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