STEP-BY-STEP GUIDE TO TURNING A SPICE RACK WITH COLWIN WAY

David Springett
Why is a bevel turns arcs
important? to create an
abstract turning
Andy Coates explores Kurt Hertzog
this fundamental looks at
aspect of a gouge personal
protective
equipment

Burning for
texture and
branding with
Molly Winton
Richard Findley
uses ring turning
to create a car

WT_304 COVER FINAL_SD.indd 1 17/03/2017 15:03

 The Record Power CL series lathes enjoy an enviable pedigree and
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now supported by low maintenance sealed for life
bearings for improved ease of use.
Bed Bar Extensions
The length of the bed bars has been reduced to
provide a more compact machine, favoured by
the vast majority of woodturners and giving 24”
between centres. For those who wish to turn
larger work between centres optional 12” bed bar
extensions are available.

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 New Updated
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IFC_001_WTUR_304.indd 3 2/28/17 10:25 AM

002_WTUR_304.indd 2 3/1/17 4:30 PM

Collaboration is the way forward
urning, like many
T hobbies, faces some
interesting challenges
as far as future development
is concerned. Like many
hobbies and crafts, people
are very happy to see items
being made and people demonstrating or
explaining what they are doing and such like,
but few take up doing it themselves. So getting
people to try turning and hopefully take it up
is something often looked at as a goal.
We can each play our part in making people
aware of what we do. That can be by telling
or showing people, but this means being out
and about and engaging with them. We often
see people at woodworking shows and that
is good. I often hear clubs say they are at this
or that woodworking show and comment
that they have various success in getting new
people interested or in joining their club.
Woodworking shows and events are
great, but by and large we meet those already
interested or curious – and yes we can
advise and help those people. We should
Woodworkers Institute website (www.woodworkersinstitute.com) is thriving.
It would be great if you took a look and participated in the various discussions
and competitions in our community, or see us on Facebook & Twitter.
WT_304_3_LEADER_bdMB.indd 3
FROM THE EDITOR COMMUNITY
be at the shows, but they should not be
our primary marketing effort as far as
showing people what we can do is concerned.
We need to visit other events too. Yes, craft
and country fairs offer a wider mix of things
for attendees to see, but do explore other
events too. Of course we need to be better
at digital marketing, using relevant local,
national and international publications and
other media aspects better too. Yes, that
means doing a bit more than we might already
be and that this has implications for time and
resources which are always in short supply.
The truth is we all need to collaborate
more with other wood and non-wood related
groups and organisations. Shared resources
and cooperation can provide a lot of scope for
learning or moving things forward quicker
rather than just one club or organisations
doing something alone. Sharing helps save
on valuable resources like time, money and
people power. Many clubs and organisations
have already created training programs, have
in place procedural elements for compliance,
safety, risk assessments, insurance, working
PHOTOGRAPH COURTESY OF GMC PUBLICATIONS
with children, organising or attending shows
and such like and many are likely willing to
collaborate and share. Remember though that
it is wholly unfair to just take without giving
back too, so there is a cost in some form or
other but the benefits and the extra potential
are huge. There are no losers here, but
remember, sharing is not a one-way street.
Everyone needs to play their part and if it can
save time in some areas, focus on the other
areas that will be of benefit to others.
Collaboration locally, national and
internationally is going to have to be the way
forward to maximise returns for efforts and
to effectively reach a wider audience. Massive
inroads have already been made in this area
by some to wonderful effect, but more can
and needs to be done to the benefit of all.
Have fun,
Mark
markb@thegmcgroup.com
Woodturning 304 3
23/02/2017 16:23
 Community
Contents 3 Leader
Mark Baker introduces you to this
month’s issue

Issue 304 14 Community news

We bring you the latest news from
April 2017 the world of woodturning as well
as important dates for your diary

76 Community links
We have searched the internet
for the best, most interesting and
fun websites, blogs, pins and
pictures, so you don’t have to

80 Our contributors
COVER IMAGE courtesy Meet our authors
of Andy Coates
See page 32 93 Next issue
Find out what’s in store for
next month

99 Advertising index
Projects Techniques Find all of our advertisers
details here
25 Arcs 7 German ring turning
David Springett turns a sculptural This month Richard Findley takes a
piece with hollow sections look at the technique known as ring, Features
or hoop, turning
38 Redwood spice rack 52 Pat Johnson in profile
In part one of a new project, 19 An introduction to burning The ex-Air Force man is as
Colwin Way makes a spice rack for texture and branding committed to passing on his skills
Molly Winton provides some and forging new friendships as he is
45 Segmented bowl useful information to consider the professional business of turning.
Sue Harker makes a laminated when burning and branding Catherine Kielthy tracks him down
open segmented bowl by gluing woodturned projects in the Australian Bush
half rows of open segments to
two half bowl blanks 32 The bevel 71 Philip Wolsoncroft in profile
Andy Coates asks: what is it, why is Mark Baker visits turner and timber
it important and how do we use it to seller Philip Wolsoncroft
Kit & Tools aid our turning practice?
104 Tom Wirsing – ‘Avoova
96 Kit & Tools 58 Personal protective Platter’
A mixture of press releases and equipment Tom Wirsing departs from his
tests, showing the latest tools Kurt Hertzog explains how to choose usual working ways, and creates
and products on the market and use PPE the Avoova Platter

67 Duplication versus
a duplicator
Ernie Conover explains why you are
the best duplicator for your lathe

86 Using cracked timber

– part 2
Alan Wasserman looks at using
timber with small cracks and
imperfections

NEWS, LATEST PRODUCTS, MAGAZINE UPLOADS & EVENTS Subscribers!

can all be found on www.woodworkersinstitute.com. These all appear on the magazine Turn to page 83 for
homepage and you can see a bigger selection by scrolling down the page and clicking subscription special offers
on the individual stories. We also have an extensive online archive for you to browse and you could save 30%!

4 www.woodworkersinstitute.com

WT_304_4_5_CONTENTS_JR.indd 4 01/03/2017 11:06

 CONTENTS

25 38

45

HEALTH AND SAFETY

Woodturning is an inherently dangerous pursuit. Readers should not attempt the procedures described herein without seeking
training and information on the safe use of tools and machines. All readers should observe current safety legislation.

Woodturning 304 5

WT_304_4_5_CONTENTS_JR.indd 5 23/02/2017 16:24

 Courses for the Creative
Turn a Blues Guitar Bowl Turning
with from Tree to Table with
Andrew Hall Ronald Kanne
Whilst Andrew Hall is justly famed as a fine
turner and a sympathetic teacher he is also
pretty fantastic at fretwork. - on the guitar.
And not just any guitar.
In this two-day course Andrew will help
you turn a playable guitar or ukelele.
Despite what you may be thinking
we are talking here of TURNING an
instrument - as shown in the illustration.
If you don’t play already, I doubt there’ll
be time to teach you to play (!) but it
could be the inspiration you need to get
you started on another pastime.
The c urse includes all requisitePopular Dutch turner
parts and timber as well as hands-on Ronald Kanne will
instruction from the virtuoso. showcase his skills
The course will suit intermediate and improve yours in
to advanced level turners. each of these 2-day
hands-on courses.
He will cover all
aspects of bowl
£295 turning from raw
timber to finished
for 2-day artefact, including the
course use of centre-saving
including techniques. Suitable
for turners with some
tuition previous knowledge
and all of bowl turning.
materials 2-day course incl.
tuition & materials £295
Friday & Saturday June 6th - 7th &
19th & 20th May 2017 June 9th - 10th 2017
All courses will take place in our Didcot, Oxfordshire training facility and retail shop.
Places are strictly limited (max. 4 per course) so please book early to avoid disappointment.
For further information and to make your reservations, please contact The oolPost

The ToolPost
Unit 7 Hawksworth, Southmead Industrial Park, Didcot, Oxon. OX11 7HR
01235 511101 y www.toolpost.co.uk
sharing expertise VAT inc. prices, correct at time of going to press

006_WTUR_304.indd 6 2/28/17 10:28 AM

 RING TURNING TECHNICAL

German ring
turning

This month Richard Findley takes a look at the technique known as ring, or hoop, turning

first read about ring (or hoop) turning in legs and necks of creatures such as horses, cross grained bowl blanks that we would

I an article by Stuart King way back in issue

164 of Woodturning, when I was a keen
hobbyist, reading and absorbing everything
I could lay my hands on. So keen in fact that
I would cut out and save interesting articles
in a binder. Turns out that was a very good
idea, because I can now re-read the said
elephants and giraffes strength, the rings
are cut, end grain, from whole logs of green
spruce (Picea abies), which are kept wet in
the river that runs through the mountainous
area. This means that the rings are essentially
large diameter spindle blanks, rather than
be more used to seeing in this sort of size
– ranging from 250mm upwards, from the
information I can find. The grain running
like this means it runs in line with the legs,
necks and tails, keeping natural strength
in these parts.
PHOTOGRAPH BY STUARTKING

article as research for this article!

Ring turning, known locally as Traditional German
‘Reifendrehen’, which translates literally as ‘tyre ring-hoop turning
turning’ is the technique of turning a profile
into a ring of timber on the lathe and, once
parted off, it is sliced or split to reveal the shape
PHOTOGRAPHS BY RICHARD FINDLEY, UNLESS STATED OTHERWISE

of, very often, an animal of one sort or another.

History
This technique seems to have originated
in the Erzgebirge region of Germany, where
the production of wooden toys and ‘folk art’
has been the mainstay of the local economy
for generations.
Animals are the most commonly made
items using this technique. To give the

Woodturning 304 7

WT_304_7_12_RING_TURNING_RF_bdRF.indd 7 01/03/2017 11:03

 The theory
Once I have a suitable piece of wood and
a design that I wish to make, I will need
to make some templates to make sure I can
achieve the correct shape without properly
being able to see the profi le I’m turning.
It seems like, once I have these three steps
covered, the turning is likely to be reasonably
straightforward. The difficulty is going to be
making the templates accurately and trusting
them to guide me in the shapes I turn. If it
goes to plan, when I split or cut the ring open,
I should have the profile of my chosen design,
but we shall see!

The plan
Because I don’t have a source for such large
logs or spindle blanks in a suitable timber,
I decide to cut a cross grain bowl blank
from a 280mm-wide board of 50mm-thick
tulipwood (Liriodendron tulipifera) that I
have in the woodpile. Because it is cross grain
rather than a spindle blank, I can’t make
the usual animals because the legs would
all have ‘short’ or cross grain, making them
weak. I need a design that has no long legs,
something compact where grain direction
won’t matter. After giving it some thought
it seems like a car would be a good profile,
being compact but easily recognisable.
I could either go for a generic ‘car’ shape or
chose an iconic car which will add to the
Making sketches of the car profile
recognisability of the segments. I decide to
base it on a classic small car of my childhood
which I hope will look great in this form
and immediately set to work researching
the shape of these little cars.
Research and drawing
I run a Google Images search and I’m
shown various pictures which include
different elevations and even technical
drawings of different models of the car
I’m basing my design on. I print a few
pictures off, reducing sizes to a usable scale
and make a few sketches based on the most
useful aspects of what I see. Bearing in mind
this is supposed to be a toy (for children over
3 years old) I borrow a couple of my son’s
toy cars to get some idea of the right size.
With several sketches made and useful
notes taken, the next step is to make the
templates.

Templates
Speaking to the Editor, he mentioned he uses
metal or acrylic/plastic for the templates.
I have neither, so rightly or wrongly opt
for some 3mm-thick MDF, which I do
have plenty of.
I find it difficult to fully visualise exactly
how this is going to work, but it seems like
I will definitely need a template of the top
and bottom of the car and most likely one of
the back. It’s a tough decision as to whether
I should turn in with the front or the back
of the car to the outside of the ring, but
I decide that it might be easiest to make it
with the front pointing towards the centre of
the blank. My intention is to turn the shape
up to the front bumper bar and part it here,
this being a detail that would be easy to shape
or re-shape to hide any mismatch in the
parting and turning of the two halves.
I transfer the drawings to the MDF and,
once I’m happy, cut out the waste on the
bandsaw. Because of the complex shapes
(although the beauty of using this profile is
that it’s probably as simple a shape as one
could hope for in a car) I don’t attempt to
simply follow the lines, but cut from the edge
of the template to my lines to form relief cuts.
These ensure the blade doesn’t bind as I form Transferred sketches onto the working templates
the profile. As I cut, I leave the pencil marks
visible and will use several rasps and files to chainsaw fi le which I find are perfect for
shape them right up to the lines as accurately refining the curves and lines of the car.
as possible. With the three templates cut, I put them all
In my barley twisting kit bag I have back together, just to make sure they look
several small Microplane rasps and a round right. So far I’m encouraged by the results.

Cutting the templates on the bandsaw Refining the bandsaw cuts with rasps and files Reassembling the templates to check the shapes

8 www.woodworkersinstitute.com

WT_304_7_12_RING_TURNING_RF_bdRF.indd 8 01/03/2017 11:04

 RING TURNING TECHNICAL

Mounting the blank

Traditionally the German Masters use a ring chuck to hold the
blanks. A ring chuck is a completely alien concept to most modern
turners outside of Germany. I’ve never seen one but have read about
them. By all accounts they are just a ring of sharpened metal which
holds the wood, simply by it being forcibly driven onto it with a
large hammer. While that description would make most turners
wince and fear for their headstock bearings, the traditional German
lathes are specially designed to withstand this type of work and the
forces involved. Despite my old Wadkin having some of the
biggest and most sturdy bearings I’ve seen on a lathe, I don’t
have a ring chuck so decide to work with a more conventional
method. Traditionally, the turned rings are formed from a large
blank in one mounting, no reversing or re-chucking, just turned
in one hit. I’m going to give this a try, so decide that a faceplate
ring on my chuck will give me the best access to the underside
of the ring of cars.

Truing the edge Reducing the thickness to suit the toy cars

Forming the profile

Having cut the disc on the bandsaw and
attached the faceplate ring, my next job is to
true up the edge and then reduce the thickness
of the blank to that of my toy cars. With the
blank prepared, I’m ready to begin the shaping.
The turning itself is all very
straightforward. The fact that this is kiln-
dried timber makes it more difficult to turn
than the green spruce would be, but it is well
within my comfort zone. With it being a
cross grain bowl blank, rather than a spindle,
I just need to be aware of the grain direction,
cutting as I would a bowl or plinth, working
with the grain as much as is possible.
As the car begins to take shape, I start
to apply the fi rst template and it becomes
apparent that I need to remove all but the
essential part of the profi le to avoid binding
and an inaccurate reading. I mark the limits
of the shape that I need and flare the rest of
the template to give full access.
I am happy that the profile I have turned
matches the template, but as I look at it I
can’t help feeling the boot is too pronounced
and rounded. The trouble is, it matches the
drawing and the template so, despite my
reservations, I decide to trust the template and
leave it as it is. Will this be the right decision?
I move to the face of the blank, or the roof
if you prefer. I mostly use the wing of my
spindle gouge to gently refine the shape of the
windscreen and the curve of the roof. Once
again, I need to remove a large piece of the
template to make it work in practice, but once
I can comfortably hold it up against the work,
I am able to get a pretty close match.

Shaping the car’s boot and rear windscreen Checking progress with the template Working out the detail positions on the face
of the blank

Woodturning 304 9

WT_304_7_12_RING_TURNING_RF_bdRF.indd 9 23/02/2017 16:40

 Cutting the slope of the windscreen Shaping the curve of the roof Checking the profile against the template

Turning the underside

Despite my best intentions, I find access is really restricted at the rear of
the blank and the front of the car is just too close to my chuck to make
it feasible to work on, so I drill an 8mm hole through the centre of the
blank and switch to my screw chuck. While this is still held in the same
chuck, it does mean I can consistently reverse and re-mount the blank
in either orientation, giving full access to both sides and making my
life much more simple. With the blank reversed on the screw chuck,
turning the underside of the car and its wheels is a simple job, using
my spindle gouge in a push cut around the wheels and a negative rake
scraper in a shear cut to flatten the space in between.
I take the curve of the front of the car round as far as I am
comfortable and approximately to the position of the front bumper,
and reverse the blank again on the screw chuck, so I am once again
working on the top of the car. My next concern is that the cuts on
the top of the car line up with the cuts on the underside. A few
adjustments and double and triple checking measurements and my
templates leaves me feeling confident that I should break through
in the right place. I refine the curve on the front of the car that will
form the headlamps and begin to work towards parting the ring
from the blank.

Using a negative rake shear scraper to flatten Turning the wheels with a spindle gouge Checking against the template
the underside of the car

Parting
Having developed the shape on both sides
as far as I can, I sand to 240 grit and start
thinking about parting off the ring. I take
a few more light cuts, just experimenting
a little with the remaining thickness
and see some light coming through the
ring. After my experiences last month
using light to tell me the thickness of
the material, I am aware that the sight of
light coming through the wood means it’s
thin, but still with surprising strength.
Before I could take any additional safety
precautions I take one more light cut and
there is a light ‘pop’ sound as I get some
breakthrough. I immediately stop the
lathe and take a look. As is usually the
case, I have just broken through in a
couple of areas, with it still holding in
others. I gently apply some hand pressure
and the ring easily comes away from the
central boss, which remains firmly fi xed
to the screw chuck. The ring looks promising,
but it remains difficult to see if it is a success
without cutting it open.
HEALTH AND SAFETY –
PARTING PRECAUTIONS
I was comfortable throughout the process
and never felt out of control as I was constantly
checking the remaining thickness of timber
and taking very carefully controlled and
measured cuts. To make the parting process
safer I could have applied layers of tape to
the rear of the ring to ‘catch’ it as it became
free, or even wrapped it in cling film, which
is a common technique for removing the
centre of hollow forms that might have
potentially decorative but weakening
cracks, voids or other flaws in them.
Further refining of the top

10 www.woodworkersinstitute.com

WT_304_7_12_RING_TURNING_RF_bdRF.indd 10 01/03/2017 11:04


Light begins to show through
Once I begin to cut through, the ring easily lifts
away from the hub
Splitting the ring
Because the rings are traditionally made in
end grain, they are usually simply split into
animal-sized pieces once the ring is parted
off, using a sturdy knife and a blow from a
hammer. Rings of horse blanks can be split
into dozens of individual animals. Because
my blank is cross grain, like a bowl blank,
it won’t split and so needs cutting on the
bandsaw. It immediately becomes apparent
that cars are nowhere near as economical to
make as horses. Animals lend themselves
to being split from a ring as their rumps
Cutting the car from the ring
WT_304_7_12_RING_TURNING_RF_bdRF.indd 11
The ring looks promising
are invariably wider than their noses, so
the natural taper that occurs from splitting
like this is not an issue. Cars on the other
hand are largely the same width at the front
and back, and are much wider than horses,
so I mark out the width of my car, which
I estimate to be around 35mm, and cut
it out. To continue this around the ring,
I would probably only achieve eight or 10
more cars with considerable wedge-shaped
wastage. There is no waste from splitting
horses from a ring.
It actually looks like a car!
RING TURNING TECHNICAL
Out of interest, I cut out a second, thinner
car, which could perhaps become a badge,
brooch or pendant, and lay in the templates
I have been using. I’m pleased to say that
it matches pretty closely, but I can’t help
thinking that I was right about the boot being
too bulbous. This tells me that I need to make
some changes to the templates, should I try
this again, but over all, it definitely looks like
a car, and does indeed have a hint of the small
cars I remember – if you squint and try not to
think about London taxis!
Comparing the car to my sketches and templates
Woodturning 304 11
01/03/2017 11:04
 Embellishment
Usually this would be the end of an article like this. With the turning
done, I would reflect on the job, but I can’t help feeling it could be
improved somewhat and the German ring-turned animals that I
am basing this on would now go to a carver and painter to be given
further embellishment to make them more lifelike. To fully explore
the technique I decide to see if I can improve the car and make it more
like the little car I’m aiming for with some carving and a paint job.
During my research I watched a YouTube video (www.youtube.
com/watch?v=GoRJT9L-kf8), despite the commentary being in
German, I could follow what was going on, thanks to my very
rudimentary school-boy level of the language and by watching very
closely. The video showed that, after splitting the animals, they are
boiled before being carved. Unfortunately my grasp of German
doesn’t reach far enough to work out exactly how boiling works but it
seems to make the wood easier to carve, and is not a local speciality
soup, as the narrator seems to suggest! The carvers use knives, which
cut through the wood like slicing vegetables for a Sunday dinner,
before they are beautifully hand painted. I am aware that my carving
and painting skills are way below the German masters, but I feel
I should at least give it a go. After an enjoyable hour of whittling
my toy car with a chip carving knife and small chisel (I skipped
the boiling stage) I feel it does indeed look more like I wanted. I am
aware that I would need to spend several hours, or perhaps days,
to make this entirely realistic, but feel the hour was time well spent.
I tried to focus on areas that really give the car character, such
as the headlamps, the curve of the bonnet and grill, the shape
of the roof and the curve at the top of the doors.
I bought a can of British Racing Green car paint from a local car
shop, along with a pot of white paint, a silver paint pen and fine
marker from a local stationer. I focussed on areas that lend themselves
to a car of this sort, so the colour was an easy choice. I painted the
roof white and added some stripes to the bonnet. I used the black
marker to line the doors and the sliver pen to make the windows stand
out. Once these were dry I finished with a spray coat of gloss lacquer.

I begin shaping with my chip carving knife The first coat of British Racing Green is applied in the spray booth

Conclusion
This was a real challenge for me. Not so much
in the actual turning, but in the planning and
the visualisation that I needed to form the
correct shapes. I have mixed emotions about
whether or not it is entirely a success though.
It certainly looks like a car, with more than a
hint of a car from my childhood about it and
I feel that a second attempt would certainly
improve the shape. My attempts at carving
definitely improve on the turning alone, but
even as I painted it, I wished that I had spent
more time and removed wood around the
door cills and wheels. My painting skills are
marginally better than my six-year-old son’s,
but again, they need some serious practice
and improvement.
The thing that surprised me most, and
probably shouldn’t have, is the amount of
inward curve that shows on the front bumper.
I don’t think it has a particularly detrimental
effect to the overall job, but it did surprise
me and I wonder if this could be used to an
advantage in future attempts – if I ever do
try this again! • The finished toy car inspired by a car from my childhood

12 www.woodworkersinstitute.com

WT_304_7_12_RING_TURNING_RF_bdRF.indd 12 23/02/2017 16:41

 Trade Stands with show
promotions and offers
_____

Outstanding
selection of timber with
special Show Offers
_____

Visit our Hobby Shop, Gallery,

Café and Refreshment Marquee
_____

Free parking and entry

Times: 10am - 5pm Fri

YANDLES SPRING SHOW 10am - 4pm Sat

_____

FRIDAY 7 AND TH
For further information

SATURDAY 8TH APRIL 2017

check out
www.yandles.co.uk

One of Britain’s longest running Woodworking Shows,

now with a new look. YANDLE AND SONS LTD
A perfect day out for everyone from Professionals to the Hobbyists. Don’t miss out on fantastic Hurst Works, Martock,
demonstrations, Master Classes and Show Offers from our top Manufacturers. Visit our Timber Somerset, TA12 6JU
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Tel: 01935 822207
discounted rate. Learn some new skills and see what new products are on the market and pick up
Website: wwwyandles.co.uk
some great deals.
E.mail: info@yandles.co.uk

013_WTUR_304.indd 13 2/24/17 3:02 PM

 Community news
We bring you the latest news from the world of woodturning and important dates for your diary
We try to give accurate details on forthcoming events. Please check with organisers for up-to-date information if you are planning to attend any of the events mentioned.

The Worshipful Company of Turners –

Bursary Awards 2017 – request for applications

PHOTOGRAPH COURTESY OF STUART KING AND THE WORSHIPFUL COMPANY OF TURNERS

or 2017, The Turners’ Company is

F offering one or more Bursaries, worth

up to a combined value of £10,000, to
assist talented woodturners to develop their
craft skills and to move to a higher level of
achievement. The awards are open to UK
resident turners whose work is well regarded
by their peers and who can put forward
a clear plan of how the award will advance
their work, expand the boundaries of the
craft of turning and raise the profile of
the craft. There is no upper age limit.

What are Turners’ Company Bursaries

awarded for?
• To fund further study, research or training
and practical experience for craftsmen and
women, who want to improve their craft
and trade skills. Margaret Garrard
• Bursaries may not, normally, be used for
premises or other business set-up costs.
• Bursaries may be used for acquiring
specialist equipment, provided it is part
of the whole request.

What are we looking for?

• Well thought out proposals which
will contribute to the excellence of Jason Breach
ach
our craft in general.
• On the submission you need to explain
clearly why your proposals will improve
your skills and what you expect to achieve
as a result. You may have assistance in
writing your submission.
• You also need to give a reasonably accurate
estimate of the full cost of your proposals.

Who can apply?

• You must be 18 or over to apply,
but there is no upper age limit.
• You need to demonstrate an ambition
and commitment to develop your skills
to a higher level within the craft and
that you are firmly committed to the
craft of woodturning.
• Only those who live and work
permanently in the UK are eligible
for the award of a Bursary. Maggie Wright
• The Bursary is available to all Turners;
amateur and professional. Contact: The Worshipful Company of Turners Web: www.turnersco.com/turning/bursary-awards

14 www.woodworkersinstitute.com

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 NEWS COMMUNITY

Ex-soldier carves a new life after being injured

hanks to a military charity, an injured

T soldier was given the opportunity of

attending a woodturning course run by
one of his idols. Former Staff Sergeant Gareth
Roberts of Selsy, Chichester joined the Royal
Welch Fusiliers in 1976 and served for 17 years.
During this time, he was injured on exercise in
Canada when he fell from a Challenger 2 tank,
resulting in multiple injuries.
Gareth became a part of the Help for Heroes
Band of Brothers (BoB) where wounded, injured
and sick service personnel and veterans come
together. Gareth had always been a fan of craft s,
woodturning and being creative and said: “Once
I joined the BoB, I saw a woodturning course
and I was gobsmacked to see the tutor was Stuart
Mortimer. He’s one of the foremost woodturners
in the world.” The course made a variety of
objects including a fruit bowl and a long and
short stemmed chalice. Gareth is now looking
into ways he can further hone his craft skills, and
his taste for making things has now extended to
making wooden pens and leathercraft items.

Contact: Help for Heroes

Web: www.helpforheroes.org.uk Just a few turned pieces

Henry Taylor Tools Andy Walters –

has a new MD Black Isle Woodturning
ndy’s workshop is a purpose

A designed training workshop

used for woodturning
courses and demonstrations –
and there is also a small shop
selling woodturning supplies.
Since setting up on the Black Isle,
PHOTOGRAPH COURTESY OF HENRY TAYLOR TOOLS

Andy has been producing bespoke

turned products and has worked
closely with other high class local,
and international award winning
craftsmen and designers. He
has also produced commissions
of his own design. The training
and demonstration workshop Andy working at the lathe
allows for one-to-one and group
Paul Wragg tutorials for beginners and more able turners wishing to extend
their range of turning techniques. Andy is happy to design and
s of 1 February 2017, Henry Taylor Tools has a new Managing deliver tutorial sessions to meet the needs of participants. Other

A Director, Paul Wragg. Barry Surplice said: “Paul has been

working with me for some months now and is the perfect
person to take Henry Taylor Tools forward. Paul and I share the same
values – honesty, integrity and service. So no change there! I will
continue to support Paul for the next few years (or longer) but very
much in the background. Wishing you all the very best for the future.”
turners join Andy for free and popular demonstration days once a
month from March–October where a wide range of techniques and
knowhow are shared. Black Isle Woodturning is the sole UK agent
for Vicmarc lathes and machinery, and also sells a select range of
turning accessories, tools and prepared timber for turning and
other woodwork.

Contact: Paul Wragg Contact: Andy Walters

Email: sales@henrytaylortools.co.uk Web: www.blackislewoodturning.com

Woodturning 304 15

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 WOODWORKING EVENTS
PHOTOGRAPH COURTESY OF COLIN SMITH
Woodworks@Daventry
Woodworks@Daventry
Woodworks@Daventry will be held on
Thursday 11 and Friday 12 May, 2017. There
will be the usual mix of demonstrators, trade
stands and competitions for the woodturning
clubs. To celebrate the 30th anniversary of the
AWGB, Tudor Rose Woodturners are holding a
competition for attending and invited clubs. They
have asked for a model of a steam traction engine
between 14–16in in length. The AWGB are
also holding a competition for their Travelling
Exhibition; Ray Key and Reg Hawthorne will be
judging the competition at the show on Friday
12 May, 2017. This competition is open to any
member of the AWGB.
When: 11–12 May, 2017
Where: Leisure Centre, Lodge Rd,
Daventry NN11 4FP
Contact: Peter Carless
Email: secretary@tudor-rose-turners.co.uk
PHOTOGRAPH COURTESY OF WEIRD AND WONDERFUL WOOD
Weird and Wonderful Wood 2017
Weird and Wonderful Wood 2017
Weird and Wonderful Wood is returning
to Haughley Park in May. This fair is a
celebration of many aspects of woodwork,
showcasing the talents of specialist
woodworkers. The now legendary fair
attracts over 8000 visitors from far and
wide over two days including people who
return each year. At this year’s event the site
will play host to a replica 46ft Saxon Ship,
and a Shepherds Hut. There are also regular
16 www.woodworkersinstitute.com
WT_304_14_16_NEWS_&_EVENTS_bdSDMB.indd 16
favourites, which makes it one of the most
exciting wood fairs of the year.
When: 13–14 May, 2017
Where: Haughley Park, Wetherden,
Nr Stowmarket, Suffolk IP14 3JY
Email: info@weirdandwonderfulwood.co.uk
Wild Wood 2017
Following the success of last year’s Wild Wood
festival, the event will be staged this year again
at Royal Botanic Gardens, Kew at Wakehurst,
West Sussex. Wild Wood will take place over
the Spring Bank holiday, 27–29 May, 2017.
When: 27–29 May, 2017
Where: Wakehurst, Ardingly,
Haywards Heath, Sussex, RH17 6TN
Web: www.kew.org/visit-wakehurst
AWGB: 30th Anniversary
The Forest of Dean Woodturners
are organising one of the AWGB 30th
Anniversary ‘birthday bash’ events, held
on 21 June, 2017. The event will be an all
day and evening demonstration by Les
Thorne, with a barbecue lunch included
in the day ticket price.
When: 21 June, 2017
Where: Hillside Brewery, Holly Bush Farm,
Ross Road, Gloucestershire GL17 0NG
Web: www.forestwoodturners.co.uk
UK & Ireland Woodturning
Symposium 2017
Hosted at the Hilton Hotel in Coventry, the
UK & Ireland Woodturning Symposium is
a large, friendly event centred solely around
woodturning. The 2016 event attracted over 700
guests across the weekend and had rave reviews
and videos on social media. This unique event
has attracted worldwide attention and is
growing in 2017 to be even bigger and better.
What to expect at UKIWS 2017:
• Entry to the purely woodturning event
• At least 5 Public Demonstrations by well known
UK and Ireland turners both professional and
some well known ‘social media’ turners
• Master Class from the professional
demonstrators (ticketed separately)
• Access to the trade area of the show ‘Up Close
and Personal’ talks/workshops focusing
on more intricate aspects of turning. eg
pyrography, metal leafing, piercing, etc. (exact
disciplines to be confirmed)
• A crowd of like minded woodturners many
you may know from social media
• Friendly atmosphere
• Plenty of advice available from pros
and trade stands
• Discounted room rates at the hotel
• Free parking at the hotel on the day/s you attend
When: 15–16 July, 2017
Where: The Hilton, Paradise Way, Walsgrave
Triangle, Coventry CV2 2ST
Web: www.ukiws.co.uk
18th Rocky Mountain Woodturning
Symposium
2017 marks the 18th year for this event.
Participants can select from over 42 rotations
given by some of the best woodturners in the
world. The presentations will have something for
everyone, from the beginner to the professional.
There will be a large vendor exhibit and a hands-
on woodturning program area. An Instant Gallery
will be open to the public and all attendees are
encouraged to bring three pieces for exhibit.
The symposium is open to anyone with an interest
in woodturning and is the best value available.
When: 15–17 September, 2017
Where: Loveland, Colarado, USA.
Demonstrators: Stuart Batty, Cynthia Carden
Gibson, Kurt Hertzog, Eric Loftstrom, Jonathan
Medina, Carmen De La Paz, Curt Theobald,
Tom Wirsing
Web: www.rmwoodturningsymposium.com
PHOTOGRAPH COURTESY OF AWGB
AWGB: work by Les Thorne
01/03/2017 11:11
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An introduction to burning
for texture and branding
Molly Winton provides some useful information to consider
when burning and branding woodturned projects
his article is the first in a series of three,
T which will explore non-traditional
pyrography techniques to enhance your
turning once off the lathe. The traditional
PHOTOGRAPHS COURTESY OF ARTHUR WINTON, UNLESS STATED OTHERWISE
art of pyrography is a process of producing
images or drawings on combustible material
(wood, leather, paper, etc.) using a heated
tool. Images are created by layering low
temperature burns to achieve shading and
tonal values. This series explores non-
traditional techniques where mid to high
heats are applied to create designs through
texturing. The first article will address
information to get you prepared and ready
to explore and execute these techniques by
reviewing safety issues, equipment, selection
and review of project wood/timber, and work
WT_304_19_22_PYRO_&_BRANDING_MW_PT_1_bdMBMW.indd 19
space set up. Article two will involve selection
of commercially manufactured tips/nibs and
their application to complete a project, while
article three will consist of making and use
of home-made brands that will be used to
imprint/stamp designs on projects.
Safety
While there are safety concerns with
woodturning, there are also safety issues to
consider when burning wood. The primary
concern is protection of lungs and sinuses.
When woodturning we protect our sinuses
and lungs from particulate exposure through
the use of dust masks, respirators and dust
collection equipment. The same must be done
PYROGRAPHY TECHNICAL
to protect oneself from wood smoke. Wood
smoke is also wood particulates, however
they have now been made finer and add the
element of carbon. Commonly used dust
masks and respirators for dust do not catch
the finer, microscopic smoke particulates.
Full protection can be obtained through the
use of a multi-contaminant respirator (dust
fi lter paired with a charcoal fi lter). When
purchasing such items always ask what is the
right unit to buy for the job you are doing.
Additional methods of avoiding the
inhalation of smoke, to a lesser degree than
the multi-contaminant respirator should
also be used. Work in a well ventilated
environment. Use of mid to high heats for
texturing and branding yield a higher volume
Woodturning 304 19
01/03/2017 11:15
 of smoke. Use a fan to exhaust smoke by
arranging the fan to draw the smoke away
from the work area, rather than blowing
across the work space, which can interfere
with the heat of the burning tool.
There are draw fans on the market that
have charcoal fi lters. The fan draws the
smoke into the fi lter to mitigate the smoke
remaining in the room. Ensure the fi lters
are charcoal. Do not use a standard carving
fan/fi ltration system.
Filters designed to fi lter wood dust while
carving are combustible. If used to fi lter
wood smoke, live embers can be pulled from
the burning/branding process, which will
imbed inside the fi lter material, smoulder
and eventually ignite the fi lter material.
Use only charcoal fi lters.
Attention should be paid to the
burning/branding work area set up.
Low temperature burning does not result
in loose embers falling into the work
area, however high temperature burns
and branding often yield embers that can
fall into a lap, on to the floor, or become
Examples of anti-smoke masks available on the market. What is available will vary from country to country
Do not use filters designed for carving sawdust
Three different styles and placement of exhaust fans being used and there are many more units available to choose from
20 www.woodworkersinstitute.com
WT_304_19_22_PYRO_&_BRANDING_MW_PT_1_bdMBMW.indd 20
airborne as a result of being drawn away by
a fan. It is recommended to burn in an area
where woodturning or other woodworking
projects are not produced. Choose an
area where sawdust, shavings and other
combustible materials are not present.
Wearing a leather apron will protect
personal clothing and also prevent potential
ignition of embers that may land on a lap.
One last caution involving safety that is
worth mentioning, is the wood and wood
surface selected for this embellishment
technique. When choosing a species of
wood to burn, if it is a species known to
cause an allergic reaction to the user, it is
not recommended to burn. Exposure to the
wood smoke is likely to cause a reaction,
in the same way as exposure to its sawdust.
Additionally, chose a wood surface that
is clean, and unfinished. Do not burn on
top of any finishing product. Heating and
burning finishing products will release and
expose potenially toxic chemicals into the
air. Burning finishes can also create a gooey,
sticky, unsightly mess, ruining a project.
Smoke and solder absorber with a charcoal filter
VOCABULARY
• Pyrography/burning: used interchangeably
to refer to the process of burning material
to produce designs and textures.
• Branding/imprinting/stamping: used
interchangeably referring to placing a
hot wire, or other heated material onto
the wood surface to imprint a pre-made
pattern into the wood.
• Recovery time: the time it takes for the brand
to reheat itself in between individual imprints.
• Transformer: power source for the
pyrography pens.
• Port: the portion of the transformer in
which the woodburning pen is plugged.
• Burning pen: hand piece that holds the
nib/tip or brand to be heated.
• Pen body: handle of the pen, with or
without the tip/nib attached.
• Tip/nib: manufactured tip used to burn
or draw on the wood surface.
• Brand: tip used to imprint or stamp designs
onto the wood surface.
Use a leather apron to protect your clothing
01/03/2017 11:15

Equipment
There are a variety of transformers on the
commercial market, all with the basic design
of providing power to heat woodburning
pens. Features to consider upon evaluating
a machine for purchase will be discussed.
Manufacturers frequently have a variety
of models to choose from with varied
features and costs.
Transformers
Transformers accept pen cords with either
¼in phono plugs, or RCA jacks, while some
transformers have their cords hard wired into
the machine. Plugs used depend upon the
manufacturer.
If the user wants the flexibility of using
any pen made on the market, adapter plugs,
if not supplied with the transformer, can be
purchased where electronic components are
sold. Transformers come with either a single
port, or dual port. If it has a dual port, two
Examples of some of the pyrography units available
PHOTOGRAPH COURTESY OF GMC PUBLICATIONS
The Antex, Razertip and
Peter Child (below right)
units have different pen
styles, but all
have a similar wire
tip connection
PHOTOGRAPH COURTESY OF WOODART PRODUCTS
This Woodart unit has a variant of the tip connection method used on the above units
WT_304_19_22_PYRO_&_BRANDING_MW_PT_1_bdMBMW.indd 21
PYROGRAPHY TECHNICAL
pens may be plugged in at the same time.
A toggle switch will allow switching from
one port to the other. Having dual ports is
a convenience feature, so pens don’t have
to be plugged and unplugged as frequently
when using multiple tips on a project. The
transformer will be used for high temperature
burning, therefore select a transformer that
ensures a high power output. For manufacturers
that produce multiple models, the higher power
models will be their more advanced, high-end
machines. Transformer temperature range is
a feature to consider as well. A phono jack and RCA jack
THE BURNMASTER
The Burnmaster has a feature which allows the factory preset temperature range to be adjusted as
needed. On the face of the machine, at the No.3 temperature setting, is a hole. If the factory preset
range is too hot at the lowest setting, a hex wrench can be inserted into the hole, and rotating left
will lower the temperature range. Consequently, if the preset range is too low at the highest setting,
the hex wrench can be rotated to the right, to raise the maximum temperature.
PHOTOGRAPH COURTESY OF CLASSIC HANDTOOLS
PHOTOGRAPH COURTESY OF TURNERS RETREAT
The Burnmaster has a different form of interchangable tip arrangement
Optima 1 has a similar nib connection to the Burnmaster
Woodturning 304 21
23/02/2017 16:46
 Timber/wood selection
Wood selection on which to burn designs
or brand, depends upon what style of design
is chosen. Designs that involve imagery and/
or include crisp lines are recommended to
use species with a tight grain, with little
variant of hard and soft grain growth –
i.e. holly (Ilex spp.) , Bradford pear (Pyrus
calleryana), cherry (Prunus avium), birch
(Betula spp.), beech (Fagus spp.) – and don’t
have open pores – i.e. oak (Quercus spp.),
ash (Fraxinus spp.), catalpa (Catalpa spp.).
Stark differences of grain density within the
same timber – i.e. oak, catalpa, elm (Ulmus
spp.), hickory (Carya spp.) – can result in
blotchy lines and edges and visible differences
in the intensity of the burn. These are caused
by the woodburning tip having a lighter effect
on hard growth grain and darker/deeper
burns into the soft grain growth. Timber
selection for branded designs do not have
as many restrictions. Open pore and grain
variance are not as critical an issue, due to
the nature of how the design is applied to the
wood. Branding is stamping, or imprinting,
as opposed to drawing.
Overall wood density can be a factor
to consider if the wood is extreme in either
direction. If the wood is quite soft, such as
Spanish cedar (Cedrela odorata) or mahogany
(Swietenia macrophylla), the wall thickness
of the piece to be burned or branded should
not be very thin. A soft wood, thin walled,
vessel can easily be burned through, leaving
an unsightly hole ruining the project. Soft
wood will burn more easily, therefore lower
temperatures will yield crisper lines and
detail. Very dense, hard woods can present
other challenges. Hard, dense woods such
as osage orange (Maclura pomifera), black
locust (Robinia pseudoacacia) and oak can be
resistant to burning and imprinting. Higher
temperatures tend to yield better results, and
deeper imprints. It is highly recommended to
practise burning and branding on a sample
piece of the intended project wood to gauge its
response and properties as burning is applied.
Origin of wood species can be a factor in
burn quality. The moisture of domestic woods
to North America and Europe are generally
watery. Heat reaction to this moisture tends
not to affect the quality of the burn, unless
it’s freshly green. A turning made from fresh,
green wood is recommended to air dry at least
a week prior to burning. Use of exotic woods
harvested in more tropical climes often have a
more oily consistency to their moisture.
When burning and branding woods that
have an oil-based moisture, the heat can boil
the oils and present a gooey deposit on the
surface of the wood. The advantage of this
is achieving a jet black appearance to the
burned area as the carbon mixes with the
moisture, yielding a dark, rich colour, while
a disadvantage can be yielding a sticky mess,
as well as gumming up the brand. Swiping the
brand across a soft, brass brush will clean it,
while removing the stickiness from the project
piece can be done by wiping the piece with a
cotton cloth soaked with isopropyl alcohol.
Testing a scrap of wood ahead of time will
help decide whether it is a good candidate
for this form of enhancement.

Work space posture

When learning to turn, emphasis is placed on how to approach and
stand at the lathe while making cuts, holding the tools properly, such
as anchoring the handle of a bowl gouge to the body and moving
the whole body with the tool, through the cut. Awareness of body
positioning and anchoring to the work piece is critical to woodburning
as well. Establish a comfortable work space. Find a chair that provides
back support and promotes good posture. Place the woodburner where
it is convenient to reach, arrange a draw fan that is close enough
to the work to pull smoke away and ensure good lighting. It is
recommended to work with the piece in your hands, rather than
setting it on a tabletop. Working in the hands provides more flexibility
of movement, and range of motion. It allows the work piece and the
woodburning pen to be moved simultaneously. When the piece is
stationary on a tabletop, it restricts movement and flow of the pen.

Anchoring
Anchor the hand manipulating
the pen to the work piece
by touching the little finger
to the piece, as an outrigger.
The heel or side of the hand
can also make contact with
the piece, providing more
stability. Anchoring in this way
helps ensure a more steady touch
and more control.

Conclusion
The intent of this article is
to provide a foundation of
knowledge and information
to better begin the exploration
of enhancing woodturnings
through non-traditional use
of woodburning tools and
techniques. Safety, equipment,
timber selection and body
mechanics/work space have
been reviewed. In subsequent
articles the application of this
information will be explored
through practical examples
and how-to instruction. • When possible make multiple points of contact to the project for stability and control

22 www.woodworkersinstitute.com

WT_304_19_22_PYRO_&_BRANDING_MW_PT_1_bdMBMW.indd 22 23/02/2017 16:46

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 Arcs
David Springett turns a sculptural piece with hollow sections
ome years ago I saw an interesting ceramic artwork. Recently,
S from memory, I turned what I thought was a similar-looking
piece, making it much lighter with hollowed-out sections.
I spray painted the piece a single colour to define the form. However,
it looked a little plain so I rebalanced it and added a highlighted
white, textured section with matching white, textured base.
PHOTOGRAPHS BY DAVID SPRINGETT
The first piece was spray painted in one colour
WT_304_25_29_ARCS_DS_MB_bdMBDS.indd 25
This turned piece is made of four concentric U-shaped circular
troughs, which are then each cut in half and re-glued, fitting one
inside the other. To avoid leaving hold marks the turned parts were
held using the newspaper/glue technique. I chose to use oak (Quercus
robur) from which to turn the parts so that the grain pattern could
be emphasised on the chosen textured parts.
A white, textured section and a base were added later
Woodturning 304 25
23/02/2017 16:47
 PLANS AND EQUIPMENT

EQUIPMENT AND MATERIALS

Tools
• Small gouge
• 30cm metal straight edge
• Shelf toolrest (optional)
• A square-end tool ground from 1.2cm
deep by 5mm thick high speed steel
(see drawing four)
• White typist’s correction fluid
• A hammer and blunt dinner knife
• Newspaper and white PVA glue Materials
• 6mm dowel and 3mm cocktail sticks • Blank one: 235mm diameter by 25mm
plus appropriately sized drills thick piece of oak planed on one side
• Automotive spray paints: yellow primer/ • Blank two: 170mm diameter by 20mm
filler, red oxide primer and matte white thick piece of oak planed on one side
• Blowtorch, wire brush and protective • The base: A piece of oak
leather gloves 300 x 75 x 50mm
• Epoxy resin glue • 225mm diameter x 20mm thick
softwood disc

32mm (11/4in)

25mm (1in)
12mm (1/2in)
6mm 25mm (1in)
(1/4in) 9mm (11/32in)
A B C 20mm (3/4in)
6mm (1/4in)
20mm G H J
(3/4in) D E F

22mm 5mm
(7/8in) 16mm (7/32in)
(5/8in) 11mm
16mm (7/16in) 16mm 3mm (1/8in)
(5/8in) (5/8in) 12mm (1/2in)
6mm
(1/4in) 5mm (7/32in) 4mm (5/32in)

DRAWING 1 DRAWING 2 DRAWING 3

SQUARE-END TOOL
GROUND FROM H.S.S.
DRAWING 4

40°
5mm (7/32in)
12mm (1/2in)

Beginning the work

1 Screw a 255mm diameter by 20mm thick
softwood disc centrally to a metal faceplate.
Turn its face flat and true. Spread PVA glue to
the softwood surface then press a sheet of
newspaper onto that glued surface. Take blank
one and spread PVA glue to its planed surface.
Press that glued surface onto the newspaper
making a wood, glue, newspaper, glue, wood,
sandwich. Bring up the tailstock using the
revolving centre to apply pressure while
the glue dries overnight.

2 When dry, turn it to a 220mm diameter and

a precise 22mm thick. Make sure that the face
is perfectly flat and the edge is at 90° to the face. 1 2

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3 4
5 6
7 8
9 10
WT_304_25_29_ARCS_DS_MB_bdMBDS.indd 27
ARCS PROJECT
Turning part one
3 Draw a permanent centre line, with the grain,
across the face. Two U-shaped, circular
troughs will be turned from blank one numbered,
as they fit in the finished piece, one and three.
4 From the outer edge, towards the centre,
mark three pencil lines (see drawing one).
The first is 6mm in (line A), the second 25mm
from the edge (line B) and the third, line C,
is set 32mm from the edge.
5 Take the square-end tool and mark a position
16mm from its cutting edge. Place the tool on
the shelf toolrest with its cutting edge at centre
height and set at 90° to the face of the work.
Turn in, on the centre side of line A to the marked
depth on the tool, 16mm. Next, set the tool on
line B so that the tool cuts between lines A and
B. Turn to the marked depth, widening the cut to
prevent the tool from being gripped. Turn out the
remaining wood between lines A and B making
sure that the base is flat. Set the tool at 90° to
the face of the work, on the centre side of line C,
turning down until the supporting softwood disc
is reached. Clean up the outer and inner edges
of the U-shaped circular trough making sure to
keep all edges and corners crisp.
6 Using a blunt dinner knife and hammer,
split the newspaper/glue joint holding the
circular trough. Part one can now be set aside.
Turning part three
7 The remaining blank, still fixed to the
softwood disc, is now turned to 102mm
making sure that the outer edge is at 90° to
the blank’s surface. Using the same dimensions
from drawing one, set out lines A, B and C.
8 A U-shaped, circular trough is turned,
as before. When complete, split away
from the softwood faceplate. This will be part
three. Remove the remaining wood from the
softwood faceplate and clean the newspaper
which is still attached. Make sure that the face
is turned flat and true. Blank two (170mm
diameter by 20mm thick oak) can now be fixed
centrally to the softwood disc using newspaper/
glue as before. Pressure is applied from the
tailstock while the glue dries overnight.
9 Next, turn blank two to 16mm thick, making
sure that the surface is flat and true.
Turning part two
10 Measure the internal diameter of part
one. It should be around 158mm. Turn
the outside diameter of blank B to that measured
distance. With the lathe stationary, test part one
onto the blank two. Make adjustments until it
is a good fit. The, working from the outer edge,
set out lines D, E and F on blank B according
to drawing two.
Woodturning 304 27
23/02/2017 16:47
 11 Take the square-end tool and, using typist’s
correction fluid, mark a point 11mm from
the cutting edge. Turn between lines D and E
to the marked depth.

12 On the centre side of line F turn through

to the softwood faceplate. Split the turned
U-shaped circular trough from the softwood
faceplate. This is part two.

13 Take the previously turned part three and

measure its internal diameter. It should
be 50mm. Turn the blank, which is still fixed
to the faceplate, to that diameter, making sure
that its edge is at 90° to the face of the work. 11 12
Test part three onto the turned blank making
sure that it is a good fit. From this blank part
four will be turned.

Setting out and turning

part four
14 Referring to drawing three, mark a line
3mm from the edge. This will be position
G. Next measure 6mm from G towards the centre
to position line H followed by a further 3mm
to locate line J. On the square end tool mark
a position 12mm away from the cutting edge.
Turn between lines G and H to this marked depth,
then turn, on the centre side of line J, through to
the softwood faceplate. 13 14

15 When you’re satisfied, split the newspaper/

glue joint to release part four.

16 Four U-shaped concentric troughs have

now been turned.

17 Take each trough to the bandsaw and cut

along the permanently marked centre line.
Then lay out all of the cut pieces so you can see
everything and where it is.

18 Glue the matching halves together, making

sure that the edges and ends are aligned.

15 16

17 18

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 ARCS PROJECT

19 When the glue has dried, clean off the

residual newspaper/glue from each of the
semi-circular hollow parts. Trim the ends square
if necessary. Lay out the four parts, one within
the other, to form a satisfying shape. The parts
will be fixed together with dowels and glue.
To determine the position of these dowels,
judgement is required. Look for what you would
consider to be the ‘balance point’ of the larger
semi-circular part. Draw a pencil line up, from
that point, through all four parts.

19 20
20 Square those lines across their inner
and outer faces then mark a position,
on each, which is halfway. At those marked
positions on parts one, two and three, drill 6mm
holes. For the joint between the smaller parts
four and drill a 3mm hole for the cocktail stick
dowel. Cut the dowels to the appropriate lengths.

Painting and texturing

21 Apply a base coat of yellow primer/
filler automotive spray paint to parts
one, two and four. Rub down with wet and
dry then apply a coat of red oxide primer.
This primer gives a rich, matte red finish.

22 Part three and the base are textured

and coloured differently to add relief.
They are both burnt with a blowtorch and
21 22 scrubbed with a wire brush to expose the wood
grain. Be careful not to overheat the glue joint
on part three as it might spring apart.

23 Use yellow automotive primer/filler

for the base coat of each part, then
a finish coat of matte white.

24 The parts are assembled using epoxy

resin glue. Make sure that any dowel ends
that can be seen are flush with the inner edges.
Those ends should be coloured to match the
surrounding area.

25 Use your imagination to alter colours,

texture, position of the parts and grain
pattern to create your own, individual piece. •
23 24

A variation
in design
and colour

25

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030_031_WTUR_304.indd 30 3/2/17 9:14 AM
030_031_WTUR_304.indd 31 3/2/17 9:14 AM
 The bevel
Andy Coates looks at what is it, why is it important
and how do we use it to aid our turning practice?
hose who are new to woodturning are inundated with advice First we need to understand what the bevel is: the bevel is the

T and information from a wide range of sources. Most will be

at odds with other information, which is difficult for the fresh
novice to understand, and a lot of the information is littered with
buzzwords and phrases, most of which are never fully explained.
There are two such stock phrases that come up time and again: ‘the
bevel must rub’, and ‘technique doesn’t matter; it’s the results that
count’. Well, let us discard number two right now. The truth is that
you will never safely achieve what you hope to if you do not have
a firm foundation in technique. The first phrase, however, is worthy
of further comment as it is important but rarely expanded upon.
angled area of tool after the cutting edge, on the underside of the
tool. It is in fact the bevel that creates the cutting edge by creating
a ‘sharp edge’ between itself and the interior flute of the tool.
The line formed where the bevel ends and the shaft is unaltered
is referred to as the ‘heel’.
Think of a pencil... you create a point on a pencil by carving
a bevel on the wood around the lead. By altering the degree of the
bevel you can create a sharp or a blunt pencil point. The longevity of
that point is a compromise between sharpness and angle of the bevel.
So it is with woodturning tools.

How is the bevel formed?

When you buy your woodturning tools they will come pre-ground, often ‘ready for use’, so for
the novice it is not necessarily apparent how the bevel was formed, or for that matter, why it was.
PHOTOGRAPHS COURTESY OF ANDY COATES

Milled round bar bowl gouge with tip removed On a bowl gouge, the shaft under the flute is ground As the ground area, the bevel, increases,
to show cross section anywhere it travels towards the flute

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 THE BEVEL TECHNICAL

We can see clearly here how the bevel

produces the cutting edge. The angle of the
bevel can affect both the sharpness of the
edge and its resistance to wear. A sharper
edge will dull quicker, but cut cleaner.
In order that the cut is consistent, and
repeatable, the bevel needs to be continuous
and of a single facet, and the length of the
bevel also has a part to play; a shorter bevel
may be easier to control. The size and shape When it meets the flute, the angle between the bevel This style of grind is called a ‘traditional’ grind.
of the flute also have a role to play. A larger and the flute creates the cutting edge There a number of variant grinds for bowl gouges
radius flute, for instance, will invariably
produce a poorer cut, and a flute with a tight role of the bevel is to support the cutting have contact on the wood, supporting
base radius will form a more pointed nose edge and direct it in the cut; this is how the cutting edge through the cut, and
shape, which may be difficult to control. we achieve the shape we want rather than through bodily direction from the user
However, in every variant the role of the the shape the tool dictates. cause the tool to impose shape to the object
bevel remains consistent: supporting and being turned. This may be full or partial
directing the cutting edge. Rubbing the bevel bevel contact; the important thing is that
‘Rubbing’ can be a misleading term for it does contact, i.e. ‘rub’, the wood. If only
The bevel is formed a novice. It may seem to indicate some the cutting edge is in contact, the cut will
Having looked at how and why the bevel is backward and forward motion, as for be uncontrollable and potentially dangerous.
formed, we now need to look at how it can rubbing wax onto wood, when in fact Let us look at a simple tool to see how
impact our turning practice. Essentially the it simply means that the bevel should this works.

The bevel and shaping the outside of a bowl with a bowl gouge
The bevel is the key to producing shapes and it is only by developing skills in controlling it that we can hope to realise the shapes we conceive in
our mind. Think of the bevel as a SATNAV for the cutting edge; without it the cutting edge is unlikely to reach its destination by the best route.

When ‘facing off’ a blank in the chuck, the area of bevel under the flute can be When beginning to shape a bowl the tool is anchored with the hand on the toolrest
used to help produce a flat surface. The cut is a push cut and the flute is facing and pushed into the wood at an angle. As soon as the cut begins, the bevel comes
away from you pointing to about 2 on an imaginary clock face in front of you. in to play to support the cutting edge. This provides stability and control
The cut will be flat and true

If all you do is push the tool forward you will end up with a flat-sided cone, In order to impose a shape on the wood you need to apply pressure on the bevel.
the angle of which will precisely match the angle on the tool as it takes If you gently pull the handle towards you as you feed the tool forward, the bevel
the path of best support and least resistance will drive the cutting edge in a gentle convex curve. If you push the handle away
from you, the curve will be concave

Woodturning 304 33

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 The bevel and shaping the interior of a bowl with a bowl gouge
The bevel on any turning tool is not a single point, it is a plane that progresses around, or across, the shaft of the tool, sometimes varying in size,
as on a bowl or spindle gouge; learning to understand what this means and how to manipulate it should be high on the skill acquisition list.

The underside of this bowl gouge is marked with three
lines. Number one directly under the flute, number
three near the top of the bevel close to the cutting
edge and number two between these two
An entry cut would see the cutting edge of the tool
enter between one and two. The back of the tool shaft
is anchored with the thumb and the tool is pushed
forward into the wood. As the cut progresses, the tool
handle is pulled back to your body
As the cut progresses the handle is gently twisted
towards you so that the tool cuts at position three.
This moves a shorter area of bevel onto the wood,
allowing more control around the curve. You may
still struggle at this point

A common solution to the problem is to grind the heel off the tool, creating This new bevel, blackened here for clarity, is not used in turning.
a ‘secondary’ bevel. The aim here is to produce a shorter bevel which will It is simply a relief grind to provide a smaller working bevel to allow
travel around a tight curve much easier tighter curves to be traversed

The spindle roughing gouge (SRG)

The SRG is a tool with a large flute, a bevel at approximately 45°, and so on, and never for faceplate mounted work – where the grain
and unusually for a woodturning tool, a tang with which the tool is rubs at 90° to the lathe bed – bowls and dishes and so on. Its primary
mounted in a handle. This tool is only ever for use on ‘spindle stock’ function is to turn square stock down to a cylinder in preparation for
– where the axif od the grain is parallelto the bed bars – chair legs applying shapes and features with a spindle gouge or skew chisel.

The bevel is formed at about 45° to the shaft, The flute of the SRG is deep and open. If you were to present the SRG at 90° to the workpiece
and is ground in what is called a ‘straight This facilitates the rapid removal of shavings you can see that only the sharp edge is touching the
across’ style from the roughing down operation wood. This would be uncontrollable in the cut

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 THE BEVEL TECHNICAL

Presented somewhere between 10 and 45° to the Working from the left off the end of the If you apply too much pressure on the bevel it will
workpiece, the cut becomes controllable as the bevel workpiece (supported by the toolrest) take force the heel into the timber, producing a bruise.
supports the cutting edge gentle cuts. This will produce a clean cut Back off the pressure to alleviate

SAME TOOL, DIFFERENT BEVEL

The same tool may be ground with different
bevel styles for different tasks. Here, a pair of
identical 10mm spindle gouges have a ‘long’
and a ‘conventional’ grind. The longer grind
works well for detail work in tight corners,
while the conventional ground tool is a good
all-rounder for spindle shapes. The longer grind
can be achieved by hand but is easier to produce
using a dedicated jig. It is advantageous to have
one of each on your tool rack. Bowl gouges can
ground in a similar manner too.

The bevel on spindle work

The bevel is perhaps at its trickiest to control on spindle work and accordingly can take some time and effort to get the better of, but one thing
is certain, it will pay dividends far in excess of the investment in time and effort.

Just as on bowls, the bevel must be controlled in order to dictate shape. In order to use the bevel to form a cove, the tool is presented at an angle,
Here the tool was simply pushed in to the wood. The resulting shape pivoting at the centre, and the tool handle is pushed to the right and fed slowly
is simply a facsimile of the bevel angle. The tool has made the cut out as the cut deepens. The bevel describes an arc that the cutting edge follows

Woodturning 304 35

WT_304_32_36_BEVEL_AC_MB_bdSDAC 2.indd 35 23/02/2017 16:50

 The cut should end at the midpoint of the cove to prevent cutting ‘uphill’, The tool is moved over to the opposite side, and using an opposite angle
or against the grain the cut is taken in the same fashion. As the cut progresses the tool is twisted
in the opposite direction to end with the flute roughly pointing directly
upwards, though at a slight cant

Here we ‘feather’, or blend, the two cuts together to create a flowing shape To produce a bead on a spindle the bevel of the spindle gouge is equally
ending at the middle, and lowest point of the cove important. The bevel ensures the cutting edge describes the shape
if presented correctly

Limitations
In writing this article I am aware that I have cleverly avoided one of
the primary areas of discussion in respect of bevels on woodturning
tools; that being bevel angles. This was a conscious decision.
Most woodturning tools come pre-ground with a perfectly
serviceable bevel angle and if the novice woodturner maintains that
angle they are unlikely to hit any great problems in respect of that
angle. It is highly likely that as your skill level and understanding
increase, you will begin to alter pre-set angles to ‘tune’ your tools to
your own style, stance, and presentation. You may already have noted,
for instance, particular grinds that appear to be the same but have
different names; these are largely the result of slight alterations made
by one turner in preference to the angle and style of another.
Each works, but in a slightly different manner. In time you may
develop your own angle/style combinations that differ from the norm.
In the meantime, you can trust the tool manufacturers to have
ground the tool in one of a number of suitable styles and angles.
Your main concern will be maintaining those angles when you
re-grind the tools... and that is a whole other article.

Remarks
This can only be a cursory look at the bevel,
and I have not covered the skew, scrapers,
or parting type tools. The bevel of the skew
and the parting tools can be utilised in much
the same manner as described for the gouges
already mentioned, while scrapers do not
utilise the bevel at all; it is simply the manner
in which the ‘wire edge’ that does the cutting
is produced, and thereafter plays no part
in the use of the tool.
The bevel is paramount to achieving the
shapes we intend in a safe and controlled
fashion, and mastering it will benefit your
technique tremendously and allow you to
dictate shape on the wood rather than have
the tool dictate it for you, which is rarely
an appealing outcome. There are other
factors which influence the bevel, such
as body position, style of tool hold, wood
type and density, wet or dry wood, flute
shape, steel/tool quality and of course,
ability, but with a basic understanding
of the principles most of these factors
can be anticipated and overcome. •

36 www.woodworkersinstitute.com

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037_WTUR_304.indd 37 2/24/17 3:08 PM
 Redwood
spice rack
In part one of a new
project, Colwin Way
makes a spice rack

s I’ve mentioned several times

A in previous projects, a lot of my

inspiration comes from the people
I visit or the people around me, and this
month’s project is no exception. In 2001 I was
very lucky to be invited down to Puy-Saint-
Martin in southern France to demonstrate
at a show organised by French woodturner
Jean-Francois Escoulen. This was my first
show in France and really the first time
I was truly immersed in southern French
culture, by which I mean stopping at
1pm for a three-hour lunch break in the
full sun while tucking into paella
served from the biggest paella
dish I’d ever seen, plus
being forced to take part in
toasting the morning’s work
with a glass of the local
grape juice. Even though the
demonstrating was hard and
hot work, I still had time to go
and see other turners, of course
I went straight to the French
turners and in particular Alain
Mailland and Thierry Martenon
as their work struck me as being
really different and exciting.
As a way of remembering my
travels I tend to, if I can afford it,

buy a couple of pieces for my collector’s shelf
at home and in this instance I bought a rose
made from pistachio root by Alain for my wife
and a couple of leaning pots by Thierry for me.
every day. The shape of these pots has always
grabbed me and I’ve often thought about
making something inspired by Thierry’s great
design. So with this project my intention is to
As you can see, Thierry’s original pots lean
over and to stop them from falling they have
a lot of weight left in the bottom, which is
something we would normally try to remove.
PHOTOGRAPHS BY COLWIN WAY

These two pots have lived in my kitchen since
this trip, one is used for storing garlic and the
other for kitchen utensils. This is probably
sacrilege to the purists, but they are really
useful pots and this way I get to see them
repeat the leaning pot design in miniature and
use them as vessels for a spice compendium.
As this is a fairly large project we’re going to
break it up into two parts, the rack in this
edition and the lidded pots in the next issue.
However, I want my pots to do the same when
placed on the table but also when sat in the
rack. So as well as sanding a small offset flat on
the bottom of the pots, we’re going to create
recesses in the rack to place the pots into.

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 SPICE RACK PROJECT

The pots made by French woodturner Thierry

Martenon. The lighter pot (left) is made from
beech and the darker pot (right) from acacia

Timber choice
and preparation
My first thought when thinking of material
for this project was to go for two timbers,
one for the rack and one for the pots.
However, when I started rooting through
the timber store I found some lumps of
giant sequoia (Sequoiadendron giganteum)
that I’ve had for over 15 years and I thought
it would fit the look perfectly to use this
both on the rack and the pots. For the
pots I’m going to use redwood (Sequoia
sempervirens) burr, which is an extremely
tight burr with no real grain direction, but
for the rack I will use cleaner timber with
less burr and an obvious grain direction.
However, although I had the perfect size
pieces for the pots, I couldn’t quite find the
same for the rack so will have to split the
timber down and rejoin.

EQUIPMENT AND MATERIALS

• Bandsaw
• Planer
• Sash cramps
• G clamps
• PVA glue
• 12mm drill bit
• 28mm drill bit
• M12 35mm bolt
• M12 nut
• M12 washer
• 6mm bowl gouge
• Socket wrench
• 25mm skew chisel
• Callipers
Selecting the timbers for the spice rack • Dividers

Woodturning 304 39

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 PLANS
38mm (11/2in)
200mm (8in)
28mm (11/8in)

20mm
(3/4in)
28mm (1 /8in)
1

105mm (41/8in)

28mm (11/8in)
12mm (1/2in)

18mm
(23/32in)

150mm (6in) 12mm (1/2in)

148mm (513/16in)

50mm (2in)
12mm (1/2in)

7mm (9/32in)

28mm (11/8in)

110mm
(41/4in)

45mm (13/4in)
12mm (1/2in)

75mm
(3in)

12mm 200mm (8in)

(1/2in)
10mm
28mm (11/8in) (3/8in)
50mm (2in) 28mm (11/8in)
330mm
Offset plate (13in)

62mm (21/2in)

48mm
(115/16in)

12mm
(1/2in)
150mm
(6in)
Bearing base

24mm
(15/16in)

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1 it. With a clean 90° surface to one edge and
2 3
4 5
6 7
WT_304_38_43_SPICE_RACK_CW_bdMBSDCW.indd 41
SPICE RACK PROJECT
1 Now we’ve selected the timber, clean up one
side of the board with the bandsaw. Scribe
one side with a straightedge, being sure to take
out cracks or defects before slicing to this line.
2 Make sure the timber has a square edge and
clean face, so first surface plane one face
before using that face against the planer fence
in order to square the edge to this face. Notice
that any part of the planer knife not being used is
covered with the bridge guard; if the timber is thin
enough this bridge guard can cover the whole
cutter block and the timber pass under it; in this
case the timber is too big so has to pass beside
face, use the bandsaw to rip the board into two
before passing through the thicknesser, making
both pieces ready for gluing.
3 Cut the boards straight, then glue the two
parts together using PVA glue. Wipe off any
excess glue before it dries, then leave overnight
to dry. It helps to gently clamp both ends with
a G clamp where the two boards meet before
tightening the sash clamps, stopping the boards
from sliding when put under pressure.
Offset turning and jig
4 Once the board is dry, prepare the cut
blanks. There are two pieces to prepare:
one measuring 200mm for the bottom tray
and one 150mm for the top tray. Using a set
of dividers or a compass, mark out your two
discs then cut them out on a bandsaw (or a
jigsaw). To mount the discs on the lathe, drill a
couple of holes, firstly a large hole of 28mm to
a depth of 15mm and then a 12mm hole going
all the way through the blanks. It’s best if you
can to use a Forstner bit held in a pillar drill for
accuracy and safety.
5 Before shaping, clean up the underside and
edge of the bottom tray. Hold the blank in
your chuck with suitable jaws. Start with a bowl
gouge to clean up the outside edge, before
cleaning the face. Sand to a good finish.
6 Next, turn a series of holes in the two discs
to sit the spice pots in; to do this you need
to offset the blanks. Here’s a simple jig to help.
The drawing’s dimensions can be changed to
suit your projects. Using a 24mm thick piece of
ply cut to a 330mm disc, accurately mark the
centre points on both sides of this disc. On one
side measure 62mm from the centre point, then
at right angles to this and again from centre
point measure another mark at 48mm. On both
of these marks, drill a 12mm hole through the
blank. From these marks draw a straight line
through the centre point to the edge of the disc.
7 Fix the plywood disc to a faceplate and
screw onto your lathe, the plate is now
ready to attach the blank. Use a 35mm M12 bolt
through the offset plate with a 22mm washer
and M12 nut to secure the blank in place.
Woodturning 304 41
23/02/2017 16:54
 8 Mark the positions of each recess you intend
to turn into your blanks, these marks have to
be visible on the edge of the blank in order to line
up with the lines you drew on the ply disc.

9 When everything is in line, tighten the blank

into position with a socket wrench. Be careful
not to crush the timber if using soft timber. It’s
sensible to have the lathe disconnected from the
power while doing adjustments.

10 Now held securely, we can start turning.

One word of warning, especially if this is
your first time turning off-centre. Before starting
the lathe, turn its speed down minimum and, 8 9
if you don’t have a variable speed machine,
adjust it to run at its lowest belt position. Start
the machine low and slowly turn the speed up
to a safe running speed; you need to have the
lathe under control and not moving around while
turning or your cuts will echo the movement.

11 Mark the circumference of your recess with

a pencil before touching the blank with your
chisel. In this case, the recess diameter is 50mm.
If all is well, loosen the nut holding the blank, turn
the blank to the next position and re-tighten, then
repeat the process.

12 Repeat this process until all holes are

made and the blank looks like this, then
remove it from your offset plate and repeat on 10 11
the top tray. The top tray has a smaller recess
diameter of 38mm and uses the offset plates’
other securing hole of 48mm from the centre
point; again mark with a pencil before turning.

Fitting the bearing

13 The spice rack needs to be able to turn so
no spice is ever at the back and to do this
we need to use a Lazy Susan bearing. Fitting the
bearing is fairly simple, requiring a shallow recess
in the bottom of the main lower tray. There are
many ways to hold the blank to turn this recess
but I found it easier to use a set of button jaws.
Cut the recess to 105mm in diameter and 7mm
deep for the 75mm bearing to sit into.

12 13
14 You want the bearing to sit up off the work
surface, so you need a base for it to sit
on – a piece of ply once again works really well.
This ply is 10mm thick and 150mm in diameter.

15 With the disc out, clean up; again there’s

many ways of doing this but I’ve opted
for a wood plate jaw. The wood plate jaw means
you can create a shallow 3mm hold point and flip
the disc to access both faces of the ply disc. Here
you can see how to attach the bearing to both
ply plate and redwood blank. Screw the bearing
central to the plywood plate then rotate the plate
so you have an eight-pointed star pattern, mark
one of the unfixed hole positions, then drill a
12mm hole all the way through the ply disc. This
is now your access point to screw the bearing to
the underside of the redwood bottom tray. 14 15

42 www.woodworkersinstitute.com

WT_304_38_43_SPICE_RACK_CW_bdMBSDCW.indd 42 01/03/2017 11:26

 SPICE RACK PROJECT

Finishing touches
16 Rather than leave the top of the trays
flat, it’s far more attractive to turn a slight
curve to this surface, however, caution needs
to be taken as you’re turning over the recesses
you’ve already created. Use the wood plate jaws
once again to hold the tray.

17 Position the toolrest slightly lower than

normal and drop your bowl gouge handle
low; this works better the longer you’ve ground
the wings of your gouge. Turn the flute of your
gouge in to the workpiece at around 9 o’clock
to take a sheer cut, gently skimming the surface.
16 17

18 When you’re happy with the shape, sand

the top to a finish, being careful not to
soften the leading edge of the recesses.

19 Now you can think about the stem and

the handle before fitting the rack together.
It’s important to keep the design running through
the project and as we already have a clear design
for the pots, we can use this in the stem too.
Thinking back to Thierry’s original pots and the
lines, we can incorporate them here, not too
thick; this piece measures 28mm by 130mm long.
You can drive the blank with any drive as long as
it’s smaller than the tenon you’re going to put on
its end.

18 19
20 The centre stem lines can be put on
with a skew chisel, either freehand or
marked out with a set of dividers first. If you cut
with the skew stood up, you can get a really clean
cut, which is especially good for softer timber,
however, if you turn the skew onto its side you
can achieve a much wider V cut.

21 The tenons are critical to the strength of

the rack so take your time with them to
make sure they fit perfectly. Use a set of callipers
sized over the drill bit used to drill the holes in the
redwood trays, start cutting with a 6mm parting
tool until the callipers drop over the tenon.
Always test fit the tenon before assuming they’re
the correct size as you may need to skim a little
more off for the perfect fit.
20 21

22 The handle at the top of the spice rack is

used to turn the piece. You can see I’ve
laid the skew down to show you the alternative
cut. The tailstock end of the handle still has a
small amount of waste that will need to be taken
off; this can be done first with a pull saw, then a
small disc sander. Use a bowl power sanding pad
either in the lathe or held in a cordless drill with a
400 grit disc in to sand out any sign of holding.

23 Here are the various parts dry assembled.

I’ve oiled this piece with finishing oil,
which gives it the dark red colour. •

Next month
I will be making the small pots that accompany
22 23 this spice rack and ladle-type spoons.

Woodturning 304 43

WT_304_38_43_SPICE_RACK_CW_bdMBSDCW.indd 43 23/02/2017 16:54

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044_WTUR_304.indd 44 2/28/17 10:33 AM

 Segmented bowl
Sue Harker makes a laminated open segmented bowl
by gluing half rows of open segments to two half bowl blanks

pen segment turning holds a special

O interest for me. I’m always trying to

think of other ways to introduce them
as an accent into my turning. The inspiration
HANDY HINTS
1. When following a pattern like the one shown in this article, it’s advisable to check you
have correctly placed the segments in the segment wheel by sitting the bowl blank,
for this particular bowl came from seeing with row(s) already glued, over the top of the segments.
a donut-shaped bowl turned from multi- 2. Before sanding the bowl, check for any glue gaps. These can be filled with superglue
coloured lengths of timber, laminated to mixed with timber dust. To avoid staining, coat the surrounding area with oil before
create the bowl blank. Looking at the bowl applying the glue/dust mix.
I could visualise one of the lengths of timber 3. When turning the laminated bowl blank into the round start, the lathe at a low speed.
being replaced by rows of open segments. For this blank the lathe was set at approximately 250rpm until the timber was more balanced.
Traditionally, open segment bowls are
made with segment rows running parallel
to the base and not through the base as
with this bowl.
The prototype bowl was constructed
from several lengths of timber I had in
the workshop. As with all laminations it’s
important for all the gluing surfaces to
be totally flat and the segment strip needs
thicknessing at the same time to minimise
thickness discrepancies. Using one of my To assist in positioning the segment rows more To enhance the appearance of the finished
18 open segment wheels and half rows of accurately, measure the width of one of the bowl ensure the segments are placed with the
segments I constructed several rows of
PHOTOGRAPHS BY SUE HARKER

segments and glued all the pieces together
to create a bowl blank. This prototype
gave me the opportunity to overcome any
problems I may encounter without wasting
precious bowl blanks.
segment to find the centre and mark 2.5mm either
side. These two marks will represent the gap
between the segments on the row already glued to
the bowl blank. The best segment space for this
to be placed is in wheel position 4.
direction of grain facing the same way. To do
this select the segments required to form the
half ring and sit them next to each other,
as shown in the photograph, so you can check
the direction of grain.

Woodturning 304 45

WT_304_45_49_PRO_SEGMENTED_BOWL_SH_bdMBSH.indd 45 23/02/2017 16:57

 PLANS AND EQUIPMENT

EQUIPMENT AND MATERIALS

Tools • Proxxon carver with flat carving • One length of zebrano (Microberlinia
• Full face respirator blade fitted brazzavillensis) – 50 x 50 x 300mm
• Dust extraction • 20mm standard grind bowl gouge cut into segment strips – 7mm thick x
• Planer/thicknesser • 6mm standard bowl gouge 42mm wide
• Bandsaw • 3mm parting tool • Two lengths of sycamore (Platanus
• Vernier callipers • Negative rake square edged scraper spp.) – 50 x 50 x 300mm long cut into
• Steel rule segment strips 7mm thick x 42mm wide
• 18 segment wheel Materials • Titebond Moulding and Trim Woodglue
• Clamping jig • Zebrano bowl blank – • Abrasive discs 120, 180, 240,
• Clamps 230mm diameter x 50mm 300, 400 grit
• Rotary sander • Sycamore bowl blank – • Cyanoacrylate adhesive
• Drill with sanding arbor fitted 190mm diameter x 40mm • Finishing oil

227mm (87/8in)

6mm (1/4in)
Wall Thickness

100mm
(4in)

Sycamore
1/2 Bowl Blank
190mm x 40mm Thick
(71/2in x 15/8in)

7 Rows of open segments

Zebrano Half Bowl Blanks

227mm dia. x 50mm Thick
(87/8in x 2in)

95mm (33/4in)

OPEN SEGMENT PATTERN

(18) 1 2 3 4 5 6 7 8 9 (10)

ZEBRAND SYCAMORE 1/2 SIZE SEGMENTS

46 www.woodworkersinstitute.com

WT_304_45_49_PRO_SEGMENTED_BOWL_SH_bdMBSH.indd 46 23/02/2017 16:57


1 2
3 4
5 6
7 8
WT_304_45_49_PRO_SEGMENTED_BOWL_SH_bdMBSH.indd 47
SEGMENTED BOWL PROJECT
1 Run a bowl blank of zebrano 230mm diameter
x 50mm through a thicknesser to smooth both
surfaces. Mount on the lathe and true up
the edge, then cut in half along the length grain.
2 Place one half on an 18 open segment
wheel and measure between two of the
‘spokes’ where the timber sits. For this bowl
the measurement is 37mm. This is the width
of segment required to clad the bowl half.
3 Transfer the segment measurement to
the bandsaw by securing the rip fence
37mm from the blade and set the angle mitre
to 10°. Using the strips of timber prepared earlier
cut 21 zebrano and 39 sycamore segments if
you choose to follow the pattern I have used.
This is done by passing the wood through the
blade then turning the strip over and passing
through the blade again.
“... different colours
have been used
to highlight the
half segments.”
4 For the half segments cut the 10° angle on
the segment strip, then set the angle mitre
to zero and set the rip fence to 18.5mm from the
blade. Cut the angled section off. Repeat this
process for three zebrano and three sycamore
half segments.
5 For the first row of open segments nine
of the sycamore segments are used.
Place them in segment spaces, one through
to nine on the open segment 18 wheel and coat
with glue. The glue I use is Titebond moulding
and trim woodglue, which dries clear and has
a 30 minute clamp time.
6 Place the zebrano half on top of the
segments and ensure the bowl blank is
squarely positioned; to do this, place a couple
of segments in segment positions 18 and 10
and sit a 5mm thick small board of wood along
the spokes.
7 Place in a clamping jig and apply downwards
pressure. Clean out the surplus glue and leave
in the clamp for 30 minutes.
8 For the next row some half segments will
be needed. Place eight full-size segments
in the wheel in numbers one through to eight,
following the segment pattern. Position two half
segments in positions nine and 18: here you can
see halves of different colours have been used
to highlight the half segments. Coat with glue
leaving a strip down the centre of the segments
as this will be where the gap between the
segments on the first row will sit.
Woodturning 304 47
01/03/2017 11:31
 9 Position the bowl half with one segment
row attached over the segments aligning
with the half circle. Place the small 5mm
board of timber across the face to assist
with alignment. Apply clamped pressure
for approximately 30 minutes.

10 The segments for row three are all

full-sized segments and are placed
in segment positions one through to nine.
Here you can see the direction of the grain
being checked with the previous row.

11 Continue with the segment pattern for

a further four rows – seven rows in total.
For row seven, only sycamore segments are
9 10

used to match row one. Coat them with glue

and align the other half of the zebrano bowl
blank over them. Place under clamped pressure
for approximately 30 minutes.

12 Next, glue the two sycamore half

bowl blanks to either side of the
segment laminated zebrano bowl blank.
This is best done one at a time using clamps
to apply the pressure needed. To assist with
alignment place the flat side of the blank on
a flat surface and use clamps to apply the
pressure needed. Repeat the process with
the second sycamore half and leave to cure
for at least 24 hours before turning.
11 12

13 Using a 100mm diameter by

approximately 25mm thick piece of
timber turn a sacrificial chucking spigot the
correct size for the jaws being used. Mark the
centre point and draw a line through it.

14 Mark the central position where the

sacrificial chucking spigot is to be placed.
Apply super glue to the front face of the sacrificial
chucking spigot and activator to the surface of
the laminated blank. Use the line drawn through
the centre to align and hold down for a few
seconds. Leave to cure for a short time before
pre-drilling pilot holes and fastening securely
with two screws.

13 14
15 Loosely secure the sacrificial chucking
spigot now securely fitted to the laminated
bowl blank in the chuck with large jaws fitted.
Bring up the taildrive and locate in the centre
gap between the segments and tighten. The
chucking spigot might move slightly within
the jaws as the bowl blank aligns itself more
centrally. Now tighten the chuck to secure
the bowl blank in place.

16 Leaving the taildrive secured in place

for additional support, turn the bowl
blank into the round using a 10mm standard
grind bowl gouge. Next, shape the underneath
of the bowl and foot.

15 16

48 www.woodworkersinstitute.com

WT_304_45_49_PRO_SEGMENTED_BOWL_SH_bdMBSH.indd 48 23/02/2017 16:57

 SEGMENTED BOWL PROJECT

17 Refine the foot and cut a chucking spigot

the correct size for the jaws being used.
This will be used for remounting the bowl to
shape the inside.

18 Sand the bowl using a rotary sander,

starting with 120 grit and working through
180, 240, 320 and finishing with 400 grit.

19 Remove the screws from the sacrificial

chucking point and remount the bowl
blank using the chucking spigot cut earlier.
Using a 10mm standard grind bowl gouge turn
away the sacrificial chucking point and true
17 18 up the front face.

20 Remove the timber from the centre

of the bowl as you would a standard
bowl blank, taking extra care when cutting across
the gaps. If too much force is applied to the cut
the tool will knock and impair the cut: here you
can see the wall thickness of the first 25mm of
the bowl being refined.

21 Work down the bowl in step cuts until

the wall thickness is even throughout.
Sand the inside of the bowl using the same
grits as before. Clean out the dust between the
segments or if you have a compressor, attach
an air gun and blow out the dust, ensuring you
are wearing the appropriate dust protection.
19 20

22 To remove the chucking spigot mount

a small bowl blank on the lathe and turn
it into a similar profile to the inside of the bowl.
Lay a piece of non-slip router matting over the
dome and position the segmented bowl over.
Bring up the taildrive and locate in the original
hole used for the first mounting. Tighten the
taildrive to centralise the bowl. Rotate the lathe
by hand to check how true the bowl is mounted,
re mount if required. Tightening the taildrive will
create a friction drive for the foot to be removed.

23 Using a 6mm standard grind bowl

gouge gently turn away the excess
timber leaving a pip large enough to still support
the bowl. Sand the accessible area using the
21 22 same grits as before. Remove from the lathe
and remove the pip with a carving tool and then
sand to a satisfactory finish.

24 To finish apply several coats of finishing

oil to the entire bowl, taking particular
care between the segments. When totally dry
the bowl can be buffed with Tripoli compound
applied to a polishing wheel for the outside and
a polishing mop for the inside. Open segment
18 wheels are available through my website. •

23 24

Woodturning 304 49

WT_304_45_49_PRO_SEGMENTED_BOWL_SH_bdMBSH.indd 49 23/02/2017 16:57

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050_WTUR_304.indd 50 3/2/17 4:02 PM

051_WTUR_304.indd 51 2/24/17 3:08 PM
 Pat Johnson in profile
The ex-Air Force man is as committed to passing on his skills and
forging new friendships as he is the professional business of
turning. Catherine Kielthy tracks him down in the Australian Bush

ike so many turners, Pat Johnson says engraving/sign-manufacturing, 10 years with his postings to different towns and cities

L that meeting people is one of the

highlights of the trade. The career
choices of this masterly turner, who hails
from the peninsula town of Stockton in mid-
New South Wales, certainly appear to mark
him out as a people person: farmhand at an
agricultural research institute; industrial
the Royal Australian Air Force; police dog
handler; and a physical training instructor.
(Okay, people and dogs!)
We can’t help wondering if this desire to
reach out and the ability to connect is linked
to his peripatetic childhood – Pat’s father was
also an RAAF man and the family followed
across Australia. His father may have also
passed on an interest in wood. “Looking
back, I find it interesting that my father
started his working life as a wood machinist,”
muses Pat. “During my school days working
with wood was one of the three subjects I
enjoyed most along with art and physical

52 www.woodworkersinstitute.com

WT_304_52_56_PROFILE_PAT_JOHNSON_bdSDMBPJ.indd 52 06/03/2017 11:53


PPHOTOGRAPH BY BEC DAVIES
Artist of the Month at local gallery
education.” It was, however, Pat’s father-in-
law who set him on the turning path. “While
serving in the Air Force, I met my wife Robyn
and it was through her dad Norm (“Curly”)
that my passion for turning began.”
In 1996, he left the RAAF and moved
closer to Robyn’s family in Grafton, north
New South Wales, where he spent as much
time as he could gleaning information from
Norm as well as other local turners. During
this time he also had opportunities to attend
demonstrations with Australian turners
including Neil Scobie, Lindsey Dunn and
Terry Martin. “These guys inspired my own
work. I will never forget the workshop Neil
organised when Jean-François Escoulen
came to our area. Th is was a real turning
point for me, as both Neil and Jean’s work
influenced me artistically.” The books of
WT_304_52_56_PROFILE_PAT_JOHNSON_bdSDMBPJ.indd 53
Coolibah ‘Bush Nut’
Dale Nish, Richard Raffan, Burt Marsh and
David Ellsworth also made an impact. “These
gentlemen were inspirational in the early
days of my journey.”
Starting out
The beginnings of his woodturning business
go back to 1998. “I was fortunate enough
to acquire work producing antique replica
items such as finials, caster cups, table
legs and furniture raisers,” he recalls,
“and this repetitive turning increased my
IN PROFILE TECHNICAL
PPHOTOGRAPH BY ROBYN JOHNSON
understanding and ability to use tools such
as the detail spindle gouge and the bedan,
giving me a foundation to build on.”
Even in the early days, however, he realised
that producing one-off artistic pieces – which
he loved to do – wouldn’t pay the bills. “I
had to manufacture items that would sell.
Items that the people from Japan were
buying in our country, for instance, were
different than those that the local people
were buying. Generally speaking, Australians
are a practical lot with a bent towards
functionality, so if you can’t use it, it doesn’t
Woodturning 304 53
06/03/2017 11:53
 sell.” (Pat’s words, not ours, readers!)
Pat has used this cultural analysis of
his customer base to develop and shape
his business. “These days, it consists of
approximately 30% production turning, 30%
gift /market items and 20% gallery work with
the rest made up of marketing, development
and demonstration opportunities.”
Making a living is only one of the
motivating factors behind Pat’s turnings.
“Early on, I became intrigued by how I could
be totally absorbed in an activity that not
only produced an item that could be used in
everyday life, but that the activity itself could
take me away from the pressures of that life,”
he explains. There’s also his desire to make
high-quality, well-designed pieces. “Each
piece of wood not only has a story in itself
but has a beauty that I strive to highlight.
The array of timbers woodturners have
PPHOTOGRAPH BY LOUISE MOLLER
Red Gum ‘Siblings’
54 www.woodworkersinstitute.com
WT_304_52_56_PROFILE_PAT_JOHNSON_bdSDMBPJ.indd 54
access to never ceases to amaze me – the
colours, varied densities, and the natural
properties that lend themselves to possible
shapes and designs.”
As his skills have increased, Pat’s style
of turning has also developed. He is careful,
however, not to copy other turners’ ideas even
though he keeps a close eye on their work.
“I try to interpret their ideas and combine
them with my own ideas, hopefully coming
up with new ideas.” He also keeps an eye
on market trends and adjusts his turnings
accordingly, but he is keen to, “come to a
place where I am producing work for myself
and not items that are governed by the
marketplace.” In the meantime, he promotes
his work via the phone and the internet,
but he believes local markets remain a great
means of promotion “as the old method
of word of mouth never fails” and people
can view his work and engage in the social
contact and conversations that help others
understand the world of turning.
Down tools!
For now, his work is produced in “a very modest
workshop” that includes the mere essentials,
including his irreplaceable 8mm detail gouge,
needed to complete his saleable items.
“Over the years, I’ve learnt that only a few
basic tools are necessary to create beautiful
A set of boxes in ebony, purple gidgee and conkerberry
work. We can have too many tools and
gadgets which complicate the simplicity of
woodturning,” he insists. “It’s funny, as I was
looking through my collection of Vicmarc
chuck jaws the other day I discovered I had
two sets of pin jaws. Why? Well, sometimes
we have so much stuff we forget what we
already own.”
He understands all too well, however, why
turners develop a love for the many tools and
turning goodies on the market and admits
he enjoys using and making wooden chucks
with high-density rubber and working with
jam chucks and friction plates. “It’s helped
me to understand areas of turning that can
break new ground in my development as a
turner,” he concedes.
The amount of time he spends in his ’shop
is fairly consistent, though his work can
take anything from 30 minutes for a simple
turned bowl to four hours for a complex
multi-axis turned bowl. And once off the
lathe, adding colour, texture and sculpturing
will increase the finish time.
“I take my work seriously and responsibly,”
he stresses, “as although woodturning is my
passion, it is also my livelihood. I start my
day early with coffee, prayer and the Bible
and then an hour of exercise either on the
bike or in the gym. I try to be in the shed by
9am and begin by organising and cutting
PPHOTOGRAPH BY PAT JOHNSON
06/03/2017 11:53

my wood for the day and sharpening my
tools. I turn until ‘smoko’ [that’s morning
tea for non-Aussies] at 10.30am then
continue till lunch around 12.30pm. It’s then
back to the shed and finish around 5pm.
Most of my coming week is organised on
a Sunday afternoon depending on orders
and commitments but no day ever turns
out the way I plan as there are visits from
friends and trips to the hardware store, but
these necessary interruptions are all part of
working with wood.” Asked what it is that
makes that job so special, he ponders for
a while before replying: “There is so much
about turning that is enjoyable. Turning
a quality piece of timber at 3,000rpm and
having seemingly endless shavings peeling
off the piece; creating a perfectly fitted lid on
a box; to witnessing the amazing colours and
patterns that timber possesses; friendships
and meeting new people, these simple things
are the best.”
The great outdoors
He tries to keep weekends free for recreation
and to rest and rejuvenate his mind and body.
“Many of my best creative ideas come while
I’m away from the shed and the lathe,” he
reveals. And, Pat being in Australia, there are
plenty of beautiful and inspiring distractions
Flower Series ‘The Aussie’
WT_304_52_56_PROFILE_PAT_JOHNSON_bdSDMBPJ.indd 55
outside the ’shop. Like many of his countryfolk
he’s not big on sitting indoors preferring
instead to explore the many outdoor pursuits
on offer. “The opportunities are huge, so,
outside of sleeping in my bed and working
on my lathe, I love getting out into the Bush.
There’s nothing more inspiring than standing
in a forest of 50m forest red gums.”
He also continues to draw inspiration from
other turners, citing Neil Scobie, who passed
away earlier this year [2016], as “having had
the greatest influence on him.” In reflective
mode, he adds that while “losing our older
woodturning friends is difficult they leave
behind the legacy of their knowledge and
wisdom.” He also stresses the debt that each
turner owes to those who have gone before.
“I truly agree with the author of Ecclesiastes
when he writes: ‘What has been will be again,
what has been done will be done again;
there is nothing new under the sun.’ We
all draw inspiration from each other be it a
good idea, a particular shape or technique.
This collaboration continues to motivate
us. As more people become involved in
woodturning some amazing ideas are being
realised that will continue to inspire us.”
Pat’s also keen to share his ideas and he’s
never happier than when he’s alongside
other turners at demonstration days –
even when they go slightly awry. “Once,
IN PROFILE TECHNICAL
HANDY HINTS
• Spend a good amount of time developing
your own finishing techniques as this will
help you to produce a fine item to look at.
Why spend time on turning an item that
has an ordinary finish? The idea of applying
many coats of any finish being oil or paint
is the start of coming up with a great finish.
Using fine grit sandpaper is also something
to consider and sanding between coats that
are dry each time is a must.
• The ability to use a tool can only improve
over time. If you had nothing else to do in
life for years other than to use a bowl gouge,
day in day out, you’d get better at it one day.
Have you ever considered how an athlete gets
good at their chosen sport? Besides being
blessed with the right genetics they train for
hours and hours and hours… so the point is,
start training.
while I attempted to assist a friend in a
demonstration, his finger became stuck to the
piece he was turning when trying to apply
glue,” recalls Pat [we imagine stifled giggles
at this point]. “This was quite amusing to all
who were present, as you can imagine.”
Sticky moments aside, he’s honoured to have
been invited to demonstrate at a national level,
PPHOTOGRAPH BY PAT JOHNSON
Woodturning 304 55
06/03/2017 11:53
 joining Turnfest promoter David Drescher
on many trips throughout Queensland. He
was also a guest presenter at Turnfest 2013
and 2014 on the Gold Coast, along with other
Australian and overseas artists. “It shows that
my abilities are recognised and appreciated,”
he says. “Thankfully I’ve also had many
opportunities over the past 20 years to impart
some of the ideas from my experiences in
woodturning to a wide range of enthusiasts, be
they local turners, to neighbourhood and art
groups in Indonesia.”
Indeed, one of his greatest passions
now is to share more of his time and
experience with others, to demonstrate
PPHOTOGRAPH BY PAT JOHNSON
Gold leaf hollow form inspired by John Jordon
PPHOTOGRAPH BY LOUISE MOLLER
A pair of silky oak bowls
CONTACT INFORMATION Email: patjohnsoncreative@gmail.com Website: www.patjohnsoncreative.com.au
56 www.woodworkersinstitute.com
WT_304_52_56_PROFILE_PAT_JOHNSON_bdSDMBPJ.indd 56
his techniques, and “to educate others on
the need for sustainability of our timber
resources which can only help to promote
the future of woodturning.” He welcomes
the social opportunities it will bring to
develop relationships with like-minded
people and to collaborate on ideas. More
overseas ventures are also on the cards after
an invitation this year to demonstrate in
America. He’s eager to see where this might
lead. “I’d like to combine my passion for
travel with demonstrating and continue to
turn as my livelihood,” he tells us. We suspect
this affable Australian will also make many
friends en-route. •
Conkerberry hollow form
WHAT MAKES PAT’S DAY…
• The diverse beauty of wood
• The eccentric possibilities of turning
• Demonstrating techniques
• Electric variable speed
• Travelling and meeting new friends
… AND WHAT GETS HIS GOAT
• Phone calls when turning
• Losing my 20/20 eyesight
• Sanding
• Dust
• Inferior tools/machinery
PPHOTOGRAPH BY PAT JOHNSON
06/03/2017 11:53
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057_WTUR_304.indd 57 2/28/17 10:36 AM

 PHOTOGRAPHS BY KURT HERTZOG

Personal
protective
equipment
Kurt Hertzog explains how
to choose and use PPE

58 www.woodworkersinstitute.com

WT_304_58_62_PPE_KH_bdMBKH.indd 58 23/02/2017 16:59

 PPE TECHNICAL

n virtually every column, after the of injury. Because PPE is such an associated with chainsaw use but

I introduction I begin with a section

on safety. This is not by accident
but rather to stress how important
it is. It takes so little effort to don
the proper PPE as needed and follow
the common safety rules. Doing so
can dramatically reduce the chances
important part of woodturning,
I’m devoting the entire column this
month to covering the topic. Please
be aware that space and specific
situations preclude this being all
inclusive or the final answer.
There will be brief mentions of PPE
that topic is beyond the scope of this
column. If your situation requires
equipment and procedures different
or beyond that of the common
woodturner, the responsibility falls
on you to get the proper gear and
knowledge to be safe.

Safety

Read the safe use instructions. Virtually every My local home improvement centre has a very Your PPE can vary widely depending on your task.
chemical will recommend plenty of ventilation exhaustive selection of all of the PPE needed Armoured leggings, a hard hat with earmuffs and
as a minimum for the typical woodturner face shield, and gloves for chainsawing

There is a saying among pilots that goes
something like this: there are old pilots and
there are bold pilots but there are very few
old, bold pilots. Gone are the days of being
macho by ignoring the safety precautions.
Wearing the proper safety gear isn’t being
wimpy. It is being smart! In some instances,
injuries can be immediate with varying
degrees of severity. In other situations,
injuries may not appear for years. This is
particularly true with dust inhalation and
chemical fumes exposure. You may believe
your quick and minimal exposure is safe
but many of these problems are caused by
cumulative exposure. Each situation you are
in when using tools and equipment presents
their own needs as far as PPE. Your eye
protection when using the drill press drilling
some small holes will be different than when
you are sawing green wood stock with your
chainsaw. Please be aware of these varying
needs and use the appropriate PPE. I’ll cover
most of the common items available but you
are the only one who can best determine
what you need to use to provide the needed
protection in each situation. Don’t try to
be the old, bold pilot. Use the proper PPE
each and every time it is needed. If you
are going to err, err on the side of more
protection than less.

Just some of the safety glasses available. 3M is just one of the many vendors Some of the glasses I use for drilling and bandsawing. Notice the side shields
on the featherspecs

Eye protection has become far more
accepted in recent years but still isn’t being
used 100% of the time. This is obvious by
the number of eye injuries that occur each
year. Sometimes the injury wasn’t caused
by the lack of using eye protection but was
caused by not using the proper type of eye
protection. The safety glasses available today
have all types of features to help prevent the
various injuries. Varying impact resistance,
side shields, headband retention, tints and
more can help protect eyesight. Don’t think
that safety glasses are your only option.
There are also goggles, chemical splash
masks and helmets of many types available
for eye and face protection. Be aware that
just having something in front of your face
may not be sufficient. You will do well to
check the rating of the various products
available, particularly for impact resistance.
In the US, the ratings are denoted in ANSI
standards. In Europe, there will be an EN
code. Depending on your location, you
may have a different rating system and
responsible agency. The various products
available for face protection range from
nuisance debris to projectiles. When I am
turning larger pieces, especially when I’ve
needed a chain fall assist to hoist the blank
on to the lathe, I wear a hockey mask.
It does look a bit foolish to be wearing
a street hockey mask while turning at the
lathe but if it was designed to deflect a puck,
it should help deflect any errant pieces
of my blank. While it does provide head,
face and throat protection, the open wire
construction doesn’t provide eye protection.
That needs to be worn underneath the
helmet. Whatever system you choose, full
face protection is recommended when
turning and it should be rated to be impact
resistant not just a nuisance chip deflector.

Woodturning 304 59

WT_304_58_62_PPE_KH_bdMBKH.indd 59 23/02/2017 17:00

 A modestly priced full face shield that is very popular among turners.
It is my typical use face shield.
Skin contact protection
Most of us use adhesives, solvents, colourants
and finishing products in our workshops.
Nearly all are mild enough to let the casual
user have some limited hand contact without
immediate critical consequences. That said,
some are not so benign. Also, repeated
exposure to some can cause problems over
time. We’ll address fumes later but for
now we’ll cover skin contact. Nearly every
manufacturer will recommend avoiding
contact with your skin in their safe use
instructions on the product label. There
are probably many ways to avoid contact
by using brushes, application sticks and
other non-contact methods. I use these
Polyethylene food service gloves for nuisance
protection and nitrile gloves for chemical protection
serve all of my needs
60 www.woodworkersinstitute.com
WT_304_58_62_PPE_KH_bdMBKH.indd 60
Goggles and face shields can be used for splash protection when using chemicals
when appropriate. Using applicators or not,
if I could potentially come in contact with
the chemicals, I wear the proper protective
gloves. This can include even handling the
containers and dispensing the product. The
two types that I keep handy are polyethylene
food service gloves and chemical-resistant
nitrile gloves. These are readily available in
home improvement centres, industrial supply
companies and sometimes in woodturning
retailers. The polyethylene food service gloves
are very inexpensive and I use them to keep
from getting my hands ‘dirty’. This is usually
when working with adhesives that will stick
to me and be difficult to remove. Simply
putting on the food service gloves keeps my
hands clean. Sometimes it takes a couple of
pairs depending on the mess I might make.
I don’t use the food service gloves when I
need chemical resistance. When I am dealing
with chemicals such as dyes, solvents, stains
and finishes, I use the nitrile gloves. These
are resistant to any chemicals I use in my
’shop. Not as inexpensive as the food service
gloves types but well worth the minor
expense for the protection they provide.
There may be other products available in
your area for you to select from as well
as special recommendations by chemical
product manufacturers. Perhaps not as
frugal as I could be, I dispose of the gloves
after use rather than keeping them around
once they’ve been soiled. Do dispose of
them safely and properly.
While these two types of gloves serve
all of my needs, you may have additional
requirements for temperature or more
hazardous chemicals. Should you have needs
beyond the basics, there are professional-level
safety supply companies in all major cities as
well as online. On the topic of gloves, there
are some turners who will use bicycle riding
gloves, work gloves or other hand-protective
products to shield their hands while turning.
This is especially true when roughing stock
with bark. The debris that will hit the hands
can be painful and injurious. In the few
instances that I need this protection, I will
only use the one glove for the hand on the
toolrest and favour my chainsaw work gloves.
I will let you determine the best choice for
your needs. Other than those few situations,
I avoid wearing gloves while turning.
GOOD PRACTICES
• Plenty of ventilation is always a good idea,
regardless of your specific need.
• Sweeping puts all the dust into the air. Use the
vacuum when you clean up if you can.
• Keep your various PPE right next to the point
of use for convenience.
• Dust masks, filter cartridges, gloves, etc.
have a finite life. Check often and replace
as needed.
• When in any doubt, don your PPE. Problems
don’t always show up immediately.
• Those who scoff at safety are being unwise.
Perhaps not very good role models.
23/02/2017 17:00
 PPE TECHNICAL

Hearing protection
For the most part, hearing protection isn’t
needed when woodturning. If you are
making that kind of noise at the lathe,
I’d suggest you need to figure out why.
However, there are other times I use hearing
protection in the workshop. Many times
cutting at the bandsaw will yield a loud and
unpleasant noise. I keep earplugs available
at each of the bandsaws for when they are
needed. Of course, hearing protection is
needed when running the chainsaw so
I always use the earmuffs attached to my
face shield. Under the normal woodturning
situation where noise levels are minimal,
I recommend that you don’t wear anything
that will restrict your ability to hear. While I keep an assortment of hearing protection When shopping for hearing protection,
turning, the sounds of the turning process in the ’shop. Stored at point of use makes the ratings give a good indication of the
gives you extremely valuable information for convenience and therefore use. relative effectiveness
as to the effectiveness of the cut and the
current state of the blank. Changes in the that you might miss if you are wearing source for the entire ’shop that you can keep
sounds usually indicate a change that needs earphones pumping in music. Should you the volume low enough to be aware of all the
to be investigated. These are warning noises feel the need for music in the ’shop, use a workshop situations.

Dust protection
While it might be called dust protection,
it should be more aptly called inhaled particle
protection. The reason I make the distinction
is that your PPE for dust really will revolve
around particle size and point of fi ltering.
Not only for the efficacy of the fi ltering
system but also for the impact the various
particle sizes can have on your health.
Granted, breathing in dust and debris isn’t
good for your health regardless of the particle
size but the particles’ sizes do have different Locating an input to your dust extraction at the There are throwaway dust masks available
impacts on you. The 10 micron and below point of dust generation works well helping keep at your retailer. Notice the filter designation
sized particles are the respirable sized, i.e. the air clean on the packaging
they’re breathable and reach deeply into the
lung. It is recommended that you be certain
your dust protection devices work to fi lter out
these sized particles if you are creating them.
Many masks don’t fi lter these. They will catch
the ‘boulders’ but not the very fi ne, more
problem-sized particles.
There are three basic systems that the
home user will be involved with. The first
point of protection and simplest piece of dust
protection gear is the user-wearable dust
mask. These are available as disposable or For simple dust filtration, I run my overheads, There are more industrial-level masks
permanent. Regardless of which type, you a 4in vacuum inlet at the point of source, with replaceable filter elements in various
should be cognizant of the fi ltering particle and a permanent style dust mask filtering capabilities
size. You’ll have different particle sizes
generated in the ’shop depending on what dust collection system available right at their source and blowing the fine particles right
you are doing. Turning will create certain lathe. Various hoods, commercial and home out through the dust bags and into the ’shop
particle sizes and even the degree of dryness built, try to catch the dust as it is created. air. Most of the dust extraction equipment
and wood species can alter the particle sizes. These range from simple plastic shrouds manufacturers offer different fi ltering options
Sanding creates different-sized particles as to exotic air flow control inlets. Collection and the data on the particle sizes they are
does the drill press and bandsaw. You aren’t at the source is a great idea and effective if effective for. Also, cleaning and changing
doing the best you can for yourself if you are done properly. It needs to be positioned to be your fi ltering media as needed in the
wearing a mask that fi lters down to 50 micron effective and with sufficient air flow to draw central dust extraction equipment is a very
sized particles and you are sanding creating all of the dust and debris into the extraction important task. It is often neglected to the
10 micron sized particles. system. The key point to remember is if your point of being ineffective.
The second point of fi ltering is at the dust extraction system doesn’t fi lter out the The third point of fi ltering is the ’shop
source. Many turners have an inlet to their bad stuff, you may be collecting it at the overhead types of fi lters intended to fi lter

Woodturning 304 61

WT_304_58_62_PPE_KH_bdMBKH.indd 61 23/02/2017 17:00

 the dust from the environment. I have two
of these in one of my ’shops but I know
they are the least effective means of dust
protection. They fi lter the environmental air
after you’ve been breathing it! Even if your
overhead dust collection is located at the end
of your lathe as mine is, it is fi ltering the air
after you’ve been breathing it. Again, fi lter
particle size, fi lter cleanliness, location, air
My older 3M powered filter helmet filters
the incoming air through a HEPA filter which
is on the belt behind me
Chemical breathing protection
Chemical breathing protection is not only
for breathing but also for eye and mucous
membrane safety and comfort. Even CA
adhesive fumes will have uncomfortable
effects on many people, causing them eye
and/or throat and nose irritation. Read and
heed the warning labels on every chemical
product container. They aren’t kidding. I’ve
rarely seen any label that didn’t recommend
plenty of ventilation. That can mean
opening the garage door, putting a fan in
the window, using a power vent or some
Chemical filter masks are usually called
‘respirators’ and their protection is based
on the filter media used
My vapour mask with the proper replacement
filters. Keep extra filters on hand to allow changing
when needed
62 www.woodworkersinstitute.com
WT_304_58_62_PPE_KH_bdMBKH.indd 62
flow, etc. all have an impact. By all means
use the ’shop overhead fi ltering systems to
help keep the environment bearable but
don’t believe you are protecting your lungs
with them alone. There is one system that
fi lters the air just before you breathe it. My
3M (now different names) fi lter air mask has
a positive ventilation system that forces air
into the face shield preventing outside air
The filtered air is delivered to the helmet
in a positive ventilation arrangement keeping
all unfiltered air out
other means of ventilating. In essence, get
rid of the chemical fumes and replace them
with fresh air. Some chemicals require even
more than good ventilation. They require a
mask with the fi lter system for that specific
family of chemical. Most of these masks
have activated charcoal canisters that will
fi lter out the harmful fumes from the air
being pulled into the mask. These fi lters are
replaceable as needed. When you buy a mask
and the fi lters for it, check to be certain that
it is suitable for the chemicals you will be
You’ll see the regulating agencies indicators well
marked telling you what vapours that your mask
filters are effective for
The filter media will be labelled with all the
details and the standards that it meets per your
regulating agency
from entering. The air provided is fi ltered
through a HEPA fi lter on the belt behind me.
There are other powered fi lter masks and face
shields available from other manufacturers.
These usually have the fi lter media and
power supply in the helmet itself. You need
to remember that these types of helmets
fi lter dust, not chemical fumes. For chemical
fumes, you need special fi ltering media.
Filter systems do no good if the filters are
clogged. Here my tell-tale strings are warning
me to change the filters
using. The fi lter replacement cartridges will
also indicate their suitability for the various
types of chemicals. These chemical-fi ltering
masks should be used in addition to plenty
of ventilation. To prolong the functional life
of the fi ltering media, I store the mask in
a sealed plastic bag when not in use. Don’t
put yourself at risk by not changing the
fi ltering media cartridges as needed. They
do have a finite lifetime. While they are not
inexpensive, your long-term health is well
worth the cost.
Conclusions
Personal protective equipment may not
be at the top of your wish list for topics
in this column. As noted earlier, it isn’t
glamorous or something you can brag
about on the show-and-tell table at the
club meetings. It is, however, one of the
most important things you can do to
provide yourself with a long and healthy
woodturning career. The number of my
club members who have suffered from
dust and chemical exposure is sad. They
injured themselves through repeated
exposure over many years and before we
collectively emphasised making personal
safety a high priority. It is too late now
for many of them after their problems
have occurred. Don’t let anyone make
fun of you for your efforts to be safe.
Any one who is making light of personal
protective equipment and safety is not
doing you, themselves or anyone else
any favours. Don’t be embarrassed to try
to explain the importance to them. You
may be doing them a very good deed. •
23/02/2017 17:00
063_WTUR_304.indd 63 3/2/17 9:48 AM
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 Duplication
versus a duplicator
Ernie Conover explains why you are the best duplicator for your lathe
robably the most vexing question I get
P on a regular basis is, “What is the best
duplicator for my Wombat 45/75 lathe?”
The problem with the question is you just don’t
know where to start with the answer. What
is more, the answer is seldom what the asker
wants to hear. In this day and age, and in any
other I suppose, people want a simple solution
to their problem. The quick and most accurate
answer is: “You, you are the best duplicator for
your Wombat.” Vexingly, this brings a confused
look, followed by a flurry of questions.
The first being: “What do you mean?
I want my spindles to look exactly alike!”
Knowing this discussion is going to be
protracted I wearily set off on a familiar
harangue: “Well, spindles being exactly alike
is the mark of machine-produced factory
furniture. Handmade furniture has hand-
turned spindles. Please stop thinking of it
in terms of exactly alike and get your head
around nearly alike. The best of turners are
PHOTOGRAPHS BY ERNIE CONOVER
lucky if their diameters vary from the sample
more than 1.6mm. If you closely inspect
antique furniture you will notice significant
differences between spindles. Many Windsor
chair spindles even have flat spots. Rather
than waste a considerable amount of work,
WT_304_67_69_COPY_TURNING_EC_bdSDMB.indd 67
the builder simply turned these flats to the
inside or bottom.”
When the public views your turnings, the
subconscious assignment to the viewer is:
‘make these turnings look alike’. Left to right,
the human body is not symmetrical. The hips
are seldom at the same height, arms are not the
same length, the right side of the face differs
from the left and the discrepancies go on.
However, we all see each other as symmetrical,
and so it is with turnings. This phenomenon
is the stock and trade of the illusionist, often
called a magician. While our eyes complete his
movements he does not and the rabbit ends up
in the hat – where it always has been.
While there are lathes that will duplicate
parts quickly and exactly they are expensive,
$/£15,000 and up. The only duplicators that
small ’shops and amateurs can afford will
be simple scrape apparatus. A flat tool with
a 3mm to 6mm radius is presented on the
centreline of the lathe. It is mounted on a
pantograph that follows a pattern in the
shape of the spindle to be copied. This is
about the same as if you presented a spindle
gouge level on the tool rest and allowed your
knuckle to follow a pattern.
Scraping to a turner or a cabinetmaker
The lathe has been
switched off while the
measurement is taken
is to create a burr along the cutting edge.
In good scraping the tool is presented
downhill so that this burr is dragging, fine
shavings being the result. With our scrape
duplicator, or our spindle gouge analogy,
we are presenting the cutting edge at a right
angle to the surface and cutting in the worst
possible way – bad scraping. We are not
making a chip raising cut but rather a plough
cut. The wood is literally being ripped from
the surface just as a plough makes a furrow
in earth. Instead of shavings we get bits of
wood and a dismal surface finish. This bad
scraping apparatus is still going to cost you
a grand or two, be it dollars or pounds.
The vast majority of folks taking up
turning as a hobby are primarily interested
in faceplate work – mostly bowls. Many
top demonstrators brag that they never
turn two things alike. I always quip, at least
mentally, “That is because they can’t.” While
duplication is much more the province of
spindleturning, making a set of 12 salad
bowls that resemble each other is vital too.
Turning 40 spindles that look alike is a
tremendous skill-building exercise that
will build character. Eat your spinach,
it is good for you.
Woodturning 304 67
06/03/2017 11:54
 Simple duplication
Let’s look at some simple things you can do to make duplication easier:

1. Start with accurately sawn billets and precisely laid out
centres. This will yield major diameters that are the same.
2. Have a master part and position it in front of your lathe
where you can visually compare it to the spindle in the lathe.
3. Use a ruler or a story stick and dividers to accurately lay out
the elements on your spindle. While no one will notice a
2mm variation in diameters, they will quickly spot elements
such as coves and beads being at different heights. Beads
and coves being of the same width and at the same height
on each spindle is much more important than diameter.
Dividers are the best way to lay out the width of a bead.
4. Use callipers to judge major and minor diameters. Having
three to five sets is a must for production runs. Having them
in different sizes makes it much easier to keep track of what
calliper gauges what part of the turning.
5. Hone your tools to really sharp edges that will leave a good
finish in their wake. This saves a huge amount of sanding.
6. Don’t fuss over a bead, especially small ones. A small
amount of sanding with 120 grit sandpaper will take away
flat spots and small symmetry problems quickly. With tools,
‘better’ is sometimes the enemy of ‘good’. Sanding will make
that bead the right shape; more tool work may ruin it.
7. As much as possible, apply fi nish in the lathe. Even if it is
only a coat of shellac, this will keep the grain from rising
if the part sits for a while. Any paint or finish adheres to
shellac well.

Joint two edges of your temper that rip perfect squares. Accurately marking the center of this perfect billet
will give you the same major diameter for the resulting turning without further measurement whatsoever.

An accurate ruler (I like thin steel rules) and having a good number of calipers and dividers in a good many sizes is
critical to duplication. The instruments can be sized from the biggest to smallest diameters and bead/cove widths.

68 www.woodworkersinstitute.com

WT_304_67_69_COPY_TURNING_EC_bdSDMB.indd 68 23/02/2017 17:02

 DUPLICATION TURNING TECHNICAL

120 grit sandpaper will shape a lopsided bead or remove a flat spot quickly Whenever possible finish in the lathe. This makes sanding between coats easy as
and efficiently. More tool work may ruin it. the lathe does the work for you. Even if it is only a coat of shellac, this will prevent
grain from raising between now and assembly.

All the parts for this reproduction of a Canadian Great Wheel made in Brantford, Ontario took careful milling layout and turning. The hub has bearing 10 perfectly spaced
holes for the spokes and bearing seats scraped to a press fit with needle bearings. Brantford wheels were unique in that the table of the wheel was not a flat plank but
rather a cannon like turning.

Developing skills
Using the above techniques to turn a batch of parts works wonders
on your skills. You really develop a feel for the long corner chisel but
put it down in favour of a spindle gouge when turning small beads.
You quickly realise the importance of really sharp tools. Not only
will they cut faster, there will also be much less sanding. You slowly
learn which tool does the best job in a given situation but know when
you can get acceptable results from the tool in your hand rather than
picking up another. You will be rewarded with a run of parts that only
your mother-in-law will find fault with and the ability and confidence
to tackle any turning. At the next club meeting when some prominent
turner brags about being ‘an artist’ and never turning two things alike
you can smile and think, tosh. •

An open-end wrench is a great way to size tenons. You usually get a press fit with Turning a batch of parts that look alike really develops your skill with the skew
a drilled hole of the same diameter

Woodturning 304 69

WT_304_67_69_COPY_TURNING_EC_bdSDMB.indd 69 01/03/2017 11:41

 Open House
Double Dutch
Jan Hovens &
Jan Hovens
Ronald Kanne Ronald Kanne
Saturday & Sunday June 3rd & 4th 2017
at The ToolPost 10h00 - 16h00 daily
We are proud to welcome back two of Europe’s top turners, both hailing from the Netherlands. Jan will amaze
you with the intricacies of his delicate threaded boxes - even inside an acorn - whilst Ronald represents the
‘muscle’ with his big bowl turning. Enjoy the informal setting of our Didcot shop and the opportunity to get
‘up close and personal’ with these highly skilled and fascinating demonstrators. Meet representatives from key
suppliers, ready to answer your questions and demonstrate solutions.
Also featuring:-
Simon Clements, woodcarver, wood artist and wood sculptor
Bert Butterfi ld - pyrographer and woodturner
Les Tho ne - woodturner, courtesy of Brimarc
Free Entry * Free Parking * Deals of the Day * Free Refreshments * Free Demonstrations

CuBoroN
With the release of the new R-series CBN wheels from The ToolPost, sharpening for woodturners enters a new
phase. Produced to the same high standards as our renowned series of face and rim-coated CBN grinding
wheels, the R-series brings the brilliance of CBN sharpening within the reach of most
turners. By eliminating the CBN coating on the little-used side face of the wheel we
have substantially reduced the price. Of course, we still keep face and rim-
coated wheels for those who prefer this format of wheel, but now we offer
a choice. Not just a choice of wheel styles, but a choice of wheel diameters,
widths, grits and mounting bush sizes. All of which seemed to warrant
a new name: CuboroN, superior CBN wheels from The ToolPost.

The ToolPost
Unit 7 Hawksworth, Southmead Industrial Park, Didcot, Oxon. OX11 7HR
01235 511101 y www.toolpost.co.uk
sharing expertise

070_WTUR_304.indd 70 2/28/17 10:38 AM

 IN PROFILE FEATURE

Philip Wolsoncroft
in profile
Mark Baker visits turner and
timber seller Philip Wolsoncroft

ne Thursday morning in February I set off early to get to a town

O
PHOTOGRAPHS BY MARK BAKER/GMC PUBLICATIONS

called Feltham – in the London borough of Hounslow, not far

from Heathrow airport – to meet professional woodturner
Philip Wolsoncroft. Philip is well known in the local area. He not only
turns and sells his work but also sells wood to other woodworkers,
mainly turners. I have seen Philip at various shows and events over
the years selling his turnings and timber, but have to say that such
events are not wholly conducive to getting to know someone well.
So, I thought it was about time to go and visit and fi nd out more about
him. On arrival I was met with a cup of coffee, a display of work and

Woodturning 304 71

WT_304_71_74_PROFILE_PHILIP_WOLSONCROFT_bdSDMBPW.indd 71 02/03/2017 09:27

 a friendly growl from Philip’s small, but very
cute dog. Philip commented, “Don’t worry,
she growls at everyone!” I must admit I had
met the dog before and knew this to be true,
but it is still a little worrying when you have
a dog who gives a body-rub against the leg
and does not wag its tail while emitting a
low-belly growl. Philip laughed at my
quizzical look.
After coffee we get down to the nitty gritty
of finding out about what makes Philip tick,
with me starting the questions by asking
what he did before starting turning.
“My first job was in engineering sales,
selling metal-working lathes. I travelled a
lot and also had to demonstrate using them.
But at age 26 I became a builder, which
I continued to do until I retired from that
in 2016. I am 72 now and still like to keep
busy, so turning and attending various
shows is what I love to do. In fact, I have
been turning for 36 years now and over
time gradually did more and more until
I turned professional in 2004 when I
joined the Register of Professional
Turners,” he explained.

Starting turning
I asked about what made him start turning.
“I met a school friend who turned and I The side room is very functional
went along to a woodworking exhibition at
Alexandra Palace in London with him and
saw various turners and said to myself I want
to do that”, Philip said. “I guess I really just
wanted a hobby. As a builder I was working
with wood a lot, I got back from work at 5pm
and wanted to do something in the evenings.
So instead of watching TV or something
similar, I turned.”
As we continued talking over coffee,
I asked what type of work he created.
Philip very quickly said: “It is vases and
bowls. I like to work with what I have
got timber wise and try to include the
‘imperfections’ and anomalies of natural
edges, bark inclusions, fissures and other
interesting bits that the wood contains.
However, I only use the pieces if it is safe
to turn them, some things just do not end
up being completed. I keep things as simple Monkey puzzle rough-turned bowls left for seasoning
and natural as possible.
“I only use local timbers for my turned and things that people like to look at, pick stitched it across the gap with leather in the
work. I like that because it keeps my turnings up and where possible, use.” Quickly adding: end, but the downside was that I had to strap
relevant to an area and people like that too. “That people will buy too.” I asked where and tape the piece while turning it. I went
I think people are – and think they should he sells his work and raised the point that very slowly and never stood in the line of fire.
be – a lot more conscious of where timber he does not have a website or social media Burrs can be challenging too. At times there
is coming from. So my work is natural wood presence as such. “I prefer to sell my work can be more gaps than wood. But people
with no carving, colouring or anything at various craft fairs sticking to those that really like such forms. It is just a case of
else other than a couple of coats of oil are within a reasonable travelling distance working as safely as possible,” he explained.
after sanding.” from home. I can sell enough work and On the way to the workshop, I passed
He then added: “I have used leather timber at those to keep me busy.” As we the netted pond with a myriad of goldfish
to stitch up items and played with metal walked to the workshop in his garden, I in them. I asked if he raised them all.
powders to fi ll cracks but don’t do that now. enquired as to what his most challenging He said; “No. I started off with a few and the
I like to keep things simple and make things piece of work was? “It was a vase and it had fish did the rest. They are very naughty and
that hopefully people think are well made a natural split that grew as I turned it. So I keep growing in number!” he laughed.

72 www.woodworkersinstitute.com

WT_304_71_74_PROFILE_PHILIP_WOLSONCROFT_bdSDMBPW.indd 72 02/03/2017 09:27


Maple burr natural-edge bowl
Workshop and tools
On entering the workshop I could see
that it is not cluttered and very functional.
There is a main workshop with a lathe near
the main door and a smaller lathe and
worktop on either side at the back. There
is a side room which has more surface area
and some bits of equipment – microwave,
sanders, bandsaw – but not a lot. It is so
unlike many workshops I see that are
crammed full of every conceivable item.
“I keep things simple,” he said. “I don’t
have many tools and bits of equipment.
Most of what I have is old too. Each piece
WT_304_71_74_PROFILE_PHILIP_WOLSONCROFT_bdSDMBPW.indd 73
Selection of bowls from various timbers
of equipment I have has to be able to do
what I want it to do with no fuss.” A laudable
sentiment and one I take note of myself. Do
I really need that new item I am hankering
after? Anyway, I asked what his favourite
tool apart from the lathe is. “A 13mm bowl
gouge,” was his quick response. ‘”I have
everything I need to do what I want to do,”
he commented before we set off to see just
a small selection of his timber.
Timber store
His well-stocked timber store includes
ash (Fraxinus excelsior), sycamore (Acer
IN PROFILE FEATURE
LIKES
• You never wholly know how a piece will
turn out until it is finished.
• I love meeting people at events and hearing
what they are making and doing.
DISLIKES
• Some of the enhanced work is wonderfully
done, but it is not for me. I guess you can
call me a traditional turner.
WHAT IS YOUR AMBITION?
I would love to be able to turn until I die. I get
withdrawal symptoms when I cannot turn.
TOP TIP
Make sure you mount your blanks the right
way to get the look you are after. It may mean
sacrificing some timber if you off-centre mount
work to get work with a specific area of timber
or have the pith section of the blank at the top
or bottom of a bowl depending on how you
want the growth rings to show in your work.
pseudoplatanus), maple (Acer spp.),
wellingtonia (Sequoiadendron giganteum.),
lime (Tilia europaea), false acacia (Robinia
pseudoacacia), walnut (Juglans regia), monkey
puzzle (Araucaria araucana), oak (Quercus
robur), yew (Taxus baccata), birch (Betula),
beech (Fagus sylvatica), cedar (Cedrus spp.)
and others, as well as the numerous felled
trees waiting to be picked up and converted.
I enquired as to how he got into selling
timber. He replied, “I was sourcing a wood
for some of my own turnings but had trouble
getting some timber I wanted and that caused
me to talk to some other turners in other
Woodturning 304 73
02/03/2017 09:27
 clubs about what they used and where they go
their timber from. I wasn’t able to find what
I wanted when I wanted so started talking to
tree surgeons and that caused me to have a
surplus of timber and species that would not
necessarily be commercially available in any
quantity. That then causes me to venturing
into selling timber locally and at various
shows now for about 25–30 years.”

Local wildlife
Since his woodstore is near a woodland, I
asked about the local wildlife. He commented
there were plenty and talked about a family
of foxes that lived closeby. Within five
minutes, there was a cub that came within
three metres of us as bold as brass having
a look about. Philip said that there were
three cubs just under a year old that came
by regularly and plenty of birds that came to
visit. I counted five squirrels having a fight Oak bowl with some burr figuring
over food left for them and counted nine
species of birds within a very short time.
He said he enjoyed all the wildlife around.

Inspire the next generation

Continuing with my questions, I asked what
is the thing he most wishes to do? “To help as
much as possible to pass on the wonder that
is woodturning to as many people as possible
– especially children. The loss of proper
woodworking and workshops in schools
means that the traditional route of children
knowing about woodwork through their
fathers or grandfathers is ever decreasing.
Parents and grandparents just don’t have
workshops as much as they used to. So if they
are not able to see woodworking practised
within the family, it is vital we do all we can
to show people what woodworking in all its
forms is. It’s a real shame so many schools
have lost the practical workshops like we
used to have.”
Being very cheeky I asked how many Just some of the timber pile
turnings he created a year. “I turn about
500 items a year. Sometimes more than that
though I would turn both day and night if
I could, I just love working with wood and
being able to turn things that not only I like,
but customers like too.”
Before I left, I couldn’t help myself and
asked a few more questions. Having spent
some not-so-rushed time with Philip I feel
as though I have come to know the man
behind the work a lot better than I did before.
Philip’s setup is, as he says, functional and
does everything he needs. He likes the no-
nonsense approach to work and his turning
and without question has fun and loves what
he does. If something doesn’t work he moves
on to the next thing and doesn’t get fazed.
He loves meeting people and I think I can
learn a few things from his approach. • Some sycamore being allowed to spalt The cheeky fox cub coming to see what is happening

CONTACT INFORMATION Email: philipwolsoncroft@hotmail.co.uk

74 www.woodworkersinstitute.com

WT_304_71_74_PROFILE_PHILIP_WOLSONCROFT_bdSDMBPW.indd 74 06/03/2017 11:55

 Serving Tool Distributors Worldwide
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075_WTUR_304.indd 75 2/24/17 3:09 PM

 Community links
We have searched the internet for the best, most interesting and
fun websites, blogs, pins and pictures, so you don’t have to

Website of the month

Simon Levy Wood
www.simonlevywood.com

Simon Levy’s website is a real treat to look at. He uses various process Erratum: We inadvertently put the wrong details Billy Hall’s site last
on his work, including pyrography, drawing, carving and engraving month. Here is the correct link, where Billy Hall shows his turned
and also pigment and inks on his pieces to brilliant effect. translucent lights and also explains the process he uses to create them
www.glowingwoodsculptures.com

Turning club website of the month Blog of the month

South Auckland Woodturners Guild Inc. Andrew Bourke Woodturning
www.sawg.org.nz www.abwoodturning.co.za

I like South Aucklands Woodturners Guild Inc.’s website because

it has a clean and simple design. However, it is packed with
information about what the club is doing, numerous postings
of how people tackle certain types of work, a very good tips and
jigs section as well have having loads of pictures of work and
newsletters. A very active club indeed.
Andrew Bourke’s website is a real visual feast regarding what he has
made and his blog provides a delightful insight into what he is doing
turning and carving wise at various times.

Video clips listed have been selected for their interest to other turners. We do not endorse any of the videos or websites selected. We take no responsibility for any information contained
or acted upon in any sites listed. You need to be aware of your own skills and your own responsibility as far as wearing appropriate protective equipment and turning as safely as practicable.

76 www.woodworkersinstitute.com

WT_304_76_77_COMMUNITY_LINKS_bdMB.indd 76 06/03/2017 12:04

 COMMUNITY LINKS COMMUNITY

FROM THE FORUM

Clips of the month Here we share with you the pieces that readers
have posted on our Woodturning forum. If you are
Roughing cuts with gouges by Reed Gray
www.youtube.com/watch?v=UkGN6ap4NJw interested in the possibility of your piece appearing
here, or would simply like feedback and advice on
Reed Gray explains very clearly how to turn a bowl. He imparts
insightful information that is easy to follow showing how to use
your work, visit www.woodworkersinstitute.com
bowl gouges and the various grinds used to deal with the inside and click on the forum button
and outside of bowls effectively. He also introduces the fluteless
gouge. We recommend that you wear a faceshield as a minimium
when turning, but would advise also wearing an appropriate
dustmask/respirator while turning

‘Nested set of Spalted Burr Elm bowls’ by crataegus

Forum member crataegus posted his ‘Nested set of Spalted Burr Elm
bowls’. Making three bowls from the same burr, crataegus made the
largest at 305mm diameter x 135mm high and the smallest bowl at
150mm diameter x 45mm high, Rustins Danish oil was used for the
finish. Dunkhooper commented: “What a lovely well turned set of
bowls Tony. You certainly used the bowl saver to good effect on this
burr,” and Dalboy said: “Certainly get the most from that piece using
the bowl saver..”

Etsy Neil’s turned

dachshund toy was
InTurnWoodturningUK turned in sapele
www.etsy.com/uk/shop/InTurnWoodturningUK (Entandrophragma
cylindricum) at 8 x
In a world where one has to explore various routes to marketing, 6in. The body and
Chris Clay – A wolverhampton-based turner – has Etsy shop legs were turned on
postings that show a nice mix of well-turned items that are for sale. a 2 axis’ and then
sanded to blend in.
Woodturningvisions The ears were pinned
www.etsy.com/uk/shop/Woodturningvisions so they can move
and the tail is spring ‘Woof!’ by Neil Lawton
Gary Austin from Arizona, USA displays some really mounted so it can
nice pieces, making the most of turquoise inlay. wag. Fellow forum member, monkeybiter commented:“Excellent, it has
character! A successful design well executed.”

Les Symonds had

a lump of cherry,
approximately
Pins of the month 340mm diameter.
“It was turned when
It is always interesting seeing what other people like when they create still quite green, with
their boards which are full of things they like and find as inspirational minor cracks in it,
and this months selection from Pinterest is no different. Definitely then put aside to
worth looking at! dry and to crack to ‘Cherry with Cross Stitch’ by Les Symonds
its heart’s content,”
David Craig Les explained. “The result involved a bit of cross-stitch using natural
uk.pinterest.com/monkeywithaplan/wood-turning leather thong, a black leather thong around its waist and a copper wire
terminal.” crataegus replied to the post: “Difficult to make the lacing
Matt E concept original, these days, but you have succeeded. That black
uk.pinterest.com/beermatt6028/woodturning leather thong lifts it to another place.”

Woodturning 303 77

WT_304_76_77_COMMUNITY_LINKS_bdMB.indd 77 23/02/2017 17:03

 Stiles & Bates
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 A discerning collection of colours for when
off the shelf shades just won’t do.
Water based dyes - Sinks deeply into the wood - Preserves the figure -
11 Complementary Shades - Danish Oil with UV Filter -
Downloadable and Printed Colouring Guides - Blended by Hand.
Available in 250ml or 15ml boxed sets or individual 250ml boxed bottles
Available from:
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079_WTUR_304.indd 79 2/28/17 10:41 AM

 Our contributors

ALAN WASSERMAN ANDY COATES COLWIN WAY DAVID SPRINGETT ERNIE CONOVER
Alan is a retired trial Andy is a professional Colwin started turning David has been a Ernie is best known
attorney of 36 years who woodturner and has a aged 13 and has since gone professional woodturner for teaching and writing
‘turned’ to woodturning workshop and gallery in on to teach the craft and for over 30 years. He about woodturning, as well
in 2010. He transferred his Suffolk. He mostly makes wishes to continue to give is the author of several as designing and marketing
passion for the practice one-off pieces, but is people confidence to try books; Woodturning the Conover lathe.
of law to woodturning. just as likely to be doing the wonderful hobby for Wizardry, Woodturning erconover@conover
Alan’s skills were built on small batch runs, antique themselves. Full Circle, Woodturning workshops.com
practice, study and learning restorations or any number colwinway@ Trickery and with Nick Agar,
from numerous private of strange commissions. btinternet.com Woodturning Evolution.
lessons from the masters. He also demonstrates All available from
alanwassermannc@ and teaches turning. GMC Publications.
gmail.com cobwebcrafts@ david@cdspringett.
wassermanstudio.com btinternet.com fsnet.co.uk
cobwebcrafts.co.uk

KURT HERTZOG MOLLY WINTON RICHARD FINDLEY SUE HARKER

A professional woodturner, Molly is a professional Richard discovered Sue is a member of the
demonstrator and woodturner, demonstrator woodturning while working RPT and AWGB, teaches
teacher, Kurt writes for and teacher who lives for his father as a joiner. woodturning, demonstrates
various woodturning and in the Pacific Northwest, He makes all kinds of all over the country, writes
woodworking publications USA. She began turning in work to commission, and for Woodturning magazine
in the US. He is on the Pen 1998, and embellishing offers demonstrations and has produced
Makers’ Guild Council and in 2002. Her work is and a range of woodturning three DVDs.
is past president of the collected worldwide. supplies. sue@sueharker.com
American Association Molly currently serves on richard@turners www.sueharker.com
of Woodturners. the Board of Directors of workshop.co.uk
kurt@kurthertzog.com the American Association turnersworkshop.co.uk
kurthertzog.com of Woodturners (AAW). Instagram:
richard_findley

To subscribe call 01273 488 005 or visit www.thegmcgroup.com

Editor Mark Baker Advertising Sales Executive Subscriptions Manager Woodturning Post your order to:
E: markb@thegmcgroup.com Russell Higgins Helen Johnston (ISSN 0958-9457) The Subscription Department,
Deputy Editor Briony Darnley Tel: 01273 402899 T: 01273 402 873 is published 13 times a year by GMC Publications, 166 High Street,
E: briony.darnley@thegmcgroup.com E: russellh@thegmcgroup.com E: helenj@thegmcgroup.com the Guild of Master Craftsmen Lewes, East Sussex
Editorial Assistant Karen Scott Advertisement Production Marketing Anne Guillot Publications Ltd. BN7 1XU, England.
T: 01273 477374 Production Controller T: 01273 402871 Subscription rates Telephone: 01273 488005
E: karensc@thegmcgroup.com Amanda Hoag Origination: (including postage & packing) Fax: 01273 478606
Designer Oliver Prentice Tel: 01273 402807 GMC Reprographics 12 issues: UK £47.40 Europe £59.25 Cheques should be made
Illustrator Mark Carr E: repro@thegmcgroup.com Printer: Rest of World £66.36 payable to GMC Publications Ltd.
Chief Photographer Publisher Jonathan Grogan Precision Colour Printing 24 issues: UK £94.80 Europe £118.50 Current subscribers will automatically
Anthony Bailey Production Manager Jim Bulley T: 01952 585585 Rest of World £132.72 receive a renewal notice (excludes
Distribution: US subscribers should visit www. direct debit) subscribers
Seymour Distribution Ltd lightningpublications.com
T: +44 (0) 20 7429 4000 for subscription rates in USD $.

Woodturning will consider articles for publication, which should be sent to the Editor together with a stamped-addressed envelope for return. GMC Publications cannot accept liability for the loss or damage of unsolicited material. Views and comments expressed by
individuals do not necessarily represent those of the publishers and no legal responsibility can be accepted for the result of the use by readers of information or advice of whatever kind given in this publication, either in editorial or advertisements. No part of this
publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means without the prior permission of the Guild of Master Craftsmen Publications Ltd.

80 www.woodworkersinstitute.com

WT_304_80_MEET_THE_CONTRIBUTORS_bdSD.indd 80 23/02/2017 17:03

 HUGE VALUE
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081_WTUR_304.indd 81 2/24/17 3:11 PM




 

 







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 PHOTOGRAPH COURTESY OF GMC PUBLICATIONS
Using cracked
timber – part 2
Alan Wasserman looks at using timber with small cracks and similar imperfections

am constantly searching for the solution for me is because it is fun, challenging and years that my charm has not been effective on

I to using and resolving the issues connected

with cracked and otherwise imperfect
wood. This search has taken me from
creative. Also, I have discovered over the humans, so I now apply it to imperfect wood.

viewing almost every DVD on the market, SAFETY

researching and reading every article written
(of modern day) to questioning constantly
(to the point of annoyance, I admit) the
Masters and others on their solutions.
There are legitimate reasons (or excuses)
for this endeavour.
When it comes to turning and working
with some timber, it is not always obvious
the timber is cracked or flawed to start with.
Also, you may see a crack or imperfection at
the start and not be wholly sure if it can be
removed or if it is bigger than you think it is.
The full extent of such things are often only
PHOTOGRAPHS BY ALAN WASSERMAN, UNLESS STATED OTHERWISE
I cannot stress enough that the primary consideration in working with, what can only be
described as, less-than-perfect timber is that of safety. If you have any doubt about the integrity
or cannot effectively mitigate the risks of working with a piece of wood, please do not turn it.
• A piece of work, approximately 330 x 150mm a must when mixing epoxy and using
once flew off my lathe, hit my mask and some types of finishes
shattered the mask into pieces (not even a • Suitably rated eye protection is also needed
scratch on my face!). It then proceeded to hit • The use of an appropriate filter and correctly
me in the upper chest (the force throwing rated extractor is a helpful tool during the
me to the ground) and then the errant piece application of various noxious substances
ended up stuck in the ceiling, five metres in • Cutting wood to size often requires the use of
the air. Clearly, had I not had my face mask a bandsaw. Make sure your hands and fingers

revealed when turning the timber. Then you
are faced with having spent time truing up and
shaping and either finding a split of blemish,
or creating a crack or blemish by aggressive
sanding, which causes too much heat, in turn
causing the crack(s). Blemishes and flaws can
create great design opportunities, but you may
have to look at other ways of working with the
flaws to fully explore them.
I am always asking myself why am I
working with imperfect wood? The answer
on I would not be writing this article; so please
heed and always wear properly certified full
face and head protection
• Wear some form of properly certified dust
mask to deal with wood dust and similarly
rated particulates, but also consider a suitably
rated mask for use when dealing with potential
chemical fumes when using fillers and finishes.
You may need to use different cartridges
for turning and using finishes
• Nitrile/chemical resistant gloves are also
are out of the way of the line of cut and ensure
the piece you are cutting has a relatively
flat surface that will be resting stably on the
bandsaw table during the cut
• Since dealing with small cracks and fissures
might involve the use of rotary carving tools
and such-like, make sure you have read the
instructions before working with them, wear
protective gloves when using them and keep
hands, fingers and body parts out of the way
of the direction of cut.

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 IMPERFECT WOOD TECHNICAL

TOOLS
I use a variety of tools. Of course the standard turning tools, of which
gouges are the primary tools for shaping the wood and scrapers for
refining, but for dealing with the cracks and so on I use a combination
of dental picks, power carving tools (typically rotary ones with burrs
and cutters) to suit the job and can be used to deepen, widen and
cut across so you can stitch and fill, etc.
In addition to these tools I use epoxy, two part fillers, PVA,
cyanoacrylate (CA) adhesives and other resins in conjunction with timber,
shavings, dusts and powders of various sort – including wood, metals
and foodstuffs, e.g. rice, pasta, eggshell, coffee – to fill and stitch with.
Note the welcome card in the photograph; it is a piece of plastic and is a
good spreading device. Any thin flexible plastic will do, so old hotel key
cards, credit cards and such-like will be useful to spread the filling mixes
in the voids and cracks.

Some of the tools I use Burrs and cutters for use in a rotary handpiece

What we can do with cracks and similar blemishes

PHOTOGRAPH COURTESY OF GMC PUBLICATIONS

Cracks, splits and similar faults and other
blemishes can be treated in various ways.
Of course, one has to decide what is right
for the given piece one is working on, and
it should come as no surprise that not
everyone thinks the same as how best
to proceed. The most commonly routes
for dealing with them are as follows:

• Leave the imperfection as is or use just

a slight dress up. Many people like the
natural look and this is an option well
worth exploring. But remember the bigger
the void, the bigger the problem with
turning it due to loss of integral strength
within the wood, so be careful
• Highlight or accentuate the feature.
Highlighting an area or ‘distractions’ such
as beads and colouring can add another
element that is well worth exploring
• Another option for larger voids is to insert
a very thin flexible mirror on the inside –
some people place photos. I am sure you
can think of other options to highlight
or work with larger voids. Here (see
overleaf ) you can see my grandson in a Burr False acacia vase by Mark Baker with natural voids and cracks left alone
mirror placed on the inside of this piece
• Some people have drilled holes along each wood into the fire pile, or attempt other free-to-use designs and use those as a
side of a large crack and then used leather to salvaging/design techniques. In reading starting point for exploring pyrography
stitch the piece together. Other people stick Decorating Turned Wood by Liz and • Another option for larger voids is to use
to using metal clips running across Michael O’Donnell, I began cutting and some sort of fi ller to bridge the void –
the gap and some people cut slots across then colouring some of my turned projects this can be tricky if large areas are
the gap and fit in contrasting wood stitches. to correct imperfections in my projects. involved, but is a very common one
Some people even use biscuit jointers Imperfections can be removed by power for dealing with small cracks and voids.
and use wooden biscuits to do the same. carving, or hand cut using a coping saw to In truth, due to movement of the wood
Wooden stitches can prove to be very visual create your preferred form and differential expansion and contraction
and highly effective • Pyrography is a great tool to mask or rates, cracking is not common when
• The size and location of your crack or hole redesign imperfections. If you are not using fi llers to fi ll very large voids.
may force you to either throw the lump of artistically inclined, source legally Experimentation is well worthwhile.

Woodturning 304 87

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 Leaving void with distractions of beads and color Use a mirror on the inside of the void A split bowl ready to work with

This bowl had defects running up the body line This bowl rim was cut, carved and coloured to deal with rim imperfections

Typical adhesives and fillers

There are numerous option adhesive and
fi ller-wise and you can experiment to your
heart’s content. Here is a few commonly used
options that will get you going:

• Two part – liquid-epoxy resins can be used

to bond and fi ll gap and cracks. The beauty
is that these can be mixed with crushed
stone, shell, colours beads, solid coloured
resin beads and chips, wood dust, metal
powders and fi lings – depending whether
you want a uniform metal look or a grainy
look – and much more to create different
visual appearance. If you want to explore
using metal powders for colour and fill,
I recommend you look at: Ted Sokolowski’s
DVD, Metal Inlay Techniques.
It is worth noting that two-part liquid
epoxies come in various viscosities and
colours. It is worth bearing in mind that
clear ones can often be coloured with powder
pigments and dyes too. I found out when
using artist oil paints to colour epoxy resin
that if you mix the colour first into the resin
until you reach your desired colour and
then mix it together with the hardener, this
process will create a true colour. Metal filings used to fill a crack bonded with epoxy resin

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 IMPERFECT WOOD TECHNICAL

PHOTOGRAPH COURTESY OF ANDY COATES

• Ground coffee grinds – which will
match most barks and knots, perfectly
– can be mixed with epoxy resin to create
this decorative fi ller. Some people use fresh
coffee and others make use of used coffee
grinds that are then baked in the oven
and used in conjunction with with either
epoxy or CA adhesive.

TOP TIP
If you colour or tint your fillers and adhesives,
make sure you make up enough of the
mix to wholly fill the crack/void being filled.
You will not be able to replicate the exact
tone of colour previously created when LEFT: Coarsely ground coffee grounds
making home-made tinted mixes. and epoxy resin worked well on this bowl
Sadly, epoxy finishes often require two
or three fills to get the levels and fill right. ABOVE: Used and baked coffee grounds with CA
adhesive were used by Andy Coates on this piece

• Two part epoxy putties can be used as stand

alone bonding agents and also fillers, or
used as a gap fi lling adhesive and holding
agent into which items can be held too.
They come in various colours, but can also
be coloured by variants stains and dyes.
PHOTOGRAPH COURTESY OF GMC PUBLICATIONS

There are numerous two part epoxy putty makes

to choose from

Heat meltable coloured sticks come in a wide variety of natural wood tones and vibrant colours too.
The wax is melted into the crack/imperfection then clean off to leave a level even fill

PHOTOGRAPH COURTESY OF GMC PUBLICATIONS

CA adhesive works well as an adhesive and a filling agent

Andy Coates has used ground rocks as a filler
• Cyanoacrylate (CA) adhesive is often use as an adhesive to bond, repair and also fi ll small
• Stones and rocks can be crushed and areas. It can also be used as an agent to hold beads, shells, stones, wood dust and other metal
broken and ground down to create fi llers fi lings and man-made and natural powders and materials in place too. I caution you that CA
of varying colours and sizes. typically has a darkening effect on most pigments and wood.

Woodturning 304 89

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 • Natural timber filler – I had trouble finding
extra fine wood fi ller from either the wood TOP TIP
I am working on, or obtaining contrasting Go to your upper shelves in your ’shop and
shades of wood to highlight a particular scape off the dust into a bag – thank you
imperfection. I tried putting shavings in to Glenn Lucas for the idea. Be aware that
a coffee grinder and the result was not fine irrespective of the colour and shade of your
enough for most of my usages, but is worth dust, when using CA as your adhesive,
a tryout. Sanding dust works, but that is the shade will turn darker.
very hard to accumulate without mixing
in other contaminants.
What I discovered is that by using a
bandsaw to scrape – not cut – across the
end grain of a piece of the wood you will
end up with fine dust that is useful. While
you are at it, make enough passes to fi ll
a small plastic bag, label it and you have
started your collection of wood dust. Note A cherry hollow form in which I used created dust
that this can be used as it is, but can also be from the very same piece
dyed and stained a different shade too. Coarse and fine dust can be used as a filler

• Acrylic-based moulding paste – another choice of an adhesive/
colour mix is the use of an acrylic-based wood moulding paste.
The product is Golden Gel Mediums Hard Molding Paste. What
makes this product special for us as turners is that it affords the
turner an unlimited colour array of acrylic paints to mix with.
Being completely water-based, it is also easy to sand. Take enough
paste that you determine will fi ll the crack in question and pick any
(unlimited) colour of your choice. Once mixed, press in the crack
and level off with a plastic hotel key. You may have to apply a second
coat, but this is not so prevalent as with epoxy based fillers.

TOP TIP
I have created a sample board of sorts
and experimented with 70 potential fillers;
first protecting the wood with a sanding sealer,
superimposing the fillers on a maple board,
glued, sanded, finished with oil and indexed
so I can easily identify what is available, and use
it against work to see if the colour and mix
would work in that instance.
Note: Each of these adhesives and fillers
mentioned have a different sanding
characteristic when in situ and cured.
You may have ultra hard filled areas or very
soft filled areas so please do experiment in
using them on waste wood before using on
projects you are currently trying to finish.
Without doubt the most commonly used
method of dealing with small cracks and
blemishes are the use of fillers and adhesives
whether to highlight, contrast or blend in with
the surrounding area.
So whether you intend to contrast, accentuate
or blend in areas to make them almost invisible,
there are the options listed and numerous other
bonding agents and adhesives, decorative items
and methods to explore which of course give
you, the user, far more options than I can explore
in this article.

Sample board, and close up

Prepare the cracks for filling

On most occasions a crack is irregular and typically
has wispy wood fibres flowing back and forth in the
crack. To ensure that we get a good bond and fi ll, it is
the turner’s job to clean and clear out the torn grain
and wispy bits within the crack so that there is a clean
seat for the intended filler. While doing this, you need
to decide if you need to alter the shape of the natural
crack or fissure. You might want to make it bigger,
or you might want to add a man-made extra crack
of fissure to balance the look of an item.
A rotary carving tool to which burrs and brushes
can be fitted help shape and clean up the area to be
fi lled. But likewise, a suitably-shaped carving tool,
scalpel, dental picks and such like could also be used.
Whatever method you use, make sure you clean up
deep enough to get a good amount of space for any
fi ller and adhesive before moving on to the next stage. TOP: Crack with strings before cleaning up ABOVE: Bottom bowl crack ready for cleaning out

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 IMPERFECT WOOD TECHNICAL

Cleaned up crack ready for filling and bonding Cracks after carving ready for filling and bonding

Avoiding staining
The next stage of preparation is to avoid
staining. OK, you normally fi ll cracks and
blemishes while the work is oversized, but
some resins, colours and adhesives can
penetrate the grain and pores quite a long
way. Most people are using CA, epoxy or
PVA-type adhesives in conjunction with
some other metal or powdered agents to bond
and fi ll cracks together and these vary as to
how far they penetrate and stain. Most of
us have learned the staining lesson very
quickly when we attempt to save our piece
by applying adhesive – usually CA glue –
to stop a crack, prior to any protection.
Invariably, without the proper preparation,
your piece will be stained and sanding may
or may not remove it.
A common method used to minimise
staining is to cover the crack and the area
around it (where unintentional spill of
the adhesive/bonding and filling agent
will occur) with either full strength or
thinned down sanding sealer. That said,
sanding sealer can at times darken the
wood, so it might be prudent to give
it all a coat before filling.
TOP TIP
I have found the use of a lacquer-based
sanding sealer mixed with 15% lacquer
thinner works best.

Useful tips and tricks to know

• Experiment with using a contrasting or
highlighting filler. If your choice requires
CA, after employing the crack and surface
preparations mentioned above, stuff the
filler in the crack and rub it in with a pointed
object. Cover the crack with a slight mound
of the filler and then apply thin CA. Let
it cure without accelerator (1 minute or
less). Some shapes might mean you have no
option in to order fill a given surface , but
using an accelerator can prevent the CA
from penetrating to the right depth and –
depending on the type of CA and accelerator
used – foam up the CA and also cause it
to go white. Note: It is advisable to always
overfill the voids and cracks to ensure you
can cut to the right bodyline shape.
• If using wood dust/ground wood of the
timber being used, after tamping down the
fi ller – to ensure that it is packed well
with no voids – and applying the CA
glue, before the glue dries, start a light
sand with, say, 220 grit abrasive. This
blends in some of the natural dust from
the surrounding timber to fi ll micro
imperfections. Two applications of this
latter process will yield results.
• If you have micro cracks, you could try
using PVA or CA and fi ll the crack with
adhesive and sand while the adhesive is
wet. This can blend in the fi lled sections
to the main body of the work well with
no need for extra filler.
• If you are using two part epoxy resins, only
use the quick set versions if you have small
areas to fi ll and you are not using home-
made coloured ones. I metioned that if you
have to make extra home-coloured epoxy
you will be unlikely to get the same colour
tone. But critically, If you have a larger
void, use slightly longer set versions where
possible in order to get the adhesive and
fi ll mix right and properly pressed into the
cracks and voids without building up lots
of layers.
• If the crack goes right through the wood
use painter’s tape on one side as you fi ll
the other. Then reverse the same process
to fi ll everything evenly. If the crack goes
through a hollow form, inflate a balloon
in the hollow form to create a barrier so
the glue/fi ll will not leak to the other side.
• After using fine metal powders, colours
fi llers and adhesives of any sort for filling
cracks and voids, seal the work with a
sealer after turning and prior to sanding
to minimise the risk of the fine sanded
adhesive/fi ller dust colour contaminating
the surrounding timber.

Sealed timber with cracks ready for filling Filled cracks with bonded timber ready for sanding Tape to block fill and adhesive run-through

Conclusion
Use your imagination to test your artistic wonderings and whether or highlight and fault or area, or otherwise work with faults
you use a biscuit jointer, slice a peach pit, grind up fabric or other it is an interesting avenue to explore. I would be honoured
materials, use metal, dry rice other fi llers to contrast, disguise if this article has inspired you. •

Woodturning 304 91

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092_WTUR_304.indd 92 3/1/17 9:24 AM

 NEXT MONTH COMMUNITY

Issue 305 on sale 20 April

Pat Carroll
shows how he
creates his brick
illusion vases

Richard Findley
explores the often
overlooked off-centre
turning technique
called ‘therming’

Andrea Zanini shows

how to make a moveable
woodturning cart
to store turning tools
and accessories

Andy Coates looks

at how to use
scrapers effectively

Woodturning 304 93

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095_WTUR_304.indd 95 3/2/17 4:27 PM

 Kit & Tools
A mixture of press releases and tests, showing
the latest tools and products on the market
All prices are correct at time of going to press. Products from USA & overseas to UK are subject to shipping & taxes

EASY-SET THREADING JIG HINGE PLATE

ope Woodturning has just launched a new hinge plate that fits

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96 www.woodworkersinstitute.com

WT_304_96_97_KIT_&_TOOLS_bdSDMB.indd 96 06/03/2017 12:26

 KIT & TOOLS

PROKRAFT BOTTLE STOPPER Conversion chart

2mm (5/64in)
3mm (1/8in)
ndependent online retailer Prokraft launches new shaped

I bottle stoppers among a new product range for 2017.

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4mm (5/32in)
6mm (1/4in)
7mm (9/32in)
8mm (5/16in)
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11mm ( 7/16in)
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BRILLIANT FINISHES FOR WOODTURNERS ADDING SPICE TO YOUR WOODTURNING: 24mm (15/16in)
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20 SALT, PEPPER & SPICE SHAKER 30mm (11/8in)
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wood preparation is It was designed for use in
93mm (32/3in)
understood, any finish the workshop. $19.95 95mm (33/4in)
can truly look great.” The book is hardcover, 100mm (4in)
the pages are made from heavy-duty art paper and the book 105mm (41/8in)
Contact: Ted Sokolowski is spiral bound so the pages will lay flat and won’t turn 110mm (41/4-43/8in)
Web: www.sokolowskistudios.com while you are working on a particular project. 115mm (4½in)
120mm (43/4in)
125mm (5in)
$39.99 PLUS TAXES AND P+P Contact: Chris West Web: www.westwoodturnery.co.uk 130mm (51/8in)
135mm (51/4in)
140mm (51/2in)
145mm (53/4in)
ART OF THE BRAND WITH MOLLY WINTON E-BOOK: WOODTURNING 150mm (6in)
155mm (61/8in)
ANOTHER DIMENSION 160mm (61/4in)
This is a techniques video
165mm (61/2in)
designed to instruct the 170mm (63/4in)
viewer on how to make by Rod Tallack 178mm (67/8in)
brands from nichrome A narrative about the 180mm (7in)
wire, and copper rivets. challenges, frustrations 185mm (71/4in)
Brands burn and imprint and pleasures encountered 190mm (7½in)
designs on projects to while investigating 195mm (73/4in)
200mm (8in)
enhance and decorate. multi-dimensional
305mm (12in)
woodturning, including 405mm (16in)
Contact: Molly Winton a gallery of turned 510mm (20in)
Web: examples and details 610mm (24in)
www.turningmaven.com of how to construct 710mm (28in)
the lathe. 815mm (32in)
915mm (36in)
1015mm (40in)
Contact: Amazon 1120mm (44in)
$29.95 PLUS TAXES AND P+P Web: www.amazon.com 1220mm (48in)
1320mm (52in)
E-BOOK PRICE: £7.50 1420mm (56in)
1525mm (60in)

Woodturning 304 97

WT_304_96_97_KIT_&_TOOLS_bdSDMB.indd 97 01/03/2017 11:53

 Saw blades Hole saws Jig saw blades

Sabre saw blades Tools with bore Router bits

& knives & sets
AL
ET
M
y
av
He
M
BI
F
0C
92
PI mm
.9
/2

JS

THE WIDEST TOOLING RANGE

For more information and to find your nearest stockist
please visit www.tomaco.co.uk

098_WTUR_304.indd 98 2/28/17 10:45 AM

 TIMBER, TOOLS & ACCESSORIES COURSES

Advertisers Index
Axminster IBC Paul Howard Woodturning 44
AzCarbide 23 Planet Plus 44 & 75
Beaufort Ink 13 Record Power IFC & 1
Carter Products Company 37 Robert Sorby BC
Chestnut Finishing Products 24 Robust Tools 82
Classic Hand Tools - European Woodworking Show 65 Simon Hope Woodturning 57
Cook Woods 24 Stainless Bottle Stoppers 92
Craft Supplies USA 66 Starbond 92
Creative Welsh Woodturning 79
Stiles & Bates 78
Crown Hand Tools 92
The Beall Tool Company 23
Exotic Blanks 18
The Toolpost 6, 18 & 70
G & S Specialist Timber 23
Tomaco 94
GPS Agencies 50
Tomaco - CMT Tools 98
Hamlet Craft Tools 66 & 75
Hampshire Sheen 79 Toolnut 84
Kallenshaan Woods 24 Trend 17
Laguna Tools 2 Triton 63
Niles Bottle Stoppers 24 Turners Retreat 30 & 31
Olivers Woodturning 51 Woodturningz inc. 81
Oneway Manufacturing 44 Woodworkers Emporium 78
Osmo 50 Yandle & Sons 13

7OODTURNINGôCOURSESôINôTHEôBEAUTIFULô
.ORTHô9ORKô-OORSô.ATIONALô0ARK
Steve Heeley
Registered Woodturner

ô ôôDAYSôONEôTOôONEôTUITIONô One to one tuition with a choice

of lathes
TOôMEETôYOURôNEEDSôôBYôARRANGEMENT All aspects of turning covered
7ITH All safety aspects covered
Demonstrations and Commission work
0HILIPô'REENWOOD
/NôTHEô2EGISTERôOFô0ROFESSIONALô4URNERS For more information please
contact me
'IFTôVOUCHERSôAVAILABLE
Tel: 01922 415873
#LOñCROQEBOñABQ>FIPñ@LKQ>@Qñ-EFIFMñLKñ ñ ññ West Midlands/Staffordshire
E-mail. steve_heeley@yahoo.co.uk
BJ>FIñMEFIFMTLLAQROKFKDFKQL>OQ@LRH
WWWWOODTURNINGINTOARTCOUK www.steveheeley.co.uk

Learn to turn in Somerset

Steve Giles with George Foweraker RPT
one to one tuition - beginners to advanced

One to one tuition with

2 students by arrangement
Gift vouchers available
a Registered Professional Turner
Woodturning Courses
in West Berkshire Maximum of two students
For more information
01635 45930
Telephone 01278 782074
www.artistry-in-wood.co.uk
info@stevegileswoodturning.co.uk
www.stevegileswoodturning.co.uk

TO ADVERTISE PLEASE CALL RUSSELL: 01273 402841 Woodturning 304 99

WTUR_304.indd 99 3/2/17 11:53 AM

 COURSES/CLASSIFIED TIMBER, TOOLS & ACCESSORIES

LINCOLNSHIRE WOODCRAFT SUPPLIES

Easy to find - Only 2 mins from A1 - Easy to Park
Specialist in High Quality Turning Blanks in Both Homegrown and
Exotic Timbers. Over 60 timbers in stock.
OPEN 9.00AM - 4.30PM MON - FRI
9.00AM - 1.00PM SAT
Send six First Class stamps for our
MAIL ORDER CATALOGUE
FOR EXPERT ADVICE CONTACT: ROBIN STOREY
THE OLD SAW MILL, BURGHLEY PARK,
LONDON ROAD, STAMFORD, LINCS PE9 3JS
TEL: 01780 757825
NEW WEBSITE: WWW.LINCOLNSHIREWOODCRAFT.CO.UK

100 www.woodworkersinstitute.com TO ADVERTISE PLEASE CALL RUSSELL: 01273 402841

WTUR_304.indd 100 2/24/17 3:35 PM

 TIMBER, TOOLS & ACCESSORIES CLASSIFIED

Allan Calder’s Ltd Sandpaper Supplies

Unit 2B Churnet Works, James Brindley Road, Leek, Staffordshire ST13 8YH

We are supplying top

NAREX - FLEXCUT - CHESTNUT PRODUCTS - LIBERON quality brands of
sanding abrasives for all
types of wood turners.

Web: www.sandpapersupplies.co.uk
E-MAIL: CHARLIEJUSTWOOD@SKY.COM WWW.JUSTWOODONLINE.CO.UK
Email: sandpapersupplies@yahoo.co.uk
Tel: 01538 387738

‡ Hardwoods
‡ Wood finishes
‡ Australian Burrs
‡ Exotic Timbers

t: 01798 861611 f: 01798 861633

W.L.West & Sons Ltd
Selham, Petworth, GU28 0PJ
‡ Woodturning Blanks
‡ Woodturning Courses (see website for dates)
‡ Woodworking Tools
‡ Fencing, Gate & Decking Products
‡ Bespoke Garden Furniture

Beacon Kilns, High Street Village, St Austell, PL26 7SR

www.machinery4wood.co.uk sales@machinery4wood.co.uk
Telephone 01726 828388 Off A272 Midhurst to Petworth road opp The Halfway Bridge Inn

Speed Genie
“Variable Speed Kits
for Woodturning”
Features:
÷0DLQVLOOXPLQDWHG2Q2IIVZLWFK
÷6WDUW6WRSVZLWFK
÷6SHHGFRQWUROGLDO
÷.LWVXLWDEOHIRUWKH5HFRUG&/
DQG&/ODWKHV
÷+3NLWæGHOLYHUHG
,QFOXVLYHGHOLYHU\DSSOLHVWRPDLQ
URXWHVH[FHSW+LJKODQGVDQG,VODQGV
÷2WKHUNLWVDYDLODEOH

£449.00!
d
Delivere

S. Haydock
Tel/Fax: (01254) 851918
www.haydockconverters.co.uk
Email: converters@shaydock.fsnet.co.uk

TO ADVERTISE PLEASE CALL RUSSELL: 01273 402841 Woodturning 304 101

WTUR_304.indd 101 2/28/17 10:47 AM

 CLASSIFIED TIMBER, TOOLS & ACCESSORIES

Woodworking Materials
Large selection of products
Clocks & Accessories (Quartz & Mechanical), Barometers,
Thermometers, Cabinet furniture, Screws, Plans, Kits,
Polishes, Adhesives, Abrasives etc.
For free catalogue please contact,
Chris Milner, Woodworking Supplies
(Dept WT), Beresford Lane, Woolley Moor,
Nr Alfreton, Derbyshire DE55 6FH
Tel/Fax: 01246 590 062
Email: info@clocksandbarometers.com
ALL OLD WOODTURNING
TOOLS WANTED
Write for Us
Writing books about Woodworking
Have you ever thought of writing, or have you
written, a book about your passion for woodworking?
Do you long to fill the gaps of your existing library?
Then why not contact us with your original idea or
fresh approach to your specialist subject? New and
inexperienced writers will be given expert advice
and guidance by our friendly and professional team.
WEEKEND
WOODWORKING
12 INGENIOUS PROJECTS

Woodturning
PLANS & PROJECTS





TRICKERY

  


 



Also wanted - all woodworking 


 




 








hand tools and anvils. PETER BENSON DAVID SPRINGET T

MARK BAKER



Very best prices paid for Norris planes. Write to:

Emma Foster, Publishing Coordinator,
The Guild of Master Craftsman Publications Ltd,
Please contact Tony Murland 86 High Street, Lewes, East Sussex, UK, BN7 1XN

Telephone: 01394 421323 Telephone: +44 (0) 1273 477374

Email: emmaf@thegmcgroup.com
Email: tony@antiquetools.co.uk Website: www.thegmcgroup.com @GMCbooks

Mastering Woodturning
DVD series
Two new DVDs by Glenn Lucas
demonstrate how to make a
Traditional Irish Platter (DVD 4)
and a Dublin Viking Bowl (DVD 5).
Purchase DVD or download from
www.glennlucaswoodturning.com
Buy all 5 and get free shipping.

102 www.woodworkersinstitute.com TO ADVERTISE PLEASE CALL RUSSELL: 01273 402841

WTUR_304.indd 102 3/2/17 4:33 PM

 TIMBER, TOOLS & ACCESSORIES CLASSIFIED

Barkers Lane, Snainton, Nr. Scarborough,

JOIN US ON WOODWORKING SUPPLIES TEL: 01723 859545

Open Mon-Fri 9.00am - 5.00pm
North Yorkshire YO13 9BG

FACEBOOK www.snaintonwoodworking.com Saturday 9.00am - 4.00pm

Sun + Bank hols CLOSED

Demonstration Day 3rd June

Like our page Sue Harker (RPT)
Woodturning Demonstration
for regular Open segment vase, Clam box,
and decorative techniques.
updates! 10.00A.M. - 3.00P.M. Free Admission
DECORATIVE PRODUCTS JET
Buff It, Jo Sonya's Mylands, Chestnut, Metal Powder JWL-1221VS Midi Lathe From £699
CHARNWOOD JTS-600 Saw Bench £1199
WoodworkersInstitute W711 8" Bandsaw £149 JWBS-20Q Bandsaw £1699
W715 10" Bandsaw £210 NOVA LATHES
B350 14" Premium Bandsaw £569 Nova Comet II From £569
W815 Mini Lathe £189 Nova Galaxi DVR & Stand £2199
W824 Midi £335 RECORD
Woodturning magazine is W813 Vari Speed Lathe
W870 Lathe
From £390
£550
NEW DML250 Cast Iron 10" Mini Lathe
DML305-M33 Midi Lathe
£219
£299
W408 6" x 4" Belt/Disc Sander £179 DML320 Cast Midi Lathe 3/4HP £499
the best platform for reaching CHUCKS AND ACCESSORIES CL3 Lathe M33 2MT £499
Charnwood W810 3 Jaw Chuck £49 CL4 Lathe M33 2MT £899
your target market Charnwood Viper 2 Chuck
Charnwood Viper 3 Chuck
£89
£99
NEW Coronet Herald H/D Cast Iron VS Lathe £899
Maxi 1 Lathe £1999
Charnwood Nexus 3 £99 BS250 10" Bandsaw From £259
To advertise contact Russell on Record RP2000 Scroll Chuck From £69.99 BS300 Premium 12" Bandsaw £499
Record SC3 Geared Scroll Chuck £99.99 BS350S Premium 14" Bandsaw £699
01273 402841 or russellh@thegmcgroup.com Record SC4 Geared Scroll Chuck Package £129.99 BS400S Premium 16" Bandsaw £999
Nova G3 Scroll Chuck From £96 Large range of machines, tools and accessories.
Supernova 2 Chuck From £114 ROBERT SORBY
GIFT/PROJECT ACCESSORIES 6 Pc Chisel Set 67HS Free Delivery UK Mainland £134
Vast range in stock including clocks, barometers, ProEdge Free Delivery UK Mainland £278
lighting, pot pourri lids, pen making, bottle stops, ProEdge Deluxe Free Delivery UK Mainland £330
salt and pepper shakers, crush grind, marbleware. SHEPPACH
HAMLET/HENRY TAYLOR BG200AL 8" Bench Grinder £119
Decorating Elf £44.95 SD1600f Scroll Saw with flex drive £139
Little Sister HCT700, HCT701, HCT702 BTS800 6" x 4" Belt/Disc Sander £139
VISIT OUR WOOD STORE TO SEE OUR LARGE STOCK OF TIMBER
JOIN OUR WOOD DISCOUNT CLUB TO RECEIVE 25% OFF ALL BRITISH
TURNING/CARVING TIMBERS WHEN SPENDING £20 FOR ONLY £15 PER YEAR.

THE WOOD SHED

11 Lowtown Road
Temple Patrick
Co. Antrim BT39 0HD native and exotic woods
02894 433833 woodturning tools Suppliers of quality blanks,
accessories • finishes spindles and boards in
native hardwoods and
www.wood-shed.com woodturning courses for all abilities exotics. Also abrasives and
finishes. We will cut to
customers requirements.
Jet SIP When you need a Visits to clubs welcome.
reliable tradesman for Mail order available.
Sheppach
Fox
Microclene work on your home…
Tredegar House
Startrite …choose a member of The Guild of Master Craftsmen.
Newport NP10 8TW
Triton For a tradesman you can trust – and a job done well.
Tel: 01633 810148
Charnwood Record Mob: 07854 349045
www.iscawoodcrafts.co.uk
The only place to list members of The Guild of Master Craftsmen exclusively iscawoodcrafts@yahoo.co.uk

BWS BWS
Barmossie Barmossie
Woodturning Supplies Woodturning Supplies
Moss of Barmuckity, Elgin, Unit 25, Twitch Hill, Horbury,
IV30 8QW :DNHƓHOG:)1$
01924 271868
07966 298026 07966 298026

Open every Saturday Open every Saturday

8am - 5pm 8am - 5pm

TO ADVERTISE PLEASE CALL RUSSELL: 01273 402841 Woodturning 304 103

WTUR_304.indd 103 3/2/17 5:07 PM

 FEATURE FEATURED ARTIST
Tom Wirsing - ‘Avoova Platter’
Tom Wirsing departs from his usual working ways, and creates the Avoova Platter
am best known for my large platters with
I simple lines, highly-figured wood and silky
hand-rubbed finishes. I seldom carve or
embellish my work. Clean and simple are
my by-lines.
I grew up in Virginia, one of the
original English colonies in America.
The Colonial furniture makers used
English designs, primarily Chippendale
and Queen Anne, but while the English
pieces were often beautifully carved, their
American counterparts were generally
without carvings, with simpler, smoother
lines and beautiful rubbed finishes. I grew
up in a home full of American period
Avoova Platter,
450mm diameter by
65mm deep in size
104 www.woodworkersinstitute.com
WT_304_104_FEATURED_ARTIST_bdMBTW.indd 104
furniture and that has definitely influenced
my woodturnings.
Several years ago my friend John Wessels
asked me to turn a platter for him which
he took to Cape Originals, a Cape Town
company whose Avoova division specialises
in applying ostrich shell inlays on decorative
items. When I saw John’s fi nished platter
with the ostrich shell inlays, I was stunned
by its beauty. John’s platter is in his home
in Sedgefield, South Africa. I wanted one
like it in my home!
This platter is turned from a beautiful
piece of Acer macrophyllum, also known as
big leaf maple, my favorite wood; the species
grows only along the Pacific Coast of North
America. This piece came from British
Columbia, Canada. The platter is 450mm
in diameter and 65mm deep, finished with
a hand-rubbed blend of urethane and Tung
oil. I collaborated with Avoova on the design
of the ostrich shell inlays and they applied
them. The platter received a Professional
Outreach Program (POP) Achievement
Award at the 2016 American Association of
Woodturners (AAW) Symposium in Atlanta.
Contact: Tom Wirsing
Email: tom@thomaswirsing.com
Web: www.thomaswirsing.com
PHOTOGRAPH BY ANDI WOLFE
23/02/2017 17:14
 Introducing
The Gold Standard
Exclusive to Axminster Tools & Machinery,
Powermatic create machines that push the
boundaries of engineering and design. Fitted
with every feature a turner needs, they will
handle projects of all sizes with ease.
Renowned for their superb build quality,
these two titans of the woodturning world
have many features in common: robust
cast iron construction (286kg and 395kg),
precision ground bedways and speed control
for smooth adjustment.
Since 1921 Powermatic has been at the
forefront of woodworking machinery in North
America. Known as The Gold Standard, these
machines certainly live up to their reputation. With
new standards in design, performance and build, you
simply have to come and see them for yourself.

Powermatic 3520B Powermatic 4224B

Heavy Duty Woodturning Lathe Heavy Duty Woodturning Lathe
£2,999.96 Inc.vat Code 102211 £5,299.96 Inc.vat Code 102210
• Digital spindle revolution indicator • Digital spindle speed read-out
• Spindle lock, makes removing chucks etc easier • Spindle lock and indexing on the spindle
• Index lock, offers 36 index stops (10°) on the spindlee • Tailstock with ACME thread and self ejection

For more information, call 0800 371822,

search axminster.co.uk or visit one of our stores.

Axminster • Basingstoke • Cardiff • High Wycombe • North Shields • Nuneaton • Sittingbourne • Warrington
Prices include VAT and may be subject to change without notice.

IBC_WTUR_304.indd 1 2/24/17 3:16 PM

 Robert Sorby
a cut above…
The Robert Sorby TurnMaster is the first tool in the world to combine three
cutting edge technologies in one flexible tool.
Cutters are available in tungsten carbide, titanium nitride (TiN) and high speed
steel (HSS) providing unsurpassed range to woodturners at every level.
An unprecedented collection of parts and cutters make it the most versatile
and value added single tool concept on the market today.
Among its many features TurnMaster incorporates a unique*
interchangeable cutter head that locks into three positions
allowing for simple scraping and shear scarping options.

Benefits:
• All cutters interchangeable with one tool
• Indexable cutting head for shear scraping
• Interchangeable cutter head –
no need to buy whole new tool
• Flat underside for stability
• High tensile torx screw / key
for quick cutter release
*Patent pending

CARBIDE: TITANIUM: HSS

Proudly made in Sheffield, England
Robert Sorby, Athol Road, Sheffield S8 0PA, England.
Tel: 44+ 114 225 0700 Fax: 44+ 114 225 0710
E-mail: sales@robert-sorby.co.uk
Web site: www.robert-sorby.co.uk

OBC_WTUR_304.indd 1 2/24/17 3:34 PM