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Woodturning Design: Where Can the Turners of Today Find a Voice of Their Own?

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




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