The demonstrator for this evening is Stewart Furini. He will be carrying out some basic turning and applying various colouring techniques. He will be using a Sycamore blank 8″ x 2″. He began the evening by going through some basic Health and Safety issues to observe whilst woodturning.

Stewart started by finding the centre of the blank and drilling an 8mm hole to accept the screw chuck which was 19mm deep.

He used a draw cut to produce a flat surface with the use of a 3/8 bowl gouge, he then started to cut across the corner to produce a basic bowl shape with a recess for the chuck to be mounted and a foot for the bowl to stand on.  The recess was cut to 4mm deep with a dovetail shape for the chuck, the lathe speed being 600 rpm to start with.  The foot is not as deep as the recess so when the chuck is expanded it is not expanding onto very little material but is more solid.

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The bowl was now reverse mounted and the face was flattened but without the centre being hollowed out.  This face is now sanded down to 240 grit ready for spirit stains to take effect.  The dust was removed with a tack cloth to keep it clean.  The surface is now hand sanded with the grain to remove any circular scratches that may be present.

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Technique 1

A white colour spirit stain is applied first to half of the bowl surface from Chestnut Products, this was painted on and a hair dryer was used to dry the base colour.  

Airbrush was used to apply the various colours that will be applied in sequence, and the lathe will be running for this, the closer to the wood then the colour is cleaner and more precise.

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The first colour applied was blue and produced a ring, followed by Chestnut blue, Purple and then a lighter blue whilst expanding the rings to get an even covering, the stain is showing up cleaner on the white background.

A further set of rings were also produced using Red, Yellow and Orange, it was at this point that black was added for definition on the edging, this would normally be left overnight prior to using a sanding sealer aerosol, Stewart stated that he would not apply a sanding sealer by hand due to the possibility of the stain breaking down.

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 Technique 2

Just after half time Stewart started by using an ebonising lacquer to cover the bowl surface black, this was done twice to get the required coverage.

Stewart then produced his homemade box to stop the paint flying from the bowl and onto the walls and ceiling, this was fixed down by use of two magnets which held on to the lathe bed.

The paints used were produced by Chestnut Products with a flow medium by Jo Sonja, this will thin the paint without diminishing the pigment content of the paint.

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Yellow will be applied first with the lathe spinning and then the speed will be increased and then the pattern checked, this colour was then applied again to get the pattern spread a bit further.  A Sherice colour was then applied over the top again with the lathe spinning.  The finished colour was a sprayed-out system.

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Technique 3

Dabbing and Centrifugal 

The ebonising lacquer was again applied, over the top of the face of the bowl ready for the next lot of paint to be applied.

The next paint to be used was the Jo Sonja Silver, this was applied by the use of a paper towel and dabbed onto the bowl in a non-uniform manner around the edge.  The same technique was used for the next colour Gold.

The next colour to be added was Crimson which when applied was set off spinning to form a starburst, the next colour was Gold and also spun around.

At this point, the centre of the bowl was then taken out to the required depth.

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Technique 4

For the next session, Stewart used a Proxon long-necked grinder and a cutter with six blades is used, this was applied to the bowl at approximately 7 and 8 with reference to a clock face.  The lathe is set to 600 rpm to form the texture.  At this point, the textured surface is brushed out with a brass brush to remove the residue.  A Nylon filament rotary brush was then used to smooth the texture of the surface.

A green colour was applied first in a solid block, then splodged on, streaked and then dots so that we have four example areas on the same bowl when applied a purple was used over the top of the green.

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Technique 5

For this one, the cutter was used again but with the lathe being switched off and the bowl being turned by hand, the cutter was used across the bowl both back and forth.  This was then brushed and cleaned with the nylon grit wheel.

The airbrush was used again with red colour and is applied from the side at the bottom, Yellow was then used but sprayed on from the top again from the side.

A black was then applied across the top of the ridges by using a dry brush technique.

This would be finished with a sanding sealer aerosol and then a gloss lacquer.

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Technique 6

The top surface of the bowl was again turned flat again, this was then taken off the lathe to apply the paint effect.

The paint applied was colours by Montana 94 Acrylic

The yellow paint was sprayed over the complete surface followed by red, then yellow again and finally white.

Whilst the paint is still wet either a newspaper or a paper towel is folded to form a creased edge, this was then applied to the paint and lifted off this removed a certain amount of paint, and this was carried out over the area of the bowl.  This technique was moved around the bowl with a radius.

A lollypop stick was also used with the edge and also the flat part of the stick, other ways of doing this can also be used.

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We finished off by giving Stewart a big thank you for the evening’s demonstration, all questions were answered during and after the demo.

Report by Barrie Fisher and edited by Steve Hackett

For this evening’s demonstration and entertainment, we welcome Richard Findley who has his own business known as ‘The Turners Workshop’ and is a production turner for his living. The project will be a Box with Alternative Ivory Insert. The wood will be Walnut.  Size being 80mm x 80mm x150mm

Tools that Richard will use:-

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For those that joined early, they were shown by Richard how he sharpens his chisels and gouges which is via a freehand method. 

The Walnut blank needed to be turned down to approximately 75mm square, it was roughed down to round and had a tenon put onto each end ready for the chucking process.  Richard roughly shaped the blank to help decide where to part off the pieces.  At this point, the sections are parted.

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TIP – When checking the size of the tenons with callipers, round the tips of the callipers so that they do not dig into the wood and also do not press too hard when getting the required size.

LID – This is mounted onto the chuck and then hollow out the inner area by using a spindle gouge with the flute at about 10.0’clock on the centre line, do not use an aggressive cut as this will tend to rip the wood out.  The round negative rake scraper to clean the end and also cut a recess which must be square.  When the desired inside is finished it is sanded to a final finish. 

TIP – Use a rule to press into the recess and line it up with the lathe bed, in this way we would have a parallel edge on the lid.

BOX BODY – This is also mounted onto the chuck and the edge is now cut to match up with the lid, this is not the final fit at present, this is done later, therefore he starts with a cut that does not match up at present.

The hollowing is now carried out with a slight undercut produced within the confines of the body and then sanded to a finish.

At this point, Richard gave a good explanation as to why he prefers to use a negative rake scraper and also to keep the angles the same, which in his case is 35⁰.  This was followed by a demonstration of how he sharpens a negative rake scraper.

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The tenon where the lid fits into the box has a rounded dome shape applied so that the lid will fit on without having to push down on the straight edge of the box body.

The lid is fitted to the box using the body as a jam chuck, the final shape of the box is then refined, prior to removing additional material from the lid to form a recess to take the alternative ivory.

The box body is now also ready to be parted off from the waste material prior to finishing the base. The remaining blank material is now turned so that the box base can be jam chucked onto it. The box base turned to clean the parting cut. Then sanded to a finish.

Richard demonstrated an ALTERNATIVE IVORY RESIN insert material for the lid. This is a dense material which is ideal to use a negative rake scraper with, we also need to be careful as it can chip.  

The streamers that come off will need to be removed with the lathe off for safety purposes.  This is cut to the required diameter to match the recess within the lid. 

This material is now semi-parted off and then sanded, this needs to have a finer finish than the wood, and an abrasive of up to 1200 grit was used as a final abrasive, a burnishing cream was then applied as a final finish.

The depth of the disc is now measured and can be cut to fit the lid.

The project would be finished with hard wax oil.

Richard gave a good explanation all the way through the demonstration and answered all of the questions that were presented to him.

Richard recommended a book on turning boxes.

REFERENCE – Turned Boxes 50 Designs by Chris Stott.  1-86108 203 7

Yet another very good excellent demo from Richard,  which went down well with the members.

Report by Barrie Fisher and edited by Steve Hackett