Barbara Dill Multi-axis spindle turning

there we go hi I'm Barbara dill and I'm hanging out here with these Capital Area woodturners spent two days up here and we're doing multi axis spindle turning mostly and somebody's phone is ringing right now president calls so what I'm going to do today is make a three-sided goblet I have a couple of samples here you can make different sizes and shapes I'm going before and this videos gonna be really fun good how good here it is so okay at least five pounds yeah this idea is taken from the refuse quadrants that we've identified to help us think about multi axis findell turning this particular piece here is archetype parallel axis and it has three axes that are 120 degrees apart this is a very same spindle but then the axes are twisted 120 degrees so instead of going from 1 to 1 2 to 2 and 3 to 3 on the twisted axis it goes from 1 to 2 2 to 3 and 3 to 1 it doesn't have to be twisted 120 degrees it could be twisted any other degree but that's what these are and the curves are very symmetrical on these well we can translate these ideas into different sizes of wood in order to create objects that we can use in a different way so these are functional ballots or cups that can be used I can cut a Cove on that end or I can make a V cut or this is a different size wood so the cove looks even more extreme or I can cut a V cut in and maybe I'll do that on this demonstration instead of having a cove cut a V cut here and then the other the axis so first we just need to get this round and now that that's a cylinder what I'm going to do is I'm going to put I need my parting tool I'm going to put this party - right behind you a tenon on both ends I want to top that red box here we go I got my Honda thank you and these Tunes have nothing to do with four jaw Chuck sat this point these Tenon's are going to give me a way to visualize how to make each one of these axis the same depth of cut so they're not they don't have anything to do at this point with four jaw Chuck on the top ten and I'm thinking more about the size of the opening I want for that cup to be on the bottom seven I'm thinking more about how bid I want the bottom of this cup to be I want it to be stable so oftentimes the bottom Concannon tend to be a little larger than the topper now if I'm using uh blah we're going using direct would I use a white piece of chalk this is pretty white wood so I'm going to mark the tenon just so I can see it visually and now if you give me one of my 3-way plexiglass things what I'm going to do is mark and access three axes on these Center it and then make a mark there excuse my head I can work there and here thank you shorter books equals so here's just at home I have concentric circles with 120 degrees marked out on it so it's easy to Center something and then mark the three axes and from these marks but I have a medic marker please feel like a surgeon and I owe our own place scapula alright so I'll mark these three axes here and then by eye I will transcribe that access to the other end that axis to the front end now you can take much more care to make these more accurate when you're making something like a three-sided cup it is important to be fairly accurate now where do you put the axes on the top and the bottom well I usually put them in enough from the tenon enough not to have them break out the tenon and if you just sit down with a cup of coffee or a glass of wine and a caliper you'll see that if an axis is placed there you'll create an arc that intersects just about all the way out to there so what we want is these arcs to intersect into points and if you just play around with some mechanical tools you can get a good idea of how that works and now I'm going to label them 1 2 & 3 the same on the other end 1 3 is over here 3 & 2 it's a mirror image on the other end normally if I wouldn't if I was not making something with light would I would put the numbers on the side so I can see it but now I'm going to put them up here causing a mild brain cramp but if you're careful the tube is there at its wax - thank you so there 3 2 1 it's really important to make things mark things well and have a system to think about things okey-dokey and if you can move those so they don't fall off that would be great thank you now I'm going to pre-press I'm going to make sure that I know which one is the bottom which one is the top I'm going to press in 1 2 2 this is really beautiful wet curly maple 2 2 3 press them in really tightly now but this really won't get fragile but it's just a good practice to get into and three to one and that's just my system of numbering there's no right or wrong system but I always go from the lowest number at the headstock to the next highest number on the tailstock so now make sure the to rest is not going to be hit when this starts and turn the speed down on the lathe tighten up everything make sure everything's tight and now we can turn the speed up can I get past that on probably better to keep it there okay now I'm going to put a cold I'm going to use the tenants as a depth gauge I start and stop the lathe quite a bit so I can make sure I know what I'm doing I still have quite a bit of wood to cut off on each the the bottom and the top okay I kissed that tenon on the top and also there so I don't want to go any deeper there now what I want to do is make a cove and probably the cove will be smaller down here so this can be a functional cup and your hand can go around it and I want to make the smoothest final cut that I can so I don't have to sand much so that looks pretty good now we're just going to go ahead that was access number three to one so now I'll go to what one two - one two - checking trice set one yes your pair larger let's look at white in it it's one two - very good thank you that would happen on a video mm-hmm no I'm not parallel okay so I still have room to go on both ends but I like to stop a lot still have a little room to go just a hair more here so I can match the amount I took off there and I think I can go a little deeper I forgot my trick of measuring using the two arrests as a reference point measuring the furthest point on each one of these axes so I can get them equal so too late now I've already missed one of them I'll try to visually do it now thank you so I'll check the depth of this Cove and I'll check it visually and now I'll go on to the next axis so that was what what I do 1 to 2 now I'm going from 2 to 3 so when we make a mistake now - and there's three it doesn't look right well that's three this is two okay didn't think it looked right see how easy it is to make a huge mistake if I do get confused before I touch the tool I use a piece of chalk and spin it and just make sure that I'm on the right axis so let's just spin it and use a pencil and yeah there you go so that's the what I'll be cutting off so that verifies the fact that it's correct not that I ever get confused stop and check here's the axis I'm working on I still have quite a bit of room good now just clean up that they look pretty equal going around that can go a little deeper that's the one I'm working on but these three points are well defined pretty good now what I'll do is put it back between centers and use that part in so what I'm going to do now is make the tenon at the bottom suitable for four jaw Chuck and I like for these points to be proud when I hollow it out so I'm going to take some cuts that will be right at the points and go in a little bit so that these points can stick up a little bit and I'll also do something to the bottom points start off with this parting tool and I'll use my spindle down that sharpened at about thirty degrees into a fingernail grind now move the to us now no that's nice I really like that it's a little bit of a difficult cut to make so if you pull your spindle the odds back a little bit and just feel where those points are and go in just a hair it's a nice clean cut if you go in at the right angle I'm going to do the same thing to these points here I want to have them come up so I'm going to curl them over and sort of blend them them into the base of this and that's just the technique of take-up design touch that I like it doesn't mean there's I mean it's many ways to do that now I'm going to make this to them even better since I just put a little thing on it put it in a four jaw Chuck and hollow it but I won't hollow it because you don't want to watch somebody Hollow and you can take any size would I like to work with Greenwoods if you are this is a beautiful maple darker woods are able to handle darker things like cherry and coffee of a cherry a red wine or coffee or things that might stain lighter woods are better for lighter drinks water you know white wines whatever but I seal them with CA glue after our hollow them I sand them and I used the liquid CA glue now I've just gotten down to the technique of using hemostats with paper towels a little ball of paper towels but I have a lot of balls around I'll swirl the glue around and use the paper towel to mop up I hate the puddle in the middle I hate that so I'll mop that up and I'll use the paper towel very quickly just to make sure the entire inside of the goblet has been coated I'll let that sit for a day take 400 grit sandpaper knock down any many points that are there and I'll do it again depending on the wood that turns into that's that's the liquid glue fill CA the liquid form of it yeah then then thin sorry thin and after it dries a couple of days it's good to go I also usually put some around the end grain on the top too so so there you have it

Channel: Frank Jessup

Views: 133,223

Rating: 4.870707 out of 5

Keywords: woodturning, barbara dill, CAW, Capital Area Woodturners, CCB Studio

Id: JK1EvP_NCI0

Length: 24min 28sec (1468 seconds)

Published: Sat Mar 30 2013