As result of the seasonal changes wood is endlessly moving, either contracting or expanding,  even after it has become a part of your furniture. When employing solid wood  I make use of time honored methods which allow for the movement of wood.
My work relies heavily upon traditional joinery such as mortise and tennons, finger and dovetail joints. I often expose my joinery making it a part of the design.
I am by no means opposed to modern materails and methods but use them only when they are best for a given situation.

In a well thought out design the grain plays a very important role. All material, whether solid hardwoods or veneers, are carefully chosen for color and grain match. Upon request I also offer "sustained yield" or smart woods" when available.
While I work primarily in solid wood, I feel veneers have their place and am not opposed to using them when appropriate.

I often make my own wooden hardware such as table slides and pulls. But occasionally I will use modern hardware such as full-extension file cabinets slides.

My finish starts with a finely ground (for clarity) pigmented stain followed by an aniline dye. The topcoat is a very durable low sheen catalyzed lacquer.
Finish samples are available upon request and custom finishes (to match existing woodwork) are welcome.

Reproducing Greene & Greene

I have never produced an exact replica of an original Greene & Greene piece but have done a few "near" reproductions. Much of my work is interpretive and not only draws form Greene & Greene but from James Krenov and Gothic designs as well (to mention but a few). All my work is signed and dated.

Some Thoughts on Design

My approach to furniture design has evolved over the years. Early in my career I fell into the trap of trying to make an eye-catching statement with each design. Often this was accomplished with brute force by employing large elements to make the piece appear " bold" or with the over use of contrasting woods to appear "striking". This certainly gets your attention but it is lacking in refinement. Good work does not need to shout or resort to cheap tricks in order to capture your attention. A well thought out design should initially draw your eye to the main focal point but not stop there. The secondary, somewhat quiet details can be a joy for the eye to discover as it engages the design

Wood grain plays an essential aesthetic function. The "flames " or "cathedrals " have a more pleasing effect if all are pointing in the same direction; preferably up. "Wild " grain used without discretion can be distracting. But that same "wild" grain used at the appropriate time and place can effectively draw your eye to the primary point of interest. Contrasting woods, if used with careful thought, can be most effective in a good design. But to rely upon contrasting woods to make a big splash is rather crude. James Krenov's designs are sublime examples of the thoughtful reading of grain and the effective use of contrasting woods.

The balance and proportioning of the negative space (space between solid pieces) gives the illusion of "bold"

To achieve the "masculine feel" you do not need to invoke massive elements. With a little skill the "bold " effect can be realized in a more understated way and the results can be far more pleasing. Charles Greene accomplished this in many of his designs. The Blacker House Arm chair was a prime example. Thomas Chippendale was a master of projecting a "bold" look without resorting to over sizing. This is not to say that a design is inherently bad if it employs mass. Gustav Stickley sideboards are massive and I find the designs very pleasing; it is not just "dumb mass" at play in a Stickley sideboard though.
The key is the use of balance and proportion with attention to the "negative" space.
There have been many sets of rules devised for working with balance and proportion. Some of these can be very elaborate and often produce pleasing results. I have tried many proportioning formulas over the years but, I find strictly following rules and formulas can make a design a bit sterile. It is said that Charles Greene attempted to write down some of his ideas on furniture design, but threw the manuscript in the fire in frustration. I doubt if a rule could be made that once in a while doesn't yearn to be broken. As my ninth grade math teacher, Mr. Gayda, was fond of saying "rules are for fools". In some cases intuition must play a role and that is simply impossible to quantify.

It is my firm belief that not everyone will find my designs to their taste. I understand and am quite OK with this. The world would be quite dull if everyone were looking through the same lens.
There are many styles and designs that do not excite me in the way that a Greene & Greene or Krenov piece can. But I am aware that many of these other styles are no less valid or worthy of praise. Preference for a particular style is neither here nor there, but is often just a matter of one's unique outlook on the world.