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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 bothdesign with colored woods, or for that matter
in the realm of utilitarian work and inignoring coloring or painting the piece after
highly decorative art pieces. In ancientturning, each piece of wood has its own
Egypt bowls were turned out for pharaoh andcharacteristic color and grain.
commoner. Later the kings of Europe wouldCharacteristic colors are simply that,
possess fancy ornamental lathes to turn outcharacteristic. They may determine whether
highly ornamental boxes and jars of greatthe 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 orother hand, is the pallet of the piece. A
her output. Lathes make things round. Alreadysubtle 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 ofpieces of wood, particularly the prettier
a tube. In fact, all lathe cuts are either aones that turners tend to prefer. As one
bead, a cove or a straight line. Any otherturner has said, "life is too short to turn
decorative cut is a collection of theseugly  wood."
three. So what is a person to do to find
their own "voice" in the art and craft ofCarvers 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 everypiece lend lightness or weight to the base?
artist needs to take to establish personalDo they fit together? How much does the
credibility, learn the craft. Read books andappearance of the piece change if it is
articles, study videos, get lessons and abovelooked upon from above instead of from below,
all practice, practice, practice. Just aboutthe front or either side? Does the piece
best thing you can do for your turning craftstill "work" from different perspectives?
is to get some free or almost free wood andLook at massive pieces and frame them with
turn it to shavings. I like to use firewoodyour fingers or take a photo without
and landfill trees for practice not tosurrounding 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 toolWhy or why not? Can you translate your
technique is concerned, you still need tofindings  to  the  lathe?
develop some others. One is an eye for line,
curve and form. This extends somewhat beyondPerhaps the greatest craftsmen and artists
the needs of a painter and into the realm ofthat speak to our craft are the workers in
sculptors and carvers. On the lathe we drawpottery and ceramics. After all, if you
in three dimensions. However, in a very realrotate a lathe ninety degrees to the left and
sense we do draw. Do not neglect the paintersput a platter on the headstock, you end up
and all they can promise us. In order to getwith a potter's wheel. As another turner has
a good look at the forms for which we strivesaid, "the potters and ceramics makers were
it is necessary to examine the silhouette ofimitating 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 disruptionYet even the common bowl had a history of
accidental or purposeful? If accidental is itart, whether found in the Ming Dynasty or the
good or bad? Does it lead to better design orgreat punch bowl of the British Crown Jewels.
does it need correction? If on purpose theArtists have managed with delicacy of line
same questions of good and bad arise and needfully 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 craftconsideration for what has gone before and
that is often ignored by the turner of woodrespect for artistic traditions, it is
is that of color. Ignoring the world ofpossible to develop one's own artistic voice
segmented turning with its myriad choices ofand turn a fine art piece in wood.



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