Inspiration?

[Mark Mandell]

Turners, and all woodworkers really, have a tendency to focus on their tools and gadgets which all too often seem to become some kind of measure of what they do. As Don Geiger once said (and Ruth Niles put on a T-shirt) "We're all just one tool away from greatness." Woodworkers are not, however, alone in this view; talk to a few hobbyist photographers if you doubt me on this.

Ultimately, whatever comes off that wood lathe, to some extent, must be the product of visual decisions by the turner/lathe operator concerning purpose, general shape, rim, foot, size, and a bunch of other criteria whether expressed or merely "felt". It is however, very easy to become so wrapped up, enamored if you will, with the process and activity of turning and cutting wood that we can lose sight of any specific idea for making the object. I'll plead guilty to having had so much fun spinning a dogwood log and peeling 4 and 5 foot long shavings with a large skew that I flat out forgot what I was going to make! I had a lathe covered in pink dogwood angle hair but next to nothing to show for it.

I'm good enough with turning tools that I can pretty much turn without torn grain, and its been a while since I had a catch, but being able to turn really nicely done hockey pucks just doesn't do much for me. No offense to you NHL fans

So, lets hear how all y'all come up with what you have in your mind's eye as you select the wood and mount it on the lathe. Given that any number of shapes and objects can be made from the same piece of wood, what drives your decision to go one way or another.

What are your inspirations for shape and style?

How do you design the piece that you're about to make?

Is there a body of work by one or more woodturners that inspires you to try to expand your skills and designs?

 

[hockenbery]

For me it is a melding of experience, evolution of form, seeing something that I want to turn.

I do a lot of hollow forms. One element I use that I invented but others probably do it too is turning pitcher lips.
These I came up with after visiting Santa Fe where I saw a fountain where water poured from one bowl to another.
I thought about hollow forms, pouring water out of them, and how a pitcher lip would do it.
Then I experimented with turning the opening of the hollow forms through the bump formed by the limb scar
There is a nice natural edge rim and a place to form the neck when hollowing through a healed over limb.

Four forms below are all
Left to right
1 hollowed through a natural opening - the inspiration was the log. I knew I would get a non round opening.
2. Inspiration an Al Stirt platter
3, 4 the pitcher forms. These are and extension of the forms where I hollowed using an existing opening. In use the healed over limb scars to hollow through. They often have hollow cavities in picture 4 the limb is in the side wall. also this piece was hollowed from a 1/4 log which ads some curve to the rim.

al

 

[odie]

Except for a couple of photos a few weeks ago, I don't think I've ever seen any of your turnings, Al.......

That is some great stuff.

ooc

-------------------------------------------------------------

Mark.......I'll have to come back later, because you've got me to thinking about this.

This thread looks like it just might be a real good one! :cool2:

ooc

 

[hockenbery]

Odie, Thanks for the kind words, It is easier to post photos now as I have a bunch on a network drive and the forum cuts them down to size instead of rejecting them for being over pixelled. Photos make explanations easier sometimes. Most of my pieces never got photographed and the only photos I have of some pieces are those taken in a gallery. I'm interested in seeing how this thread develops. Al

 

[Bill Boehme]

Your comment about photography touched a nerve since I am a rabid amateur photographer who participates in a photography forum. The discussions there range from serious to completely off-the-wall -- not too much different than what is encountered on woodturning forums. Equipment worship is just as intense among amateur photographers as with woodturners.

And, I swear that you must have a tail on me because I also have one of those Geiger t-shirts that I got from Ruth Niles. I finally got to meet Don a couple years ago and asked about the greatness part when I bought my Robust AB. :cool2:

Sometimes, I have a very definite purpose when choosing wood. This is especially the case when making one of my favorite type of piece, a dyed rim platter. First, it has to be highly figured maple and I try to envision whether it will fit my need and not have something that might turn out to be a problem. We can't always guess what we will find inside and sometimes I get surprised either pleasantly or otherwise. That is why I often put a tenon on both sides and leave my options open as I work. The last one that I made was one of those where I changed my mind and flipped the platter over. My inspiration partly came from dyeing that I have seen Jimmy Clewes demonstrate along with a lot of experimenting around with various techniques. I spend more time experimenting and trying to expand on previous things that I have done than actually creating an end product.



I didn't take the picture. It was shot by a friend using a Nikon. I am a Canon shooter, but we're still friends despite this serious incompatibility.

On the other hand, starting out with only a fuzzy idea can sometimes cause problems, but I occasionally do it anyway. If things go wrong, I don't stop. I just use it as a testbed for developing something different. Here is my tale of a current misadventure.

I had a nice piece of box elder that I got from Brent English and proceeded to make a hollow form. This might be a good time to point out that good hollow forms don't just happen. If I didn't fully appreciate it before, I do now. Things were proceeding reasonably until my lack of planning ahead led to a design opportunity. It wasn't much of an opportunity, I'll have to admit. Anyway Mrs. B. came around to pull a surprise inspection and said it "looked nice", but why did I make a hole in the bottom. I replied that was the top to which she said it just wouldn't look right sitting on a table upside down. After studying it for a while, I decided that she was right and forced myself to put a hole in the other end. So, now I had a funny shaped tube. I had carefully saved a plug that I cut from the bottom that is now the top and made a foot for the top which is now the bottom. Mrs. B. pronounced it very nice and even said that she isn't going to let me take it out of the house -- there is more than one way to interpret that remark, but I'll go with the positive one. There was one remaining difficulty. Anybody looking inside could clearly see the plugged bottom so how to disguise it? My solution was to make it look like a clay vase so I coated the interior with Minwax wood filler, used carvers rifflers to create a pottery look and then finished with Krylon limestone Textured Stone finish. No pictures yet. Anyway just an example of experimenting without feeling obligated to have a finished product -- just a learning exercise. I had a much more successful learning experience last month and now I am trying to duplicate what I did then. Unfortunately it wasn't an easy process so duplicating its success is still as work in progress.

I'll stop now because I must retain some secrets.

 

[Mark Mandell]

Since we're on the subject of tails and retention of secrets,

try more fiber.

 

[Mark Mandell]

One element I use that I invented but others probably do it too is turning pitcher lips.
These I came up with after visiting Santa Fe where I saw a fountain where water poured from one bowl to another.
I thought about hollow forms, pouring water out of them, and how a pitcher lip would do it.
Then I experimented with turning the opening of the hollow forms through the bump formed by the limb scar
There is a nice natural edge rim and a place to form the neck when hollowing through a healed over limb.

Ha! Been playing with the same element but with a different approach. Many years ago I bought a piece from Jake Brubaker which was a walnut pitcher with cast pewter handle. Jake made the spout by turning a fully flared rim and carving it back to a classic spout form. With the limitation of the then-available tools (1970ish), he had to do the spout section separately and then glue that to the main body hollowform (rather than hollowing from the bottom and using a plug). With a tool like Al Crandall's flipper boring bar, it becomes much easier to do such a piece. Still working on the formula for the flare.

 

[Mark Mandell]

As a Small Aside

Just to illustrate. For those who've not turned dogwood . .

hone your skew to a gnat's eyelash and be prepared to be addicted . . .

 

[Bill Boehme]

Turning long streamers of green wet wood probably isn't too far removed from a kitten playing with a ball of yarn.

Here's me and my ball of yarn.



Fortunately, I came to my senses before unspooling the whole thing and was able to get a couple cores out of this piece of box elder.

 

[Mark Mandell]

Turning long streamers of green wet wood probably isn't too far removed from a kitten playing with a ball of yarn.

Here's me and my ball of yarn.

View attachment 6991

Fortunately, I came to my senses before unspooling the whole thing and was able to get a couple cores out of this piece of box elder.

Eh... Atsa nice linguine!

 

[Bill Boehme]

Eh... Atsa nice linguine!

Yeah, but it was a bit too al dente.

 

[odie]

Bill......do you feel the Airstream is necessary when turning outdoors?

Mark......Is that a Vicmarc 300? That is the lathe I'd want, if I didn't have the Woodfast......(a little bit of envy!)(How about a pic?)

Still compiling my thoughts to address "inspiration".....!

ooc

 

[Mark Mandell]

Bill......do you feel the Airstream is necessary when turning outdoors?

Mark......Is that a Vicmarc 300? That is the lathe I'd want, if I didn't have the Woodfast......(a little bit of envy!)

Still compiling my thoughts to address "inspiration".....!

ooc

No. That's a Stubby S1000 (3hp - short bed)

 

[odie]

No. That's a Stubby S1000 (3hp - short bed)

After I posted, I looked closely, and I thought I might have seen John Jordan's name on there. I think he imported the stubby for awhile.....still might.

I still want the Vicmarc 300!

ooc

 

[Bill Boehme]

Odie,

if the wind isn't blowing then turning outdoors isn't any different that turning indoors when you are close to the lathe. If the wind IS blowing then it is worse than turning indoors because when close to buildings and trees all sorts of vortices are created which means that the wind is always whipping around from different directions. An Airstream provides at least some head protection and a face shield only provides protection against small particles like bark.

The Stubby distributor for the last several years has been Bill Rubenstein. They are very nice lathes, but for some reason, they remind me of a woodburning heater. On a cold day like this, I probably would be stoking it with wood and huddled next to it rubbing my hands together trying to get warm.

 

[Mark Mandell]

After I posted, I looked closely, and I thought I might have seen John Jordan's name on there. I think he imported the stubby for awhile.....still might.

I still want the Vicmarc 300!

ooc

John is still a Stubby reseller. The S1000 (20-44" swing) is, however, no longer imported. The S750, the primary import, gives 30"x9" swing over the retracted bed gap.

 

[Sergio Villa]

I still want the Vicmarc!

ooc[/QUOTE]

Like this one or the new and improved model? The third picture is a famous one, portraits the man pointing where the Vicmarc is hiding.

 

[Sergio Villa]

Try to be more serious (?) Talking about inspiration I like to refer to what so many artists in various form of art such as music, painting, but also sculpture which is in a way closer to woodturning, have said. inspiration is just an idea, the final form is the result of continuous refinement of that idea. There was a recent show at the Met on Bernini and the numerous terra-cotta models he was used to make to reach the final form that had to be the final marble sculpture. The same for Leonardo with the numerous drawings he made before the final painting or Michelangelo with the unfinished busts he made in preparation of the final sculpture just to name a few. They never chased the beauty of the marble, they chased the beauty they had in mind and worked very hard to reach it.
http://www.metmuseum.org/about-the-museum/press-room/exhibitions/2012/bernini

 

[Bill Boehme]

The picture was taken in Italy. near Troina on August 4 or 5, 1943. Sicilian peasant telling an American officer which way the Germans had absconded with his Vicmarc lathe.

Robert Capa was the photographer and an interesting story of his life can be read here.

 

[Sergio Villa]

The picture was taken in Italy. near Troina on August 4 or 5, 1943. Sicilian peasant telling an American officer which way the Germans had absconded with his Vicmarc lathe.

I believe he is just a private or a simple soldier (no grades on shirt) but he is very big compared to the sicilian peasant: you need a big man to haul a VL300 but a smart man to find it.

 

[odie]

Like this one or the new and improved model? The third picture is a famous one, portraits the man pointing where the Vicmarc is hiding.

I didn't know there was an improved model. If I were to get another lathe, probably either Vicmarc would do. Actually, there isn't much difference between the Vicmarc and my Woodfast, except for the increased swing size. I'm really a believer in cast iron for a lathe. I imagine I'll probably spend the rest of my life turning on the Woodfast.......It's a terrific lathe, but if I win the lottery, I can see myself getting the Vicmarc.

ooc

 

[Bill Boehme]

There was another picture of the same peasant that confirmed he was very short and not just squatting down next to the American soldier. Different web sites have conflicting information and the one where I got the initial information had the photographers his birth name incorrect. Some sites said that Robert Capa was an American photographer, but he was Hungarian and not sure that he ever became an American although he spent a lot of time here. He took the name to hide his Jewish identity from the Germans. Most of his life he seemed to be covering wars.

I have a very large version of the photo and it is easy to tell that the soldiers uniform is starched and pressed so I would guess that it was an officer. The other picture of the peasant shows him standing next to an American General.

 

[odie]

Turners, and all woodworkers really, have a tendency to focus on their tools and gadgets which all too often seem to become some kind of measure of what they do. As Don Geiger once said (and Ruth Niles put on a T-shirt) "We're all just one tool away from greatness." Woodworkers are not, however, alone in this view; talk to a few hobbyist photographers if you doubt me on this.

Ultimately, whatever comes off that wood lathe, to some extent, must be the product of visual decisions by the turner/lathe operator concerning purpose, general shape, rim, foot, size, and a bunch of other criteria whether expressed or merely "felt". It is however, very easy to become so wrapped up, enamored if you will, with the process and activity of turning and cutting wood that we can lose sight of any specific idea for making the object. I'll plead guilty to having had so much fun spinning a dogwood log and peeling 4 and 5 foot long shavings with a large skew that I flat out forgot what I was going to make! I had a lathe covered in pink dogwood angle hair but next to nothing to show for it.

I'm good enough with turning tools that I can pretty much turn without torn grain, and its been a while since I had a catch, but being able to turn really nicely done hockey pucks just doesn't do much for me. No offense to you NHL fans

So, lets hear how all y'all come up with what you have in your mind's eye as you select the wood and mount it on the lathe. Given that any number of shapes and objects can be made from the same piece of wood, what drives your decision to go one way or another.

What are your inspirations for shape and style?

How do you design the piece that you're about to make?

Is there a body of work by one or more woodturners that inspires you to try to expand your skills and designs?

At what point does inspiration happen?

I'd have to say that it doesn't happen until something really good happens somewhere along the way.

From the block of wood, I'm usually contemplating what aesthetic appeal there is, and what flaws there are that can be avoided (if possible). This gives me some idea of what shapes can be done, given what I want to highlight, and what I want to eliminate.

Inspiration isn't always the same. I guess you can grade it on a scale of 1 to 10, to be more true to reality. Sometimes inspiration can be intense, and sometimes it's mediocre. Sometimes the basis for inspiration is the wood, and sometimes it's the choices I've made.......and, sometimes there is no inspiration at all. I have some unfinished bowls, that will never be finished......because they just don't inspire me at all. I guess inspiration is important, because no inspiration=no motivation.

I've thought about inspiration for the past day, and just can't come up with an explanation that covers all the circumstances........!

ooc

 

[Mark Mandell]

At what point does inspiration happen?

I'd have to say that it doesn't happen until something really good happens somewhere along the way.

From the block of wood, I'm usually contemplating what aesthetic appeal there is, and what flaws there are that can be avoided (if possible). This gives me some idea of what shapes can be done, given what I want to highlight, and what I want to eliminate.

Inspiration isn't always the same. I guess you can grade it on a scale of 1 to 10, to be more true to reality. Sometimes inspiration can be intense, and sometimes it's mediocre. Sometimes the basis for inspiration is the wood, and sometimes it's the choices I've made.......and, sometimes there is no inspiration at all. I have some unfinished bowls, that will never be finished......because they just don't inspire me at all. I guess inspiration is important, because no inspiration=no motivation.

I've thought about inspiration for the past day, and just can't come up with an explanation that covers all the circumstances........!

ooc

Not sure here, Odie, but it seems that you're saying you just kind of jump into things, wing it, and hope "magic" happens along the way.

Edison spoke about 1% inspiration and 99% perspiration. Personally I don't care to start whacking away on a piece of material until I have a reasonably definite idea of what I want to do with it. In my view, doing otherwise would be setting myself up to make hockey pucks and, most likely, waste a nice piece of wood. I have been known to let a chunk of wood sit until I can see the basic form inside of it. That is not to say that some changes are not made along the way (I don't have or claim x-ray vision), but I do have some sense of shape and size in my mind's eye before I put the wood on the lathe. That is, however, me and my approach. You, on the other hand, are welcome to go with your leap-of-faith method. I will give credence to what the wood speaks as I progress, but I must remain in control. I do have failures (that's what the fireplace is for, after all), but they occur only when my initial vision of the final piece is incomplete or otherwise flawed. The failure reminds me to revisit my idea and find out where I lost direction. Of course, turning dogwood doesn't count here, as making piles of angle hair is the goal anyway.

Oh, and don't worry about that explanation. Philosophers and others have been trying to figure that one out for at least 2,500 years.

 

[Mark Mandell]

Like this one or the new and improved model?

This one's improved enough for me

 

[Bill Boehme]

I guess that I don't think about a strict meaning of the word inspiration or ranking individual ideas on a scale. Since I am not under any obligation to produce anything, I may not do any turning if I haven't thought of what I would like to make. When I first started turning, I just stuck a piece of wood on the lathe and figured it would speak to me. If it did, we weren't on the same channel, but I suspect that I was just thinking about instant gratification from making something round that didn't fly off the lathe ... too many times ... and stayed more or less intact.

Now, before beginning I almost always start with a well defined plan and try to find a suitable piece of wood to fit my need. About three years ago I made a dyed rim platter. The wood was perfect and it turned out to be very nice and fellow club members were in awe (or at least some of them said, awwww). That excited me so much that I wanted to turn nothing other than dyed rim platters. The trouble was ... I was all enthusiasm and a little short on inspiration. I don't think that any of my dyed rim platters that I made subsequently, although good, came close to matching that first one. Maybe I was trying too hard and without any real inspiration. But, at least, I believe that it was the jump start that I needed. Now, ideas seem to come from all kinds of sources. Many never make it to the lathe. I usually talk about them with Mrs. B. and she helps keep me on an even keel, but sometimes I like to explore my occasional weird ideas despite discouraging words. She doesn't mind speaking her opinion and I appreciate her for it. Sometimes she changes her mind and sometime I change my mind. I make bowls, but only when necessary ... such as for the Empty Bowls Project, but otherwise I am always wanting to expand the envelope of what I do. That, in itself, isn't inspiration, but it does help fuel inspiration I believe.

Probably the closest thing to a definition that I might have is that I don't see the "what" part of making something as being where I benefit from inspiration as much as the "how" part. And, it doesn't necessarily come from a light bulb in the head. My last "bright idea" actually came about from frustration of something not turning out "right" and then going for a last ditch effort in applying a finish to the turning. The results were not exactly what I expected, but different in a very pleasing way. Was it inspiration? I think it was at least partly inspiration along with a nice helping of dumb luck.

 

[hockenbery]

Inspiration can mean many things from what you can do with a piece of wood to something that sets you off in a new direction.
I came up with a unique series of turnings.

It began when I saw Soren Berger turn a multi axis scoop at an AAW symposium.
He turned a handle on a ball, put the ball in a jam chuck, hollowed the ball to make the scoop.
I had some experience in hollowing balls in jamb chucks thanks to Christian Burchard.

I have turned exactly 1 Soren Berger scoop. Never actually finished it.
I began thinking- first about turning a scoop with two handles
I thought maybe holding the scoop in vacuum chuck to hollow it.
Why not make the ball bigger have a hollow form with two handles
Then make the handles into legs
Carve the handles.... So a series of pieces began
Below is a series of photos showing some of the progression.

Left to right
Scoop by Soren Berger
First little hollow form reaped oak about 5" diameter
Second little hollow form with wings. A " fat birds can't fly" series
Then a couple in different directions

 

[odie]

Not sure here, Odie, but it seems that you're saying you just kind of jump into things, wing it, and hope "magic" happens along the way.

Edison spoke about 1% inspiration and 99% perspiration. Personally I don't care to start whacking away on a piece of material until I have a reasonably definite idea of what I want to do with it. In my view, doing otherwise would be setting myself up to make hockey pucks and, most likely, waste a nice piece of wood. I have been known to let a chunk of wood sit until I can see the basic form inside of it. That is not to say that some changes are not made along the way (I don't have or claim x-ray vision), but I do have some sense of shape and size in my mind's eye before I put the wood on the lathe. That is, however, me and my approach. You, on the other hand, are welcome to go with your leap-of-faith method. I will give credence to what the wood speaks as I progress, but I must remain in control. I do have failures (that's what the fireplace is for, after all), but they occur only when my initial vision of the final piece is incomplete or otherwise flawed. The failure reminds me to revisit my idea and find out where I lost direction. Of course, turning dogwood doesn't count here, as making piles of angle hair is the goal anyway.

Oh, and don't worry about that explanation. Philosophers and others have been trying to figure that one out for at least 2,500 years.

Yep, I think you missed the point, and I'm not sure I did such a good job of making my point clear......so your misinterpretation of my meaning is an acceptable response to what I wrote! Philosophers, past, present, and future have been, are, and will always be misunderstood, I guess!

I always have a "game plan", and it starts as a result of how the character of any individual piece of wood speaks to me. Nearly every bowl gets their "game plan" altered as the bowl progresses according to what's revealed, and my feelings, beliefs, whatever, is part of that equation. Occasionally, a bowl ends up as a failure, and there are some pieces of wood that inspire me right from the block, but more often, something good happens that creates an energized inspiration. I'm not speaking of magic, here......I'm speaking of a combination of what Mother Nature can provide, and my own best conclusions and ideas as they are played out from a mental concept to physical reality.

I'm probably still not doing such a good job of what "inspiration" has in the outcome......but, whether you or anyone else understands my philosophy, or not, isn't the object of my personal pursuits......! They are what they are, and if anyone does see a "connection" in my words.....great! If they don't have the faintest idea of what, how, and where my rudder takes me.....that is not unexpected either!

ooc

 

[Bill Boehme]

Here is the answer

I've found the answer

 

[odie]

I've found the answer

View attachment 7012

It did make me LOL, Bill........

I don't know how you ever found that BC cartoon, but it's perfect for this thread!

I guess "inspiration" isn't something with a definition that is the same for everyone.......but, whatever anyone defines it to be, is very real to that individual.

I just purchased a very large African Mahogany bowl blank......and the grain is very mediocre and plain. Not much inspiration from Mother Nature, so far. If inspiration comes with this one, it's going to be what I can do with it!

ooc

PS.....would like to see more variety of smiley faces to use with posts.....ain't enough to work well!

 

[Donna Banfield]

At Bill Boehme: Hahahaha! Love the cartoon!

 

[Bill Boehme]

The cartoon is from March 29, 2011, but there are several of them where the same pictures are recycled and only the words changed. In this one, BC asked the Guru what is the meaning of success. I don't recall the answer -- I just erased the words and repurposed the cartoon to fit the context of woodturning.

 

[Gretch Flo]

The cartoon is from March 29, 2011, but there are several of them where the same pictures are recycled and only the words changed. In this one, BC asked the Guru what is the meaning of success. I don't recall the answer -- I just erased the words and repurposed the cartoon to fit the context of woodturning.

I thought there was some word smithing, you old fox!!!!! Gretch

 

[R Henrickson]

One abundant source of inspirations, at least for vessels, has been my career as an archaeologist, where I have specialized in pottery analysis. Over the years, I have worked in Iran and Iraq (both LONG ago), Crete, Algeria, and, for the last 25 years -- Turkey. I have handled and recorded thousands of vessels, probably somewhere around literally a million sherds, and done thousands of drawings. That really makes you understand the shape. Everything from neolithic handmade stuff dating to 5000 BC or so, down through the millenia to Classical Greek, Hellenistic, and early Roman pottery, mass-produced utilitarian pottery and fine wares as well. Traditional Near Eastern domestic items have provided spindle-based idea.

 

[KellyDunn]

I wanted to be an archaelolgist. College councilor told me I would never get to dig and probably end up teaching. Bummed me out so bad I walked out. Got in my car and never went back to school. But I was making sand cast candles and selling them so got into that full time. I had one that I put leaves or ferns in the flat wax and then tilted the piece up and cut a section to put a wick so that the front face was lit up. Those I also put in a colored orb of wax. I called them Colorado sunset candles. The inspiration for them came slowly. Been so long ago I actually forget how I came up with them.
In woodturning Dennis Stewart and David Ellsworth were my inspiration for hollow vessel turning. David was instrumental in helping me see form. I would try all manner of pieces. Natural edge, big bark pockets. As time went by and I became a full time production turner a production run of roughout had a theme only. I had to change that theme when I encountered things in the wood that would not let me do what I had intended. Thus my phrase designing on the spin. It comes pretty easy when you get a few thousand hours under your belt standing at a lathe. The inspiration for changing at a moments notice comes from all that time and previous pieces and choices made. But as they are an inch thick I have design leeway when the piece gets picked to finish. Inspiration still mostly from past designs.
Experimental work is another matter. I tend to start with a study based on anothers work. So far I think four pieces is my max based on anothers. So the original inspiration tends to start when I am going to take a hands on class with a maker. I pick a style of what they do to base a work on. And that day I get walked through what goes through their head. Which helps me go from A to Z. But a work still has Kelly all over it. And I tend to show a finished work to the person I based it on. If I get I like it but consider doing such and such on your next one I think I am a big winner.
Inspiration for me is mostly from items I see and an idea goes bling. To actually do something with that inspiration is iffy as I need to make stuff to sell to pay the bills.

 

[R Henrickson]

Job prospects in archaeology, especially when my wife and I got our doctorates, were dismal. There have always been far more people with degrees than jobs available. My wife ended up as a computer programmer ("systems analyst") for the Federal Reserve Board of Governors, and was very happy leaving Near Eastern prehistory behind. I've gotten to travel, but never have had a long-term job. I've done years of field work (living probably a cumulative 3 years in total or more in Turkey -- 16 summers -- and more than a year's worth of time in other countries) -- a wonderful experience, and sometimes more exciting than planned, such as being in Iran for the first six months or so of the revolution.

A t-shirt that was often sold at professional meetings back then (and maybe still?) was all too correct with the slogan on it -- many people with degrees in archaeology never find a long-term job in the field.

"Study archaeology -- put your future in ruins"

But my archaeological life has been just one source of inspiration in woodturning.

 

[John Nicholas]

Source of Inspiration

Al says Inspiration comes when turning the wood and the form goes off in a different direction.

Odie says you have to have a game plan.

I think there is room for both.

I usually have a game plan. It comes from something I saw, something I've done before, something I've seen here or in magazine or at my local club. Sometimes It comes from all of the above.

I can usually finish the original according to the game plan. As I am turning, sometimes a different direction appears. Usually, that is in response to some thoughts about "How do I take this piece that XYZ made and make it my own?" There was a couple of articles in the Journal a few years ago that discussed plagiarism of forms. This thought came from there and we had a demo on some of the ways to do it in our local club.

Some times the inspiration strikes because I've been fooling with a form and the project takes off on that form. For example, I've been working on my free hand sphere turning techniques for the past year. So several of my boxes and some ring posts have lately taken a spherical shape to them. Now I am finishing up a spherical right post/box. Sanding the inside curve is not fun.

The iPhone camera is a wonderful tool. As I go through my day, I see many interesting shapes. In a store, a home, or where ever. i pull out the camera and snap a few. They go in file on the computer labeled shapes. It is one of those folders I look through Periodically. You never know when something will cause a light to turn on.

Yesterday, I was struck by a group of 5 candle holders. They are glass with a base, a thin stem and an enclosed holder for a larger type candle from 2x2 to 4x4.

The bowls I worked on today … just a simple 6 inch pair. Both ended up blowing out part of the rim from a crack that appeared toward final shear cutting. One is firewood, the other may get a massive re-design. Could a catch be inspiration?

 

[Betty Scarpino]

Limitations

Instructors who teach design often give assignments based on a series of limitations.

Exhibit themes/titles provide limitations, which can spur creativity, such as AAW's yearly Professional Outreach Program (POP) and invitational exhibits. The POP not only has a title/theme, it has a size limitation. I am always delighted and amazed with the variety of interpretations these exhibits engender.

With my first lathe, I could only turn something 13" diameter, and knowing that large turnings are attention-grabbers, I decided to make my work look larger. So, for turned plates, I created stands to display them vertically. The size limitation of my lathe directly led to my Altered Plate series, example attached. Walnut, 13" diameter. Light area is bleached. The surface is convex on the viewing side, concave on the "back." Stippled with an electric engraver.

Another significant limitation was the type of wood I had to work with, mostly locally harvested, which often meant the wood did not have stunning grain. So, to enhance the surface of turned plates, I started adding embellishments and bleaching parts of the turnings to create contrast.



Betty Scarpino, Editor, American Woodturner

 

[odie]

Odie says you have to have a game plan.

Just to clarify....A game plan is what I usually have, but nearly every game plan is modified as the bowl progresses.

ooc

 

[Gretch Flo]

Game plans

I have a tendency to have the wood "take me". perhaps one reason is that I cut my own blanks and have them in the half logs. They are not rounded square blanks.
Some slabs with bark on have different "defects" (read design opportunities), which may"turn out" different than what planned due to barked cracks extending further than expected, and just turning out other cracks. 2 days ago, turned a black walnut and it became firewood as the barked crack was going to end up inside, wide and open. I have another I turned (11 1/2x5") that has the bark inside, but tight, and cracks which were filled with ground up bk walnut bark. Just finishing and may get a photo when it becomes light enuf to photo (Just took some pictures with my point and shoot camera in -4 degrees on the deck and will see if they turn out and then get it posted- I have the makings of a photo booth and spent over $100 on backgrounds, but lights and space preclude it's being set up-along with 4 cats that try to help!!!!). When turning something with figure or color, I may decide to make deeper, or thicker depending on what's happening. (e.g box elder red, crotch figure, etc). If there is some tiger stripping on the outer parts I may decide a wide rim. If it's a boring wood, I may embellish with some grooves, some blackened with wire "burning" . I turn for the beauty of the wood, not my artistic "bent" (it sure it bent-I can't even draw stick figures!!!). I don't like to mar the sensuous feel of wood with texture, I don't like ornate. Simple beads, coves or grooves MAY be ok-for ME. Like Odie, I turn for myself. If it sells, it sells
Gretch