Club Meeting: 5 August 2020 Report by Janet McDonald
Holm gave us a demo on making some charming looking birds with wonderful eyes. The bird body and head are turned from two pieces of wood and the eyes from another two pieces.
The eye was made from two pieces of wood approx 50mm long. Cut a black or darker than other wood used for the body; to a 10mm dowel shape. Now with a light coloured wood at least 15mm in diameter, drill a hole length ways and insert the dark wood dowel. Now turn the whole piece off centre so the dark wood shows on one side.
The head was turned from a 40mm square piece of wood 100mm long. The beak was formed 45mm long with the widest part 12mm. The head then formed 40mm wide. Holm used a metal pipe to shape the final round of the head.
To insert the eye drill a hole each side of the birds head, half way in line with the upper beak. The eye and hole only have to be about 3mm long/deep. Glue in place.
The body was turned from a 70mm square piece of wood 95mm long.
This was turned in a curved shape with a 25mm wide recess (divot) at each end. The recess big enough to hold the curve of the head.
Wednesday 22nd July 2020 Report by: Judith Langley
Janet began the evening by handing around a number of jewellery items and explaining the various threads available on the market for threading beads. Janet typically uses 1mm thread through a 2mm hole. Do not use leather thread for bracelets. A huge variety of bead shapes, sizes, and colours are available at Dave’s Emporium in Manukau. Glass, Wood, Plastic are all on offer but it was recommended that glass was preferable over plastic as they look better and it’s all about the final look of the bracelet that sells the item.
Janet is very focused on marketing – identify your market – find your market – make things that your chosen market wants. Targeting the ‘sustainable brigade’ – the modern day hippy – the environmentally aware greenies – the people who only buy NZ Made and natural products. Most bracelets sell for $40 – $50 and when made from NZ wood they are particularly sought after.
Plain glass beads can be decorated with acrylic paint, wooden pieces can be decorated with pyrography, carved, bored and daubed with paint. Shells are often threaded amongst other items.
An extra fine scribing pen was passed around members. This is used for tracing artwork onto items to be decorated. The clearer the traced print the easier it is to pyrography.
Mounted on the lathe was a pre-prepared cylinder of wood (preferably hard wood)– about 100mm depending on the size of the bangle you are turning. This must be able to slip over the persons’ hand but not fall off under normal activities. Janet’s ‘go to’ chisel is the parting tool and the majority of this work is done with this tool. The tool is driven into the end grain after allowing the desired width of the bangle. Cut leaving no ridges on the bangle side as this will be the inside (nearest skin) and can be difficult to hand sand if too many ridges are left. When the desired width is achieved the bangle is parted off.
This piece can then be cut into about 7 parts which make the curved disks used for bracelets. Discussion arose over various methods of simplifying the project, more especially avoiding breakout when 2mm holes are drilled for attaching the 1mm thread to the disks. The solution to this was to drill the holes prior to turning the initial bangle, strapping the pieces with tape prior to drilling, and varieties of ideas. Janet handed around about 20 different examples of her work and challenged everyone to try their hand at making jewellery.
Finally, we were introduced to the ‘tree of life’ – engraved on pieces of branch, large round disks, in fact anything at all, and decorated with carving, pyrography, highlighted with copper powder, gold leaf etc. Kauri pendants carved to compliment an attached sea shell would get you another $5. This was a good return on a free sea shell!!
Overall this was a very interesting and well prepared demonstration. We left with no doubts that there were no limits to woodturning, no limits to one’s imagination, and that establishing and targeting a market was all part of the craft.
For this demo, our members showed off all manner of jigs and tools that they had created throughout the years.
A ply faceplate mount with concentric circles, allowing you to easily centre your plate or bowl (especially helpful if you have forgotten to mark the centre of the bottom of your bowl). Made of ply with 60mm chuck bite.
Toothbrush shaped sanding stick. Sanding grit attached via velcro pad. For reaching into tight corners and awkward hard to reach spots.
Velcro backed pieces of ply with curves.
Velcro backed sanding blocks
Sanding blocks of various sizes
Steadying Jig made from MDF, with skateboard wheels. Good for use on peppermills.
Disk with holes in it for platters. All the holes help with indexing, helping with easy dividing for carving/embelishments.
Bruce’s steady. A latch in the bottom allows you to detach one side. This which allows you to remove steady, without having to remove your workpiece. Make from industrial formica. Rollerskate wheels have been turned for accuracy.
Sandpaper cutter for dividing sandpaper into 8 equal sized pieces quickly. Uses a hacksaw blade. Note to write grit type of back of sandpaper before dividing.
Stainless steel tubes, sharpened at end to punch out sandpaper rounds quickly. Sharpened with an angle grinder.
Dick’s Big Steady
Battleship sized, made from steel. Can fit very large diameter pieces.
Wheels from a pulley off a wardrobe fitting. Small wheels allow you to get right down to a very tight circle.
Jig for cutting wood at the same angle to create segmented rings. Can adjust angle.
Jig for cutting taper on table legs.
Dave Gillard’s Jigs
Faceplate mount with raised sections covered in rubber form. Used for holding warped bowls.
Plugs for fitting over steb centres to help hold your workpiece.
Sanding bows of various sizes. Useful for sanding flat/high spots on hollow forms to get the perfect curve. Made from oak.
Cam’s “Squashed bottle”Jig
Jig for turning a “squashed bottle” vase of Cam’s own design. Designed to put a section of wood on either side, which when turned down, will form the sides of your “squashed bottle”. Removes the need for counterweights.
Photo of large experimental “Squashed bottle” Vase which didn’t end to well, but thankfully injury was narrowly avoided.
John’s tail stock support
Nova live centre used. A threaded 2ft rod (From Steel masters in penrose) can be inserted. 2Ft rod can be cut up for more versitility than a simple short bolt. Assorted items (lids, bottle tops) can be fitted into the end that will fit up against the workpiece.
Jim’s improvised push stick
An old style wood plane is used. Strip of wood attached to bottom. It can then be used to push wood through a buzzer/planer, keeping fingers out of harms way.
Jacques Drum Sander
Home built drum sander for lathe. Velcro backed sandpaper fitted. Many iterations. Small car jack fitted inside which adjusts thickness. Wood must be firmly held onto or can be sucked through and shot out the back.
Club Meeting 24 June 2020 Report by : Janet McDonald
The 24th June 2020 Bruce Wood gave a great Demonstration of an Offset Box. Bruce followed the project sheet in our website of a project Guilio Marcolongo is well known for. So in this report I will not reinvent the wheel by giving you the box instructions, but leave a link to the website project instructions. https://sawg.org.nz/sawg/wp-content/uploads/2020/03/Guilios-Burl-Top-Box.pdf
But in among the demo Bruce reminded us of lots of general woodturning things to help achieve a great look.
If you are using callipers for measuring wood; round off the ends of the metal pincers slightly so the tips don’t grab the wood.
When using buffing wheels on your lathe it is easy for your turned object to fly out of your hands. So Bruce laid a folded towel over the lathe bed, so if the object flew it would not get dented on the lathe bed.
Another fascinating demo by Warwick, choosing this time to make a lidded box from stone.
Inspired by a small Malachite bowl he had picked up on his travels through Russia, Warwick had made a few small boxes with stone inserts in the tops. Not fully satisfied, he decided to make a box entirely from stone.
Hence his demo of a lidded box from Oamaru stone, with resin/stone lid, finial and base.
Oamaru stone is a very soft, creamy white stone, with a hardness of 2 on the Mohs hardness scale. (Diamonds by comparison, have a hardness of 9, while fingernails have a hardness of 2.5).
Warwick started with a square blank of the white stone. The corners were chopped off with a cheap saw from Bunnings. A hole was drilled in the top, so it could be mounted onto a set of pin jaws. The outside of the box would be shaped first.
A cup chuck was used on the tail stock to help steady the piece. (A steb centre or piece of wood could also be used as an alternative, to help hold it in place)
Thin pieces of rubber were used on both sides of the stone, to help hold the slippery stone in place. Foam rubber can also be used in the jaws to help prevent cracking.
The stone was turned at a slow speed, and normal woodturning gouges were used. Containers were placed under the lathe to collect the dust, which would be used later for the lid.
Large plumes of dust were created, which according to Warwick is “good to breathe in” (???). He went on to claim returning soldiers from WWI (Or WWII?) would be sent to work in the Oamaru mines, and the dust would help “neutralise the poison in their lungs”. Some interesting history from Warwick…
Once the outside shape was achieved, a light sand of 100 grit paper was enough to smoothe it out. Before turning it around, a forstner bit was used in the tail stock to drill a hole in the bottom of the box.
The box was turned around and remounted. A long thin centre of Warwicks own creation was brought up in the tail stock for additional support. The top rim was then shaped to receive a lid and the inside hollowed out.
Tile grout sealer was sprayed on the outside to seal the stone, preventing dust from coming off and to avoid staining the white surface.
For the top, a kitchen sieve was used to sift out the fine powder. To this was added colouring (artificial rock), and then clear resin. Three separate batches of the coloured rock/resin mixes were made. One for the top. A second for the finial, and a third for the base.
These were set in a shallow bath of ice water to keep them cool while the resin set. As these would normally take many hours to set, Warwick had some of these pre-prepared blanks made in advance.
The lid was mounted in a 50mm chuck. This was an easier material to work with, although the sanding resin can be harmful to your health. Warwick had an answer to this, which was to use wet sandpaper to prevent dust, creating a better finish and to help cool it down. After he had turned the shape he wanted, he began the long sanding process. From 120 grit up to 600, then micro mesh pads up to 2000 grit. EEE was used, followed by carwax polish.
The bottom is created in the same way, and both are affixed to the stone with clear silicone glue.
The final product was very impressive, as were his previous efforts which he displayed.
Warwick did a further brief demo in turning a “greenstone” lid. For this he mixed some Jade powder he had purchased, with resin in a 50:50 mix. If there is not enough resin in it, it becomes too hard to turn. While this material is tough on the chisels, it scrapes well. Sanding is done with Carborundum sandpaper, which has a hardness factor of 8. Slightly higher than the greenstone hardness, which is seven.
He exhibited an impressive lidded box he had made with it, with a brass insert and malachite pebbles inlaid.
Some in the crowd were disappointed it wasn’t a hunk of pure greenstone, but Warwick told them he would need diamond edged chisels for that!
Club Meeting Demo : 3rd June 2020 Report by Graeme Mackay
An excellent demonstration highlighting the need to work through process and sticking to measurements, measuring again and checking that measurement. Dick Veitch followed the Project Sheet for this small functional item, with several components.
As usual Dick came up with some simple solutions, some quick marking answers and developed a fun project. A good chance for new turners to think through process, work out the operation off the plan and apply the required actions. A good example was the use of the Bryden centre finding tool.
The side title to this project could actually be the drilling project and/or Jacobs chuck use. The Turner is required to use the Vernier callipers and check the diameter of the Forstner and/or Brad point drill bits. This included the simple straightforward sharpening of the Forstner cutting blade. The age-old question of checking out your tools before use was quite apparent. It may be a 16 mm Forstner bit, however, when check the diameter was 15.85 mm. A small discrepancy that could totally fail up the pop-up movement.
Dick demonstrated that keeping to the sequence was key to this little project. Possibly one should say sequence and correct depth. Marking the depth on the drill bits was a good value-added action. Simple, straightforward and easy to do with a bit of tape. There was a timely reminder that dual speed is important. Check the charts. Ensure that the shavings are coming off an even basis. The correct speed means cutting rather than skidding.
Although a functional item, once the components were completed, there was plenty of design space for getting the best looking form. Choosing the appropriate type of wood will help get clean fine-grained services that allow the pop-up mechanism to work.
Tom showed us various boxes that he had made over the years of many sizes. Including a spinning top box which was an ancient game originating in the Middle East
The blank used for the Lavender Bottle was 20mm X 20mm and 120mm long was placed between centres. Tom used a “story stick” with the dimensions of each element of the bottle. From the Headstock end. 60 mm for the bottle 15mm for the 8mm spigot plug and 20 mm for the knob.
Leaving the bulk of the base square he shaped the foot and the neck of the bottle with a bulb at the top. The next 15cms were parted down to 8mm using parting tool and calipers. The lid was then shaped as per the photograph with a spindle gouge reducing the waste at the top for later removal.
At this stage the bottle should be sanded and finished.
Hold the base in in a small set of jaws and centre using the steb centre. A 2 mm parting tool is now used to cut off the spigot. With an 8mm bit drill to a depth of about 25mm and fit the lid spigot into this hole . Tom used a round file and sandpaper to achieve a snug fit. It was noted that the spigot may be shaped more narrow where it meets the hole to assist fit. The lid can now be removed from the waste and final sanding and finishing done at this point. The spigot is sanded if necessary to ease the fit.
The base is now parted off and sanded on a sanding mandrel in a Jacobs chuck on the lathe or a belt sander. Finish with oil wax or lacquer as preferred.
When ready to sell or gift pour no more than 2-3 drops of oil in the hole. This will permeate through the wood to perfume handbags, drawer or car, etc. Too much lavender oil can be overpowering.
Club Meeting: 11th March 2020 Report by: Bob Yandell
The “House Full” sign was up and Terry was at his best – humour, skill and knowledge for all present. The start was, as only Terry, the entrepreneur and entertainer could, an opportunity following the Covid-19 outbreak and subsequent shortage of toilet paper. We woodturners could meet the shortfall by providing toilet paper by supplying the leaf from Salanum maurtianum plant, better known as Woolly Nightshade or Tobacco plant which Terry observed was growing in plentiful numbers either by itself or in combination with our turnings and a few chemicals mixed together, compressed then peeled like a veneer and rolled. If you weren’t there you missed the business opportunity of 2020.
Terry started with a block of Kauri 60x60x180mm. Hard woods are best used when making spoons. The block was mounted between centres and turned round. The final diameter was 53mm based on the internal dimensions of the sphere cutter being used and a 48mm spigot was put on each end. The lid section was parted off at 64mm. The box/spoon section was that left. At this point Terry informed that the length of the spoon was dictated by the swing over the lathe and a maximum length for the lathe was 400mm to which the allowance for the lid and spigots “X”mm is to be added.
The Spoon/Box portion was mounted in the 50mm chuck; end cleaned up and a line defining the centre of the sphere clearly drawn, approximately 28mm in from the end, and a fainter line defining the sphere diameter marked. This latter line is where the handle starts and a cut on the lathe head side of the line, with the parting tool indicates the beginning of the handle profile and diameter. The distance between the line defining the centre of the sphere and the external diameter is divided into 4 equal parts(3 lines either side of the main line) because a sphere is formed from 4 flats( starting with the centre line being the beginning of the curve and end furthest from centre being the end of the curve and the beginning of the next and repeating until curve complete).
The sphere profile is refined gently using a pipe tool with the lathe running. This is a piece of tube with a handle fitted in one end that allows approximately half the diameter to extent, like a chisel tip, and is sharpened on the belt sander. The “roundness” is checked using bottle caps and until no gaps between wood and cap. Sand and finish.
Complete the handle profile and part off. Texture, captive ring, may be pyrography – sand and finish.
The next stages require a jamb chuck and ideally a second chuck for the yet to be made lid.
Making the box requires a jamb chuck mounted in 50mm chuck. The sphere plus handle needs to fit snuggly so handle is flush with face of the jamb chuck. Determine diameter with callipers or Vernier and mark face of jamb chuck and turn out always checking fit. It must be snug and firm. Cut a slot to accommodate handle. Terry used an Arbortec. Drill a hole from the side of the jamb chuck into the bottom to assist removal. Position the sphere in the jamb chuck to optimise the strength of the grain and visual appearance. Hot melt glue can be used to ensure no movement of the sphere. Mark the centre so a drill can be used to define the depth of the cavity of the box. The depth is the diameter id the sphere less wall thickness.
Cut the opening for the lid and hollow it and cut the rim to accept the top part. Finish all these surfaces. Terry used a cup tool and emphasised the need to rub the bevel. He also used a scrapper in a circular motion, like the hand on a clock to maintain the inside of the sphere.
Next stage was the lid using the piece set aside at the beginning. The face is cleaned up and the internal hollowed so that the curve is a continuation of the internal curve of the box. There is sufficient wood so Terry was able to develop the external profile so it matched/complimented the box. This is where a second chuck is of value as you can produce the lid and then fit it to the box to finish the top albeit a finial, knob or handle. Complete the handle profile and part off. Texture, captive ring, may be pyrography – sand and finish.
Despite marbling being a craft practised since the 12th century we still don’t have a precise recipe on how to do it. It has, however, been part of the NAW National Certificate in Woodturning since its inception. In the training books we find a recipe that works – but, it seems, not well enough for many to use marbling as a frequent enhancement of their woodturning.
When Walter Wager, from near Tallahassee, offered us a marbling demo I was a bit ho-hum. He included a copy of his marbling report to the American Woodturner journal. Nice pictures, nice work, and yet another recipe requiring the mixing of spoonsful of this with quarts of that to make up gallons – probably US gallons. There also was a statement about “pure” this and using distilled water. A little web search established that I could buy distilled water in the supermarket and I could order in pure methylcellulose and pure alum.
That suggestion of not using our chemical-laden town water and not using wallpaper paste (methylcellulose with unknown additives) made great sense. Please do visit us, Walter.
To prepare for his visit I worked my way through many recipes to make up an alum solution and the methylcellulose size needed to float the acrylic paint needed to create the marbled effects. Now, bear in mind that there are marbling kits available in some New Zealand stores and online – they all work, but most are designed for one-person use. We were going to have ten, or more, people wanting to put marbling on their choice of wood. The National Certificate in Woodturning also needs to cater for more than the single user. So, getting information on the important ingredients is necessary.
The important wood preparation is firstly to choose a dense white wood, turn it, sand it, and apply alum to the wood – just keep the items small please? That meant that most arrived with eggs, egg cups, a wig stand foot and little bowls but, as always, one had to arrive with an item that challenged our biggest dipping dish!
Any acrylic art paint is supposed to work – true, most do – but, as a rule, the cheaper the paint the coarser the granules within the paint.
Next challenge is to get a nice pattern of paint floating on the surface of the methylcellulose size mixture. Amongst the crowd at Walter’s hands-on afternoon we had some fairly basic acrylics, tubes of quality colours and some of the Golden High Flow Acrylic mentioned above. Most of those had to be thinned with water (or, later, more paint added) so that the paint would float on the surface of the size. Some spread more readily than others. Some colours of the same brand spread well when used alone but then either would not spread when placed over other colours or would spread madly and push everything aside.
Our choice now is Golden High Flow Acrylic. Ok, appears to not be cheap but only a few drops are needed for each marbling action. This paint has a fine and consistent texture and is available in more than 50 colours.
Obviously, putting drops of colour sequentially at the centre of a bowl results in rings of colour. You can have these rings of colour on your wood or take a comb and stir it a little. Then dip the wood in. Rinse it off and let it dry. When thoroughly dry put a finish over it.