31
May 21

Offcut Challange Vase

So when I bought the pen blanks for the fancy pens from Feinesholz, they included a block of padouk in the order. Hadn’t asked for it, they just threw it in there.

The sticker reads, if google translate can be believed, “Thank you for shopping at Feines Holz! Although this piece has one or two flaws or is just undersized, it is too good to throw away. Or not? Maybe you can still do something with it?! Padouk”. You have to love the idea of throwing in an offcut to an order with a challange on it, this is a crowd that knows its market demographics pretty well 😀

So it wasn’t a huge offcut, about 5cmx5cmx12cm (“about” because every edge was a slightly different length – it’s an offcut, not a processed blank 😀 ). And there’s variation of the colour throughout because it’s near the boundary of the heartwood and sapwood.

That changing colour might have been the thing that gave me the idea, I’m not sure. I start off simply enough, it looked like the right shape to cut a small bud vase from (and until I get an extension bar for my little forstner bit, bud vases are about the best I can manage), so that’s what I did:

Turned between centers to start, just to round it over and get a basic shape into it, and I’m mostly watching the colour of the heartwood for this and trying to see if I can avoid cutting all of that out. which you could do given the way it was lying in the wood.

Then drilled it out to the depth of my forstner bit (which isn’t much, maybe 75-80mm?), and used a ring tool (the crown mini revolution is the one I have) to work the shape a little inside and a bowl gouge to make a few shallow cuts to get the final lip shape.

Around about this point, I had the idea for this… piece? thing? not sure what you call it. What if I did the outside of that last coloured bowl, but on the inside, like fireworks and have that contrast with the outside which will be all-natural wood, if a fancy colour. But I’d need to open it up down one wall to show it off. Maybe just cut a chunk away? What about the “open jacket lapel” look?

I ebonised the inside to get a feel for what it’d be like (masking became something of a feature of this little project).

And yeah, not the slickest of finishes there but enough to give an idea of what it’d look like and I thought it was worth going on with. Thing is, cutting into that vase and then doing the shaping and sanding and spraying that was to come was going to be a complete pain with it in that horizontal orientation, literally. Ask any woodturner who hollows stuff and they’ll tell you that lower back pain is a problem because you’re bent over at odd angles shoving a bit of metal into a spinning bit of wood, so it’s not just stretching, it’s carrying a load while stretched. This is something I’m kindof familiar with from the air rifle shooting – an asymmetric offset load on the spine is just not something you should do if you can help it. Larger lathes will rotate the headstock or have other ways of coping with this, but mine doesn’t do that, and no lathe will rotate from horizontal to vertical, so something else was needed…

Pictured: Something else 😀 Specifically, that’s a Simon Hope carving jig. Plugs into the tool post hole in the banjo, chuck screws right onto it, lets you set it at any angle to work on it, and the two blue aluminium cylinders that form the body have a kind of keying detent system between them so they can lock at certain angles (roughly every 30 degrees I think) for even more rigidity. This thing is a very solid little beastie. I don’t know if I’d happily wail on it with a mallet the way I would when carving oak for a box, but for push gouge work, it’d definitely be up to the task, and for sawing and sanding and shaping, it’s not even going to notice that you’re there. So, installed it and mounted the chuck on it.

Sweet. Then I was able to cut out the opening I wanted,

And then I could take the dremel and a saburrtooth burr and shape the edges of the cut to give me the open-lapel thing.

Glue-up was a bit of a pain because you couldn’t clamp it, but get a good matching set of surfaces and a rub joint will surprise you with how little clamping force it needs.

And now that needed shaping, so out with the dremel and burr again…

And I’m trying to get the cut to look like it’s flowing down to that hemispherical cutout as well, just because it looked better than the cut thinning out to nothing. Then I had a few rounds of trying to mask up the outside and spray the inside with ebonising lacquer properly. I say a few rounds, because it’s a bit tricky with that shape and I didn’t want to get puddles of the stuff in the bottom of the vase part.

I figured it can’t puddle at the bottom if it’s on the floor, right? 😀 This is why you don’t clean up all the shavings off the floor till the project’s done 😀

Yeah, not great, and I missed a spot. Bother. Try again…

Okay, that time it worked. So I had this idea to steal for how to do the painting on the inside, using iridescent paints, flow medium and string, which Wayne the Woodturner had done a video on a while back and it looked perfect.

…and I couldn’t get it to work on a concave surface at all. Came close but no cigar.

Yeah, just not happy with it at all. So cleaned out the bulk of the paint with isopropanol and then remasked and resprayed the interior.

Getting too used to masking by this point, this is the fourth or fifth respray this piece has had.

Went back to using the iridescent paints neat and compressed air to move the paint. There still seemed something missing though.

Bit of sanding and cleaning up and at that point I realised that what I didn’t like was that “dot” at the bottom of the cut, so I painted that with some titanium white and was happy with that. Then some final sanding, some coats of acrylic gloss lacquer, then some polishing by hand with yorkshire grit and a last coat of hampshire sheen and parted it off and branded it and called it done.

It still needed a good rubdown there to get the last of the hampshire sheen off the surface, but overall I’m happy with that, I got pretty close to what I had in mind and it looks pretty. That’ll do.


08
May 21

Pen practice

Friend of mine got married recently and he made his own wedding pens. Which were very pretty.

So I thought I’d like to try making a fancy pen or two. I got a pen turning kit a while ago, and made a single pen before six other things cropped up, but I did enjoy it so I’d been planning to make more and this got me off my ass to do so. First up, made a shedmade pen press, then went onto Feinesholz and Taylors Mirfield and spent a lot more money than I normally would on these things, and got some nice kits and blanks and tooling. First though, I wanted to get a bit more practice in before ruining a few hundred quid’s worth of raw materials, so I picked out one of the acrylic blanks I got when I bought the lathe, one of the padouk wood blanks I got at the same time, and thought I’d like to use the third pen kit to try out making a segmented pen blank.

I think it’s fair to say that that glue-up could have gone better 😀 Oak, walnut, ebony veneer and a steamed pear veneer that has been stained silver gray. Looks unusable, but the nice thing about pens is that they don’t use much wood really, so this was recoverable.

Cut them to the right length for their brass tubes, drilled and epoxied in the tubes. I saved the offcuts from the padouk and acrylic blanks, I had an idea there.

Then on to turning, starting with the segmented blank.

I rather like the turning with pens; it’s good practice with the skew and it’s not like these will have complex shapes. Mostly you’re just working to ensure the ends match the bushings. Then it’s on to sanding.

This is just sanded up to 800 grit with poppyseed oil, then sanding sealer and sanded with 2000 grit. Hampshire sheen wax over the top and call it done. I don’t know if I like the idea of a CA finish, it seems plasticy for wood, but I’ll have to give it a go at some point. The finish on these turned out a bit too matt after a day, so they needed something, whether CA or acrylic lacquer or melamine lacquer. But these are just for practice anyway. On to assembly.

I can report that the shed pen press works quite well. A longer handle might make it easier, but this is totally manageable.

Not terrible. Next day, on to the padouk blank…

Well, that’s a fun colour to clean up 😀 Not stained or dyed. For those who don’t know the timber, it’s an african tropical hardwood that’s that bright vibrant red when fresh cut, but it will dull over time and with UV. Still though, lovely colour.

Again, sanded to 800 with poppyseed oil, sealed, 2000 grit, then hampshire sheen wax.

Not horrible. Finally, acrylic and this one I was wondering about because I’ve not turned acrylic on the lathe before.

Also, didn’t want to waste the inch left over from cutting the blank to size, so I drilled that too and used a keyring kit to do something with it while also practicing cutting it.

Finishing is remarkably easy – sand with 800 paper first, then work your way through the micromesh sanding pads in order up to 12000 grit and that’s pretty much that. You can put on a layer of melamine or acrylic lacquer but it’s not critical for solid acrylic like this, it’s already plastic 😀

The mess from turning the pen is a bit less fun with this one, but it’s still managable at least.

Before sanding:

and then after sanding to 12000 on the micromesh as before but then also continuing on with yorkshire grit and yorkshire grit superfine:

Another quick experiment here – not sure which of these would be best:

Autosol on the left, resin polish on the right:

And at this scale, I can’t tell any difference. I know they showed up different for the resin when making Calum’s desk but I guess that wasn’t as hard as this blank. There’s no appreciable difference between the two here. So I gave it one coat of microcrystalline wax and called it done.

Pen doesn’t look too bad, but the whole “set” looks even better:

Next up, the fancy sketching pencil and then the fountain pens…