4 styles of $5, $10 & $20 Holiday Ornaments - Art/Farmers Market Projects

well it's that time of year again the favorite time of year for us vendors the time of year where people have been setting aside the discretionary income I actually start living a little bit of it go the holiday season for us art vendors in our markets farmers markets that kind of stuff is where you're going to make the majority of your yearly income in fact I know some personal acquaintances woodworking friends that spent their entire year doing nothing but building up their inventory so that they will have enough to sell in these last eight weeks of the year well if you're doing that kind of deal it's always nice to have a few impulsive stuff to buy press stuff in the five to twenty dollar range and this is an awesome price range where if you are a woodworker and you have a long Christmas list of gifts you need to fill up hey a weekend of work and you can fill most of them and not spend too much money these are the kind of items that you don't spend a lot of time investment end it and the parts or the materials are readily available and fairly cheap one of my favorites to do this time of year are tree ornaments because they're somewhat universally accepted as office gifts and stuff like that just don't make them too religious themed so today let me show you some of my favorite ornaments to make for this time of year in order to boost sales [Music] now this year I'm focusing out for different styles of ornaments I'm gonna have my apprentice working on some pendant Styles now I'll give you an overview of those but in this video I'm really gonna focus on finial style ornaments turning very nice shaped finials and if you use this as a practice exercise you'll be able to transfer this kind of art form into box tops or chair or box legs or various artworks or accessories to your other woodworking the techniques you will be practicing here transfer all over the place and I've always said this if you want to be good at wood turning first get good at spindle turning because good spindle Turner's seem to be able to do all different types of wood turning but people like bow Turner's and box makers they have a harder time transitioning to spindles spend learning spindles and the tool control required to do these well is the key to just about all other styles of wood turning and we're going to be focusing on three different types of ornaments with this finial design something I call icicles which are just the basic finials then something I call pinks which basically uses one finial and a tiny pink sea urchin a sea show and these you can buy by the box all over the place just search sea urchins ornament and you can buy them anywhere and then my favorite ones are a two-piece finial that are used with these Sputnik style sea urchins and these are my most popular sellers and the highest price ones they make great gifts and I have a lot of customers that come back to me year after year to buy a new ornament they kind of celebrate each year with a new ornament for the tree and these have become extremely popular with them but the first thing I need to get do is get my apprentice started working on those pendants now people always seem kind of perplexed when they come to the shop and they see my apprentice over in the corner just buzzing away yes I jokingly referred to my low inexpensive DIY CNC machine as my apprentice because like an apprentice you supply materials you give it a few instructions and then you send it on its way and it will do work while I go about on the lathe or with my hand tools making the more profitable stuff this is the kind of item that turns out those five to ten dollar items that are impulse buys people don't really expect a low labor involved in if you just stick it through you can give them a really good quality product to get this thing working though I first need to prep them a bunch of material and because of my hand to a woodworker I'm always thinking three steps ahead I don't want to do the same operation twice so what I would do is I will take a bunch of boards I will flatten one side over the jointer to make them nice and smooth probably the last time I'll touch that side and then I'll bandsaw a thickness out and you'll give a nice rough finish on the top I don't worry about that I'm gonna take these down let the machine do the carving and then I will sand them smooth because I'm gonna have to sand them after the carving anyway so will I do the same step twice you got general woodworking rules that you have from one side that you all can always apply to another branch of woodworking so so take a look at that time prep this machine and then we'll get on to turning some finials now every woodworker I know has some kind of scrap bin you know you have a nice curly piece of wood but look at that what am I going to make out of it it's just it it is firewood but we spent so much time or money you hurry it just hurts to throw it away well this is the kind of project but we're going to start burning through all that old kind of off cuts and you know you click those through the year taking the hay these will make great ping blanks or something like that oh we still haven't made pins out of it then that it's time to put it to good use and get some money out of it now I can't stress this enough what we're going to be doing today will translate to all your other woodworking and think of it as five to ten minute exercises that you can get a little money from here for your effort but later on down the line you will have the skill that's just on strangling anything I mean turning a fine feed like that or a little covert my spaniel straight-line you might not think it translates to big bold design but the skill you need to pick up your line as you're going through a nice curve this is where you practice it the skill you need to turn a very fine lead on the outside of a bowl this is where you learn and practice it I mean you're going to be blasting through these mixes any $5 curve but you're not gonna be spending more than five or ten minutes on them and but you're cutting practicing I can't stress that enough now let's start out talking about making those icicles cuz they are a purely skill based product all you're doing is showing off what you can do with your tools and they'll give me a chance to talk about the techniques and tools and how I'd sharper them and how I use them then those skills will transfer her each of making both the Pink's and those little Sputnik sea urchins so I'm going to be using my mini lathe for this because this is way all the power you need for this kind of project in if you want to use a tail stock deep pan I'm also going to be using a unique kind of jump jaws on just these icicles they grip small square pieces I don't know what they are called in it styles or what making by the jaws to test it a whole bunch of different styles of chucks and this is one of those demos I do in live demonstrations just does it fairly quick and easy now the main tools I'm going to be using when I do this are my roughing gouge is just standard roughing gouge this is spindle turning and this is a very safe hole tool for spindle turning but warning you never want to use this with a bowl because those have ingrained long grain in Grain long grain and basically in spindles all you're ever doing is pointing with the grain so you're never fighting that in grain it's safe but going transitions between the end and long grain it's not so much that if you get a catch he'll be really bad but there's a lot of vibration going on and this kind of tool is made out of a flat bar and if you've ever taken a piece of metal and just moved it back and forth like that they will snap so there's a lot of bending that goes on right here a lot of forts have this flat portion where it goes into the finial so these things can bend and break when you're using them with a bowl gouge so this is a the industry's kind of wanting us to call these spindle roughing gouges because of the way they are made don't use them in anything other than a spindle the other tool I tend to use a 3/4 inch skew on this one and I will show you why and how I cut this angle right there a little bit later and I will be using two spindle gouges my standard half inch one with a swept-back wings I grind it off of a Wolverine jig and this is a radically swept deck that they caught more of a detailed gouge and I don't use it for too many cuts but when I do need it it is really nice to have and this I think is a 3/8 inch Roberts or b1 which I don't use it very often so each it enough for what it is I will also sometimes use this little parting tool basically you just sharpen at the bottom I'm not a big fan of it for the simple reason that my to rest is iron it's not steel and this steel will sometimes dent it it's wise to break these edges on the back so it's not as aggressive but you if you see me pulling out a parting tool you'll probably be this very thin one the material we're going to be using for our this first thing icicle is a piece of curly maple and when I'm in my shop I basically keep my bandsaw set up nice and square so I can grab a piece of scrap come over set it to its width and cut me out square and having squares are is really important with a type of jaws we're using on our Chuck it is also important to have it nice and 90 degrees on end so I'll cut them to length on my chop saw let's make sure that's going to be safe now something that's important don't do all your icicles in the same species people like variations in color and it will show better that's why using your scraps is so good cuz if I have a wide variety of different types of wood I'm just using this hard maple right now curly maple because it's first thing that's out there and the lighter color will probably show up against my darker shirt in the video no other reason to that okay the reason why it's so important to get a nice square end on your lights is because you're going to be shoving them all the way down to the base why meet up the triangles of your blanks are going to go in between one of these giant teeth but you want to push it in it's very tempting to come out and stretch it out on the end but if you look at the jaws you can see that the squeezing mechanism squeeze it in through here not out here out here it can get some torque on it so having the blank go all the way to this base right here means it's getting most of its tension right there these longer teeth right there just add a lot of stability as you're turning farther and farther out so you really want to be able to push this Chuck in really hard against the base to get a nice stable blank now having a stability is why I feel confident being able to turn this and start to finish without that tailstock but walk with the tailstock on for the very beginning feel free I'm just going to be taking very light cuts at high speed so I'm confident in it also but I've measured this out to about five and a half inches and that's about the max as I do for my finials I'm giving away at this price ring and I mark that out on my chop saw give me a marker right on the bed and that's got my standard size for things like tops blanks and stuff like that it's just what I do if you want to go longer you can but you're gonna have to take a lot more of a delicate touch as you're turning and it's not really going to increase the value that much a 4-inch ornament for a tree that's just fine now the first tool we're going to be using is that spindle roughing gouge I was talking about earlier in in my shop I have two of these slow speed grinders there's not much money so it's a nice investment to have I have two platformers this first path will mess it up with just my scrapers so it's always there I can quickly touch up any tool the second one I have a and about 40 degrees I never really touch it because a lot of my tools use that angle for example this think out so whenever I want sharpen it I just quickly come over and put it in line with a grinding stone I started one side I worked my way across battle-ax platform and my goal is to keep it nice and flat here now for roughing gas what we just did right there is perfectly fine I think that stone is a t grip I'm not a hundred percent sure but it works just great but when I'm out of the field eat them on my roughing gouge you will see me home quite a bit I keep a little diamond stone slip stone right by my lathe all the time and you will see me sharpening it quite often if you see a lot of demonstrations of mine or out of the markets and so I shave that my technique for sharpening these things in the field and it also gets a much much cleaner edge because this right here is a worn down 600 grit diamond stuff there's probably more equivalent to 1200 grit now now I want to show you this honing technique with this roughing gouge because it's a lot easier to see the result you see how have a slice shiny spot on the base and one right on the edge that's because I just honed it with this stone and the way I do that one is I will put the stone on the bottom bevel and I'll get it moving and that will never leave this bottom bevel and then I will rotate my blade up so that every like fourth or fifth go back and forth it will just kiss that blade though it will never leave that bottom bevel and what that does is it prevents you from rolling over the edge and either increasing the edge angle or dulling it just keep it on that base bevel and you will keep your same angle then I'll take the inside of it and I'll hone off the burr on the inside now this is very easy to do on something like the roughing gouge because you have a base bevel here and I that your edge right there but we start talking about your finely ground spindle gouges we notice I have multiple bevels on my spindle gouge so I'm not actually moving off of this bottom bevel I'm moving off this other bevel that's way maybe two thirds of the way up that creates a shorter distance here allows me to turn tighter terms so when I'm holding this one it takes a little bit more skill but it's something if you start doing it maybe the first time or - you won't get perfect results but after that it just kind of gets second nature you can kind of feel that clack clack clack clack clack clack of rocking between the base bevel and your edge okay so let's get turning now today I'm going to be talking about I'm not going to caught intermediate level skills talked about maybe the orange and green go stealth skills if you're still at the white belt level I suggest you pause this video now and go watch my woodturning demystifies where I explain a lot of the physics of how your tools work in this lay situation especially with spindle turning and they'll cover going lot more details if you're at that white belt level but today I'm kind of assuming you have some of those basic skills and we're going to go on from there now if you're in a live situation I suggest at this point in time when you're roughing stuff out you're in that point where you want to draw people attention into your booth so you want to make some noise so roughing stuff out at this level there is a technique to make a little bit more noise and still keep us safe I'm going to start at the end and make minor in cuts just removing Edge's and because of the way it's configured it might conduct a vibration sound and then you can crank up the speed in Mitte and make the smoothing cut as the crowd comes in here it's a good way to draw attention cuz you they won't find out what you're doing so turn up your speed I have a variable speed over on my hand over on this side so I can turn that faster slow turn up as fast as you feel comfortable I do have it in the high gear on my lathe I come over just put this down I'm gonna start on the end I'm actually taking very light cuts because I want don't want to do this too fast and I am hanging out over quite a bit at this point time you can get a lot more aggressive the farther in you go so come over here great lights I just take off the corner and notice I'm taking makes a big mess this is not the fastest way to do it but if you're doing improving a live crowd it kind of draws their attention then come over if you're wanting to block sheep the shavings for your hand on top of this stage move your body back and forth now notice what part of the gals I'm working off right now I'm working off some of the center but when I come to the edge where I want to start doing finer cut I'll start up 90 degrees to it raise if to see the shavings coming off and now take it over a little bit and angle it notice the kind of shavings are now getting you know I take light cuts now what I explained right there is really only about 15-20 seconds of work when I'm not talking it's a nice finish now that we've got the black prep so the white board talked about design so in my opinion he knows and Fino designs and their execution our art form all into themselves in the woodturning world and you had an elegant finial to the top of a really nice box maybe some old wild edge lot of edge kind of thing and the finial centers it gives you some place to grab and lift the lid but it just kind of flows up into the heavens I mean it just brings everything together when it's done very well and people like Cindy droves I think she's the most well known out there that do these side things I mean it is an art form in unto itself and the skills required yet they translate elsewhere but they're very specialized skills the problem is this kind of finial will not survive our environment or the environment your customers are buying it then they're going to be putting it in a tree they're gonna be taking that tree gun wrapping them up putting them in storage you'll come in and out over 10 15 years they're gonna have to be displayed in your food you're gonna unwrap them wrap them probably a dozen times before they sell very likely the use this fine elegant thing we'll take this one would break okay there's no right to it and then all your time is wasted on them so we've gotta adjust our designs of finials for our target audience and what we're trying to sell technically I would call my designs when I'm doing these icicles or sea urchins about somewhat clumsy somewhat thick but I don't have to keep remaking them I don't have to throw them away because they break or some kid knocks over a display and I lose a whole year's worth of inventory because they are so delicate so my designs when I do these for our merchants stuff like that I basically think of three components in my videos and I don't gussy them amount to much those three components start with a head of the item and the head of it is basically the transition from whatever object you have whether it be a sea urchin a hollow form wood design or just the screw on the top of it that transitions down to holding the head of the duck the head of the finial is just that transition and a lot of times it involves the joinery aspect of your opinion okay after that you have the main body you don't want to be too busy in the main body it's just kind of to elongate the design and flows bring them whatever design elements you have in the transition from the main piece down to the tail of the document and yes you can get really wild in there you can make it really fancy I found one or two elements is all you need and people appreciate the design they'll spend money on it and you don't have to waste time adding more elements and then you have the tail on the tails I like to do different types of shapes but what I don't like to do is bring it to that nice elegant point those will get destroyed all the time even wrapping up in tissue paper you don't know how many times I've actually snapped one of those ends off this one right here even and just doing this video I accidently bet the end and there's no way to fix that other than a knife with easily facets or taking a piece of sandpaper and sanding again like that which ruins all the other elements I hate to say it I've pretty much ruined this if somebody's looking in it quite detailed so I try not to do extended point I know but you will never see it as on and I'm selling a market coming down to a long thin elegant finial and terminating there it just doesn't happen they will not survive but there are a lot of other things you can do that will add interest one of my more common ones for the tail design is adding a little acorn those are kind of elegant and they come to a point but it's not a delicate point other fun things you can do a wine bottle that's got a nice flat edge on the base comes up and maybe up here in the body of it the transition you do a wine glass I mean you can't have fun with these just don't get hopefully complicated and taking them mine the delicateness of them so with that in mind the first thing we're going to be working on is a tail of it with a body being here and then my transition the head right there the reason why you work on the tail first is because we are going to be getting thin and having this extra me right here is great support for that one it reduces your vibration once I finish the tail I will not come back to it I will do all my sanding and everything before I move on to the body so that the three main tools I will be using are my two spindle gouge and this will probably do 90% of the work and my skew gouge I'm going to show you how I sharpen my spindle gouges now and I'll show you the skews a little bit later except for my main spindle gouge I come over and I have one of these little one-way jigs I set up one time I've never reset it since that original time I drop it in here and pretty much what I'm doing my Wolverine setup this is the one jig I use for all the same spindle I drop it into this overpriced hole which sets the extension out to about two inches I come over to my fire grit wheel I check to make sure my line is in the right spot on my bar turn it on and then just rotate it from one side to the other concentrate on the wings a little bit more than the chip catch it wanted dead but it notice now my bevel was extended down quite a bit so what I want to do is I want to bring it back a little bit what I'll do is just loosen this up and extend it out a little bit how much I extended out I don't want no don't really care all this is doing is getting rid of the meadow below the bump below the bevel like to make Tyler turn so now my pebble is quite a bit shorter now my detail spinning gouge I do freehand because I just haven't found the jig though do it consistently and when you go freehand there's a lot of variable the reason why I use the wolverines setup for my main spindle gab is because this thing right here I have more difficulty with than any tool I have I get more catches with my spindle gouge than I even do my skew chisel I know I'm kind of weird that way so I want the consistency on it and as far as spindle gouges this is the one that's in my tool all the time I go through about two of these a year so because that now I am a huge fan boy of Thompson steel I am NOT a huge fan boy but he doesn't do his groove out so far so you can wear these things out fairly quickly if you're using the Wolverine setup because you kind of need it to protrude through there a certain amount and after you get past that flute you don't have those two flats anymore so you'll see a lot of Turner's with the Thompson stuff because it's so short we will actually start grinding back and getting a flat going further back so that we can use more of the tool that I mean I still have a good two inches two or three inches left in this thing but my Wolverine setup wouldn't go back any farther so he's another tip now when I freehand sharpen these it's basically a u-shape and I don't know what the exact angle is it's actually fairly steep as you can see and my wings are way swept back I don't know can we focus in on that maybe not wing it away sweat back I do that one with a u-shape I start on the side and I'll come down and feed my way up the idea that we'll kind of eyeball where I want the bevel to be right about there all my foldout kind of position that will be the bottom of this spot i I sharpened with then I'm going to come up the wing on the side they just found freehand again that point in a Jew's fashion like come over starting on this by the way Oh then why I want to remove the back to them I rotate it around get up with a nice shape I love pointy right now that's how you can free hand sharpen these if you want to I do that one for my spin that my details finding out differences I don't have a jig that can get this shape I like so back to the lathe on this first one I'm going to start out by making a small acorn on the bottom and am i planning these out not really I'm batching these icicles out so I just have a few design elements and I'll just kind of mix and match as I go along we're gonna start out with an acorn first now one of the design car tiers I try to follow is you know we have our tail we have our body and then we have their head none of these three elements I want to have at the same thickness so there's either a kind of curve coming out curve going down curve coming up and generally I like to have the head as the thickest area because I'm putting the screw in there and I just think it looks better so most of the time this is going to be the medium thickness portion of it so I'm going to real quickly bring this down a little bit so that it's not gonna be the same thickness as here to begin my development [Applause] and notice I'm using the side of my wing on this thing this is a skewing cut [Music] gives you a nice finish even though it's coming straight off a blade see what I'm talking about I should probably explain to me that the different cuts I'm using with my tools as I I might use terminology that doesn't make sense a lot of people so let's go the white board real quickly okay a lot of the terminology when you're using are referencing other tools a lot of times our eye or other woodturners would say we're making a skewing cut even though we have a spindle gouge in our hand oh you might say we're making a scraping cut even though we have a skew in our hands it all depends upon Howard the blade is interacting with the wood and a lot of times it's easiest just to reference the most common cut of a specific tool maybe askew or a scraper in relationship to whatever you have in your hand now these these wax can explain is to go back to traditional woodworking wood turning if you look at a four and a plane the blade generally interacts with the wood at about 45 degrees now you know we change those angles if you increase it attorney works better with how they figured would you lower it down it works better with softer wood but for the most part we're working in the 40 to 45 degree range you push it along the shadows come off okay so if you look at our spindle tools if we grind our spindle gouge at a forty to forty degree bevel oh look at that it's about the same angle as a hand plane as it engages the wood if we were going across it this way but the thing is if this is the headstock and this is the tailstock this is the blank we have on our board and it is rotating around this way when we use something like the spindle gouge we are constantly changing this back handle angle if you're going this way you engage it slightly below Center let's use a cardboard example to make it a little easier explain you got your fingernail shape if you're moving this way we kind of can't the handle over and we engage it slightly below center so they will be nice and balanced above the tool rest and we can get a nice smooth cut but look at the angle the woods coming straight over here engaging right below Center does the line look pretty close to about 45 degrees now second go I just did a skewing cut and if you have a skewing tool same exact thing engage the blade on the bottom third was a lot of times we will time move it towards and look at that angle roughly 45 degrees as we're shaving across so same exact thing if I were to can't take my gouge laid on its side and engage the blade way below Center I can still have the wood coming off at 45 degrees so that's all about how we're presenting the tool to the edge or the direction that engages is what we're talking about but you need to understand works this exclamation is as as if everything was in a 2d world and we know wood is not 2d it's 3d so better explanation would be a ball and if you are engaging the wood obviously the wood is coming off on you this way but when you get around here we have to change our tool angle changer to adjustment changer to approach in order to get that 45-degree interaction so we change our cuts I might start out with a skewing cut on my transition into a cush cut going off the bottom edge now why is it all this matter what comes down to how you're using your tools and what you feel comfortable with different cuts will allow you to do different things a cushion cut with a spindle gouge if I'm on the edge you can see that the angle if I'm engaging it right there is roughly for the 45 degrees we talked about but the bevel angle if you notice that distance right there is not that long whereas if I were to engage it here on the blade and then had the bevel rubbing way back there all of a sudden I have a much more stable cut so if I were to come across this way I have that longer bevel so I can make a nice smoother more gradual curve and it feels more stable whereas if I'm pushing in on this one it's like a short wheelbase sports car you can kind of it kind of warms around it's not as smooth a cut so using the tool I can basically just set aside what angle I want the wood to come off the blade and how far the the cutting edge is from the bevel I'm resting on as I glide it along so you can get a lot more versatile cuts plus the fact that sometimes you it's easier just to pull out than it is to push in just depends this tool gives you a lot of flexibility but I wanted to explain these terminology I'm using I just used a skewing cut with my spindle gouge [Applause] so I'm just gonna reduce it down a little bit more notice I'm taking a very light cut because I am hanging out off the end a little bit do it a various spots on your couch to gain that down No everyone gave me is about the 40 product so let's start doing that little acorn I would do the base first so go start out making a Vika now normally AV cut is the realm of your skew chisel you come in you make a indentation that basically pushes the fibers out to either side and then you come in from either side and deepen it down but the blood would doesn't know what blade you're using and I do have a tip on this thing and just out of sheer speed or the fact that I just don't want to reach six inches over and grab my skew I can actually use my spindle gouge to make a quick because to define the baseline of my acorn so that'll be the captain this will be the base so come back over and just slowly round it over you putz come in here and I'll have to come back this way to get to the base of that notice I'm using that push cut because it's a shorter distance right there and I can get into that corner very light cut I'm not pressing on that bevel too much at all then just round it over to make the base of the apron and I don't like that little B there so I will kind of transition it a little bit better [Music] there are all different kinds of acorns that you don't have to have a perfect and come out the slightest of points at the end now for the cap once again come in create a relief to fall through then transition that down got a little bit of a line there so I'll come back and take one final smoothing cut as best I can [Music] there we go we have my ACORN so if I were to sand this which take a quick look at it I don't think I need to stand this one and because this is a something I'm going to be batching out quickly I'm just going to let it go from there it's smooth enough to the touch so right here it's going to be my body so I need to figure out what kind of shape I want here I think I'm going to add a little transition bead right there and then come up and make a nice long cove come into this direction sideways make the nice cut in and then start removing the material using the wing now go come in right here and I've always found that these points when you have two points coming to V I tend to get a little bit of raggedness on maple I've learned that from the tops so if you want there's no reason why you can't create the really nice crisp line point and then come back in and see you can't ever so slightly flatten it out so it's nice and crisp feel it for Christmas now I got a nice crisp line and I can't really sand that anymore because a crisp line sandpaper takes away crisp lines so that's gonna be the base of my curve so now I'm just gonna blend it in [Music] hear that squeal that's a low vibration I'm introducing him okay feel it out got a little bit bubble right there so the simple solution is to sand it I have some 320 grit sandpaper just light squeezing to smooth it out notice I do not go down to that base line and there we go if you want a crisp line on transition like this right here I suggest you come back over [Applause] and make that crisp line in this director just come off the side and it gives you that nice transition for the for the head I think I'd loafie [Applause] [Music] [Applause] [Applause] [Applause] isn't that then we need a Top Cat [Applause] now before you take it off stop the lathe make sure all your lines are really Criss you're happy with it see I got a little tear out right there and before I make it too thin I'm gonna go clean that up I don't quite like that one transition there but they'll be taken care of with sandpaper so here we go clean this one spot up remember me talking about being able to pick up the line up now look at I probably taken care of sandpaper sand over the bead there we go nice little Christmas ornament got a look can't say I'm gonna leave that I think it's kind of cool-looking okay now here's a key point we're going to be adding a screw on top a very small brass screw like that and it's very hard in a round end to get it started so whenever I do my campsite I kind of undercut them a little bit so it's a slight V so this point will find a center it makes it a lot easier to thread in so with my skew I'm going to clean up this one line I think I can do a little bit better there and then I'm going to do a V cut that's slightly undercut pops off just skew it off now I screwed up that one because I didn't quite get my be cut so I'll take my skew I'll make a little dimple in the end middle that would be a nice place for this screw thread to latch on to now if you want to take the time to add a little friction polish that would be very nice but I look at these as my cheap price point items these are the impulse buys yeah I probably sell something like this for less than five dollars so that one spent too much time on effort on it and the raw wood in this kind of situation it's good enough in my opinion a lot of people like it that way so there we go without me talking that was a lesson 5 minute project and we have ourselves a nice little Christmas ornament they'll go on the tree now I'm not going to make too many more of these for this demonstration because tomorrow I have a big market and I am going to be making probably hundreds of these live in front of people so I'm gonna move on to the pinks and show you how I integrate those sea urchins apologize because I processed all these sea urchins last year I get about a hundred of them of these and these so I had a bunch of processed ones left over so I'm going to describe how I did it I'll show you the tools I did but I can't demonstrate it because I I didn't want to repurchase another hundred of these just for the video and it's not that hard to do now sea urchins are seashells and they come in a wide variety of shapes and sizes most comets one you'll see resold to us woodturners and crab people are these Pink's the sputnik's and these big green ones right here I do find that the sputnik sell the best they have these little points that they're really nicely decorated yeah nice decoration but the first thing you need to do before you do any kind of processing with them preparing them to become a turned item is you need to strengthen up the shelves and what I would do is I will put a heavy coat of this modge podge stuff on the inside of the shell and if any of the shells I start to see little air gaps between the different sections because these are like eight dozen different many sections I'll drop some thick CA glue on the inside so it won't show on the outside after that you need to process them so you can get perfect circles on all of them so your joinery will work because they come out kind of ragged I mean they are seashells what I would do is I'll take a waste block on my lathe I'll grab it on I'll turn down the cone and I will wrap that cone with sandpaper and then I would just slowly and this is a time consuming a set of grind those aspects down to I get a perfect circle on either side and then you will get some kind of this Mod Podge like shredding right there but that'll be hidden once all your joinery is on there for the pinks the ones we're about to do now the idea is you have one finial you have all your decorations on it the Bight the bottom of it this distance right here is going to get very close to the size of the larger hole and the top is going to be made up of a slight tenon that's just going to fit perfectly on the inside so the thing itself just kind of slides up on top of it and you can attach to the screen right there it is one item it's just as quick to make as those icicles with exception you are adding the seashell and to hold the seashell on I just drizzle a little bit of hot glue on the outside and pop it on there and it works just fine so let's make a bunch of these smaller finial designs and then we will talk about fitting this top section [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] so there we go I'm about halfway through the pink so I showed you mine various processes for turning the clunky finials and that size and I hope you saw in the video I took careful measurements of this top tenon the one that goes through the smaller of the holes and on the bottom hole I just got it close to the size I wasn't too concerned with that because in this design the only weight that the c-shell is having to hold up is its own weight unlike the sputnik's worker I'm going to show you in a second which had required two different pieces because the show itself is holding the entire weight of the ornament now this one right here on that shelf right below the top tenon I put a little bit of hot glue on there slid it on the top got the nice cool fit on it and then kind of twisted it until the hot glue set and that gave this a really solid glue up and then just put the screw in there and some of the common designs I like are this little dancer little ballerina style one I do a lot of these little og style ones where they have a repeating theme coming through I can't kind of the funny ones that go over well are the wine glasses and wine bottle style ones you can have fun with these I think I talked about that earlier and then just do them differently I mean you only have those three sections the top the body and the tail to play around with so there's a lot of variation you can do there so let's move on to sputnik's and I'm just going to show you the design differences the joinery aspect of that one that set them apart okay the design of our sputnik's are going to be they're going to be in two pieces we're gonna have the finial coming down below from the small hole this time and the upper hole which is much larger will hold the weight of the device and have the attachment screw on top now I told you when we first process these when we use that comb with sandpaper wrapped around to make the circle is just a perfect circle that the bevel we created with that cone would be important this bevel is going to allow us that its height fit that we want that so the customers won't see any gaps and what we're going to be doing is we're going to create a perfect sized tenon that's going to fit down in the gap a little bevel on either side that's probably not going to match our bevels down here perfectly but if we make them more concave you'll seal up the gap and then on top we're just going to put a small dome I have tried in the past putting decorations on top don't do it okay it just doesn't look right this will drop straight down in here and then we can use our hot glue to glue this one on through the gap underneath now here's the kicker on our tenon we want to cut little recesses that way the hot glue or the super glue we use will flow into those recesses and lock it against the side pack so real quickly we're actually going to start making the lower tenon first and we'll do all our decorations and stuff right there will cut the recesses on that y2 and then we would do the top piece of the reason why we're doing that one is we want to have continuous grain flow from the base to the top little nice touch so let's head over to the lathe and turn a quick spindle okay so I chucked up another piece of maple and it's in my normal Chuck not those extended jaws ones and the size of this is important you want to find the larger of your two holes and just get it a little bit bigger any bigger than that and you're just kind of wasting size so it's just a tad bit bigger than the largest hole that way as I round it down I'll have a little room to play with and then we're going to start out making the finial for the small hole so that's the tenon I'm going to shoot for but this tenon is going to be up here so real quickly I'm going to round it out and turn a nice little finial [Applause] make sure I haven't gone too far yep got plenty of room okay now for the thinny old design I'm just gonna flash through the thickness a little bit with Mike how about we do little ball on the hand this time [Music] a little cove right here the onion [Music] [Music] [Music] we do an opposite of that bring down the [Music] this right there on that corner so just take it nice okay before I go eats up farther making that stand let's check it out do I have any rough spots I want to sand out I could probably just cut that real quickly but other than that I'm good to go I'm just gonna smooth this out real quickly why waste time standing at me [Applause] and now we need to make the tenon with a small section so I'm real quickly going to measure this so I can set the depth of my tenon right there just kind of eyeball the thickness with my little gauge so I've got my measurement I've kind of eyeballed it it doesn't really have to be a piston fit into these things it can be a little bit loose in the superglue with those little ridges will take care of it so there's my setting right there I think it's gonna be and then go for it always go way too thick your first few times so that because it's always easier to remove wood then put it back on [Applause] so now that I got a fit where it's not pressing against the load dividers okay remember we have a slightly downhill angle right there it's not much so I now want to create that angle at the base of that tenon right there have there we go now that's probably a little bit steeper if I can guarantee that it will fit up flush against that right there now you can just shape the rest of your the head of this however you want [Music] there we go now here is a key point now that I've got my tenon made I'm going to come in with my skew of the mix of B Cup that right there gives me wood ash and placed go in I mean the difficult place to sink in and really lock these videos on to the sputnik's from here just chop it off there we go you don't have to be too pretty about that let's test out the fit oh yeah that's gonna work out very nicely so now we want to work on the side right here so the first thing I need to do is make a 10 M to fit this and I don't bother measuring here because you can kind of eyeball it and just kind of trial and error till it gets the right fit just slides right on there still go too much you use this as a slice key see where it's going to fit right right there just slides on just perfectly so I'm gonna come in here after credit down to that side just like that then once again like to taper it [Music] and add Milo becomes just like that from here just knock it off give yourself a little room okay then you can take the cheque off okay so I'm reverting back to my smaller jaws and just kind of securing it in there it doesn't have to be too tight because we're just gonna be very taking very light cuts at this point and we're going to smooth out the face you can just use the wing of your blade as a scraping cut remember we talking about understanding your angle let's just work our way down I'm doing this cut because all my force is going towards it Chuck right now and I don't have that much pressure against it we're just gonna create a nice little dome and come in and clean up the edge just ever so slightly [Music] one last cleaning cut nice and smooth look for those shavings to make sure you're getting a nice clean cut and to make sure that the little screw goes in tightly I like to dump just hollow out just a little spot right in the center to help me center that's lead screw here we go so the first thing I do is put the screw that's going Lao you doesn't put it onto the tree into the top section and I just fold them with a pair of vise grips just put my grips not too big and it's just that little metal screw find that center point and just kind of screw it in I have found it easier to twist the top then to push in and twist the screw because sometimes the screw just doesn't want to lead through so once that's done you have the option you can go ahead and ply your finishes as you want now you're gonna put oil on that lump set for a day or two but what I like to do is I will just take my Sputnik put the little cap on it turn it over and I literally just dump hot glue into the interior of the seashell it doesn't have to be too much just enough to set it up give that a few seconds and while that's working I grab my super glue drizzle some super glue on the rim of the seashell and try and get some on the inside so it's just dangling off it's nice and wet that way when you seat this this thingy on it and turn it upside down that super glue will kind of fall down into the crevices and just give it a few seconds to harden up and I generally do these in batches so I'll do all these and I'll do I'll glue all the tops go down the road then put in all the bases go down the road and then I have a little tiny brush or I can come in and put finish on at this point time simple because I'm in a hurry and it's easier for me to be delicate with my oil now than it is to wait a day or two for this stuff to dry because I have a market tomorrow and I want to get these out wipe it off the excess do the same for the base and call it done you'll dry overnight this oil will be won't be tacky in the morning well I hope you enjoyed this video and if you did it really does help us out if you would like favorite subscribe do all those social medias visit our website worth effort calm where I have a lot of swag including these custom t-shirts hats that kind of stuff and a lot of the bigger projects that we do like to sell art Marcus I also feature on our webstore and all those sells really does help me out because buy materials to make these videos and setting aside time to do the editing really does bite into my production work so if you want to see more videos like this or what you have some special ideas that's something you might like to see in it for small production run for us artists to do please leave it in the comments below and I want you to remember one last thing it is always worth the effort to learn create and share with others y'all be safe and have fun [Applause]

Channel: wortheffort

Views: 121,805

Rating: 4.879405 out of 5

Keywords: woodworking, woodwork, turning, finials, gouge, lathe, CNC, ornament, ornaments, finial, art, farmers, market, turn, holiday, christmas, tree

Id: ijRssDhjH3s

Length: 68min 51sec (4131 seconds)

Published: Mon Nov 27 2017