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