Hi Guys! Just wondering what some of the advantages are of numbering you stuff. Also, what do you use, marker, engraver, other?
Thanks, Don L.
Thanks, Don L.
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Do you number your bowls?
- Thread starter Don Leydens
- Start date
Although I don't 'number' my bowls (or vessels) I do use a code to date them. If you are selling your work an item may be condsidered 'old' based on a given date. I code my dates, the numbers mean nothing to most people but I can easly and quickly tell when it was made. Just an idea....
I use a ultra fine marker to sign and date my work, if required I can remove it without much trouble.
I use a ultra fine marker to sign and date my work, if required I can remove it without much trouble.
I date and number my pieces. I started out using an extra-fine Sharpie permanent ink marker, but time has shown me they aren't very permanent. Now I use a woodburning pen with a 1/32" ball-shaped tip. I've also got another woodburning pen with a piece of nichrome wire shaped into my initials that I use to "brand" my pieces.
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Thanks for the info, guys. Some good ideas.
Don L.
Don L.
Where using a pen, Pigma Micron archival quality pigment-based ink pens are available in 6 point sizes from 0.2 to 0.5mm. Local and online art supply vendors as well as woodturning sites are sources you can check for availability and price, but they retail for about $2.79 apiece when purchased individually.
I don't number the bowls I make, but I include all the relevant information on the bottom of the bowl. I use a Koh-I-Noor technical pen which is available in different width nibs, with India ink which is available in different colors. Maintenance of these pens can be problematic as the ink will dry out and clog the pens.
Don,
just a comment that I have had from relatives and customers is to add the type of wood that the piece is made from.
I use a wood burner with a pencil tip.
I have been dating them.......but from the above comment, I need to rethink that.
just a comment that I have had from relatives and customers is to add the type of wood that the piece is made from.
I use a wood burner with a pencil tip.
I have been dating them.......but from the above comment, I need to rethink that.
It might be worth a trip to a local art supply (not sure if the chain type hobby stores carry 'em) to try out a few different technical pens for line width and color saturation. It may have been a Staedtler product I compared, but the one I rejected had a lot of gray in the black ink compared against the one I chose. You'd never notice without seeing them side by side.
I'm diligent about recapping, and haven't had mine long enough to say whether there's any issues with prematurely drying out or other problems.
All this is OK as long as it's readable against the background. OTOH, since wire and laser burning also leaves a dark line, I'm still watching for good suggestions for fine marking on really dark woods.
I'm diligent about recapping, and haven't had mine long enough to say whether there's any issues with prematurely drying out or other problems.
All this is OK as long as it's readable against the background. OTOH, since wire and laser burning also leaves a dark line, I'm still watching for good suggestions for fine marking on really dark woods.
Numbering
I always date, number and sign my work, and where room allows include wood used. I also keep a photo record of all my work, and clients can order similar pieces, refering to the number permitting a better cost estimate by me.:cool2:
I always date, number and sign my work, and where room allows include wood used. I also keep a photo record of all my work, and clients can order similar pieces, refering to the number permitting a better cost estimate by me.:cool2:
odie
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Hi Don......(really like some of the work you've been doing lately!
)I number all of my bowls, but not on the bowls themselves.
It's my personal opinion that anything more than your signature (or mark) is less professional looking than if numbers, date, species, etc are on there. I know that there are those who do, and that's their opinion.....this is mine!
All bowls have a 3x5 card with all information there. Cost, where wood purchased, moisture content, drying results over time, when roughed, notes during manufacture, sanding notes, date started and completed, etc......all of these things.
When I photograph the bowl, the number is added to my online albums there, along with other useful information. The 3x5 file card is placed in a file box.
ooc
Thanks everyone.
Odie-You are one organized son-of-a-gun! Some good ideas in there.
Thanks, Don L.
Odie-You are one organized son-of-a-gun! Some good ideas in there.
Thanks, Don L.
Numbering
Odie...thanks for being the wacko on this forum....your page keeps me chuckling........
Odie...thanks for being the wacko on this forum....your page keeps me chuckling........
It's my personal opinion that anything more than your signature (or mark) is less professional looking than if numbers, date, species, etc are on there. I know that there are those who do, and that's their opinion.....this is mine!
I'm with Odie on the sig, only.
Nowadays I just photograph every piece that goes out the door. So quick with a dig camera. Each pic title holds species and dimension info for future reference which is mainly used for future pricing decisions.
I do include an individual card with each piece that goes to a gallery which has some info about the piece on it, eg attached, if I can.
View attachment Wood Works Sample tick - front view.doc
View attachment Wood Works ticket - new rear view.doc
.....
A little update on my way of signing:
I recently got a tip/suggestion from someone who engraves his information in the wood and uses a gilt wax stick to fill in the writing, wiping off the excess surrounding wax. It leaves a classy silver or gold effect in the piece.
I've ordered and received the engraver (NOT a reg. Dremel, an engraver) and it works great. The Dremel engraver is only about $20.00. The reciprocating action lets you write pretty much like a pen without the pulling effect a rotary tool has.
I've ordered the wax (Liberon gilt wax sticks) and look forward to trying them out when they arrive. At around 15 bucks a piece, they're not cheap, but I'm told they last a long time.
I believe this will look much more professional than the felt tip I currently use and will update this when I give it a try.
Don L.
I recently got a tip/suggestion from someone who engraves his information in the wood and uses a gilt wax stick to fill in the writing, wiping off the excess surrounding wax. It leaves a classy silver or gold effect in the piece.
I've ordered and received the engraver (NOT a reg. Dremel, an engraver) and it works great. The Dremel engraver is only about $20.00. The reciprocating action lets you write pretty much like a pen without the pulling effect a rotary tool has.
I've ordered the wax (Liberon gilt wax sticks) and look forward to trying them out when they arrive. At around 15 bucks a piece, they're not cheap, but I'm told they last a long time.
I believe this will look much more professional than the felt tip I currently use and will update this when I give it a try.
Don L.
I sign my pieces using a burning pen (it is quite permanent) and have a serial numbering system for identification purposes. Serial numbering is a standard industrial practice which the average person really doesn’t understand but offers significant product information which the manufacture can decipher. My serial numbering records the date and series of work, species of wood, type of finish, and design intent. This all becomes a thirteen digit alphanumeric number. Most of this information is of little value to the end consumer but is occasionally useful for myself.
I have begun adding the title if I have titled a piece. The galleries seem to appreciate this.
I keep a job sheet for each project. It is basically a diary of every step taken in the manufacture of each piece. It is quite helpful as I frequently have four or five projects going on at any one time and it can be quite difficult to remember where you are with certain steps in a process when work is spread over several month’s time. As Odie does, this paper gets physically filed upon completion and is then available for future reference.
Certain work gets photographed but not everything. Why photograph every salad bowl? But it is nice to have photographic references of sculptural work or pieces where new details, textures, or designs are applied. Digital filing of these images can become a little tedious. I’m always thinking that there must be a better way than what I’m doing.
- Scott
I have begun adding the title if I have titled a piece. The galleries seem to appreciate this.
I keep a job sheet for each project. It is basically a diary of every step taken in the manufacture of each piece. It is quite helpful as I frequently have four or five projects going on at any one time and it can be quite difficult to remember where you are with certain steps in a process when work is spread over several month’s time. As Odie does, this paper gets physically filed upon completion and is then available for future reference.
Certain work gets photographed but not everything. Why photograph every salad bowl? But it is nice to have photographic references of sculptural work or pieces where new details, textures, or designs are applied. Digital filing of these images can become a little tedious. I’m always thinking that there must be a better way than what I’m doing.
- Scott
Richard Baker
RIP
Never numbered but usually photographed.
Russ Fairfield
RIP
This is what works for me, but that doesn't mean it will work for anyone else.
I make 3 kinds of bowls - very thick natural edge to preserve as much of the bark texture as possible, very thin with 1/16" or slightly less wall thickness, and normal 3/8" thick salad bowls.
I date and mark the thick and thin because a couple years of aging imparts some feeling to the customer that it won't crack when they get it home. Those bowls bring a premium price and I always number the bowl, and then keep a photo of it with a record of who bought it and when.
I look at the run of thr mill salad bowl as a commodity item. All it gets is a signature with an ultra-fine marking pen and a note of the species when it isn't obvious. The only record I have of the sale is the CC or cash receipt. I used to put a lot of information on these bowls, but that too often brought the question, "What's wrong with this bowl? It is dated 3 years ago and you still haven't sold it." I got tired of making excuses and quit adding the date and a lot of wood or species information.
I make 3 kinds of bowls - very thick natural edge to preserve as much of the bark texture as possible, very thin with 1/16" or slightly less wall thickness, and normal 3/8" thick salad bowls.
I date and mark the thick and thin because a couple years of aging imparts some feeling to the customer that it won't crack when they get it home. Those bowls bring a premium price and I always number the bowl, and then keep a photo of it with a record of who bought it and when.
I look at the run of thr mill salad bowl as a commodity item. All it gets is a signature with an ultra-fine marking pen and a note of the species when it isn't obvious. The only record I have of the sale is the CC or cash receipt. I used to put a lot of information on these bowls, but that too often brought the question, "What's wrong with this bowl? It is dated 3 years ago and you still haven't sold it." I got tired of making excuses and quit adding the date and a lot of wood or species information.
Don Leydens
I really like that idea of the engraver and the wax sticks. I'm on my way to get an engraver.
I really like that idea of the engraver and the wax sticks. I'm on my way to get an engraver.
odie
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Hi Don......
If you could include a pic of this method of signing, I'm sure I'm not the only one who would appreciate your effort to show us how it looks......
ooc
Hi Odie!
I finally got the wax and have tried the process out. Very fast and simple and works great. It looks pretty impressive I think. The only thing to make sure of is that the wax is put on AFTER the piece has been sanded very smooth and your finish is done also. The wax will settle in tiny cracks or deep grain so smoooth is the key word. Otherwise, it's a hard to wipe off. With those steps followed, it's a fast procedure with impressive results. Very classy in my opinion. I'll post some pics when I get down to the shop.
Don L.
I finally got the wax and have tried the process out. Very fast and simple and works great. It looks pretty impressive I think. The only thing to make sure of is that the wax is put on AFTER the piece has been sanded very smooth and your finish is done also. The wax will settle in tiny cracks or deep grain so smoooth is the key word. Otherwise, it's a hard to wipe off. With those steps followed, it's a fast procedure with impressive results. Very classy in my opinion. I'll post some pics when I get down to the shop.
Don L.
OK, Here is what it looks like. I know it looks like I signed this with my foot, but it's only my second time using the engraver. Hope you can see the gold (I can't, the color blind thing). They also have silver waxes and other shades of gold.
Signing works
I too bought an engraver and I must say my handwriting needs some improvement. Some liming wax was sitting on the shelf so I used that and it looks good. Not sure of the longevity but we'll see.
I too bought an engraver and I must say my handwriting needs some improvement. Some liming wax was sitting on the shelf so I used that and it looks good. Not sure of the longevity but we'll see.
odie
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Thanks, Don.....
I had envisioned a result that didn't look quite as good.....I agree that it does have a sense of class to it.
It is a reciprocating point that does the engraving......right? Prior to your showing the results, it just didn't seem like the lettering would look as cleanly done as your photograph looks. It almost looks as clean as a tiny little router would make!
Looks like your individuality has evolved a little......something that makes your work look like yours.....and, not part of a group......if you know what I mean.
Later......
ooc
I had envisioned a result that didn't look quite as good.....I agree that it does have a sense of class to it.
It is a reciprocating point that does the engraving......right? Prior to your showing the results, it just didn't seem like the lettering would look as cleanly done as your photograph looks. It almost looks as clean as a tiny little router would make!
Looks like your individuality has evolved a little......something that makes your work look like yours.....and, not part of a group......if you know what I mean.
Later......
ooc
odie
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Wayne......I have done some script lettering with a chisel point burning tip. It could be imagined that the way the wood reacts to this method is similar to the engraving method. What seems to cause this is the speed the tip burns through the hard and soft grain patterns. It seems to help speed up the "flow rate" some by turning up the heat......but, all pieces of wood are not the same. grrrr!
ooc
The lettering on this piece doesn't look too bad.......but, the closer you look, you'll notice some erratic movement of the burning tip.
Attachments
Hi Wayne! Liming wax sounds interesting also. I just bought some a short while ago, have to give that a try too.
Odie - Yes, it's a reciprocating point. You're right, it cuts very clean, even in very hard woods and it's adjustable. At about $20.00, it's one of the cheapest tools I'll use on every piece.
The hardest thing to get used to is signing your name very slowly. Even with a pen, my signature looks pretty bad if I write slow. It's getting better with every piece though. Propping my elbow up helps a lot too.
Thanks for the compliment on my work also. I really appreciate that!
Don L.
Odie - Yes, it's a reciprocating point. You're right, it cuts very clean, even in very hard woods and it's adjustable. At about $20.00, it's one of the cheapest tools I'll use on every piece.
The hardest thing to get used to is signing your name very slowly. Even with a pen, my signature looks pretty bad if I write slow. It's getting better with every piece though. Propping my elbow up helps a lot too.
Thanks for the compliment on my work also. I really appreciate that!
Don L.
Numbering
I use a "Saber" pyro system with a very fine tip...that way it conforms with varying surfaces and wood densities, etc. and when I sign my logo looks like I did it in pen. The photo file enables me to furnish clients with info for their insurance in case of fire, theft, etc., and the number makes it easy for clients to order by stating " I need something like #, can you get with me on this?". And as a courtesy, if I have the room, I identify the wood(s) used. I have had many compliments on this. I always furnish all of the above at no cost to each and every client. I feel it is just good business. To each their own....:cool2::cool2:
I use a "Saber" pyro system with a very fine tip...that way it conforms with varying surfaces and wood densities, etc. and when I sign my logo looks like I did it in pen. The photo file enables me to furnish clients with info for their insurance in case of fire, theft, etc., and the number makes it easy for clients to order by stating " I need something like #, can you get with me on this?". And as a courtesy, if I have the room, I identify the wood(s) used. I have had many compliments on this. I always furnish all of the above at no cost to each and every client. I feel it is just good business. To each their own....:cool2::cool2:
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Interesting Topic.
I have never numbered any bowls or kept record of them but I know I am only somewhere between 120 and 150 so far . I make a lot more of other types of turnings than I do of bowls and have never signed any of those.
I used a sharpie back when I started making bowls and I had signature and wood type and date. The date seemed to be a deterent to sales so I stopped signing and dating altogether.
Last winter I bought a Razertip pyro burner to try my hand at pyrography indoors in the coldest winter months rather than heat the shop for turning. I quite enjoyed that . Now after reading the messages in this thread I am thinking I might put it to use for signing bowls as well but I will refrain from dating them.
I am a complete rookie at pyrography and have less than a month of practice in all but some of my burnings can be seen in one of the albums in my Picturetrail albums link. The hummingbird one sold within the first half hour of my latest craft sale.
I have never numbered any bowls or kept record of them but I know I am only somewhere between 120 and 150 so far . I make a lot more of other types of turnings than I do of bowls and have never signed any of those.
I used a sharpie back when I started making bowls and I had signature and wood type and date. The date seemed to be a deterent to sales so I stopped signing and dating altogether.
Last winter I bought a Razertip pyro burner to try my hand at pyrography indoors in the coldest winter months rather than heat the shop for turning. I quite enjoyed that . Now after reading the messages in this thread I am thinking I might put it to use for signing bowls as well but I will refrain from dating them.
I am a complete rookie at pyrography and have less than a month of practice in all but some of my burnings can be seen in one of the albums in my Picturetrail albums link. The hummingbird one sold within the first half hour of my latest craft sale.
Hi again
Hi Bill. Nice to hear from you again- I wondered what happened to you, and failed to see/recognize you in you newer posts. Saw the Brit Col location and thought it must be you. Nice web site, Gretch
Hi Bill. Nice to hear from you again- I wondered what happened to you, and failed to see/recognize you in you newer posts. Saw the Brit Col location and thought it must be you. Nice web site, Gretch
odie
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Although I've never heard comments or discussion to substantiate this, I feel confident that this is absolutely true. My best guess is some people feel a piece isn't desirable to other people because it isn't recently made, and must have been passed up by everyone else. Most of us here will realize this is a foolish conclusion, but we have no control over what the public thinks......justified, or not.
The exception seems to be with artisans who have an established and recognizable reputation with knowledgeable buyers. Here, a date will not make much difference......and, depending on which artist, could be a selling point.
ooc
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