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Carved and dyed Maple vessel
Hollow form
Hollow form
Silver Maple Box
Carved and dyed Maple vessel
Japanese plum yew vase
Maple hollow form
"Spoon Box #1"
Larry Zarra

Carved and dyed Maple vessel

I turned this vessel from a freshly cut log of soft maple. Then I carved the facets by hand with a very sharp gouge. The purpose was to get a feel for carving on an end-grain vessel while being really responsive to reading the grain direction. I also dyed the vessel with a black leather dye. After the vessel was air dried for a few weeks I sanded the base flat around the previously turned concave base so that it would sit flat, and then just applied a bit of dye where sanded. Maybe a half day all in on timing. Vessel is 7.5" tall and has a maximum diameter of 5.25".
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Michael Anderson
Very attractive work. Reminds me of Max Brosi's pieces a bit (a compliment). Your carving is very crisp and clean, and the dye really sets everything off. Great job.
 
Will Armstrong
Very nicely done Larry! I admire the crispness of your carving. Could you please expand a little on "being really responsive to reading the grain direction" ?
 
Larry Zarra
Michael Anderson said:
Very attractive work. Reminds me of Max Brosi's pieces a bit (a compliment). Your carving is very crisp and clean, and the dye really sets everything off. Great job.
Click to expand...
I did take a class with Max 1.5 years ago with the intent of having someone who would challenge me to create forms that are very different from what I usually turn. Working with Max was successful for me because it did get me making different shapes that I like. Another big take away for me was learning some intricacies of carving on end-grain vessels without any tear-out. I am becoming very fond of the tactile effect of this type of carved texture, and will continue down this path some.
 
Larry Zarra
Will Armstrong said:
Very nicely done Larry! I admire the crispness of your carving. Could you please expand a little on "being really responsive to reading the grain direction" ?
Click to expand...
I have turned lots of side-grain vessels but only recently started turning more end-grain vessels. When you look at an end-grain vessel on end, say from the tailstock view, the grain defined by growth rings is essentially parallel to the ways, or axis of the lathe. The carving is done normal to that axis, or 90 degrees from grain alignment. So, if I am carving the vessel from the same location I stand at while turning, using the lathe as a holding device, half of the time I would be carving with the grain, and half the time I would be carving against the grain. Carving against the grain, even with a really sharp gouge, will result in some tear-out in the carved facet. To carve with the grain, I would either have to spend half my time working from the back of the lathe, or flipping the vessel 180 degrees. For me, being responsive is knowing when I am carving down-hill and when to reorient the vessel to avoid tear-out. I wind up flipping the vessel 180 degrees numerous times while carving to assure that I'm carving with the grain. Hope this helps.
 
Will Armstrong
Larry Zarra said:
being responsive is knowing when I am carving down-hill and when to reorient the vessel to avoid tear-out. I wind up flipping the vessel 180 degrees numerous times while carving to assure that I'm carving with the grain.
Click to expand...
Yes Larry that does help confirm some of what I am learning in my carving/texturing. My knowledge of grain orientation has definitely increased since I started hand carving. Thanks! I appreciate your input.
I did purchase a carvers vise so I can carve off the lathe which makes working from different sides very simple.
 

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Member Galleries
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Larry Zarra
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Rating
5.00 star(s) 1 ratings

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Device
Panasonic DMC-FZ300
Aperture
ƒ/8
Focal length
13.5 mm
Exposure time
1/60 second(s)
ISO
3200
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Off, did not fire
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1426.JPG
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367.4 KB
Date taken
Sat, 03 September 2022 2:41 PM
Dimensions
4000px x 3000px

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