Maybe carve some feet.Something that has stuck with me is the comment “it looks like you ran out of wood” when referring to a vase I had made. I didn’t know the exact meaning, but I assumed it meant that the base was poorly done. Is there something I can do to make the base look like I didn’t just run out of wood? View attachment 34027View attachment 34028View attachment 34029
Fibonacci caliper
. I think this piece merits the "next level. How to get there is the question. What some might call a "simple form" leaves you nowhere to hide. Which means, more difficult to pull off. Walking away is always my first step. Coming back, sometimes the areas that need attention jump out. As you've done, setting it upright helps, but sometimes the grain pattern can trick your eye. LED's cast a great shadow (think shadow puppets) and can show areas that need to be resolved. I have tried a long glue stick or other flexible item bent along the length of the form to help visualize the high and low spots, but I have better results using a straight edge, rocking it up and down the form. At this point I would also define the base (length). Cut in with a parting tool, not too deep, so you know where the piece stops. If the base is inside the ring of screws only part in about an 8th or so, enough so you can visualize. Not knowing where the base stops can throw off the final proportions. If the piece is going to taper into a foot, I would cut a small chamfer or quirk for a shadow line to add lift. Sorry for the ramble, I am most envious of that piece of wood, is there a story behind it?If you want to get picky and take it to the next level
I am most envious of that piece of wood, is there a story behind it?
I’ve been practicing a lot of forms but I think I need to study up on design theory.
That is a terrific pearl of wisdom I will steal to use in a demo some time.once joked to my club that I wouldn't turn a cylinder without a full size drawing. This isn't stretching the truth very much, I plan out most everything on paper first.