Oops (II)

I while ago I posted some pictures of hollow forms that had not survived the hollowing for one reason or another. Since then I have actually managed to turn quite a few hollow forms without further accidents and incidents. However, last night that came to an end.

cracked-ash-vase I had this nice piece of ash, with just a few tiny cracks on one end. I thought I could hollow it out, and then cut the cracked bits out with some carving. Alas, it was not to be. All was going splendidly well, and I had in fact pretty much finished the upper half of the hollow form, when it suddenly exploded on me. I wasn’t standing in the line of fire, so no damage done. The missing pieces are not be found (I am sure they are somewhere in the workshop, I just can’ be a***d to look for them).

There’s enough left, so I will just cut the top off, and then probably make it into a box, with a coloured lid (since I have no matching piece of ash). We’ll see.

Lesson learnt: if it has cracks, be very, very, very careful when hollowing.

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Another winner!

With another month gone, there was another chairman’s challenge at the West Midlands Wood Turners. This time around the subject was “a bowl, cut and reconstructed”. I knew exactly what I was going to do, but I almost missed out anyway. I was dead sure that the subject was “a candlestick with a twist”. Only when I received the newsletter did I learn about my misconception, and then I really had to get my skates on.

In any case, here’s the finished item. And yes, it did win (although with very little competition):

Segmented bowl The main body is a deep end-grain bowl made from a piece of plum. I have four of these, all slightly different shapes, and all 4 of them have developed major cracks, due to being turned whilst still very green, and quite a bit of wall thickness left. The cracks never really disturbed me, the intention has always been to cut them into pieces and do some interesting stuff with other types of wood, or even completely different materials (such as metal or crushed stone).

Once I had the rough bowl cut into two pieces, I cut off a bit more to make them as close to identical as I could, then sanded the cut surfaces flat on my home made disk sander (basically a piece of plywood as big as the lathe can handle, with a velcro disk on it, and then some sanding disk stuck on top, works like a charm).

And then the tricky bit started: selection of how to fill the gaps. Eventually I settled on some curly ash and some strips of purple heart. The purple heart came from spindle blank, 1″ square by 1′ long. I sanded two of the sides nice and smooth, made sure a third side was at proper right angle, and then cut two strips off with the band saw. The rinse and repeat to get 4 strips, all roughly 1/4 inch minus the kerf of the saw blade. The cutting of the curly ash was a bit trickier, since I needed to make sure I had the angles more or less right, and enough material on all sides to allow for the final shape to be covered. Again, lots of sanding to get the angles to perfection and both pieces of precisely equal dimensions (this is crucial, as you will see). Then glued the strips of purple hard on, and sanded the outside flat and parallel (again, crucial).

And then the big challenge: glue the whole lot together. If I had more time, I probably would have done this as a two-step process, i.e. glue one wedge to one half, and the other wedge to the other half, and then I could have made sure of an absolutely perfect fit. As it was, I was about to run out of time (each gluing step needed about 24 hours for the glue to cure properly, and that dictates a lot of the timing). So I had to figure out a way to assemble all 4 pieces in one go. As any experience segmented wood turner will tell you, that’s the most challenging thing to get right in the whole process. Unsurprisingly, the glue did slip a little bit, and it shows in the final assembly. Once wedge was pushed out a little bit, and although there are no holes or gaps in the glue lines (that would have been a disaster), the final dimensions of one wedge are just a little bit less than the other. And since in the final glue-up these meet in the centre of the bowl, and slight difference will show. And it does. Another lesson learned: I would have been better off covering the entire top rim of the original bowl with yet another contrasting wood. This would have hidden those slight deviations.

In any case, the glue-up needed 2 nights to cure through. By Friday night the cured bowl was back on the lathe for turning. There’s another challenge in this step: since the resulting bowl was going tobe cut again and blued together at the rim sides of the two halves, and unevenness in wall thickness would show without any mercy in the rim of the final oval bowl. Therefore loads of measuring and fine cuts until I was reasonably happy that I had even wall thickness.

Then the final cut, a little more rim sanding, and the final glue-up. Left to cure over night, and on Saturday afternoon I could proceed to finish sanding (lots of it) and gluing some small legs on, which I had made on Saturday morning from the cutoff pieces of curly ash from the segments.

The end result is probably not everybody’s cup of tea, however my wife thinks it’s lovely, and I am rather pleased. Both with the bowl and the lessons I learned on the way.

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Poky things

During my first year of wood turning, nobody could have tempted me with turning finials. I would have run a mile and then some. The prospect was daunting in the extreme, and seemed to forever be reserved to proper professional turners. You know, the guys who actually make a living out of turning.

As time went on, the awe diminished, and I realized that some of my designs positively called for a finial. Maybe not quite as seemingly impossible as the ones produced by Cindy Drozda, and so eventually I did give it a shot. I started out with some soft wood, pine or the like, only to realize that this is in fact not a good idea. Although it does teach you proper tool control, the reality is that the slightest wrong touch or just the uneven hardness of the timber will result in small pieces braking off your nice, sharp edges, and the result looks more comical than elegant.

Finals

I am still not quite ready to try my hand on a £10 piece of African Blackwood, but I am getting closer. The picture shows a range of my finials to date. The one on the left sits on top of the lid to the Rocky Mountain Nod, and the one to the right of that is already committed to another box, which is work in progress (this will be a winged box in pentagon shape, with a matching pentagon shaped lid, should be quite spectacular when it’s finished). The other ones are still looking for a suitable purpose, which no doubt will be found sooner or later.

It is actually quite tricky to get the shape right. Small changes in diameters or distances will upset the balance of the finial tremendously, converting something elegant into a caricature (and vice versa), and you definitely want scary sharp tools. I bought myself a 1/4″ spindle gouge, which I have given a long swept back grind, with the heel taken off completely (i.e. the underside of the tip is completely rounded), and this does the trick very nicely. Since I am not a youngster any longer, my eyes are starting to deteriorate, and especially the focussing on short distances is getting troublesome. An essential tool to overcome that is the use of magnifying glasses such as these:

head-magnifiers

Sanding is a whole different game on finials. Anything coarser than 180 grit, and you will lose your edges. In consequence, good tool control and the best possible finish off the gouge is a must. Although you can get rid of some tool marks on bigger coves or onions/beads, the fine details basically won’t allow much sanding at all.

The best advice really is: watch Cindy (and some others) on youtube and practice, practice, practice.

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Spinning away…

At the last meeting of the West Midlands Wood Turners, the club secretary told me he’d been contacted by a silver smith who was in need of some turned items, and whether I’d be willing to give it a shot. Sure, I said, just send me the details.

A few days later I had the contact details, made contact, and pointed the fellow at this website, then asked him to give me a call when he was ready to talk about further details. I didn’t hear anything for the next two weeks, and I thought: maybe he didn’t like what he saw or maybe he doesn’t think I am good enough. After all, I am not a professional wood turner.

As it turns out, I was completely wrong. Paul is a silver smith, who does mostly spun work (as in metal spinning). In other words, lots of round stuff (sounds familiar, doesn’t it?).

In difference to me, he does this professionally, but at the same time he’s got some ideas he wants to pursue in his private time. So we had a really nice, long chat about possibilities, and I walked away with a copper prototype for a bottle coaster, and promised him to make a few prototype inserts from different woods, and with different finishes.

Let’s see, maybe this is going somewhere. Who knows?

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Hitting the limits

As my esteemed readers will know, I don’t own a wood turning lathe. My lathe is a proper small engineering lathe for a metal workshop. It does what I am asking it to do, but it has its limitations, and I am hitting them more and more these days.

  1. The maximum diameter I can turn is 10 inches. That’s a decent size bowl or platter, but it’s by no means large. And there are plenty of designs in my head that are asking for larger pieces. My tutor says: well then scale it down. Yes, that’s an option, but you do lose impact.
  2. Fine spindle work requires high revs. For finials it’s best to go at more than 2000rpm, as high as you can really. My lathe does about 2000rpm, but it gets hot after an hour or so. It just wasn’t built for this sort of thing.
  3. The saddle and apron are getting in the way. Mind you, having a saddle with 2 T-slots has its advantages: I can very easily make myself add-on tools that can be mounted securely with 2 or more screws in these slots, such as my sanding table.
    On the other hand, when I want to do a nice pull cut on the outside of a bowl, there are places where I simply cannot get the cutting angle I want, because the tool handle collides with the saddle/apron.

All of which makes me think that I should buy a proper wood turning lathe. I have my eye on the Axminster AT1416VS or the AT1628VS. As long as I only have the small workshop I have right now, I think it will have to be the smaller one of these two, simply because otherwise I’d have to sell my engineering lathe, and that is not an option.

Well, watch this space…

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