Signature style

We often hear about signature style. Among woodworkers, signature style seems to be something of a holy grail. We want our work to be immediately recognizable as ours. Many makers…

We often hear about signature style. Among woodworkers, signature style seems to be something of a holy grail. We want our work to be immediately recognizable as ours.

Many makers produce pieces that are more or less the same. More often than not, these pieces are not the same but "similar", based on a concept, shape or combination of elements that become a signature.

You can look at the work of Sam Maloof or James Keenov or George Nakashima and you can instantly recognize the maker. Even though these makers are now deceased, their signature pieces are still being produced by their descendants or their apprentices who are carrying on their work.

It seems to me that this may be either a blessing or a curse, depending, of course, as is the case with many things, on one's perspective. So I would like to ask: Where does signature style morph from a groove to a rut? At what point does the exploration into the variations a particular form offers become a stagnant pool?

Obviously this is going to vary wildly from one person to another. But the answers might make for interesting reading.

D.D.

David DeCristoforo possesses an extensive resume as designer/maker of fine furniture, high-end cabinetry and architectural woodwork. His experience in professional woodworking spans a period of 35 years. For the past 20 years David DeCristoforo Design has been located in Woodland, California. During this time David's shop has ranged in scope from a "full on" cabinet production shop with as many as 15 employees to a small fine furniture and custom millwork shop, working with his son, David RBJ, a highly skilled maker in his own right.