Overflow, Part VII

Wine Glass Kit

I bought ten of these wine glass kits from Craft Supplies USA.  The stems were cut off so that all the maker had to do was turn the bottom half.  It seemed like a neat idea at the time, but I’ve somewhat lost interest in turning.

If you would like these ten glasses, please leave a comment below indicating your interest before noon on Monday, March 26.  I will then draw a winner at random.  Even if you don’t get these glasses, remember that these are only some of the MANY things I want to give away (yes, there is still much more).

And if you haven’t already, be sure to subscribe to my blog using the widget in the right-hand column so you can be notified as soon as I post something new!  And please tell your friends about my Overflow program.

Review the details of the Overflow program.

Jon Siegel – Elliptori

Elliptori by Jon Siegel

Artist Name:  Jon Siegel
Title:  Elliptori
Details:  circa 2001 - mahogany, glass 56″ wide x 26″ deep x 16″tall

Why It’s Notable:

I like the design, but to me, what is most notable is the process used to make the base.  Instead of laminating the rough shape, then refining it with carving tools, planes, and sanders, Jon Siegel took another approach.

“When I make the turning, which is 4′ in diameter, I am only making 1/2 of the profile, and the back is flat.  Then the ring is cut in half along the diameter and “folded” and glued together to make one table.  This method has two advantages:  it is easy to mount the work on a face plate because the back is flat, and it assures that the form is symmetrical.”

How did Jon develop the process of making the base?

“I never had a drawing of this table – the idea went from my brain directly to a scale model made on the lathe.  My first experiments were in doll-house scale (1:12).  Then when I thought I had the proportions right, I jumped up to 1/4 size scale.  From that model, I measured how I was going to glue up the blank in three layers - three band sawn rings were stacked and glued up.  About a year after I made it I realized that somewhere in the back of my mind I was probably inspired by the work of Stephen Hogbin that I had seen 25 years earlier!”

The glass top makes the table functional without hindering the view of the unique cross-section of the base.  Very interesting!

For the curious, this is the lathe Jon used to turn the table’s base.

Jon Siegel's Putnam Lathe

“Restoring 100 year old machinery (both woodworking and metal working) is a passion of mine – especially lathes.  The lathe was made in Fitchburg, Massachusetts by Putnam who made mostly metal lathes, but they also made some of these pattern maker’s lathes.  These are woodworking lathes that have a carriage.  This type of bed was used on their metal lathes too, which is why they are so heavy.  But the headstock and carriage are greatly simplified from their metal working cousins.  This type of bed is called ‘extension bed’, and by turning the large handwheel that you can see below the bed, the upper half of the bed slides away revealing the large ‘gap’ which is thus adjustable in width for the particular job at hand.  Of course this also extends the length of the bed when needed, hence the name.  It extends to allow 12′ workpiece length.  It swings 24″ over the bed and 50″ in the gap.  I used this lathe to make ‘Elliptori’.  The rough blank weighed over 100 pounds, and the finished turning about 70 pounds.  Work of this size is turned at about 120 rpm (2 revolutions per second).  The largest piece I have turned on this lathe weighed 500 pounds, and it handled it easily because that is only 10% of the weight of the machine.”

I’d like to extend a “thank you” to Jon Siegel for his help writing this article.  Jon has been turning for over 45 years.  He co-founded Big Tree Turnings, LLC., and is a member of the Guild of New Hampshire WoodworkersNew Hampshire Furniture Masters Association, and president of Granite State Woodturners (a chapter of the American Association of Woodturners).

Every Scar Has a Story, But Not Every Story Has a Scar

If you don’t have any scars, I would venture to guess that you lead a very conservative lifestyle free of peril, risk, adrenaline rushes, and interest. Yes, I have a few scars, each with a story and often a lesson learned as well. Scars can be reminders of epic tales of struggle, heroism, pain and suffering. Other stories, while equally fascinating, leave nothing to remember them by other than the experience itself. Such is this story:

Last year, one of my friends Jared, got married. In high school, we were the two of the best woodworking prospects of our graduation class (which sounds better than it actually was). We made the most ambitious projects and were two of the few students enrolled in the woodworking classes who seemed interested in making woodwork. After high school, I pursued woodworking and Jared got caught up in renovations.

He and his fiancé, Logan, wanted to make candle holders out of sections of birch trees, bark on, for the reception. So I got the call, and together, Jared and I cut the birch logs to random lengths and bored holes for the votives. For a wedding gift, I made a small box I now call the puzzle box.

I made it with just a vague idea in my head and just designed it as I went. Only when I had completed the box did I realize that it would make a great ring box. There were two round compartments with each of their initials carved into an end. It was the only one if its kind when I made it, and it still is.

Fast forward a year, when I received an e-mail from Logan. She was looking for an anniversary present for Jared and asked if I could make a wooden wedding ring. I love challenges, so I took the job. I expected the ring to take about 30 minutes to make, but had no idea what the learning curve would be.

The next week, Jared and Logan came over and we first figured out what wood to use, then what size it needed to be. We quickly discovered that my forstner bits, in 1/16” increments, did not allow the proper fit. Jared and Logan decided to go with a dark wood, with rosewood and lignum vitae preferred. Using my midi-lathe, a spindle gouge, and a parting tool, Jared and I turned a few test rings while Logan watched.

We needed to determine which inside diameter fit the best and what the maximum thickness was that we could use for strength, without feeling bulky. We learned that rosewood, turned to a pleasing thickness, was not strong enough and could be broken easily by squeezing it between finger and thumb.

I reasoned that lignum vitae, the hardest of the commercially available woods should be strong enough. And if not, then likely an all-wood ring would not be possible to be made strong enough. We made a few unsuccessful rings, either too loose-fitting, too thick, or too thin.

After about two hours of trying to turn a ring we were all getting tired and Jared and Logan decided to leave me with the task and come back another day. We had established that Jared’s ring finger was the same size as my left middle finger. I knew what I had to do, and just had to get the ring made. I could have called it a day, but I was determined to get one made. I brought out my Taig miniature metalworking lathe and, five minutes later, had a nice looking ring.

Excited to have a working ring, I tested the fit, slipping it over my finger. It fit. I called Jared and told him that I had completed a ring. I took off the ring to go back upstairs to retire for the evening. Only I couldn’t get it off.

In my excitement to try the fit after finally successfully turning a ring, I hadn’t bothered to sand it smooth and the sharp, turned edges were digging into my knuckle instead of gliding over, as a gently eased edge would do. What do I do now? It wouldn’t slide off. Spinning it only cut up my knuckle, to the point where it bled. There was room to move the ring on my finger, but I couldn’t get it past my knuckle. My solution was to slip a piece of sandpaper between my finger and the ring and sand it until it fit over my knuckle. I watched the second period of the hockey game while slowly sanding the ring off my finger.

I sanded the ring smooth and Jared came by to pick it up. He loves it, as does his wife. And I’ve already had request to make another one.

A Riddle

Today was a beautiful day – warm and sunny. I went to work and, four hours later when I finished, my left side was completely soaked, my right side was dry, and I was standing two inches taller. What was I doing? Do you need a hint? If not, I know that you have done it before or heard this story before.

Hint #1: Shavings. Okay, that’s probably not much help as I’m sure you already guessed it had something to do with woodworking. Now think – what would produce shavings like those?

Hint #2: What is that blurry thing in the foreground?

Hint #3: Okay… what does this have to do with the other two pictures? Everything!

Got it?

Yes, I was turning some very green wood. Yesterday, my friend Dave brought down an apple tree on a lot where a house was levelled the previous week. Today, he and I went back to the site and milled the tree into boards. Using aluminum rails to guide the chainsaw, outfitted with and Alaskan mill, Dave cut off a 3″ thick slab off the top so that there would be a flat surface on which the mill could rest on for the next cut. The rest of the cuts were done with the mill set to cut at 2-1/2″ thick. I loaded the wood into my truck and drove home, stacked and stickered the bole on a skid in my backyard.

I decided to turn some bowls out of the 3″ thick slab, so I laid out three blanks with a clear plastic circle template (awesome tool, by the way – every bowl turner should have one!). I cut out the rounds on the bandsaw and bored a 1/4″ hole in the center of the side we’d milled flat (the other side was still covered with bark) for mounting on a screw chuck. I threaded the screw chuck onto the headstock of my lathe, spun on the bowl blank, checked by hand that the blank spun free and that the lathe was set at its lowest speed and turned the lathe on.

Immediately, water started flying off the blank like a sprinkler. I covered the bed of my jointer located 6′ in front of the lathe with a towel and sprayed on a fresh coat of Boeshield on my bandsaw table directly adjacent to the lathe. I slowly turned up the variable speed of the lathe until it and the bench it was clamped to started to shake, then backed it off until the shaking stopped. Then I started to turn.

A Weekend That Turned Out Well

I had this past weekend off, and I made the most of it, turning a total of five bowls, all from green wood.  I slept in until 10:00am on Saturday.  I had a quick breakfast and headed down to the shop.  The first bowl was a result of a co-worker giving me a section of a Japanese Cherry.  It still had the bark on the outside and I was inspired to turn a natural-edged bowl.  I also wanted to try my hand at a deep vessel.  It wasn’t incredibly difficult hollowing out the bowl, but the confined space doesn’t make sanding easy.  Nonetheless, I am pleased with the shape and end result.

Natural Edge Cherry

From the same cherry, I turned a small, thin-walled bowl.  The walls are less than 1/16″ thick.  When I turned the bowl, the wood had a high moisture content.  When I finished shaping the bowl, I put it into the microwave for a minute then, wearing gloves to avoid burning myself, formed the round rim square.

Steambent Cherry

The next bowl I turned was of Black walnut.  I had a nice big blank so I decided to turn a wide bowl.  I started with the rim and worked my way down, shaping the bowl as I deemed appropriate.  I often let the grain and colour dictate the final shape.  Once the shaping was finished, I sanded the bowl and parted it off.  I sat it on a pile of green shavings to let it dry slowly.  When I uncovered the bowl, the rim had warped to a smooth, wavy shape.  I could not have been more pleased with the end result.

Wide Rim Black Walnut

The wood used for this bowl is unknown.  It is creamy white, and has a blue-purple stain at the center.  This pattern is consistent throughout all the blanks I got from this tree (thanks Ralph).  By this time, the light has long since disappeared and I decided to have some fun (correction: more fun) and try a different style bowl and a different technique.  Most bowls I turn have the grain running from side to side.

This bowl, however, has the end grain running from top to bottom.  Once I mounted the block on the lathe and trued it up so that it was round and balanced, I killed the overhead lights and turned on a single articulated fluorescent task light.  I worked quickly to shape the outside to a gentle curve, then moved to the inside.  I quickly wasted out the bulk of the inside, then moved the light so that it was shining on the outside of the bowl.

When a wood is green (has a relatively high moisture content) and is fairly thin, it appears translucent.  By noting the brightness of different areas of the bowl, I can very accurately gauge the wall thickness.  I took light cuts until the light was shining through evenly, then parted the bowl off.  Time for bed – it’s well past 10:00pm.

Translucent

Twelve hours later, I was back in the shop to turn another bowl.  This bowl is an excellent example of how I let the wood determine the final shape of the bowl.  I chose a large chunk of black walnut and cut it round on the bandsaw.  As I trued it up on the lathe, I realized that there was a void in the tree which meant that there was bark further towards the middle.

My first objective was to remove all traces of bark.  Sometimes bark is desirable.  But not this time.  After the bark had been eradicated, I re-evaluated the bowl.  I had a large amount of sapwood (the lighter coloured wood) on what would become the lower half of the bowl.  I realized that I would have to either get rid of the sapwood entirely or use it extensively to make it seem intentional.  So I gauged the highest point the sapwood extended and made that the middle of the bowl.

I have become partial to flared sides, so I decided to stick with that.  A narrow base meant more sapwood exposure in this case without any bark or other defects.  A wider rim seems to make the bowl seem more open – like it has a greater capacity.  I also like to cut a shallow bevel on the bottom of the bowl it makes it seem lighter, almost as if it is floating.  Once I had defined the outside of the bow, I turned my attention to the insides.  I tapered the walls from a razor-thin (and sharp) lip to thick (1/4″) at the base.  I finished off my sanding up to 600x and applied a sanding sealer before parting off.

Razor's Edge (Black Walnut)

This is what my shop looked like after 5 bowls had been revealed.

After a Weekend of Turning

No Rest For The Weary

It seems that the idea of starting my business this year might just become a reality.  While my weekly hours at Lee Valley hover around 40, my shop hours are probably over 20.  On days where I work at Lee Valley, I spend little time in the shop as I am often too tired to work (safely).  On my “days off”, I work as long in the shop as possible.  Not because I feel I need to, but because that’s what I do.  Besides, there is so much to be done.

One of my objectives to be completed before starting my business is to have the shop cleaned up and organized.  Anyone who has a shop (or a living space, for that matter) knows how hard that is!  I am proud to say that I am winning the war.  I have purged much of the accumulated junk in my shop and found a home for what is useful (or will be somewhere down the line).

A few major shop projects remain.  I need to build a cabinet to store tools and supplies.  The shelves I have currently held up by metal brackets just don’t cut it.  The don’t have the same weight capacity with a given depth.  I also need to build a base cabinet and table extensions for my miter saw.  Right now it’s sitting on a Workmate with a small extension I cobbled together.  I suppose I should put the doors on the cabinets which I built two years ago.

The last project is also the most anticipated – a new workbench.  Right now I have some massive pieces of crotch cherry in the garage which will become the legs.  I’ll laminate up a top and drop it onto the legs.  I would really like a set of drawers below the bench, like a shaker style workbench, but the shape of the crotch doesn’t permit that.  I may make a fine table with the cherry and use something else for the bench.

Pedestal Rendering

I currently have one commision in progress – an Arts and Crafts Pedestal.  It’s being built of solid Red Oak.  Another, a dart board cabinet, is on hold pending the completion of the pedestal an my learning how to use my new Leigh Dovetail jig which I have yet to test.  It comes with an extensive manual which I just finished reading.

Leigh D4

I am now in the market for a new router (or two!).  Somewhere down the road, I would like to build a bowl turning lathe, which has no bed.  This allows a very large bowl to be turned, but more importantly, has no bed or tailstock to be in the way of the ideal position.  I will likely use a 2HP-2-3/4HP motor and a pair of stepped pulleys to turn the spindle.

Bowl Turning Lathe

Acacia – Block to Bowl

Right now I have a half dozen blocks of green acacia in the garage.  I spent a good portion of last Saturday turning a pair of bowls from a single block.  I first outlined the shape of the bowl on the block and cut it out on the bandsaw.  I screwed the block onto a faceplate and mounted it onto my midi-lathe.  Using my new bowl gouge, I shaped the outside as well as a tenon at one end to allow the workpiece to be held with a chuck while the bowl is being hollowed.  Once the outside of the bowl was turned to a pleasing shape and any sapwood and bark was turned away, I removed the bowl from the faceplate and secured it in my chuck using a set of bowl jaws designed specifically for holding you-know-what.

Deep Acacia Bowl

When remounting a bowl, there is often a slght eccentricity. A minute or so is all that is needed to true up the outside of the bowl.  Before hollowing, I sanded the outside of the bowl up to 320-grit.  Then, I hollowed the inside using the bowl gouge once again.  As the walls became thinner, I frequently checked for an even thickness using a pair of outside calipers.

With the hollowing complete, I sanded the inside.  I recently purchased a Skilton Sander, which essentially a sanding pad mounted on a bearings.  It utilizes the rotation of the workpiece on the lathe the help speed the sanding process.  It’s a neat tool and definately handy to have.

If the wood I was using was dried, this is when I would have applied a finish.  However, since the wood was green, skipped this step.  Finishing will take place after after the bowls have dried.  The last step is to cut the bowl free from the tenon in the chuck.  The bowl gouge is once again used to remove the bulk of the material while creating a slight hollow in the base so that it sits flat.  A parting tool finishes the job if there is not enough room for the bowl gouge.

Of the two, I like the shallower bowl.  It has a smooth inside curve which made it easier to sand.  It appears to float, as I cut a shallow bevel under the wide bevel which is visible.  The thin wall makes it very elegant yet functional.  While there is nothing wrong with the deep bowl, it doesn’t please my eye as much.  Maybe it’s due to the proportions.  The three facets on the inside made sanding a litle more challenging, as well.

Shallow Acacia Bowl

100 lbs of Douglas Fir

Last week while walking home, I passed a house with what looked to be half a dozen sections of a fallen Douglas Fir tree trunk.  Each was roughly 24″ in diameter and 10″ thick.  I introduced myself to the fellow trimming branches in the front yard and asked him about the wood.  He confirmed that it was indeed Douglas Fir and told me that it was free for the taking.  He also mentioned that a lady had come by earlier and expressed interest in the wood.  I promised to stop by the next day and take one piece.

That evening and the next day, I thought about what I could do with a chunk of wood that size.  I knew that I had to turn at least one bowl.  I had recently bought a wood carving blade for an angle grinder, so I wanted to save some for power carving.  So… I would pick up a chunk of wood and take a few bowls out of it and carve the rest.

Angle Grinder with Wood Carving Blade The next day, after work, I selected the best piece.  I wanted a piece with large flats on the outside so that I could take a couple bark-edged bowls out of it.  I found the biggest piece with the least checking (cracks) and rolled it home.  This was no easy feat.  Being freshly cut, the moisture content must have been well over %75, so the overall weight was probably close to 100 lbs.  I managed to roll the lop-sided disk of Douglas Fir home, which was about a block away.  The hardest part was contending with the four flights of stairs (each flight consisting of about 8 steps), but I managed.

After dinner that night, I went down to the workshop with my buck saw to cut out a bowl.  I soon learned that this is easier said than done.  But I was determined that bowl.  I attacked it with the buck saw, a reciprocating saw, an angle grinder, and an electric drill.  It felt like two hours and could very well have been.  I didn’t want to give up, but I was getting really tired and sweating profusely.  The mosquitos were coming in swarms, so I admitted defeat to the fir and went for a shower.

Steel City Lathe

The next evening, I went back for round two.  I suppose that I had more energy at this point than the previous evening, and the bowl blank was freed within half an hour.  I now have an electric chainsaw on my wish list.  The blank which I cut out was about 9-1/2″ round and 9″ tall.  My midi lathe has a 10″ capacity – and no more.  I roughed out the blank with my angle grinder and mounted it a faceplate.

Nova G3 Chuck

Now for the fun part.  I threaded the faceplate on the headstock of my lathe and slid a live center in the tailstock up to the base of the bowl.  I gripped my 3/8″ bowl gouge at a 40 degree angle to the bed and trued up the outside of the bowl.  I removed the tailstock and trued up the base before cutting a recess for my Nova G3 chuck to grip onto.  Satisfied with the way the chuck fit, I stowed the bowl in a plastic bag to slow moisture loss and closed down the shop.

I unwrapped the bowl the next evening and chucked it onto the lathe.  I was pleased to see that it still spun true.  Of course, wood tends to move (warp) when it dries.  This is one of the most interesting parts about turning greenwood.  You can turn a perfectly round bowl from wet wood, and when it dries (to less than %15 moisture content) it often takes on an oval shape.  This results in a truly unique bowl, unlike anything a factory mass produces.  Anyways, at this point, I was ready to start hollowing out the inside of the bowl.  I started by selecting my largest brad-point bit, which happened to be about 7/16″.  I determined how deep the bowl was going to be, leaving a 3/8″ thick bottom, and marked the depth on the bit with a piece of masking tape.  I chucked the bit into the chuck in my tailstock and bored the hole, backing out every inch or so.  After the hole was complete, I removed the tailstock and set up my tool rest.

Bowl Gouge Profile

With a sharp bowl gouge, I hollowed out the inside of the bowl.  I only worked on the inside, staying 3/8″ away from the barked edge, for a bark-edged bowl must have a bark on its edge!  As I neared my goal for 3/8″ thick walls, I began to frequently check for an even thickness all along the walls from the rim to the bottom with a pair of thickness calipers.  When I was satisfied, I put down my bowl gouge and grabbed my scraper to put a nice smooth surface on the inside.  However, in all the excitement, I had forgotten that scrapers, as a general rule, do not work well in softwoods.  What’s more, the scraper had a nasty habit of catching, especially towards the bottom of the five-inch deep bowl.  You see, the closest I could get my stock tool rest was about four inches from the bottom.  My scraper has a short handle – the entire tool is only about 14″ long.  The four inches beyond the tool rest provided enough leverage to make me lose control over the tool.  After a bit of experimentation, I found that a custom grind (I’m the only one I know of that uses it) and and sharp edge on my bowl gouge, combined with light cuts, resulted in a pretty good surface.

Now, at this point, the wood was still pretty wet, so I let it dry out for a few days.  I repacked the bowl in the plastic bag and closed down the shop.  When I came back for the bowl, it had dried some.  I decided to chuck it back onto the lathe and start sanding.  Wearing a dust mask in addition to the face shield I always wear when turning, I began to abrade the outside of the bowl.  I started with some 60-grit sandpaper backed by a piece of medium-density foam.  I worked my way up to 120-grit and stopped there – anything more would do little but clog up the sandpaper, give the moisture content of the bowl (probably still over %30).  I did the same for the inside.  While sanding the inside, however, my knuckles caught the bark edging the bowl, doing a little damage to my knuckles, but more the bark.

When I stopped the lathe, I found that a section of bark was missing.  Now, I don’t know if this is the same with all woods, but this piece had what seemed to be two layers of bark.  The outermost seemed to be rather fragile.  A chunk of this part was missing, so I decided to remove it around the entire rim.  The section of bark between that and the solid wood is much more secure and would take some effort to remove.  I left this on.

Over the next few days, I left the bowl to dry.  The past two days, I left it in direct sunlight for most of the day.  I know that this in not generally a good idea because the rapid drying can lead to checking, but I wanted the experiment with this bowl and see what would happen.  Sure enough, several cracks appeared.  Both sides (where the end grain is) showed a number of small, fine cracks, and one longer, jagged crack about two inches long appeared on one side.  All the cracks appeared on the outside, but only the larger one appeared on the inside as well.

While some may regard these cracks as a flaw, I look at them as an opportunity.  I might mix up some epoxy and tint it black to contrast with the Douglas Fir.  I could just leave them for interest.  Some mail-order catalogs offer ground-up stone which can be used to fill voids (turquoise seems popular).  Being an experimental bowl, I decided to remove the rest of the bark edge.  I pried it off with my fingers and a small knife.

The edge still has the natural shape, but no bark.  It does look interesting, but I don’t know if I like it better with or without the bark edge.  I’ll leave it to be for a while and let it dry out.  Then I’ll stick it back on the lathe and give it a final sanding.  Maybe I’ll reshape it too.  Maybe I won’t.