store for ordering on line, but you can contact us direct and we’ll arrange for shipping or pick up.
As promised the new spinning tools! Lets start with the Drop Spindles.
Wood is not a homogenous material, so by nature it has varying densities throughout. The handmade hooks are fashioned from stainless steel with the ends deburred after cutting the wire. The nature of the wood together with the variance in the handmade hooks is why I take the time and care to balance all my whorls with copper weights prior to assembly. My whorls are finished with a friction polish sometimes known as “French polish”. The shafts are made of a variety of dense, close-grained hardwoods finished with Danish oil. The taper acts like a “transmission” by allowing an easier start transitioning to a high speed at the tip. The small “stand” where the hook attaches to the whorl can be used for “parking” the yarn while the spindle is not in use.
What we have in stock at the moment is a variety of sizes and weights. All whorls are made of African Mahogany and the shafts are usually made from Eastern Maple. They are all balanced for top performance.
Price for this series is $75.00 and $95 each CAD depending on the type of wood used. The spindles in the photo are African Mahogany, we also have some in African Blackwood which are amazing. There are also small and large whirls which spin differently.
We have closed the store for ordering on line, but you can contact us and we’ll arrange for shipping or pick up.
Recently I was asked by a fiber artist to make drop spindles. I had never heard of them before, so a little research was in order. My first impression – from photos – was that it was no more than an upside-down top. I couldn’t have been more wrong! I suspected it had to be more sophisticated and I was right. Fortunately, I was directed to two very knowledgeable fiber artists, Kim and Diana. Not only were they very experienced, more importantly they were very keen to pass on their wisdom.
Wood Choice is Important
I felt I should master one implement before moving on to the next. I started with drop spindles then moved on to supported spindles. I am quite familiar with wood densities and physics so understanding the dynamics of spindles came relatively quickly. Adding the various practical features that Kim and Diana suggested made the move through the prototypes an interesting journey. Typically, I use a dense, straight grain wood for the shafts; eastern maple is ideal for the smaller drop spindle shafts while that and black walnut works well for the slightly larger supported spindles. Denser woods that are more suitable for the whorls are typically the more “exotic” varieties, of which Mahoganies, Rosewoods and my very favourite – African Blackwood – are excellent choices. Some of these woods do not require a finish because of their high oil content, creating a lovely soft sheen. We have a few locally grown species like Acacia and even Black Walnut that also work well. Lighter woods like figured Big Leaf Maple work but the whorls are larger, which affects the spin dynamics. That being said, the appearance of fiddle back, quilt or burl maple when coloured is spectacular!
While on the subject of exotic woods in particular, I make use of reclaimed wood as much as possible and when milled specifically, I ensure that it is ethically sourced. I have a block of Lignum Vitae which is now illegal to cut but was purchased by a friend many years ago. It will be used for very limited editions of both suspended and drop spindles.
Making: What I do
To me as a woodturner, feel and function is important in a tool and as a wood artist, aesthetics is equally important. I like colours that either compliment or contrast, surface textures that feel good in the hand and woods that will make it possible to do the job intended. This is my opportunity to combine woods that I like to turn and like to colour, to make tools that are pleasing to the eye and that are satisfying to work with.
Other tools like ring distaves and nøstepinnes are really fun to turn and I make them from hardwoods that both look good and make a lasting tool that feels good in the hand. Eastern Maple, Big Leaf Maple, various Oaks, Black Walnut and Ash are all durable, attractive woods. Wooden tools develop a patina over time from constant use and contact with fabrics, and that only makes their appearance better. Eastern Maple is ideal for niddy noddys and it holds the hardware I use for switching the center shaft very well.
Dizzes are new on the list but the harder woods that are suitable for whorls are also suitable for dizzes. I suspect the fiber being drawn through the hole could cause wear over time, so softer woods would not last. Kim is working with me on a design that will be very functional.
Some tools are still on the horizon, dealigans for example. I can see that a variety of woods would be suitable for them. For me, they look like they will be fun to turn so I’m looking forward to that. I understand that spinning flax is becoming more in vogue which will require an addition to some, if not most, spinning wheels. I have prototypes in the works and they will be made from Eastern Maple. It’s hard, strong, wood that will get the job done and the appearance will closely match the small variety of woods used in most wheels.
Custom Work and Repair
Although I am developing a “line” of tools for fiber artists, I am prepared to work with anyone who needs something custom made. For instance, if a particular style of working requires a modification, or in cases where physical requirements (like small hands) require modifications to a design.
I have also learned very quickly that spinning wheels break down in various ways. Our very first outing at a spinning retreat found me making repairs on the spot and later that week, so it appears that I am also in the business of making repairs to spinning wheels.
In Conclusion
It seems that creating tools for fiber artists has come to me at a good time. It’s nice to turn something small so that I don’t have to use a hoist to get it on the lathe, LOL! Unlike many woodturners, I really enjoy production work. It challenges me and keeps my skills sharp. Some of you may identify with that. Most of all, it is very satisfying when people get their own enjoyment from something that I make, whether it is to please the eye, do a job well or, better yet, do both at the same time.
