| The turning of wood has an old history both in the | | | | of design with colored woods, or for that matter |
| realm of utilitarian work and in highly decorative art | | | | ignoring coloring or painting the piece after turning, each |
| pieces. In ancient Egypt bowls were turned out for | | | | piece of wood has its own characteristic color and |
| pharaoh and commoner. Later the kings of Europe | | | | grain. Characteristic colors are simply that, |
| would possess fancy ornamental lathes to turn out | | | | characteristic. They may determine whether the piece |
| highly ornamental boxes and jars of great beauty. | | | | would best be turned in a style that gives an |
| Yet a turner is largely restricted in his or her output. | | | | impression of heaviness of lightness. The grain of the |
| Lathes make things round. Already the design | | | | wood, on the other hand, is the pallet of the piece. A |
| considerations are tightened. Straight lines are possible | | | | subtle change in orientation may be needed to best |
| but only as a "v" groove on the side of a piece or the | | | | display the nature of the piece. Lights and darks exist |
| side of a tube. In fact, all lathe cuts are either a bead, a | | | | in many variations in most pieces of wood, particularly |
| cove or a straight line. Any other decorative cut is a | | | | the prettier ones that turners tend to prefer. As one |
| collection of these three. So what is a person to do to | | | | turner has said, "life is too short to turn ugly wood." |
| find their own "voice" in the art and craft of wood | | | | Carvers and sculptors have a lot to teach us in dealing |
| turning? | | | | with form. Look for balance from one section to |
| The first step is the same one that every artist needs | | | | another. How does the top of a piece lend lightness or |
| to take to establish personal credibility, learn the craft. | | | | weight to the base? Do they fit together? How much |
| Read books and articles, study videos, get lessons and | | | | does the appearance of the piece change if it is |
| above all practice, practice, practice. Just about best | | | | looked upon from above instead of from below, the |
| thing you can do for your turning craft is to get some | | | | front or either side? Does the piece still "work" from |
| free or almost free wood and turn it to shavings. I like | | | | different perspectives? Look at massive pieces and |
| to use firewood and landfill trees for practice not to | | | | frame them with your fingers or take a photo without |
| mention some fine turning. | | | | surrounding images that lend a perspective of size. |
| Once the skills are achieved as far as tool technique is | | | | Does the massive piece still present itself well as a |
| concerned, you still need to develop some others. One | | | | small piece and vice versa? Why or why not? Can |
| is an eye for line, curve and form. This extends | | | | you translate your findings to the lathe? |
| somewhat beyond the needs of a painter and into the | | | | Perhaps the greatest craftsmen and artists that speak |
| realm of sculptors and carvers. On the lathe we draw | | | | to our craft are the workers in pottery and ceramics. |
| in three dimensions. However, in a very real sense we | | | | After all, if you rotate a lathe ninety degrees to the left |
| do draw. Do not neglect the painters and all they can | | | | and put a platter on the headstock, you end up with a |
| promise us. In order to get a good look at the forms | | | | potter's wheel. As another turner has said, "the potters |
| for which we strive it is necessary to examine the | | | | and ceramics makers were imitating me two thousand |
| silhouette of a piece and look at the line which is | | | | years before I was born." |
| formed. Is it a fair curve or is there a disruption in the | | | | Yet even the common bowl had a history of art, |
| line of flow? Is the disruption accidental or purposeful? | | | | whether found in the Ming Dynasty or the great punch |
| If accidental is it good or bad? Does it lead to better | | | | bowl of the British Crown Jewels. Artists have |
| design or does it need correction? If on purpose the | | | | managed with delicacy of line fully integrated with the |
| same questions of good and bad arise and need to be | | | | colors of the woods used, to develop a unique style |
| dealt with. | | | | with which to capture an essence of "bowl." With due |
| One of the aspects of the painter's craft that is often | | | | consideration for what has gone before and respect |
| ignored by the turner of wood is that of color. Ignoring | | | | for artistic traditions, it is possible to develop one's own |
| the world of segmented turning with its myriad choices | | | | artistic voice and turn a fine art piece in wood. |