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Turning and Learning Goals?

Joined
Jan 3, 2021
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Location
Spartanburg, SC
I know that many of you are teachers as am I. "Teach in order to learn" is my gospel as a teacher. We're never done learning, eh? My 'grail quest" as I called it last summer was to learn the perfect curve, and how to make smoother, more intentional cuts using the classic techniques, but always gradually advancing. I try to refine a developing design element or try a new technique every time I step in my shop. For example, I have been playing around with spirit stains, india ink and other surface embellishments, but suddenly, just today-I want to burn a bowl. I have seen some stunning work in this area, and I'm a pyro anyway. Experimentation involves (carefully controlled, ideally) risk.

Anyway, I had the poor timing to take up turning literally during the covid shutdown, and mostly learned from bad a basic Woodcraft turning class, bad YouTube videos (and some awesome ones, like any from Kent from turnawoodbowl.com!). I learned a lot on that Laguna 12/16, mostly from trial and error. Along the way, I became obsessed (like I do with every hobby, basically), upgraded to "The Beast" (my PM 3520C whose ways I keep obsessively waxed with my dwindling can of Johnson Paste Wax-I am thinking of starting a cult haha), and I also became a wood hoarder (sort of like one of those cat ladies, but with wood lol). Thanks, Mom for starting me down this path and seeing it to the end, but really the beginning (she knows even though she is gone, but that's a story for another day). I am really trying to steer all of this being turning being my retirement gig that supplements my pension and 401k's so I can continue buying more turning stuff. Now I want a OneWay coring setup and probably a vacum chuck-it never ends!

I am also learning that "learning wood" in every sense of the phrase will be a lifetime's fascinating work. Every turn teaches me something important, like the 12'-inch maple square platter on the chuck right now that is literally trying to fly apart on me. I am trying to save it with colored epoxy, Minwax Wood Hardener and some creative cussing even as it shrinks and dries. Ebay seller advertised it as ambrosia, but it is mostly unstable branch piths that go all the way through; oh, the vagaries of wood. That lesson only cost maybe $5 worth of epoxy and some cleanup to learn. But still, love the focus and discipline required by larger squares; lazer sharpness, presentation and good bevel support are the only way to prevent the chips that ruin your flats. And then I'll have to turn in very fat and clunky to dry before finishing with razor-sharp scrapers.

Anyway, I have lately read a lot on the many ways trees "communicate" with each other. The longer I live, the more I think animals and plants are smarter than most people I know-as a linguistics nerd, I am transfixed at anything about animal
(and increasingly, plant) cognition, communication-call it what you will. And I have made some amazing friends in this hobby. I've been in more hobbies than we have time for here today, but turners are the best people, seriously (although my straight razor friends were very solid, too).

As I was telling one of my mentors, there are dozens if not hundreds of little ancillary skills you have to learn at the same time you're learning to turn, sharpening probably being the most important. Second is probably sawing stock. I am slowly learning the bandsaw that I did some dangerous stuff on before I just paused, watched some videos and learned to do good pm's on my Rikon 14 and keep good blades well-adjusted and in good shape That said, the more I see and can manipulate my grinds to match the ways I'm turning the more my forms show it, and consciously but not at the same time think of turning as sculpting with bevel support, the better and more mature, more intentional, my work gets.

Anyway, this summer's "grail quest" is fine tool control and classic form and execution, so I have booked the week at Arrowmont in June with Matt Monaco. I took his skew class at our CMW Turning Learning Center, and his tool control at the lathe is just spell-binding, and he makes it seem so effortless to get finishes off a skew ground to 46 on a ceramic wheel that are more glass-smooth than I can even get with sandpaper! He had to end up making it mostly an introductory skew class (I've never heard so many terrifying catches!), but I still took many phone videos that I still study some times even now-it was just a revelation, really. So that will be a turning bucket list class for me!

This will be my 1st time at Arrowmont. The turning shop looks like Disney World for turners, and I love trying other lathes in classes (Robusts, Jets, OneWays, etc.). I still haven't turned on a VicMark or Stubby, though hopefully I will get a chance. I also hope I can bring my (growing) tool-bag with my favorite tools, honing box and personal gear if I can get it all labeled permanently-my gut tells me I don't need to worry about theft on that campus. I really want to leave this one with my shoulders aching, mind blown, and ready to spend the rest of my life continuing to refine techniques I learned from it, just like I did last year. (Plus my awesome classmates from David's class @steveforrest, @Kalia Kliban and Pete (last name? from Texas) really made it even better. In fact, I just spent the last couple of weeks talking Steve through a move and set-up of the 75th Anniversary PM3520C that he got an awesome deal on on this forum. I might have been more excited than he was!

Anyway, too much of my rambling this evening. What are your turning and learning goals? Please share if you're a mind. Aaron
 
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Arrowmont is one of the best places on earth, have fun! I highly recommend staying on campus to get the complete experience, I always felt like those staying offsite missed out somewhat. The turning shop is currently (or at least was as of when I taught a workshop there last year) all Robust American Beautys and Vicmarc VL300s & one Scout if they needed it. All Vicmarc chucks. Bring your favorite ear protection, the DC is super loud. (I tried turning them on to Harvey though so maybe they will have upgraded)

my gut tells me I don't need to worry about theft on that campus

I would say that you don't. Anything is possible I guess, and it only takes one bad apple, but the feel there generally is one of those rare places you could leave your door unlocked without issue (though they do lock the studios up at midnight).

Make the most of your time but at the same time don't get so wrapped up in the turning that you forget to enjoy some of the things that are unique to Arrowmont such as visiting the other studios & hanging out with artists from other disciplines, seeing the instructor's slide presentations etc. It's kind of fun to compare and contrast the very different environment overall in the turning studio compared to the rest of campus since our field doesn't have any University programs, so there is therefore not much influence from academia like there is in all the other fields. This is both good and bad, or maybe neither good nor bad, but different for sure. Arrowmont has a gallery in Knoxville now too so it's worth booking an extra night or two in Knoxville around your stay to check it and the rest of the pretty impressive art district there out.
 
Thanks, Chris-I have a room reserved in the new Bill May Hall. I completely get the idea of making the campus your home base in order to get the whole vibe. And I will bring my ears lol (because my dc is also super loud lol).
 
Arrowmont is a great experience. I was there twice as Trent Bosch's assistant.
There is a lot of exposure to the other art forms.

A good example. In one of the classes a student from a Bamboo class came by just before a lunch break and asked if someone could turn a rim on a small piece to make a cup. That was just the beginning. Gorge Salina’s, a guy I knew was in the class. He turned superb bracelets. In a few minutes he made a couple of bamboo bangles from bamboo. Well people in the bamboo class came every days end asking Gorge to turn bangles. 4-5 students got involved learning from Gorge and they had a mini bangle factory a couple of afternoons after class. The bamboo teacher gave them piles of bamboo to take home.
 
Arrowmont is one of the best places on earth, have fun! I highly recommend staying on campus to get the complete experience, I always felt like those staying offsite missed out somewhat. The turning shop is currently (or at least was as of when I taught a workshop there last year) all Robust American Beautys and Vicmarc VL300s & one Scout if they needed it. All Vicmarc chucks. Bring your favorite ear protection, the DC is super loud. (I tried turning them on to Harvey though so maybe they will have upgraded)

Make the most of your time but at the same time don't get so wrapped up in the turning that you forget to enjoy some of the things that are unique to Arrowmont such as visiting the other studios & hanging out with artists from other disciplines, seeing the instructor's slide presentations etc. It's kind of fun to compare and contrast the very different environment overall in the turning studio compared to the rest of campus since our field doesn't have any University programs, so there is therefore not much influence from academia like there is in all the other fields. This is both good and bad, or maybe neither good nor bad, but different for sure. Arrowmont has a gallery in Knoxville now too so it's worth booking an extra night or two in Knoxville around your stay to check it and the rest of the pretty impressive art district there out.

I've really enjoyed the several classes I've taken at Arrowmont. Two have been turning with Derek Weidman, several years apart -- definitely a mind-altering experience. My first class I tried one of the Robust lathes since they have a great reputation. Turned out that the cost of the class week was minor compared to that of the Robust lathe I ordered when I got home.

Definitely stay on campus. The facilities and food are great. Visit the classes in other studios and talk to students in other classes at meals. As Chris remarked, the other arts/crafts categories tend to more consciously 'art' than at least some of the turning classes.

Arrowmont is in the heart of Gatlinburg, but if you stay on campus you are really not much aware of all the tourist activity outside. I drive into the campus, park, and never leave the campus until time to go home. It's simply my preference.
 
Thanks for the insights all. As for the lathes, I will never turn down a ride on any Robust. I turned on a Sweet 16 in the Ellsworth class, and have put in some hours on an American Beauty. I'd really like to get on one of the VicMarks just to see if they too live up to the hype-I'm sure they do!

Everything I'm hearing puts me in mind somewhat of the Swannanoa Gathering on the campus of Warren Wilson College in Swannanoa, NC. I did that for a few summers back in the day, and the evening song circles and serendipitous learning could be mind-blowing for sure. I'm from the Smokey Mountains, so anything up there always feels like going home spiritually.
 
I'm from the Smokey Mountains, so anything up there always feels like going home spiritually.
I’ve taught several times a Campbell. The out of class is a little different. A lot more on culture of the area.
Arrowmont out of class exposes you to all the other classes
At Campbell They have evening programs in a few of the classrooms.
I always turned a “bowl in 20 minutes” taking turns with my assistant. The one not turning narrates and pokes fun at the other.
Sort of like a demo for non turners.
 
I’ve taught several times a Campbell. The out of class is a little different. A lot more on culture of the area.
Arrowmont out of class exposes you to all the other classes
At Campbell They have evening programs in a few of the classrooms.
I always turned a “bowl in 20 minutes” taking turns with my assistant. The one not turning narrates and pokes fun at the other.
Sort of like a demo for non turners.
Yeah, Al-I haven't been to Campbell yet, but it does seem to be more the crafts and culture of the mountains; I expect I will one summer. Of course that is not too far from North Georgia and the old FoxFire School.

As for the culture of Gatlinburg, I've never done more than pass through that and Pigeon Forge, always thinking they just seemed like Myrtle Beach in the mountains-not usually my cup of tea. I much prefer the backcountry and true mountain wilderness in the Smokeys, though I'm sure I will explore a bit of Gatlinburg. After all, it has a trout stream right in town, and I'm sure there's ice cream or fudge to be had in some shop lol.

Totally OT, but my students (with all of their Buc-ee's gear nowadays) have given me my summer homework of finally going to one, so I'll probably drive over to the one in Sevierville and try out their famous brisket. Anyway, it should be another cultural experience to add to the whole trip.
 
So I just got back from my week with Matt Monaco at Arrowmont School yesterday. It was hands-down the most fun, engaging, intense week of learning with an amazing teacher that I have ever experienced. The accommodations in the Bill May Hall were great, the Dining Hall was an experience in itself, with 3 wonderful meals served everyday, the office and staff were friendly and accommodating, and the class itself kept all 10 of us laser-focused everyday in learning to apply Matt's unique grinds, techniques and classic design sense to our own work. Matt is a fascinating teacher who brings an undeniable joy and energy to turning and learning, and he bounced around to all 10 of us between demos helping us with various tasks, whether it be emulating and using his tool grinds and sharpening techniques, trouble-shooting problems, etc., all while keeping up a humorous banter. I feel like I made 10 new turning friends, all of whom really bonded over helping and learning from each other while getting to know each other on breaks and at meals.

I think most of us did our best work yet, and left with newly-acquired skills that will take our work even farther with some diligence to practice it in the near future. His micro-bevel grinds can produce glass-like, burnished 400 grit finishes in the right hands (hopefully mine soon!), but are definitely more challenging to use than a good-old 55-60 degree Ellsworth grind with the large bevel. I took his class specifically to learn fine tool control (which of course really means body control). As Matt says constantly when demoing a cut, "The body makes the cut." His grinds force that fine control; a friend described them as being more "twitchy," which makes total sense.

For those interested, the wood-turning shop itself in The John Jordan Center for Wood is well-supplied overall, with about 13 lathe stations, about evenly distributed between VicMarc 300's (which a couple had electrical issues), the other half Robust American Beauties, and a couple of PowerMatic 3520C's (1 of which I commandeered so as to reduce the variable of learning a different lathe, even though I have turned on Robusts quite a bit). The new shop manager Clifton was very helpful in getting us other tools as needed from other shops (like the power sander I asked for).

My only issue was that their dust collection system wasn't working, and apparently hasn't been for awhile. A number of us brought it up. Obviously we were wet-sanding (which Matt teaches and prefers anyway). If you're on the fence about Arrowmont or a class with Matt, I can't recommend either enough.

One last little detail. A few of us observed that the beautiful live edge bowl by Rude Osolnik in their gallery had a few surprising tool marks (the exact same ones I get in the wings on a live edge). I bring that up not to disparage one of the legendary turners at all, but just because it gave us students hope that, yes, even the greats deal with tool-marks, tear-out, and other issues related to the vagaries of wood. I guess he made this bowl long before power-sanding made short work of sanding those inevitable live-edge tool marks. It kind of reminds me of the comment David Ellsworth made to me last year in his class. I had made a really nice (for me) cherry bowl from green wood, and I asked David how I was going to sand it further at home if I removed the tenon. He replied with a bit of irritation: "In your lap like the rest of us." I have never forgotten that comment, and laugh a little every time I think of it. So many of our modern gadgets take so much of the guesswork out of turning and make it so much easier. Those old-school guys had to really be more creative in their approaches to get the best results.

Edit to add that Matt's skew demo with a spindle being turned into a beautiful top with captured rings was a real crowd-pleaser on the staff demo night. About 3 dozen visitors ooh'd and clapped for this engaging, high-energy demo. Really cool!
 
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Agree completely with first focusing on body and hand mechanics.

For years I was frustrated by woodturning videos because I could not get similar results. Then I started focusing on the turner's mechanics and only later what the tool tip was doing.

Richard Raffan has been posting a plethora of Youtube woodturning videos with excellent acompanying explanation and commentary.
 
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