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.


04
May 21

Cosmic splatter

So I wanted to try turning a nice royal blue bowl with white liming wax. Picked out a chestnut blank, and roughed out the shape, and discovered it had an odd yellow discolouration in the wood that I’d not seen before. Rather unattractive too, not a nice shade of yellow (think bile, not sunshine). And when I stained it…

That’s not the richest of royal blues and it’s going green in places. I tried sanding back and applying a few more layers of stain:

but…

Just not nice. No deep colour, the endgrain’s popping but the rest of the bowl’s not right.
So, if at first you don’t succeed, drop the plan and do something different 😀

Ebonising lacquer all over the bowl (and my wall, my chest drill, me and a bit of the roof. Doh). Two coats of this in fact.

And then the point of this – out with the pearlescent acrylic paints (by Amsterdam in case anyone’s wondering). Dab a bit on the surface, then blow around with an airbrush until you get a very thin layer and a nice abstract pattern. There’s a trend of this in woodturning at the moment – look for “Cosmic Clouds” on youtube and you’ll find it – but I did try to apply the paint with the airbrush as well and I hadn’t thinned it correctly so I got spatter when I tried that first. Not great. Lots of airbrush cleaning followed. I do have some iridescent paints (not the Jo Sonia ones that everyone on youtube is using because those are a bit spendy over here right now, but Pebeo Studio ones) that I must try this with as well, but for now, just pearlescent.

Left to dry for a day or two and the white lines vanish away and the paint’s colours get more pronounced, albeit slightly.

So I figured I’d hollow it out and finish it. It had Opinions on this idea…

The entire tenon snapped clean off when I started hollowing. I hadn’t even had a catch, just some chatter:

Possibly not the best chunk of wood in the storage box. I was able to remount it on the screw drive and turn a small recess in the remains of the foot then grip it with some expanding jaws:

And I was able to mostly hollow it out that way with small cuts, but it’s not exactly as thin-walled as the last bowl. But it’s a test piece using possibly not-so-good timber, so I’m okay with that.

Reversed it and fixed up the foot on the push-plate, and gave it a coat or two of acrylic lacquer along the way as well. Doesn’t look too terrible in the sunshine. Must do another one of these again, maybe with a better piece of timber next time. And the iridescent paints. Or a mix of the two…


12
Jul 20

Colour and shape

Was mucking about with the lathe last month. I was wondering if buying a thick plank and cutting my own blanks was a possibility a while back and while I’ve managed to find a solid source for them since (Home of Wood in the UK in case you’re in Ireland and looking for a source, but what effect Brexit will have is something we’ll have to see next year – I already can’t get replacement bandsaw blades from TuffSaws because of that), I still wanted to try a square bowl so I took an offcut of poplar that I had and chucked it up with a dovetail faceplate, which are really nifty little things – I have two so I can have two blanks on the go and if I take one off the lathe, I won’t have concentricity errors when I put it back on, at least none that matter for woodturning levels of precision:

Loving that natural light from the window. I do need to finish that sharpening station there by the door, and I’ve since improved on the lathe tool holder as well.

Then just fire it up and very, very carefully start cutting the curve. Those corners are fun, you’re cutting air most of the time with those which takes a bit of adjusting to.

Seeing through the work like that is just a tad freaky 😀

Mostly you just start the profile in the center where there’s a full 360 degree cut, then pull the cut out to the corners, relying on muscle memory to not just shove the gouge off that profile line so that the rotating corner doesn’t come down on anything but the cutting edge (if it hit the shoulder or the shaft of the gouge, I think lots of bad things would happen in rapid succession at a very interesting pace indeed and I don’t want to investigate that at all).

The final resul is quite nice, though that rough semi-circular bit on the edges will have to be cut away or sanded away later.

Also, I love poplar, it’s a really underrated wood, but the point of using it here was that I also wanted to play a bit with colouring the piece using stains. Blame Stewart Furini and Martin Saban-Smith.

A few layers of different stains from black to red to yellow to orange gave a nice enough effect. I mean, it’s an experiment, it’s fine 😀 I’m actually not done playing with that one, but I did want to test a new paint on the other side. I’ve tried black stain before:

And I’ve tried burning before:

And I’ve not turned any oak yet but I have ebonised oak in the past with a mix of tannin tea from oak shavings and an iron mix made by soaking steel wool in vinegar for a while:

But I wanted to know if this new paint I came across was comparable. This paint called Vantablack got invented a few years ago but the inventor didn’t release it to the general public, it’s got some sort of exclusive licence and so – as always happens – someone else invented something that did the same job (perhaps better). Stuart Semple is the chap’s name and the paint is just called Black 2.0 or BLK3.0 depending on the one you get, I got the 3.0 to test.

I also got a few more of their pigments (each of which is the MOST blue/green/yellow/pink/etc according to their advertising, I was going to use it in resin). And I got LIT which is their glow-in-the-dark pigment. Haven’t trialled them a lot since but the little bit I have tried worked rather nicely.

And there we go. Two coats on the left half, three on the right (the third is still a bit damp here). On camera, it’s a black hole. In person, well, the human eye it turns out has more dynamic range than almost any camera ever invented, so we can go from broad daylight to moonlight and see shades in both. So when you look at this in person, it’s nowhere near as featureless a void as it seems on camera, but it is remarkably black. This piece has been off the lathe while other stuff was done for a month now; it still looks as black. How it holds up to the other approaches…. well, it doesn’t sadly. You lose the effect with a topcoat and the paint isn’t very sturdy itself (it does not weather well, as they say). But it’s a neat tool to have in the toolbox.

Speaking of, I really must get this back on the lathe and finished at some point. There’s just so much more stuff to do first…