Club Meeting: 5 March 2025 Report by: Graeme Mackay
Emma’s demonstration came through with a new approach to embellishing, with the use of a 3D raindrop effect and water based Suminagashi colouring technique. A bright introduction to the options of marbling. Emma’s demonstration and illustration of methodologies was cheerful and well presented, providing an easy view of how to get into the subject of embellishment through marbling and colour.
Key features of these embellishments:
3D water effect that requires a flat surface.
A black painted surface on the lathed areas.
Preference for spray-painted black base.
Preference for acrylic based paint.
Starting preference on the complimentary colours to be used.
Clear contrasting areas dark and light.
Use of colour wheel.
Practise and experiment on water delivery and your application styles i.e. pipette.
Awareness for drying times and requirements/equipment needed.
Illustration an example was given to encourage new entrants to conduct regular experiments. Also, use and record a trial and error approach on waste blocks etc. Emma noted that there were many ways to initiate and start the marbling embellishment process. And, there is a lot of fun in exploration.
Traditional Marbling.
Emma outlined the basics of paint on water marbling with an emphasis on colour choice. This approach is matched to the characteristics of paint material. An excellent introduction to the beginning marbling and highlighting of key points:
Appropriate liquid base, Emma used Carrageenan.
Appropriate colour variations and selection.
Emphasis on method of alum application.
Introduction to the basics of the mordant process.
Each section was given tips and directions i.e. use of a colour chart, working on complimentary colours, avoiding air pockets, and recording the style of application. It was interesting in that some topics appeared on a regular basis:
Experimentation
Trial
Method variations tested.
Emma had an excellent approach to finishing the base product: surface presentation is essential. Working to the standard sandpaper grades is a normal process. And remember: marbling shows up all the faults!
Starting by marking centres, placing between centres on the lathe, moving the rest to slightly below centre lining up with the bed, before checking the spacing with the lathe off with his spindle roughing gouge.
From here he started rounding off the timber with the tool at an approximate 45-degree angle starting in from the edge and moving to the end to avoid chipping the end. Showing the gouge was held on with two fingers and making small frequent cuts during the rounding process.
He used a 25mm spanner to remove the material at either end of the stand where they will be attached to the base and head. Note the club generally uses a 26mm Forstner bit for these holes, so please adjust to meet the tooling that you use. The ends of these cuts were then under cut to ensure a good fit on the base and head with a spindle gouge.
John marked up the shaft with his design and used a skew with a small vee cut to mark up his lines for his beads and coves.
Making Beads: Using either a spindle gouge or skew, you cut away from your high point rolling down to your low point. Best down in small cuts if not comfortable with larger cuts. By finishing with a vertical spindle gouge this means the wings do not hit the other side of the cut.
Making Coves: Start with a V cut and move towards the lowest point of the cut making small cuts. You are cutting downhill for an easy definition.
Making Skew Cuts: Roll the body and work towards the lowest point of the cut, remember that your tool rest hight is normally higher for your skew than your spindle gouge. There is no issue with changing between a spindle gouge and skew.
Door Stop
John moved on to his next project and described the two ways to make a door stop. Firstly, you can make a single stop and once turned you use a saw to remove the waste wood. Or you can make a double ended stop and cut in half. Either way the turning is the same.
You start by Turning your square end into a ball or large bead, as described above with a slight rounding of the inner edge with a v cut.
This is needed to make the bead and looks attractive, once done you can either turn the other end for a double stopper or take straight to the saw for a single. These can be made with either the skew or spindle gouge.
Other possible projects
John showed other projects that be completed using the same cuts and the work completed on the beginner’s course. Muscle up Toy
Club Meeting: 19 Feb 2025 Report by: Kevin De Freitas
David, an experienced woodworker with 12 years of spoon-making expertise, shared his process for crafting wooden spoons and spatulas. Throughout the demonstration, he provided insights into his techniques, tools, and finishing methods.
Development of an Idea
David showcased various samples of his work, discussing how his designs have evolved over time. He emphasized the iterative nature of woodworking, where additional features, such as scraping edges, were added based on functionality and user feedback. Notably, he created a batch of spoons of Martha Stewart style, using native New Zealand wood for export to the USA.
Making a Spatula
Materials and Preparation
Uses wood scraps approximately 300x100x30mm.
Layout includes two spoons or spatulas per blank.
The bandsaw is used to cut away excess wood (referred to as “wings”), which is then repurposed as kindling.
The spoon or spatula end is mounted at the tailstock end of the lathe for optimal shaping of the handle.
Turning the Handle
Key considerations: Stability between centers and proper tailstock tension (not too tight) to avoid vibration.
The lathe runs at 2400 RPM, and a face shield is worn for safety.
A roughing gouge with swept-back wings is used, allowing it to function as a skew when required.
The curve is shaped starting from the spoon end toward the headstock.
The neck is refined while leaving the handle thicker initially to maintain stability.
For the final cut, the handle is stabilized by hand—often using a paper towel to prevent heat buildup.
A Detail gouge is used for final shaping of the end of the handle.
The piece is parted off 1mm beyond the intended end, followed by power sanding to prevent grain breakage.
Shaping the Spatula End
The bandsaw is used to remove excess material from either side.
The belt sander (80 grit) is applied to smooth the spatula’s surface.
To avoid linear scratches, the spatula is moved up and down quickly during sanding.
Making a Spoon
David employs a Pantorouter, a pattern-following router jig developed by Matthias Wandel (YouTube creator). The Pantorouter ensures precision, as the template used is double the size of the final spoon, eliminating inconsistencies.
Steps:
Routing the Spoon Bowl
The router is equipped with a ball-nosed bit.
Mount the blank and carefully follow the pattern to create the concave spoon profile in the blank
Can create both right-handed and left-handed spoons (typically at a 40:4 ratio).
Turning the Handle
The process follows the same steps as spatula handle shaping.
Finishing the Spoon Bowl
Cut away excess wood to form the outer shape of the spook
Superglue is applied to stabilize torn grain before sanding.
The spoon is carefully sanded for a smooth finish.
Finishing Process
After sanding, the spoons and spatulas are treated with Woodgrain Wood Conditioner.
The pieces are oiled and waxed, with the wax left overnight for better absorption.
Packaging for Sale
David demonstrated how he packages his finished spoons and spatulas in hemp bags, making them ready for sale at markets.
David’s demonstration provided a comprehensive look into the artistry of wooden spoon and spatula making, from raw materials to a finished product ready for sale. His combination of traditional craftsmanship with modern tools like the Pantorouter highlights the balance of precision and hand-finishing required for high-quality wooden kitchenware.
Anwar came well prepared with tools and examples of his wavy bowls.
First you need a bowl with a broad rim, then you need to work out how many segments you want to lay out the wavy pattern. Anwar suggested that odd number look best such as 7, 9, 12.
This was followed with a number of ideas for how to divid up the circumference of the bowl.
Calculate it, π d gives the circumference, you can then divide this by the number of waves desired… dividers were then used to step around the edge, allowing for adjustment if need before making the marks.
Use a round template with the angles marked (good method if you are doing many with same number of waves)
The centres between the marks were also marked.
Anwar then mounted a bowl on a woodcut promount and with a sanding drum on drill he showed one of his methods of carving the waves. Other methods included rasps, dremel.
Anwar showed a second example and passed many pieces around the audience.
The final method he presented was a sanding drum he had made by gluing sandpaper to a cylinder of wood and mounting that in a chuck on the lathe.
A great demo giving another idea for how to make a bowl more interesting, thanks Anwar.
Club Meeting: December 11, 2024 Write-up: Holm Miehlbradt
Gary started by describing the enjoyment of catching and eating Kina. He then proceeded to make a wooden Kina shell.
He started by rounding the piece of wood between centers and made a spigot on one side. He then mounted it in a chuck to turn the outside of the Kina. This surface will be later carved, but needs to be well finished including good sanding.
While still mounted on the chuck he drilled a hole with a forstner bit for easier hollowing and for mounting on a smaller chuck. For hollowing he used a Munro tool and cleaned out the shavings with a spoon! If possible the lathe head can be rotated to allow for a better position when hollowing.
After turning the piece around and remounting it, he finished off the bottom and drilled a hole which can be enlarged or reshaped during the carving process.
Gary finally discussed and showed different way of carving the outside of the Kina to make it look more realistic or decorative. He used different patterns to achieve various effects.
Thanks Gary for this very interesting demo with a lot of creative possibilities.
Club Meeting: 4 December 2024 Report by: Roger Pye
If ever there was a member of the SAWG who loves turning wood, it certainly has to be Jonathan. He is by day, a professional surgeon, who works at Middlemore Hospital and then, after hours he has become a “Wood Surgeon”.
Somehow there must be a connection between carving flesh by day and then wood after hours. After all, he has such a happy smile standing behind his lathe and cracking jokes this must be his outlet following a day of serious and detailed concentration involving hospital surgery.
The Original
Johnathan spotted an interesting figurine made with wooden components on his European travels. This “little man” is made entirely of wooden components, all of which can be turned on conventional woodturning equipment. At a cost of €26.00 Johnathan purchased his sample from which he soon sorted out how to make and assemble the exact same thing. So tonight, at the SAWG, Johnathan is passing on his methodology.
Basic materials are wooden blocks of Macrocarpa or anything similar, even Oak.
Dimensions:-
45mm x 45mm – 125mm long
20mm x 20mm – 125mm long
10mm x 10mm – 125mm long
Each of the above are used for various body parts.
Main body with two parts; his bottom which will become what he actually sits on, then his torso which is shaped like the top and narrow part of an egg. (Refer to photographs herewith.)
Hands and nose.
Head and hat.
A tray of Christmas presents in various shapes and sizes is not part of this demo, but as illustrated can be added.
Components are made with a “fingernail” spindle gouge and two chucks, one 50mm and the other with jaws for the smaller parts. Hands are spherical at 10mm diameter and drilled for a 2.5mm mounting dowel. The nose is a tiny cone.
From the 20mm rod turn a head (another sphere). To show a beard use a Japanese draw saw to cut a carefully placed 45º cut from the forehead to the chin. Cut it off at right angles then sand with a circular sander mounted on the lathe spindle. This will provide a recess for the face inside the head. (see photo) The cap, made from the same diameter wood will be concaved to fit over the head and shaped as in pixie shape and fitted later with a pompom.
Painting is another exercise requiring a spraying gun (alternatives are possible). Paint the body green and the base black. Use acrylic tubes to paint the head white and the nose red the face left plain is “touched up” when finished. The final assembly is rather fun if you choose various statures for the finished man.
The result
So, it was a fun demo, and a good look into miniature woodturning, certainly a good way to use up a few scraps.
Club Meeting: 27 November 2024 Report by: Ian Connelly
First the night started off with a brief discussion about Oyster Catchers, if you want to see some then the local hotspot is said to be Mangere Bridge – check with Dick for details.
Now on with the turning.
Started with a block about 60x60x250, mounted between steb centres.
With a spindle roughing gouge this was rapidly made round with the lathe running at about 1500rpm.
Strett then went on to make a spigot on one end, opps too small, so we ended up with a better sized spigot on the other end.
He then smoothed the piece with a skew chisel – pointing out to use removing waste wood as an opportunity to practice using the tools.
He then shaped the body with the spindle roughing gouge before separating it from the waste.
Then a jam chuck was used to tidy the other end – hot melt glue assisted the jam chuck.
Another piece of darker wood 50 x 50 was mounted in the chuck with the steb live centre supporting at the tailstock end.
It was then turned with a combination of the skew and the spindle gouge into a head for the bird.
Next a thin piece of wood, held in the centre of the chuck was turned for the legs, down to 6mm at the ends, with a “knee” in the middle. The legs were then cut at an angle and glues back together rotated to create a bent leg.
The legs were glued into 6mm holes in the body, and the head was glued on after creation a small flats on the head and body.
With the creative use of a piece of “natural” timber the Oyster Catcher was then mounted.
A great demo from Strett, who took all the audience suggestions in his stride to make it another very enjoyable night at the club.
Club Meeting: 20th November 2024 Report by: Rebecca Waite
On November 20th, Dick Veitch captivated the audience with a vibrant demonstration inspired by the renowned UK woodturner Phil Irons, featured in this month’s online NAW meeting. For a deeper dive into Phil’s stunning work, check out his website: Phil Irons Woodturning.
Before diving into the demonstration, Dick showcased an exquisite piece turned by Dick and coloured by Phil, alongside a striking blue vase he created using a similar colouring technique. The vase was pre-turned and sanded, setting the stage for the creative process.
Dick began with a piece of highly rippled macrocarpa, emphasising the importance of selecting the right wood. He explained that lighter woods not only enhance the vibrancy of colours but also contribute to the overall beauty. For a balanced vase design, Dick adhered to the rule of thirds, allocating one-third for the top and two-thirds for the base. He marked his wood and began to shape it into a tulip-like form, using a spindle roughing gauge sharpened at a 35-degree angle. After achieving the desired silhouette, he sanded the piece to a smooth 250-grit finish.
The colouring process was equally intriguing. Dick utilised the colour-fast Bri Wax spirit-based dye, which can be explored further at Briwax Wood Dyes. He began with black dye applied with a brush as the lathe turned slowly, removing excess dye with a paper towel soaked in clear methylated spirits—wearing gloves for protection, of course. Allowing the dye to dry for 30 minutes.
Next he started power sanding with 320 grit while the lathe runs at 100 RPM. It’s normal for the sanding paper to clog with paint, so keep going until you see some white wood. Then, apply the blue Briwax colour-fast dye, wipe off the excess, and let it dry for 30 minutes. Thankfully, Dick was well-prepared and showed us a piece with both black and blue.
Avoid water-based Briwax dye because it takes longer to dry and can raise the grain. Next, sand again with 400 grit to remove some stain, then repeat the dye step again then sand with 600 grit. This lets you gradually work through the grits and add more layers of colour to achieve your desired look—one of Dick’s finished pieces had three layers of black and one of blue.
Different woods affect dye colours; for instance, macrocarpa has a yellow base that alters the dye’s appearance. The key challenge is to find the right balance of sanding and colouring. Dick also noted that different woods can dramatically alter the appearance of dye colours, with macrocarpa’s yellow tones influencing the final outcome. He expertly navigated the challenges of achieving the perfect balance of sanding to colour, concluding with a suggested finish of low gloss lacquer for a polished look.
This demonstration not only showcased Dick’s skill but also sparked creativity and inspiration among participants, making it a memorable event in the our woodturning community!
Club Meeting: 13th November 2024 Report by: Rebecca Waite
Julie, a member of the North Shore Woodturners Guild, brings over 20 years of experience in woodturning and has mastered a variety of techniques. In tonight’s demonstration, she introduced the members to the traditional Shou Sugi Ban, also known as Yakisugi. This classic Japanese method involves charring the surface of cedar cladding to preserve the wood. By burning the wood, a protective layer of carbonized material is created, significantly enhancing its durability and resistance to the harsh elements of the Japanese climate. The process typically involves the following steps:
Charring: The wood is exposed to flame until the outer layer is charred. The level of charring can vary depending on the desired effect.
Cooling: After charring, the wood is allowed to cool. This can sometimes involve wetting the wood with water.
Cleaning: The charred surface is brushed to remove loose ash and reveal the textured surface beneath.
Finishing: Often, the wood is treated with oils or sealants to enhance its appearance and further protect it.
Julie shared stunning examples of her work with this technique, and my favourite was her coffee canister. The Shou Sugi Ban method is particularly effective for items designed for heavy use.
Julie arrived well-prepared, bringing two half-turned bowls, each featuring spigots at both the top and bottom. The bowls were finished on the outside, and sanded to a smooth 240 grit, ensuring that there was no tear-outs, which would be noticeable after the charring process.
Additionally, she created a burn line on the rim of the bowls using Formica because she wanted a crisp definition between the burnt wood and the unburnt wood
Safety
Julie does the charring process outside with a bucket of water handy as her workshop has a lot of dust. Wear a safety shield/glasses, and also have a spray water bottle, Fire extinguisher, and fire blanket on hand.
To achieve this you will need a blow torch. Julie uses a canister from bunnings
A brass brush – make sure it is brass and not steel coated in brass as it won’t be soft enough
Julie’s first example was a Paulownia bowl, which she charred heavily.
She held it in a chuck on the tool rest, then hand-turned it and charred the bottom then the top. After brushing it, she charred it again and brushed it once more. Once she achieved her desired look, she turned the inside of the bowl, cutting just past the burn line at the rim. It’s important to make a clean cut for the rim before removing the top spigot.
Sand carefully to avoid scuffing the finished rim.
Julie’s second bowl was a small oak bowl, which she lightly charred without brushing. She then painted it with Red Briwax colourfast spirit-based wood dye. If you use a spirit-based colour, be sure to apply a water-based finish; using a spirit-based finish could risk removing the colour.
With oak being a hardwood, you can turn the bowl thin without leaving a “chicken bottom”—a term Julie used to describe a thick bottom due to being too chicken cutting deeper. Once your bowl is finished, let it sit for a day before applying a final finish.
Some helpful information from Woodworking Magazine when thinking about using this technique
Wood types suitable for this treatment
Non-porous or Softwoods lack vessel cells, as water is conducted through tracheid cells in the living tree. Various softwoods exhibit distinct growth-ring patterns. For instance, white pine has non-distinct rings with relatively uniform stain absorption, similar to diffuse-porous woods. In contrast, yellow pine features clearly defined rings, with more noticeable stain uptake in the earlywood compared to the latewood, resembling ring-porous woods. Examples include cedar, pine, spruce, redwood, and Julie’s favourite, Paulownia.
Ring-porous woods are hardwoods recognised by a unique growth pattern in their wood structure. In these woods, larger and more abundant pores are present during the early growth season (spring), while in the later growth season (summer and fall), the pores become smaller and more closely packed. This creates a clearly identifiable annual growth ring. As a result, these woods typically exhibit a coarse texture due to the size of their pores. – Oaks, Ash, Chestnut, Black Locust, Honey Locust, Elms, Pecan, Ban Tree, Hickory
Semi-Ring Porous Wood: This type of wood features a mix of both ring-porous and diffuse-porous characteristics. In semi-ring porous wood, the early wood (spring growth) has larger pores, while the late wood (summer growth) has smaller, more densely packed pores. This structure allows for a balance between strength and moisture management. Common examples include some species of oak and ash, Black walnut, black cherry
Diffuse Porous: In certain species, such as maple, cherry, and yellow poplar, the pores are fairly evenly distributed throughout both the earlywood and latewood. While most domestic diffuse-porous woods feature relatively small-diameter pores, some tropical varieties, like mahogany, possess larger pores. These woods typically exhibit uniform stain absorption, They are commonly referred to as closed-grain woods. Examples are American beech, birches, maples, American sycamore, sweet gum, sour gum, aspens, willows, dogwoods, tulip-poplar, basswood, red alder, sugar maple, yellow birch, and yellow poplar
Illustrations above by Mary Jane Favorite, based on photographs from R. Bruce Hoadley’s “Understanding Wood”
Julies garden Sculptures using this treatment
Factors Julie considers when using this technique:
Planning: Carefully plan the sequence of tasks since sanding cannot be performed after charring. Ensuring all shaping and detailing are completed before applying heat to achieve the desired finish without the option to go back. A massive thank you to Julie for a fantastic, entertaining and informative demonstration. If you would like to get hold of Julie, you can contact her via email at julie@gannaway.nz Julie mentioned other techniques like sandblasting your piece, examples and inspiration visit Pascal Oudet on Facebook https://www.facebook.com/@PascalOudetSculpture/ or his website https://www.lavieenbois.com/welcome/
Wood Dryness: Ensuring the wood is adequately dried to prevent warping or cracking.
Grain Alignment: Assessing the grain direction for optimal aesthetic and structural results.
Hardness Suitability: Choosing wood hardness appropriate for the intended use; softer woods may not hold intricate details well.
Ease of Finishing: Avoid complex designs on softer woods, such as kauri, as they can be challenging to sand and may not retain fine details effectively.
Colour of the Wood: Considering the natural colour and any desired finishes, as this impacts the final appearance of the project. Whitewood like oak is great for Briwax colourfast wax
From Friction to Flock, Journey with a Bowl Gouge.
Club Meeting: 30 October 2024 Report By Cory Wyatt
Our journey starts with our mighty turner lamenting how he was bullied into tonight demonstration, followed by a small interval of him wandering around trying to remember what he forgot to bring, “you always forget at least one thing” wise words from Terry Scott. Once on track the work started.
Making the Box
Using a 100 x 110 mm square, by 60mm deep blank, with the centre marked and biddled (using the nail thingy with a handle to mark the centre point), Ian attached the blank to the lathe with a friction chuck. He had a 50 mm jawed chuck mounted on the head and Steb centre in his tail stock. He then moved the tail stock up with the blank and held the blank on to the jaws by friction. He tightened up his tail stock checked his clearances and hand rotated his lathe to check for any issues before turning it on.
With the speed set to 1000 to 1200 rpm, he started shaping the outside of the box with his bowl gauge, just like you would a bowl, creating a spigot on the Steb end with a push cut. He did not round the square edges first; he did the shaping and rounding at the same time. All cuts were done so that there was wood supporting the bevel as the cuts were being made. Once the form is ready sanding can be completed once the outside of the box had the desired shape and finish, the project was reversed and the spigot place in the jaws and tightened. Speed set to 1500-1600 rpm. The top of the box was then faced to ensure a flat surface with a push cut. The hollowing started with leaving a lip in the box for a lid to sit on later. The hallowing was completed with the bowl gauge. Depending on the shape of the box and the angles a skew can be used to create the desired shape. At this point the inside is ready for sanding.
Once completed you can reverse the box and remove the spigot, this can be done in many ways, using a jam/friction chuck, Cole jaw’s, vacuum chuck, expansion mode with chuck, etc. When happy sand and finish as before.
Flock the Box
To make the Box standout Ian flocked the inside of the box by painting the inside the same colour as the flock he wanted to use. Once the paint was dry, he painted the inside of the box with an even coat of flocking glue (any clear drying glue such as PVA may be suitable), before using his flock gun to add the flock and get an even coat. By using the same colour paint and flock, this helps hide any inconsistencies with the final covering of flock. Ian used a Rayon flock which he got from Carbatec many years ago. It was noted that you could use a mixture of paint and glue to speed up the process, but if your paint mixture dry’s too quickly the flock wont stick.
Making the lid
The lid can be made form the same wood, a contrasting wood or other material. The key step is to not make the lid to tight. Again, Ian started with the friction chuck and used his push cuts to make his spigot, and shape the lid. He then turned the lid around and mounted the spigot in the chuck before facing the top of the lid at about 1200 rpm. He moved his toolrest to level with his centre point and used the calipers to mark a guide for his recess. Remembering to only have the edge with the wood travelling downwards make contact with the wood. He then used his push cuts to make the recess using the already made box to check the fit and make any changes as needed. Once the fit was right, he tapered the lid to ensure a good fit. You can also taper the underside and add texturing as desired. The lid was rounded and turned around and the spigot removed with the friction chuck, using push cuts into the piece, not along the piece to avoid throwing the lid at the front row. The speed was then turned up for a cleaner finishing cut.
The completed box can be finished as you see fit, but note that some wax finished will have white spots when wet or exposed to hand creams. Hard oil finishes seem to handle the water and hand cream better.
Here is a list of places to check for your flocking needs: Carbatec NZ and Timberely as normal. If you want more info either see Ian and Terry or google. For the same Flocking gun as Ian try: https://www.etsy.com/nz/listing/851880211/mini-flocker-flocking-applicator For NZ based flock stockist try: https://www.msfibreglass.co.nz/flock-coating-hamilton Be wary of wargaming and modellers flock used for model railways etc, as these can be much grainier than what we are after and may damage the wood or jewellery. Temu and Ali Express also have flocking guns/kits and a wide range of colours and prices, but most are listed as nylon, not the rayon used by Ian, so results may vary.
