Jimmy Clewes Turns a Colored Rim Bowl

right ladies and gentlemen um what I'm going to do now is turn a platter and color the rim a small planet and color there I'm going to show you how to get an old Jeep shape using geometry to get that curve it's very easy and I don't know anybody else who is who's teaching how they get curves using geometry okay the reason I color a piece of wood is to emphasize what was already there using the aesthetic medium of color okay and ideally ideally what you look for is a biggest piece of wood I'm trying to emphasize the figure that's their defender the figure the better the emphasis and the coloring will be I can't improve on nature I can't improve what what the Lord is produced so what I'm trying to do is emphasize what is already there using color and by the way ladies and gentlemen the word color has a UNH okay before I'm out the puts the word we're gonna hold this in a recess so before I mount the piece of wood these jaws are made as a whole and then the user slutting saw and cut them into quarters okay that slotting saw is approximately it's well anywhere from 1/16 to 1/8 of an inch deep or wide and so when there's a gap there for an eighth of an inch it's perfectly round here for holding that way so I'm going to get the surface area all the surface area that's perfectly round on the inside for holding onto a tenon if you were and some guys will do this as well I'll just tip this out and show you if we were to do this if you wanted a bigger recess because you're holding a bigger piece of wood you should actually move up to a larger set of jaws if I was to do that and the recess and see a platter that big and I wanted to recess that big I would I would use a bigger set of jaws the reason for that is when I open them up to there and I'm hold into a recess I'm only holding on that little bit there that little bit there there and they're just on those tops I'm not getting served a sedative grip all the way around and again that makes a big difference to accuracy as well you want I want a good surface area all the way around so pop that into there oh so tight not measure that diameter there I know if I cut accurately to that the jaws will close down go into that recess open up again and that's going to be perfectly round so I measure that first a lot of guys mount a piece of wood and then the get to these visors and the try bit guess what that should be measure it first it makes a huge difference huge difference to this accuracy and as I said earlier it's very important how you cut your holding points the more accurately you cook them the true of the piece is going to be when you when you put in the chalk sometimes getting these this on and off can be quite hard depending on the wood if it's a really dense piece of wood the right size drill for that is a 3/8 of 10 millimeters okay if it's a really dense piece of wood I might drill the hole ten point five millimeters and if it's a really dense really soft piece of wood I'm actually at nine point five okay because it'll go on and off easier sometimes I might even put a bit of wax on there especially if it's wet wood because wet wood can shrink and dry onto the screw top so if you put a bit of wax on there and a bit of wax in the hole it makes it easier to screw on and off okay no different to wood work and putting we used to put the screw in the drill drip this dip the screw and wax and then - and then it goes in much easier okay so turn that down square this up then right middle that issue is for me better get it on square if you started at an angle it will up to a point pull into a wall but ideally try and put it on as square as possible so and make sure again that that is tight up against the jaws what this is maple maple okay the first thing push cut exactly as I said before that bevel should be floating behind the course and if you've got a smooth surface the bevel is in exactly the right position if you don't get a smooth surface you're cutting on the tip of the tool and you're dragging a point across there you could you could if you want use the wing and do a draw cut that way the reason I get people to do the push course is to get them to do that push butcher you should really know both cuts the postcode and the draw could that will be much more versatile for you so got this up to what's that 2400 it's only a little piece of wood [Music] when I'm making this cut I'm not looking at the tool alone as a profile I can see exactly what I'm cooking when I'm cutting it and if you can learn to put the chill on the tool let's start that cut and then move your eyes to the profile your shapes and forms will improve tremendously because you're watching what you're doing how's you doing it if you were doing standing here doing a push good it's difficult to see the profile so one more not quite round one more here and to be honest we only really need it round there because we're going to shape all the back we're going to take a lot of that away they go a lovely flat polished surface okay so the bevel was in exactly the right place so remove the two last parameter here now then normally if this was a ball you would have the best grain on the bottom there so if you look at you plank where the best Queen is you have it there okay and you mount it here and the reason for that is you turn the back when you turn it around hold it you hollow into to reveal the best grain if the best green was here where I've got it mounted now and it was in that place and I turn the back of this and shape it turn it around and so where the screw hole was the best grains there that best at the grain ends up on the floor so you generally have the best claim on the bottom of the piece however on this piece I'm gonna color the rim and that's the feature of this bit so I've got the best grain on this side okay that's the rim I'm concerned about so tip it here draw cut to last hi - hi once be there when I put the tool on the tool rest my arms shoulders are relaxed never turn tense like that you'll have a bad neck and minute just put the chill on the tool rest there it's right on the center line it's not pillow it's not a bug they're right on the center line just lean back right foot forward left foot back for this I'll lean to there I'm on the tilt there there and in the hip still so I haven't got any movement at the back of the tool that was a light cut if I want to take a heavier cut I do not change where I'm cutting with the tool I just put more pressure on there we'll go and what I'm not doing is getting that flat wing put it on there and just scraping that's just a scrape you might as well use an easy whooping tool if you're gonna do that using that as a scraper tip of the tool open slightly that's cutting the wood so dividers body to [Music] and you hear a little bit of vibration there when I mates listen look where I'm working it's no support there I move it to hear that vibrations gone that just proves to you that there is a harmonic way of the tools pulling on the tool left so that's about an eighth of an inch for this Chuck I'm going to cut it a touch more there there I make three cuts there with the parting tool that's the foot so it's going to sit on that and then I take the rest of this away with the gouge the reason for that is because it's lifting the touch for the push cut now I'd invest the bevel on the flat that I've just cooked with the farting chill pick the rest of that up and cut it away if you do the recess in something don't hollow it out especially on a platter because it limits how deep you can go from the inside what you don't want to do that's when you're hollowing out is make the inside bigger than the outside [Music] always get the residual that was wasteful the curve comes in right to that corner so the woods that I've cut away is completely waste wood you're never going to be using it just a couple of things here and this is bidding what strength if the OG comes down there that was the foot cut and that's the recess there I never do it like that so that come in that cut at the same depth the reason for that is when your jaws are in they're pushing this way going out that way that and that if they're the same depth that's weak that's a weak wings okay on that one the jaws will wake up into here they're coming out the pushing this way I've got all not to hold into now she that makes a huge difference to the strength on this you don't end up with a weak link so that could is half the depth with that one and I'm holding into all that wood that makes a massive difference so the old jeep it's basically a sine wave that's all it is and that curve should be the opposite of that one and fifty-fifty the easiest way to do this simple geometry let me draw down here for you so that's with me some water yeah we've got well I'm just I'll put a foot on this one it doesn't matter so there's a foot that's what we've got left to get the curve out of the curve only goes to that but there's a corner of the foot we split this into thirds so I have two thirds there and one-third there and put a reference line on here and then the first thing I do is cut a flat from there to there so we'll get rid of all that wood here then what we do is you put a curve in there like that and then what we do is from there to there the og is 50/50 and that curve is the that one and so now what we do is he putting a halfway line on from there to there you start here and you blend this curve into backer there's your og dead simple that point there where that curve blends into that curve at that point is called the inflection point where one curve blends into there that's by far the simplest way to get ontology through simple geometry now that I've got PDS already drawn out just like that and then tells you where to start the first cook which cook direction to mate and I've also got one for square if you wanted a lot of people find it difficult wickedness to get a nice shaped board or cook too much wood away if you don't want to square so if you've got a ball round here I'll see you there there's your boat for a ball blank I split from there to there they were flat whatever is left from there today whenever is left there I cast that whatever that measurement is that comes up there take that away your heart that whatever that measurement come down here and take that away so look what you've got a flat there a flat there a flat layer a flat in there you've got the start of a curve you can't be fine the curve till you've got a curve to start with or part of the curve all I have to do now is just do that take the high points away and you end up with a decent firm that's nobody else is teaching that and it's an easy way using simple geometry certainly for the og and the og is always a very aesthetically pleasing curve to look at that's a nice curve to field how would these fields can be just as important as how it glows those little nuances on this that I would know Julian and it changes the way the piece feels so no it's on the PDFs so what I'm going to do is I'm going to send them to he shall send them to Tom I'm gonna send them to Tom it's also I want a PDF on the process of coloring okay and so I'll send them that as well and then he can email them all out to you guys and then you can twist them on and take them into your workshop and work from the printouts okay so I'll send them to Tom hopefully all being well I'll get back tonight the last eight flights I've had coming back home to Vegas I hate it hate it with a with a vengeance so we're going to split this into thirds 2/3 and 1/3 I just put my fingers on there 1 2 3 so I just put two fingers on there put a line on there this is a reference this will finish in the Nathe of an inch thick I'll leave a little bit put the two less parallel to those two points there I doubt do this would be a push cut it's quite a slow cut it's a great finishing cut but it's quite a slow cut for removing wood quickly I like those long lines watch this I put that too there that's a lot quicker than the push cut however John want to watch him moving something I just gotta stop for a minute and see so really simple meal yeah so is so you can see I've got a flat from there to there which was the first flat from here down to here somewhere so now we're gonna put the curve in it's badly torn out the grain on the outside of a bowl is always running from there to there and that's the way you should make your cuts certainly a finished cut I want to put this curve in here and when I put the pencil on there and there the gap here is about a quart of an inch I just know because I've done so many of them so it's easier if you're doing a draw cut this way you can miss the cut and cut too far if you do in a push cut this way you can't see the curve that you couldn't so I'm gonna stand here and I'm gonna cut it do a cut against the grain that bevel will help me to get a nice smooth curve because I've got the control with the bevel take this a little closer see again how I hold my body I'm standing there moving to here and then all I do is push move this way from this leg to that leg and twist my body at the same time I'm still warm the till in three places so there and to their so there's the there's the curve that's about the court of an inch now what we do is we put the halfway line on from there to there and we blend this curve into that curve at the inflection point [Music] there's your ho chi all you've got to do now as we find it 50 50 50 that curve is the opposite curve of that okay nice clean og little bit of tear out there I'm gonna show you what I think now it's the hardest cut the hardest cut to do in woodturning okay and again you should really know both of them it would help you in various situations depending on the wood I'm using a little quarter inch Bowl gouge it's a quarter inch to me because the flutes a quarter of an inch to you guys this is a 3/8 Borg out cuz you measure the bar a very underestimate the tool over here not many people use that tool and I'm short a few people in the class putting a micro bevel on it to do some amazing tight little curves and get a polished finish from the tool okay so the micro bevel works very well this cut I'm using a smaller tool I'm doing a finishing cut all I want to do is get rid of that tear out there which is maybe what it's not even a thirty-second deep okay I'm doing a finishing cut that tool there it's too big it's got a it's a half inch gouge the radius at the tip it's a big radius it inherently wants to take a bigger cut I'm just looking to take maybe a thirty second there's sixteenth of this at the very most at the very most that's like using a sledgehammer to crack a nut it's too big a tool flat till there it's a smaller tool it has an English grind on it the English grind is basically where you'll get your jig put that in the jig this goes up to the wheel and you literally just roll the tool around that is an English grind you're not sweeping the wings back but you're grinding them back not many people know what that is now because everybody's using the talker as I said earlier up until Ellsworth brought it across here of everybody over here was using an English grind and doing a push cut to finish okay or to work and finish so this still smaller it's got a smaller radius a smaller tip with the tool it didn't only wants to take a smaller cut I don't need and it's lighter this time I can't get - lately body I've got it he's standing here and this elbow has to be free I don't want to be trying to maneuver a big heavy tool around there to do a finishing cut so that could itself isn't difficult the hard part of doing this is maintaining the profile that you've already got on there because when you're doing the push cut you here you're not looking at the profile you can't see what you're doing so what I'm looking for is the thickness of the cut if I take the same amount off all the way around I'm maintaining that profile so when I pick the cut off if I see the cook get wider it means I'm going into the piece if I see it gets smaller it means I'm coming out if I can keep that cook the same thickness all the way around I've got to be maintained in that profile does that make sense so that's okay if I height wise right I'm gonna get the bevel rubbing first I've got to pick the cut up from there you can't go with the point there and then suddenly do this and push it around so I get the bevel rubbing first that's the control of the tool that will not cut until I pull a handle towards me there it's just about the start to cut the wood okay so you get the bevel rubbing first pull it towards you start to pick the cut up and then once you pick the cut up you push it to okay depending on how far you bring that towards you will deep dictate how deep that cuts going to be what I never do is to have the tool stationary like that then do this and pick the cut up because you've just left a little step in the work what I do is I get the bevel rubbing and I move it ever so slightly like this as I'm pulling the handle towards me so at some stage I'm slicing it and in at an angle to pick the cut up instead of stationary and leaving a step faster speed [Music] all that tail outs gone it was badly torn out on the end grain there now so that's long lane there was badly torn out there and it was badly torn out there there's absolutely no tear out whatsoever now okay however what we do have [Music] those pencil lines there if I was just a feel like surface where those pencil lines are there's very slight hollows what's causing that the heel absolutely so on this I can actually see the heel is rubbing behind the cut it's okay on that surface because that's an outside curve but when I'm coming this way if I leave those those would stand out I'm not too bothered about them however if there were deeper than that what you do is you go up to the grinder and just going to heel away okay and that would enable you to get a smooth cook around here without the heel rubbing and it wouldn't push the wood okay so that was the push cut a very difficult cut that could itself not difficult the difficulty is maintaining the profile that you've already got so I could move to the long line balk out I've got a diamond tone here I hone my tools several times before I go back to the grinder every time you got the grinder especially if you're not efficient at grinding you're gonna waste steel I've got 180 on that side I have two of these 180 on that side 300 on that side and I've got one which has 300 and 600 that 300 grit is far finer than any wheel you can get okay oh and while I'm on about sharpening my feelings on sharpening is we do not need up to a point unless it's a skew we do not need a razor sharp tool in my view okay I understand what you're talking about about polishing the flute and to get a really sharp edge both edges should actually be this chart with the same quit okay and the final you put you go this shoppi edge we are not using hand tools it's not like a wood plane a smoothing plane on a jack plane where you need to use body power have you no power to do that those tools and wood chisels have to be razor sharp I used to have Japanese or government-owned Japanese chisels okay laminated the backward be polished to a mirror finish and the Bethel was be polished to a mirror finish I want them tools razor-sharp because I'm using hand power or maybe ha you know a mallet turn to cut stuff okay we have the power of the lathe to help us I sharpen now you can again you can spend a fortune this marketplace is designed to get you guys to spend your money that's what it is it's no different if you were fly fisherman right sage lumen Loomis Winston will bring out the new fly board every year and it'll be half a gram lighter than the word you had last year those words that decide to catch the fisherman not the fish and it works every time every time same as pain with Gulf the golf clubs shouldn't don't bring out the driver where if you can get in drive at ten yards further so my thinking is I and Mike Mahoney as well he's the other guy that I know we use a sixty grit wheel to sharpen with okay I went to Home Depot and I bought a norton general-purpose grinding wheel and it was a sixty grit and it cost me $16 two years ago what would we all use and before they came out we were using just ordinary wheels and years ago before the pink wheels and the white wheels and the green wheels that were just ordinary bog-standard grinding wheels they did the job okay you have to clean them up you have a deep glaze them and keep them flat with a tiny bone or a diamond tail or whatever through what if the cone again dresser dresser diamond dressing however those wheels are perfectly fine those wheels there how much is the cheapest one of them yet by how much have you seen them for 75 Oh Wow walking okay the guy's not making much money on that I didn't get different qualities how much was yours oh I've seen them for one quarter 125 at the shows if you got one for 75 till there with different grades of CBN the best way and I was talking to a good friend of mine - why Sir from day wait till zovut Portland and he was telling people the people coming off because he sells these wheels and he said and he was telling me this he said yeah Jimmy I've had a few guys come up and say why are your wheels a hundred nearly dollars and his wheels are 125 and deer said simply go up and ask him what grade of CBN is using so the guy went up asked him and he says up one Bethan days he didn't say what the grade was he says oh it's one better than days until said that you can get different qualities of CBN's and they do where they do not stay like that forever they do wear okay you've got the advantage of the wheel worn first along modern whales now the materials were using to glue them together or the resonance or whatever then a lot better than the old wheels 50 and 60 years ago which could break and end up like shrapnel okay so the do stay apply the are solid they're not gonna break up but they do wear I had one of the students in my class over Vegas got the tool in the wrong position caught with the tip and took a whole strip of the CBI now there's a bare patch of about that much on the wheel it's all you can't get it wrong okay and and again it's extremely expensive a good buy what if you see the 160 dollars added by 10 norton grinding wheels which has lasted me three years up to now okay and it's still okay for $16 so I could buy ten of them which would last me 30 years it's just once in it there's good in some where are the other advantages on the finer wheels if you're learning how to sharpen it doesn't take much steel away it really doesn't take much steel on that fine wheel okay so when it comes to sharpening I the what's the more what are we looking for we're doing a finishing cut there's two arias on a piece where we need to get the cut nice and clean where is it on the end grain it's always the long line always cuts cleanly it's the end going there and there where you're going to get the tail out but only difference between years and a 62 in a 180 as the striations on the surface of that cutting edge again with a push cut that bevel is rubbing behind the cut and it burnish it's the fibers I've proved this at home several times I've charmed with a 60 grit and done a finishing cut I've been charmed it I've got a 150 grit CBN wheel are charmed it with a 150 CBM wheel and done the same cut and the guys except well there's no difference I can't see any difference and that the only difference is the striations on the surface of the wood are slightly bigger than there would be with a 60 grit than a 180 quit we all fan to a finish anyway so it's quicker for me to sharpen with it with a 60 grit I just put the tool in I never start on the front if you do that you're going to put a Halloween stone straightaway I put the tool in there how start on the wing which is a wider better surface area to put on the wheel and start on the wing sweep round that way one that way check it if it's okay it's done if it's not has a little bit there one more sweep and I'm done I'm back to turnin okay so I use a sixty goodwill and it's a general-purpose Norman wheel the longer or the more you get into it you know whether you just know what to buy and what not to buy if I could get to every beginner before the started buying tools I could save them a fortune because I'm coming to a club a new member and they'll go to a table wow that's awesome that any opposed who did that piece always him how did you do that oh I use this tool I use this easy wood tool to do this so the guy goes out and buys a set of easy wood tools now we're set of them big easy wood tools of five hundred dollars for four scrapers basically for five hundred dollars you can get a lot of good cutting tools and a Full Tilt will not wall plates and coves you can't turn something really thin with them because you're scraping the wood and if you're trying to turn something thin and there's a knot in the side a bit of odd grain and your gun down with a scraper and you scrape and attach that not spam the pieces it'll explode whereas if you couldn't pass that knot there's far less resistance when you're cutting and scraping so those tools got a lot of people in the wood turning however they are limited to what they'll do there will not roll a nice tight beading and you can't turn a thin stem on a goblet with them you can't scrape a long thing you can't do that it'll just snap you haven't got the support so it I would advise you to persevere and try to learn to cook the wood in the long run it's better for you it's more therapeutic you haven't got so much sanding to do it's just a nicer way to work however remember what I said at the very beginning you take wood turning to a level of skill and since you as individual I'm not having a careworn Iona if somebody could subscribe I'm not bothered I'm just happy that people of wood turning and keeping this craft alive ok so you do whatever you need to do to get the end result and if you scrape you might have to do a bit more sanding but who cares do whatever you need to do and enjoy it so this could here I'm gonna give it a couple of sweeps up the flute on that wing there bring it onto the onto the heel these are slightly hollow ground from the wheel I bring it onto the heel onto the onto the cutting edge if they bossy mate I know so put it there bring it onto the cutting edge and walk it to make sure it's sitting nice and square and then a small circular motion over that edge and what you should be doing is grinding the heel and the cutting edge so if I put that yeah but as soon as you put the tool on the wood anyway the bird breaks off the perb breaks off right so you should have it shiny here on the heel and shiny there on the cutting edge because it's hallow ground and you rested it between those two points so that goes in there I'm gonna show you this stationary if I was to okay when I talk about the flute being open it's 12 o'clock close that way 3 o'clock for me close that way 9 o'clock so if I was to put this tool on the wood with the flue closed at 9 o'clock what's what happens I'll do it here the gleams a bit straighter do it there you can see it's scraping the wood it's scraping behind it and those shavings as if you were rolling out the carpet okay however if I move the tool rest to here drop the handle I'm holding it there there and the handle the handle is in the back the handles in the top on my leg there so it's still support is it's none of this supported there and again I use me whole bodies to do this watch this cut can't get in the right position look at that shaving that shaving is a totally different shaving to that one that's a coil and because of the position of the tool it's a sheer sharp cutting edge hitting that piece of wood I get a totally different cut it's no different to this what I was doing with the first cut imagine that being like the edge of a knife a sharp edge of a knife you put that on there it's just gonna scrape well if I drop the knife angle it into the piece of wood that's gonna cut that's all I'm doing with that piece of with that till change in the way the cutting edge has gone to the piece of wood so now when you do a push cutting you'll get a shiny surface because it's burnished behind the cut when you use this tool you do not get a burnish because it's a true cut into the wood there's no burnishing so I'll put that up to there and it should get rid of those little lines for me as well and I'm standing square on to the piece and I'm drawing it towards me so I'm saying exactly what I'm doing I've got more control drawing it than pushing it they're the shavings I'm taking off I really like gossamer shaving and this curse is easier than the first cook you takin a lot less wood you're looking at the profile and again I can feel that there's absolutely no there's the end grain clean as a whistle there's the end going clean as a whistle so there's two cuts that you can employ I will never stand to you and say it right you have to do it this way you don't there's always several ways of skin in the car always so I can actually see this some quite nice bigger than this as I turn that I don't know if you can see it on the spoon yeah you can't up to a point you can see the grain shimmer the word for that is chatoyant see of chateaux ions the French pronounces pronounces Chateau ions it derives from two French words the shot which is cut and leisure which are eyes so literally translated it means cut size and cut size we flat reflect or refract the light okay so the word for that if you get a bit of tiger's eye and your hand the stone and do this you'll see the grain shimmer the word for that is Oyen see or chateau ions so get one of this will unscrew this now then I'm not gonna do it purely because of time you would now stand that feel it with sealer and then finish it with oil okay the reason you would do that is because where the end grain is there and there those tubes are much shorter the pores are much much shorter there and there the pubes are the pores are much longer and if you don't feel this size so what I use I I use two products it's either it's not this one deft lacquer if I was to output 70% lacquer and top it up 30% with denatured alcohol and thinner product will penetrate further into the wood okay the capillary action draws it in capillary how do you say that word capillary exactly it draws it into the water and you're better off wouldn't to fin any would work it will tell you you're better off putting two of the thin courts on and building up to a finish then put a thick syrupy one on and have it cut it all back yes but it's it's a sealer it's still a doubt cellulose oh no no no it's a liquid it just now went well not that I know of I've never never seen it and it's cellulose sanding sealer it's it's and youth in that with lacquer thinners not alcohol so anyway I use either the death black or the bullseye vines' bullseye killer is it clear coat or seal coat that doesn't have the wax in you guys some of you guys brought it I can't remember what it's seal coat a clear coating and it's and it doesn't it's wax free totally wax free and clear and again I've been that down so they're the two now all I'm doing if we were to put oil on that sanded it finished it right down to whatever grit and you were to put all on there how much oil have you got to put on on bare wood a lot that's exactly right you've got to put enough on to get it to saturation point and you just where's neon you're wasting your time and you're wasting your money if I seal this and what I do I get the sealer there's the end grain there and there and do that I see a lot section move it around to here I seal that section then I go back to where started go over that again and go over the whole piece so the end grain has been sealed twice because that's where it's going to soak in more leave it to dry then cut it back with a little bit of steel wool about white scotch brite deal okay and then put your quart of oil on what you've done is you've blocked off then pause if you don't do that when we take this down to the finished thickness which is about an eighth of an inch then I'm going to put a little bit of a curve on the rim the reason for that is because a curve is better than a flat I'll explain that in a minute and that's too thin if you put your first color on and you haven't filled this the centrifugal force centrifugal force can push the color through the tube and you'll end up I always start with a dark color and so you can end up with little dark dots on this surface where the color had penetrated through because of the centrifugal force it pushed it through you can't get rid of them that it's a tubes themselves are filled with color so it doesn't matter how much something you do you won't get rid of them so seal that wood first and that makes a massive difference so unscrew this anybody got any questions while I'm setting this up the cellulose something is anything and the lacquer the shellac the cellular violin cellulose samung sail again out thin that down it's just to seal the pores of the wood and the other beauty of that is when you put your oil on you get a much more level field 11 playing field if the oil won't soak into the end grain because it's been blocked off so you use less oil that's just lying on the surface and it dries much much quicker much quicker so take this out turn this around poured it in your recess that pops in there nicely put your finger there I'm not holding it like that because I hold it as a slight angle when I switch it on if that's waving I'm gonna end up with a thickness thin edge so I put me pressure there tighten that up right again where I put the tool rest is quite important you're never going to be cutting outside of Center ever if you do you'll know about it straight away so you're gonna be cutting from there there look what I've got the tool rest I haven't got it there because when I do a draw cut and I get to this part my hand is dropping off the tool rest put util Lester there I've got a lot more support when I get to the outside of the piece this is gonna go down to about an eighth of an inch I could do it all good across the whole surface or if I turn that to a slight angle I'm gonna put two fingers on there I make the rim a third of the radius I want a decent limb on there because I want you to be able to see the coloring and the figure that I'm trying to emphasize I would never make a ring that big it's not big enough you're not gonna see what you want things get really interested in wood turning when you purposely break the rules of proportion things get really interesting there and you're starting to be much more creative cut but you have to understand the rules in the first place before you can start breaking them so put them there so that would be a third one two three I'm going to cut that a little longer than I need then and color that then I can choose where I want to make the cut with that parting tool and choose how big that rim is okay so I always color a little bit more I'm gonna split this into thirds again there and there so third third third this is the that's where I'm going to hollow to put that line on and this line I'm gonna get rid of that line there so I'm get rid of that so to us at a slight angle I'm gonna make the coast with the wings downhill there and then a push the tips are hip way two things how a piece feels is just as important as how it looks there is some nice figure in there that should pull up the I'm gonna use two blues on this so going back to the ring as I said earlier how a piece feels is just as important as how it looks I never ever ever make that RIM flat ever nobody feels a flat when I want to give this to somebody the other thing is I've got two inches here a square edge there and a square edge there I'll be putting a radius on here and softening that if you leave those two square edges on when you give it as somebody they'll feel them in the fingers and it doesn't feel comfortable if you soften that it makes a big difference that is a slight curve going into the piece so it's not a flat with a bump on it it's actually there's to him it's angled in like that a soft curve going in that does two things aesthetically when you look at the piece it draws you in and when you give it to somebody economics they'll do that I'll guarantee you when that sanded and finished and you give it to somebody Thor go oh that's beautiful watch what the thumbs do they'll do that oh that's lovely the won't even know the doing it and the feeling the way into the piece if you leave that flat the world that were I'll guarantee nobody will go oh that's lovely that don't feel a flat they're not gonna say your flat is lovely and I don't know anybody anybody who doesn't like the feel of a nice soft curve anybody oh you're some Island sweetheart you know what I'm torn about it so so back to this will sign this I'm gonna start with a 180 240 320 400 there's one other thing I'll do first before I even start sanding there's a little bit of a little bit of disturb going there in there that's cut nice and clearly what we're gonna do this liquid by spray this on its gonna do two things it's gonna show me what the piece finishes like because if you put a clear liquid on a piece of what it takes it down one tone if you put an oil on unless it's a clear mineral oil okay it takes it down one and a half to two tones okay so clear liquid I can see all this grain start to pop there there all the claim there however if we do this set fire to it that's denatured alcohol okay just flash it off quickly and if you were to feel a surface now keep it moving about if you don't it'll burn all burns hair stinks burnt hair so if you were to feel that surface now it's like a peach skin it's all fuzzy so the liquid somebody said the other day alcohol doesn't raise the grain it does it's a liquid it soaks into the grain the grain swells up like that and just flush it off you don't even have to set fire to it it's just good fun in a workshop and so you could switch it on and evaporate it off and those fibers stay stuck up like that and they're much easier to sand back the other thing I will not start sanding is a burnished surface from the bowl gouge and when you do a finishing cut when you do a finishing cut is that your girlfriend your hopes or good for you mate so if you do a finishing cut with a bowl gouge and you've got that shiny burnished surface I never sand that I raise the grain first without the hole and swell it back up it's very hard to sand compacted fibers it's like the skin on MDF so if I do get that polished from the finish and cut with the bevel I still raise the grain first it makes it easier to sand back so 180 there this don't try and cut it on get you standard on sound a plot there clapping and son that honest much easier to Sanders than it is to cut it and he's standing it and finishing it as you're shaping it as well that makes a big difference so your first son is the most important one you've got to get rid of any disturbed grain or tear out after that you just make the slit the scratch is smaller so it was 180 so 180 240 240 320 and 400 so this is 240 I would normally turn the speed down the Sun that stops lovely with that cushion on the back you got a totally different cutting effect our firming effect to these ones with the paper totally different that foam cushions it and you get a nicer finish with that foam stop do that on this edge [Music] right into there just have a look at that 3:20 okay 3:20 [Music] that on there and 400 [Music] stop that have a look again if there's no tail out on there I'm gonna raise it once more there splash that off that raises the grin I'm going to stand up one more with one smaller 400 grit [Music] and then that surface is super smooth now and it's really smooth what you've done is you've blocked off the pores that fine dust don't get in the pores and block them off so what I'm gonna do now is spray it with alcohol I've got the finish that I want spray with the alcohol set fire it to us and that's gonna open up the pores and allow the color to penetrate further in the way it's the closed at the moment that blocked off with the fine dust and it's shiny as well so let's do that there we go I'm gonna use two blues right the cool the make that I'm using after you can touch them into these these little bottles so I can take them on the plane they normally come that's what they are that's the type of color that I'm using the chestnut stains they come from England the aniline alcohol-based aniline dyes and they have 5% shellac in in them which cut which acts as a binder it binds the color to the alcohol so when you get these shake them up a little bit you can get them from craft supplies or wood world in Texas wood will Texas based in Dallas I always send the guys to the Texas people because that's a mom-and-pop store and I always support the underdog craft supplies will always be alone and I always supply her support the underdog so that's what the product is now apparently I've been told in somebody yesterday in the class who was a chemist aniline dyes can be detrimental to health okay in that that toxic if you get a lot of this stuff on your hands and still do you skin and goes into blood system your blood system goes through your liver and apparently a parent and have a detrimental effect on your liver looking about the loo so so so so very good so you know royal blue I'm gonna do two blues I always use the dark blue fur or dark the colors and sand back okay I've never put a lighter color on because anything you put on too if you put a yellow on anything you put on top of that is darker and it's gonna change the colors the other combination I like is a is used in the warmer colors I'm just going to do two blues here and the two blues look really good good design is knowing when to stop you can overwork something another good combination is purple red and yellow so you put blue on first and with your the color will you put on to make purple blue and what blue and yellow make green blue and red make purple so to be honest up to a point when you do buy those if you buy just a primary colors blue red and yellow you can mix any sort of color after that okay the other one I would maybe get is the teal blue and you'll see why when I'd use the two blues - those look really good the other combination which is nice is black to start with then you've signed it back then you put the colors in between the black I was down in California years ago and one of the guys gave me a placard to turn it and kind of feather it was maple in a time of better running right through the middle of it that's where you get the clutch and it had a nice fella from I thought brilliant I've turned it all died it all black sounded back so you get the lighter areas and I started from purple into red into orange into yellow and it looked like a flame leaping through the night sky it looked really really cool so use colors that work with each other if you want any inspiration to see which colors work with each other you can get a one of those color wheels from Dick Blick or you can get a color wheel app on your phone or look at nature nature never ever ever gets it wrong you're never look at a flower and see if cut it doesn't go with that one okay never gets it alone never gets it wrong so nice even sweeps with this one more that's soaking into the woods and I've got a deep royal blue on there now some people like the idea of coloring wood some people hate the idea of Collinwood that's nice if everybody liked the same thing life would be extremely boring nice even coats now the alcohol-based that's flashing off a little bit the heat can set these off as well some of these are set off by heat warm okay so they'll go right now what I'm looking at try to find us an area yeah maybe maybe there wherever the grain is dark wherever you see them dark areas there the grain is sticking up like that and the color penetrates down it doesn't matter up to a point how much sand in but you do you're not gonna change the color well it's dark because it's gone down into the grain in the lighter areas in between there cuz this is rolled grain it's it's Road and it's a tiger maple or figured maple law we call it we used to call it fiddleback fiddleback maple like the back of a fiddle very very pretty so wherever the light areas are the grain is lying flat the color can't get down the ends and so that's why they show us like that rather than darker and when we sanded back you're gonna open up pause that don't have color in and there than there the lighter areas that's where you see the definition between the two colors so what we'll do is just sand that I'm going to go back to a 320 grit and then to the 400 the 320-grit sands this away quicker for me I don't want to go back to 180 because you've got to be finished the whole thing and by the beef by the time you'd be finished it he'll have standard all you color away so I just got a 320 I'm going to sound less there and more there so the colors fade out from darker to lighter and I have a darker where you start to hollow because that frames the rim a lot better but the only problem with using that is the shell up on the surface xx the shell out that's in here I can see it's clogging up the pad okay so I take that one off get a fresh one Ashley sheet paper would be to that stuff would be perfect with the phone back and that has really good stuff for sanding very good stuff so get rid of that because it's clogged off now this will stand back quicker because I've got the shell up off the surface there you go Sanders much quicker that's in seed now what I don't want right I don't want this I don't want a dog band there and a light band there so I'm gonna sound a little bit more here so it does fade out a little bit more that wherever it is light and now we're all these lighter areas are when I put the next color on the next color is going to go to those light areas and it'll show there's a different color and that's how you get the definition you've got a song this bar so I'm going to do this by hand just in there so a little bit more control doing it by hand than with the the power sander and then back down to 400 grit so we've got a 400 flip finish now this time I'm going to use the teal blue and as I said earlier the two blues just them themselves look really really nice really nice pardon very well observe thank you again don't be shy with this stuff [Music] so I want that teal blue a little darker [Music] there you go so [Music] just flash that off there's not much to burn you're putting very little on because there's five to San Shella in this so when you put the first color on it slightly sails the wood so the second color doesn't penetrate as much as the burst the third the second the fourth the third and so on so there's an element of control there as well one last things at the moment the colors a wandering out there's nothing to tie them in what I don't want to do from an aesthetic point of view let's put a black line on here because it's too dominant a statement and the I would be drawn straight to the black line however this is a slight ladies so I'm going to get a sharpie put a flat start at this edge to right hand edge put a black line on there come out to this edge put a black line on the back edge and if you need to fill them in in the middle now what this does is it frames the colors it ties them in nicely otherwise there's nothing to stop them wandering out and I want something to tie them in and it keeps now the other thing because this is a slight radius a little bit more there because this is a slight radius when I do look at this space here square on there's a little tiny tiny bit of black because it's a radius and it just frames it nicely but it's not a hard statement on your eyes when I look down here I can still see just a hint of the black and that ties everything in for me nicely so what we then do is I'm going to give it a coat of lacquer this death locket it's really good the other stuff that I've tried is Mohawk pre catalyzed lager that's good as well okay and now I was teaching in Oklahoma two weeks ago and one of the guys said he uses wipe-on poly and he said it doesn't drag the colors you can't put a finish on that's gonna a solvent that's gonna drag the colors again okay so which is why I spray this on now then what I do is I give it wipe-on poly that Minwax he said he used it and it was fine and it didn't and he said was he just wipe it on okay so what I do is I give this several coats and I build it up over over about a day okay let me try in between for about half an hour and I build it up over a day and put about ten or twelve coats on there then the finish that I use is once it's dry I get 1200 grit wet and dry and I use it I have a container of water and wet the wet and dry and have world the latter by hand and I sand it until it is flat by flat I mean not shiny okay that's what I mean by flat and you'll see the slowing the ladder coming off as you all use in the wet dry only use 1200 and you've got to put enough coats on so you don't sank through the locker if you sound through the locket and touch the color you can't smash it up again it looks like you've sanded two in that pod you can't patch it up so you put enough on 1200 bit wet dry until it's flat then what I use is McGuire's rubbing compound it's it's like a paste or white little place you put that on a circular motion wipe off the excess then I years must wash polishing compound and then I finish it off with hard shelter or wax that green stuff the same way as you would finish a car all I'm doing is finishing the finish and when it's done the piece looks like it's been dipped in glass and not really refracts and reflects the colors and the light makes a massive difference and that finish the hard shell Jirka watt has got a lot of carnuba wax in it and carnuba comes from the palm tree and it's a very hard wax okay that's why you get a hard nice wax on the surfaces the surface of you car a hard finish on Ian's car M&Ms M&Ms are tossed in carnuba wax that's why the shiny the user a lot in the food industry back and Shella is used in the food industry alone so here M&Ms have tossed in their carnuba wax which gives them that shiny cover so going back to this I'm gonna hollow this out and I'll lacquer it up at the end so put that there I'll be about a situation where you put the tool on here okay and it's good spot if that happens here you're gonna be really fed up on you really there's still young kids and everything and you're gonna be really fed up the way to pick the cutoff get the bevels will be first battery control always that see contour push the handle away from you little push there's other families console open up new to 45 push it through if you've had a catch what the guys tend to do is close this write down and scrape with the bottom wing I'll put that on there again push it away zero force open the filter 45 that's so nice turn it down stop putting open it up to 45 do that your stuffs coming back straighten with the bottom wing so that's the control of the tool always bevel first it's too slow I make a cut in there so you can see I make a cut down there with the parting tool I don't go in square because I don't want to flat in a curve I go in at a slight angle what that will do is give you a really nice clean sharp cut there there's no bleeding of the color going into here and when you do get to this stage you've got something to rest your bevel on to start cutting away from that okay to control the tool move it here move it up touch not too bad Michael bevel that's that much shorter shorter of choose bevel angle [Music] that surface is almost polished you need a shorter pebble to get round that curve this tool would never do it so I'm going to take the middle out I always leave them with cuts in fur I'll start here and I get the first section right and I'll leave the guts in if you take the guts out if you start in the middle first especially on a big bowl and you start cutting here first and you go on deeper and deeper and deeper it's like cut an elastic band you're released in tension and stress and it's not so quick to go on a small board put on a big bowl you start hollowing you release intense and stuff and by the time you get to the outside edge you're trying to pick a cut up here and the tools doing that because the woods move you've taken all the support away so I'll leave the guts in the middle for as long as possible it just seems common sense to me and we get rid of this quickly I could do a talk us a push curse oh that's good no different to that cut I'm cutting downhill better the bevel [Music] just remember you've got a recess in the bottom of there so don't go to D here's another tip if you ever have one of them don't do this and force it off if that was your finish cut look what it does it tears the wood from underneath and actually speed and speed just like on a metal turning lathe you should actually the tool will cook faster there as you get into the middle the feed of the tool should slow down because it's getting slower it's faster on the peripheral than it is in the middle so it's getting slower there so the feed of the tool should slow down and you should never burst through like I just did a few bursts - there's a chance that you will burst in like that this will have will catch the other side of the bowl and bang it to it but happens in a split second ok the tool should stop at that position there that's where it's running the slowest [Music] that's how it should be you should never first do you shouldn't have to write into the middle that's ever so slightly crowned from there to there I'm going to go back get another cut that's better that would sand off a little tiny little high spot there that would stand out in no time so these wipe off the dust and this locker right never spray if it's in the window never spray with a Colton okay because you get what I told spit if it's coming out get like blobs coming out on the surface warm the tin up a little bit put on the hood on it on the window shelf and in the Sun for a few minutes to warm it all that increases the pressure and you get a much better even spray when you warm it up don't be tempted to put in the microwave for a minute I do not do anything like that you wouldn't believe it you wouldn't believe it so and this will really start I'm gonna spray it take it out hold it here so you can see what the figure looks like while it's still wet looking okay and this really pops the blade makes a massive difference now if you do get overspray on the inside don't worry that hasn't been sanded and finished yet it'll stand out and I finished the inside with sealer and oil so that becomes a satin Sheen and this the boxer satin Sheen that in there's a satin Sheen and that is a high-gloss finish you can make people look at parts of your work depend on how you finish it everybody likes shiny now everybody years ago would say uh wood turnings that high-gloss wood if people if your mid and work and you finished something with a high gloss years ago that was a real - boom woodturning things change all the time now nobody cares what kind of finish it is and but years ago it was high-gloss wood Turner's wouldn't do it there because it looks cheap that's what they used to think is if you put varnish on or something however if you're making stuff and selling it and they're buying the shiny stuff make it shiny obvious it's obvious so one more you give the customers what they want lightly on their that stuff smells really good as well so I think it's a good product if it smells good take that out there and put this here can you see the figure and the color the two blues worked really really nice you can see the royal blue and the teal blue and that's basically the process of coloring would you put in color on and sanding it back and then putting the next colors in and try and work with colors that work with each other that has turned out really really pretty and you need bigger wood to do this but that there they're not there ladies and gentlemen how to leave this store finding their closes at about one o'clock there's a couple of things I'd like to say firstly Tom thank you very much for hosting me Tom has a lovely wife three gorgeous little kids and it was a pleasure for me to stay with a family okay I'll tell you what was really nice we went in last night and his wife was playing the piano and the kids were singing I have not heard that for years and years in Europe nobody's got a piano now no and what a real nice family situation for me it was really nice to stay with a family okay and I've got a dog I'm in the dogs I love dogs so well thank you very much thank you to anybody well thank you from a cameraman and thank you for what you did over the last couple of days thank you to anybody who had anything to do with me coming down on this trip okay I know what's involved in getting this together and I know some of us would turn into a nightmare to get ahold of you're trying to get your job done and that bloody line is all over the country and I can't get all of them and so I know how hard job a job that is okay it's like the president's job that's the and most times in in clothes that a newbie who's only been there maybe four or five or six months gets the president's job cuz he doesn't know how hard it is and most people want to get rid of that bloody job so so I'm telling you now I tell you our work and I'm going to finally I'm going to thank you the reason I'm thanking you is because if it wasn't for you guys I wouldn't be here now I wouldn't be here now and I am acutely aware unlike some of the other pre-madonna would Jonas and they are out there I'm telling you I am acutely aware that my living is entirely relying on this question I'm spending you think about that do you think about that and I'm earning a good living off other people's spare money and I don't take that for granted you don't have to be here it's not like you have to pay an electric electricity bill our gas bill or your contacts you choose to be here and you choose to pay to would come into the classes and I do not take that for granted I'm acutely aware I'm blessed to learn the living I do and to meet the people and stay with various people and blessed honestly I have the life of Riley I'm very very fortunate so ladies and gentlemen thank you very much indeed from me [Applause] you

Channel: Palmetto Woodturners

Views: 66,430

Keywords: woodturning, PWT

Id: iUgzUcobSR4

Length: 81min 9sec (4869 seconds)

Published: Mon Jul 23 2018