1. Shaping the rim
An axe is used to equally split the first piece of wood four times lengthways. Each piece is then dressed with a drawknife. To keep the pieces in place while using the drawknife, a cross-piece is hammered to a ladder and leaned closely against a wall. The length to be dressed is pressed to the wall and lodged between the cross-piece and rung.
iron tacks securing the rim
2. Securing the rim
When finished the length is about ten centimetres wide and half a centimetre thick with the ends being slightly thinner. A circle is then carefully formed with the wood and the overlaps are held together with iron tacks. Any wood that featured knots or curls would cause the wood to kink and thus fail to form a true circle. This is why a length of clean straight ash is imperative for a sturdy sieve.
3. The anchoring band
The anchoring band encircles the rim and requires no special making as the off cuts in the making of the lacing strips can be used. The briar band is also made of ash although “buckie briar” (wild rose briar) can also be used. If taking the briar from a hedge it is peeled and split in half lengthways.
4. Hammering out the lacing strips
The lacing strips, which John Hamilton referred to as "twigs", are fashioned from a length of ash wood. To create these strips, the length of wood is first split longitudinally and then hammered along its length to separate the growth band in the wood. Growth bands consist of alternating layers of spring growth (which has a large-pored, coarse, and spongy texture) and summer growth (which has a compact texture).
5. Splitting the strips
Once hammered, the length of wood is bent backwards and forwards in the hand so that the compact bands come apart in longitudinal strips. They are then rounded by drawing them under a molding knife, a process which Hamilton referred to as "taking off the arris".
This moulding knife was crafted by Hamilton using an old razor blade. (F:1951.46)
6. Attaching the briar band
Small square holes are made at intervals around the rim of the sieve while thin strips of ash are soaked in water to make them more flexible. The briar band is held against the rim, with the flat side facing inwards, below one of the holes. One end of the strip is pushed up between the band and the rim, and the other end is pushed through the hole.
7. Securing the briar band
The process is repeated, using two thicknesses of the strip to bind the band to the rim. Hamilton cuts off the excess strip, leaving a short tail, and repeats at every hole to create a neat overlap. The overlap is secured to the rim with a final stitch.
Stitches holding briar band on a meal sieve partially completed by John Hamilton (F:1948.116)
9. Anchoring the strips
Hamilton sits and holds the sieve on his knees. Using a knife he creates an opening between the rim and the briar band to insert the end of a strip. He then takes a length of ash to form the anchoring band and places it above the briar band with the lacing strip between it and the rim.
Hamilton crafted the above knife with an old flat file and used it to insert the lacing strips (F:1951.43)
Illustrations featured in AT Lucas' article 'Making Wooden Sieves' (1951)
10. Securing the lacing strips
He continues lacing the strips around the rim in the same way, doubling the strip around the anchoring band and pushing it between the briar band and the rim. Once finished, the excess strip is cut or broken off flush with the lower edge of the former where it emerges from beneath it.
12. Finishing the weave
As the edges approach, the tension increases, and the final strips require a firm hand to fit snugly into place, ensuring that the sieve will be strong and durable. To achieve a properly laced and rigid sieve, much judgement is required. The maker must leave slack in the earlier strips knowing that the later strips will take it up as they are woven together.
13. The wooden sieve
John Hamilton possessed a deep appreciation of the art of sieve-making. With minimal tools he transformed the simple act of creating a sieve into a work of art, a testament to beauty and human connection of a long-forgotten craft.
Read moreA completed Dallán (F:1948.119)