Horizontal spinner for wood art

Ok, starting over, yesterday I  began this blog and something went wrong I lost the last half of my text and all my photos . . . . . . .

Greetings again from Kauai. Today we did manage to see and sit in the sun for about 2 hours, now that’s progress.

Wow, two blogs in two days (or three now) I often don’t do two in a year!

Killing time during another rain storm and waiting for spuds to cook on the BBQ.

Todays topic has been rattling around in my head for more than a year. Some time ago I decided I wanted to be able to mount finished or partially finished items on a horizontal speed controlled turntable. This I felt would allow me to add color in a more controlled manner than when I do this on the lathe with the wood vertical. I wanted a device that would spin horizontally, be easy to adjust it’s spin speed, be reversible, be cheap and dependable. This is a photo of my first attempt. I’m utilizing a small chuck I use on my mini because it is easy to get threads to match from readily available bolts and threaded rod not like the M33 on my oneway.

I started out thinking that I could use a fan motor and have collected a number of them over time but it soon became apparent that they were not as powerful or controllable as I wanted, primarily because they are not ‘brush’ type motors. I then switched my focus to an overhead fan. Knowing that people remove and replace them occasionally I advertised locally for a free used one but had no luck. There were a few that came available for a small cash outlay but being the cheap guy I am I stuck to my guns and decided not to pay for something I wasn’t certain would work for me.

In the end this all worked out for the best. I am known to peruse and buy on line from several local auctions and wound up with a “tool lot” that had an old beat up cord shredded 1/2″ drill. Ok, this should work fine, it was cheap, easy to control speed (brush type motor), reversible and top speed was about 1000 rpm.

I changed my mind about mounting the a lathe chuck directly on a motor as I did with the fan motors and instead decided to use an old Pillow block I had laying around. I took a section of 1″ 8 TPI threaded rod and turned it to fit thought the bearings of the pillow block on my small metal lathe. I turned a short section on one end to 1/2″ so it would be easily gripped by the drill. I then mounted it to a section of plywood and discovered that with a small piece of rubber under the drill it lined up perfectly with the 1/2″ end of the shaft. As can be seen below this tool will now function as a lathe as well should I want to spin wood while finishing it or ????

By mounting it on the edge of my heavy bench I thought it just might be able to take the shake it might get if the turned piece wasn’t quite balanced. Much to my surprise it spins with hardly a shake.

For now I am just clamping it to the work bench but soon will add some sort of fastening system. As you can see from the photo I utilized a dimmer switch in the supply line to the drill but soon discovered that I needed to be able to control the speed from above the table.

I now have a plug, on/off switch and the dimmer on long leads, these boxes are held together with a couple of magnets which allows me to separate them for storage.

Ok all works great but the dimmer I have, has the off position next to high speed and so I added an on off switch to the plug in box. The only really remaining issue is that I may want to move the reversing switch from the drill handle to the top with the rest of the controls. For now I simply use a small clamp to hold the drill switch in the full on position, and when I want to change the direction of rotation I have to remove the clamp, slide the reversing switch on the drill to the other position and re-clamp the drill switch. When I need to reverse the direction it is never in a situation where it has to happen quickly so this set up may continue to work.

Here’s a shot of my first piece with just a piece of cardboard as a table, I have since added a piece of MDF that screws to my bench top giving me a much more stable work space.

To control the paint/dye splatter I simply cut a couple of slots in a scrap piece of wood and bend a section of plastic laminate into the slots. Easily taken apart for storage. The photo below shows my first try at this when I was working with the fan motor above the bench top. I now have done away with the legs which are redundant.

Here are a few of my first attempts. I don’t consider anything I do a failure just an opportunity to learn. The photo of the unpainted/dyed silver maple was just that. It was easy to remove the unsightly dye and start over.

I am most interested in the ability to have the paint/dye move from the center or other locations in curved line.

 

Gravenstein Apple Wood

A few days ago my wife pointed out that someone in our small community was trying to get rid of some fresh cut Apple wood. The party was offering it for free as fire wood. I contacted the seller and asked if she still had the wood and if I could come and pick a few pieces to turn on my lathe? At the same time I offered to make her a small item from the tree as a token of my thanks. Fruit wood is one of my favourite wood to turn. Its dense and hard and turns like a dream when wet. A few of the pieces were too large for me to lift and get to my truck and the yard was suffering from all the rain we have had and was pretty muddy and slippery!

Early today I began cutting the 9 sections of the tree that I had hauled home. Below is a photo of the last three pieces in the bed of my truck.

I just love cutting turning blocks from green wet wood. My chainsaw seems to just melt through it as long as I cut with the grain (rip) and don’t try to cut across it.

In a few hours I had processed it all and was ready to coat the end grain with a lumber sealant to try to minimize checks and cracks. Fruit wood is notorious for cracking so badly it is at times almost impossible to use.

Apple often has a really dark center or section surrounding the heart wood of the tree with provides a nice contrast to the light outer wood. This tree had been growing almost parallel to the ground and as a result had the heartwood way over on one side. I have never seen a tree with the heart so much off center. This worked to my advantage as it allowed me to get larger pieces with out the pith!

After I had coated both ends with Log Sealer I put it all under a small deck in my back yard and covered it with a sheet of plywood. I am having a lot of trouble with mould on wood that I cover with a tarp so decided to try the plywood instead to see if it would let a little more air inside. If you look closely you may see that most pieces now have a sort of orange bloom. Not sure what that is about.

Was able to find a little time today to spin a few small pieces. The plan was always to make a couple of small items to give to the family in thanks for sharing their tree with me. Never know how green wood, especially green fruit wood will dry and if it will crack or not and as a result I never know what I will give back to the Tree owners until a piece is complete.

The top three photos are a small bowl and the last three are of a ‘cup’ shape which I hope to try dying. I turned them pretty thin about 3/16 or a little less and set them on my boot/wood dryer to speed up the drying process and to see if blowing air inside a form will help it dry without splitting.

The apple is almost dry and has not split but has chosen a really nice organic shape that it wants to be. I found it interesting that as it dried the dark centre or heart wood became quite light colour. I’m hoping that when a finish is applied it will darken again.

I then made a small handle and a sphere which will be joined but a string to make a game of skill where one tries to swing the ball up and catch it on the handle. I am making this for the young lad who lives at the home where I got the wood. Apparently he was really attached to the tree and I’m hoping that this game will give him some pleasure.

 

I next put the ‘cup’ form back on the lathe and dyed it black. When dry I will sand most of the black off and apply a blue dye which I hope will highlight the grain!

Here’s what it looked like before I started to apply the final finish.

It was pretty cool when I began spinning this piece as I was surprised with a ? mark. Could it be the wood wondering what I was going to make?

Cut and Paste

This is part of another piece that I can’t seem to get finished. I needed, I thought to post them here so I could use the photos on a turning site but I can’t get it to work. At any rate, the first shot is the sail which I cut from a platter of Horse Chestnut the other photos are the sail boat assembled. The hull started out life as a bowl from the same wood, all of which I was given by John Spitters, the end grain was so punky I was unable to cut it cleanly so I removed it and glued the two remaining sides together for the hull. Hopefully, one day I will get my act together and finish the piece.

Which came first?

This question has been asked about the chicken and the egg for a long, long time. I think I finally have the solution.

If you have followed my blog at all, you will know that I really appreciate the art and turning skill of Betty Scarpino. I sat in on a wonderful all day Demo of hers and the next day was lucky enough to spend the day in a workshop with her as well.

Betty informed us that during the workshop we would be making and egg which would be finished with Liming wax, a pod and a candlestick holder.

After watching her demo I had a hard time sleeping that night as I was determined to use some or all of her ideas but bring my own slant to them. After all, I sure didn’t want to do a Scarpino, because no one could do one as good as she.

Sometime during the night I came up with a plan.

I would make an egg as per her suggestions and make a pod but my pod would be turned with more than two centres and would house the egg.

A little head scratching during the work shop but in the end I came up with this piece.

The pod is maple, turned and hollowed wet. I finished it with a light coat of yellow glue and wood filler to give it some texture. Usually we texture by taking material away but a fantastic turner by the name of John Keeton suggested that I should try adding texture instead. The feel of the pod is really interesting, what a great idea John. Then with acrylics I painted the inside, added the branch from my driftwood collection and put the egg inside.

My solution to the age old problem is, the egg came first, it came from a pod . . .

 

Thanks Betty!

Seed pods

After spending some time in the presence of a really wonderful person and great turner
Betty Scarpino. I decided to try my hand at making seed pods.

Here are a couple of pictures of one I made in which I found a stowaway!!

Re-cobbled

The continuing saga of my path to discover an ‘easy’ way to sand the inside of hollow forms.
If you read the previous post and are following along then here is the next edition.

I previously purchased a rock tumbler at a garage sale this is a much faster turning devise than either of the BBQ motors I was trying earlier.

With the increase in speed I can in two days get the same revolutions I was getting in 2 weeks. I do realize that at some point if it spins too fast the glass will just cling to the outer walls and not tumble or grind the inside of the hollow form as I intend to.

The rock tumbler uses a 1725 rpm motor connected to a 1.5″ dia pulley which is then connected with a vee belt to a 9″ pulley. Please feel free to correct me if I’m wrong but by my calculations this devise now spins my hollow forms at  287.5 RPM. I wondered if it might be too fast but I can hear the glass and marbles (yes I have included marbles this time around) sliding and grinding as it spins. I am certainly not a machinest and the part that is in between my chuck and the shaft of the pillow block is not a tight fit and as a result the chuck ‘wobbles’ a little which i believe may add to it’s ability to sand.

Here’s a shot of my ‘re-cobbled’ devise.

I tip it slightly toward the bottom and alternately the top in an attempt to get the glass and the marbles working more on the ends where the torn grain is. I try to tip it about about 2″ and run about half time with it tipped each way.

Here is a comparison shot of one piece before sanding and after about 300,000 rotations.

And a closeup of the one on the right.

I think you can see quite an improvement as far as sanding and removal of ridges goes but as you can see it hasn’t cleaned up the torn end grain.

If I was to do a finished Hollow form I would spend a little more time with my tools to try to minimize the torn grain prior to using my sanding devise.

Please feel free to email me if you have any comments or questions.

Sanding the inside of a Hollow Form

Occasionally I really want a really good finish on the inside of a Hollow Form no matter how big the opening is. An example would be when I want to pierce the form with some sort of art that would allow people to get a good look at the inside. Another might be when I make a Hollow Form influenced by harvey Fein. His work frequently has openings in the shape of slits or slots that go all the way through the piece.
To this end I read somewhere that if pieces of broken tempered glass are put inside and slowly rotated they will eventually finely finish the inside.
I am presently experimenting with this process and have rough turned the inside of a couple of blocks of Birch. I used my Kobra hollowing system and made no attempt to get a smooth interior. I did perform a final light cut with a freshly sharpened cuter. The intention was to leave some roughness and some ridges.

The blocks are about 3″ square and 5 1/2 long.
Here is a photo of the devise I cobbled together with parts I had laying around.

It enables me to angle the turning if I want more finishing done towards either end. The original BBQ rotisserie motor turned twice as fast as my current one. I had planned to turn a week with it slanting towards the top and a week towards the bottom but during the process I decided I needed to keep track of revolutions rather than days/weeks.
Here is a picture of one of them prior to beginning the process.

Here is a photo comparing the one on the left (unsanded) and on the right the sanded one.

This was accomplished in about 8600 Revolutions.

As you can see the section on the left does have a much nicer finish and actually feels as if it has been sanded quite well. It did not however remove much of the ridges. I think I will devise a faster turning model and give it a try again. Sanding with more revolutions this time.

On another thread someone suggested the addition of marbles along with the glass and this I will try next.

More of Molly’s Influence

I continue to enjoy making miniature and smaller size hollow forms adorned with some of the pyrography techniques which I learned in a all day workshop with Molly Winton. This series includes Orca Whales.

Thinking about Molly’s influence I am not too sure how she feels about the work I am producing in her shadow. Sometimes I wonder if the artist(s) whom influence my work would really rather I didn’t mention their names or if they might be embarrassed by my attempts to incorporate some of the details which they use. At any rate, until I learn differently, I shall continue to list those whom have influenced my techniques and design features in the pieces I show here.

I have apparently started a series, not planned but because there are some similarities I will also post a series on this blog.

of  related Blogs.

This piece is the first in the Orca Series. It includes a four ‘lip’ opening influenced by Molly(she does a 3 point) as well as the sort of basket weave that she uses on the lower part of the piece.

On this piece I used a small round “writing point’ burning point to detail at the dark parts of the Orcas. I then stained the maple around them. This left the whiter parts of the Orcas the natural maple color although not as white as they are in nature.

I have completed a few others in this series but will post them individually.

My work can all be seen on my Web Site woodbowlsandthings.com

Please feel free to comment or send me a note if you wish to discuss my work or would like any more details.

Darn Raven

Here is another piece of Yellow Cedar “Darn Raven”. The Raven is stealing the sun, again? I have included Cat Tails and Geese.
I now will refer to the influence as from the art of the indigenous people of the Pacific North West. This piece is also influenced by Douglas Fisher who turns ‘world quality’ pieces using similar techniques. Most of his pieces include an off centre and off access turning, both of which I included in this piece. Having said that his work is in another class all together!

I have used pyrography and wood dye to add the details.  This piece is about 11 3/4 ” diameter and 3/4″ thick. It was finished with several coats of rattle can lacquer.

I find Yellow cedar quite difficult to work with, it is somewhat soft and as such is susceptible to scratches and nicks while it is being detailed. All work as far as the tuning goes was with the usual wood turning tools but I plan to try to do some detailing with a router to see how that will work.

My work can also be seen at

woodbowlsandthings.com

Molly Winton’s Influence

I have become enamoured with turning miniature hollow vessels after the full day Workshop I took with Molly Winton, see earlier post. These very light, small turnings are textured with a burning pen similarly to how Molly does hers. I would be flattered if her influence can be seen in my work I just adore what she does.

I am not totally pleased with this piece but I do believe it is a good beginning. I plan to incorporate a more West Coast theme in my future work.

These are turned from green Cherry, about 2″ tall and 2″ wide with my rendition of Peace Doves flying around the top.

To view more of my work please visit my website woodbowlsandthings.com.