Spindle, Endgrain & Facegrain Technique Building Treasures

1 Spindle, Endgrain & Facegrain Technique Building Treasures Eric Lofstrom – [email protected]

Tops, endgrain bowls & boxes, square-rimmed & rice bowls: Foundational Information- (attached) a. Lathe Maintenance– Smooth toolrest, clean ways of bed, en- sure spindle alignment, adjust speed range to suite project (var. speed allows fine tuning of vibrations). b. Anchor, Bevel, Cut, Direct Attention Ahead of the Cut, ‘Shavings Give Feedback (see attached). “GLIDE the BEVEL” to direct the cut VS. “RUB” the bevel. Conceptualize/ Plan the FORM- (design/ preparation, attached) a. Plan the profile & proportions– Planning solidifies your intent. b. Fundamental Design Considerations (Concept, Process, & Media)

ROUGHING A CYLINDER- (between centers allows for max. adjustment) a. Dimension the Blank using Cut TENONS to match chuck jaw DIAMETER & PROFILE! Bandsaw/Hand Saw– Allows for greater safety at the lathe. b. Rough Shape to Cylinder– Use SRG, Fingernail Bowl Gouge, or Skew (which is the most versatile cutting tool for this job), leave a bit oversized to truing-up during final shaping. c. Spigot & Base- Profile/ dia. & shape to match chuck jaws & register shoulder on face of jaws. This step is a VERY IMPORTANT! d. Mount in Chuck– Use the tailstock for extra support when needed; for longer blanks/ when making aggressive cuts! True the cylinder w/ a finish cut– planing/ shearing cut (a light scrape with a negative rake Use tailstock for extra support when needed. scraper may also be used for dense hardwoods). Pare the end of blank w/ a shear cut using the tip of tool (skew or spindle gouge), present cutting edge more in-line w/ wood movement.

SPINNING TOPS- (chuck mounted) Aim for the cleanest possible surface off the tool to minimize sanding! Sanding removes wood unevenly, creating unbalance. 1. Mark the distance for top handle & use a peeling cut to remove wood 2. Smooth the handle with a planing cut. Detail the transition between handle & top of the body. 2 3. Refine/ finish shaping of body– Create a 3 4 1 final profile & cleanest possible surface. Embellish as desired with chatterwork, col- ors, paint, texture, grooves, etc. 3. Cut the underside using V-cuts– alternate sides (3 & 4 in diagram) working one side then the other to relieve shaving & allow ejection during the cut. Repeat until approx. 1/8” diameter. 4. Sneak Up on the Point– final cuts for a sharp point should be carried out VERY SLOWLY to avoid plucking/breaking of grain. Remember– surface speed goes to 0 mph at center axis…slow down & take it easy!!! *Create a SOFT LANDING for your finished top– have someone use both hands or lay a towel or padded box on the lathe bed. If needed, soften or true the point using 400+ grit sandpaper, work carefully to maintain a balanced point for best possible spinning.

ENDGRAIN BOWLS- (chuck/ faceplate mounted) The skills practiced in this project & the technique of turning endgrain bowls directly transfers to turning a goblet, a tall endgrain vase, & turning a box. The biggest difference between these projects is the finished form.

1. Begin cutting the outside profile, leaving the spigot at least 1/3 the overall diameter for stability. The spigot may be re- duced as hollowing reaches the bottom of the interior. 2. Drill or plunge cut the interior center to approximate depth. 2 3. Cut fibers from axis toward the rim; allowing for a clean cut. I prefer to rough out using a bowl gouge w/ 3 swept-back grind or Pro-Forme hook tool for efficient hollowing. Use a sharp scraper & shearing technique to 4 1 blend ridges.

4. Measure & mark the finished Internal/External Jam Chucks interior depth of bowl on the exterior surface, then part Internal Jam Chuck External Jam Chuck from remaining waste. Leaving the waste block a large diameter, allowing for jam chuck possibilities. Recess to 5. Using a jam chuck (int./ext. match rim or deep) continue curve exterior. through spigot. Shape the Cut shoulder to foot either completely round match rim. or with a slight undercut. 6. If using a deep jam chuck, remove waste & Deep Jam Chuck w/ Tailstock Sup- leave a small cone to clean up once removed from the lathe. Sand as necessary & finish/ embellish as desired. Note: A vacuum chuck can be used, however beware of leaking vacuum due to short endgrain straws allowing air to pass though, resulting in weak or even catastrophic failure in vacuum 5 6 pressure.

ENDGRAIN BOXES- (chuck/ faceplate mounted) This project is a GREAT exercise in form, proportion, precision, & tool control. Boxes can be simple or extremely ornate, depending on your will- ingness to explore & express your artistic voice. The lid fit on endgrain boxes can be anywhere from a loose, “one-handed lid”, to a “suction fit”, or even a “snap fit” which requires two hands for opening. Remember overlap in joint= Measure & mark dimen- loss of overall height. sions of Lid & Body. Re- member to account for overlap of joint in overall height! 1. In this example, the lid contains the mortise potion of the joint, so it will be turned first. Drill the interior to approx. depth. 2. Use a step technique for turning the inte- Parting cut while in chuck. rior of the lid. Approach the final inner diame-

Hollow in STEPS with supported fibers. ter of the joint recess, but save some material for fine tuning once the lid is completely hollowed. 3. Continue the step technique to hollow the lid, blending any ridges to smooth the interior as 1 you go. 4 3 2 4. Finish the deepest potion of the interior with a sweeping cut outward from center. I like to use a negative rake scraper for this finishing cut. Mark a reference on the spigot registering with the chuck jaws so you can place the lid back in the same orientation if needed; I use the jaw gap of #1 & 4. 5. In this example, the body of the box has the tenon potion of the joint, so it will be turned second. As Hollow the base in STEPS. with the lid, drill or plunge cut the interior center to approximate depth. 6. Use a step technique for turning the interior of the body. Approach the final external diameter 5 8 7 of the tenon, saving some material for fine tuning 6 once the body is hollowed. 7. Continue the step technique to hollow the base, SNEAK-UP on the joint fit! blending any ridges to smooth the interior as you go. 8. Continue until you reach final depth, then finish the deepest potion of the interior with a sweeping cut outward from center & up the wall to create a flowing surface. I like to use a negative rake scraper for this finishing cut. Again, mark a reference on the spigot registering with the chuck jaws so you can place the lid back in the same orientation if needed; I use the gap between jaw 1 & 4.

With a proper jam fit, gently remove waste. Three options for a snug fitting lid: 9 One surface is convex, one flat.

SNEAK-UP on the fit!

9. With the lid properly jam fit onto the body, gently remove any waste where the spigot was. If needed, use the tailstock for extra support; especially if the joint is not very deep or when the fit is a bit loose. If the joint is loose enough to slip, use a bit of paper towel to snug the fit enough to provide a fric- Internal jam chuck. With a proper 10 tion drive for finishing the top. Finish the out- jam fit, gently side of the box to your specifications. Remove remove waste. the lid while the body is held in the chuck, then measure & lightly mark (or note) the final External jam chuck. depth of the interior on the outside of the body & remove the body from the chuck. OR 10. Turn a jam chuck to hold the body, then finish the base. Remove from jam chuck & assemble for use.

USING CHATTER TO CREATE TEXTURE a. Chatterwork is MOST effectively applied to endgrain of dense woods or acrylics. b. Can be accomplished using VERY simple, inexpensive tools; small sections of hacksaw or bandsaw blades, flexible but- ter/table/frosting knives, or other piece of thin, springy steel. c. Chatter occurs when pressure from the shaving flexes the tool away from the wood, OR the forcing the wood away from the tool, both mechanisms result in a harmonic patterned cut. d. To experiment with chatterwork, first tune your cutter so it has a 90ͦ bevel angle with no burr, to minimize cutting/scraping action. Then position the tool rest so the tool flexes without contacting the rest. e. Angle the tool so the cutter makes contact between 7 & 9 o’clock on the face of the blank. f. Initiate contact between the cutter and the wood, pressing firmly against the wood to initiate a harmonic, then sweep the tool across the radius it the surface. g. Different effects result from variations in the cutter profile, angle of cutter presenta- tion, pressure & “sweep” of cutter into the wood, & wood density. Even if you are ex-

act in replicating all variables, your chatterwork will vary slightly, giving each piece unique artistic personality. I encourage you to explore ALL of these variables. h. Chatterwork lends itself to highlighting with color, gilding, or burnishing (especially when using very dark, evenly dense wood such as cocobolo, blackwood, ebony, purple- heart, or rosewood). Clean the surface with a nylon brush or very fine sandpaper to remove any fuzzed grain before coloring. Permanent markers can be used to highlight the undulating surface on blonde woods such as eastern maple or white holly.

Sample Tip Profiles Slight Neg. Rake= >Forgiving

Chatter Zone

9:00

Spear

Domed 7:00

Narrow Narrow Spear Pt. Spear

-My preferred multi-purpose handle, used to create a chatter tool is the DeWalt DWHT20542 Cushion Grip Multi-saw. This tool or similar (other brand) can be found at your local hardware store for under $15. I use a Starrett brand “shatter proof” hacksaw blade to form my chatter blades. -This handle also makes a great modular handle for ultra-thin parting tools made from re- ciprocating, metal cutting blades….once the teeth & “set” are ground off.

SQUARE-RIMMED BOWLS- (chuck/ faceplate mounted) This project is a GREAT exercise in form, proportion, precision, & tool control. 1. Rough the Exterior Profile/ Underside of Rim/ Wing- (screw chuck/ between centers allows for max. degree of adjustments) Mark Center a. Initial Roughing– May be done with the bandsaw, especially if the blank needs balancing of mass/wt. b. Rough Shape– Fingernail Grind Bowl Gouge (see at-

tached) is the most versatile cutting tool for this job. If turning a thin, weighted/ slumped –wing, leave the wing nearest the bowl thick, to allow support during refining/ finish cuts for the top surface of the wing. c. Refine Underside of Rim/ Wing– Shear-cut the surface

Cut supported fibers w/ bowl gouge wing, then shear scrape to refine surface. d. Turn Spigot & Base (see diagram below)- Profile/ dia. shape to match jaw profile & register on jaw face. “Slumping” FORM Sample Wing Forms + Weighted/Slumped forms allow easier profiling of top curve - Bottom rim-base transition challenge > with “slumped” rim.

+ Lifting forms allow easier profiling of bottom curve - Bottom rim-base transition challenge < with “lifting” rim.

“Lifting” FORM

+/- Thick rims emphasize mass & presence in final form. Thin rims emphasize fragility.

* Wave form combines weight & lift, requires planning & off- lathe carving/sculpting.

2. Hollow the Interior- (chuck/ faceplate mounted) a. Cut the Rim/ Wing– Take rim/ wing to finish thickness using sweeping cuts. b. Use a Step Technique (see diagram)– Cut the interior bowl in steps. Stop to check the profile & wall thickness frequently. BLEND EA. SECTION W/ THE PREVIOUS– AS YOU PRO- Steps 1 GRESS.

2 c. Finish Bowl Interior– Use a bowl gouge w/ appropriate

3 bevel angle to allow bevel support throughout the cut & use a negative rake scraper to refine the interior curve. Rehearse cuts Cut supported fibers before applying. d. Measure & Note the Finished Bowl Depth– Mark on exte-

rior of blank for reference during reverse turning (Step5) e. Refine Top Rim/ Wing Surface– Use a shearing cut, shear scraping & sanding. Finish to desired refinement.

3. Refine the Exterior/ Underside & Foot- (reversed, jam / vacuum chuck) a. Reverse Turn– Using a jam / vacuum chuck, align using center mark from roughing. b. Refine the Curve- Shear cut/ scrape to follow exterior curve THROUGH the spigot. c. For Complete Access to Base- Use a vacuum chuck, friction-drive jam chuck, Longworth, or Cole jaws for complete access to underside without the need for tailstock during final blending of curve. If turning a thick wing, the complete underside can be re-turned with choice of effect. If turning thin, consider the fragility & how this will effect the finish turning process! c. Complete/ Refine Bottom Profile with shear scraping & sanding. Finish as desired.

4. Finish/ Embellish as Desired- (according to personal taste, wood, & intent) Crisp coves, echoing as ripples. Pyrography/ carved quilt pattern.

RICE BOWLS- (chuck/ faceplate mounted) This project is a GREAT exercise in using both swept-back & traditional bowl gouges, negative rake scraper & smooth biomechanics.

I usually turn a finished RICE BOWL to 4-6” diameter, by 2-4” deep. It is a great project to explore form & technique in a delicate sized project.

OPEN FORM SAMPLE BOWL FORMS (w/+Pros & -Cons) + Open forms allow >tool access to int. & ext. cuts +/- Flared rim & geometric lines emphasize movement/ warping

- Interior transition to base is design challenge

+“Open Form” allows interior curve turned in a single pass + If used for food, gradual transition allows for easier scooping/ pouring of contents

- Exterior curve requires more complex body movement

+ Exterior foot can be rounded to accentuate organic quality of form, allowing for even wall thickness through entire form + Vertical walls highlight figure, grain, & color for side viewing as displayed on eye-level shelf

- Tall/ vertical & slightly enclosed walls = > technically challeng- ing interior cuts SEMI-CLOSED FORM

Cut supported fibers 1. Rough the Exterior Profile- (between centers allows for max. degree of adjustments) a. Initial roughing may be done with bandsaw; especially if blank needs balancing. b. Rough Shape– Fingernail Grind Bowl Gouge is the most versatile cutting tool for this job, leave the shape a bit oversized to allow truing- up during exterior refining/ finish cuts. c. Spigot & Base (see diagram below)- Profile/ dia. shape to match chuck jaws & register base on jaw face.

2. Hollow the Interior- (chuck/ faceplate mounted) a. Refine/ Finish bowl exterior– Create a final profile & cleanest possible surface. b. Step technique (see diagram below)– Cutting the interior in steps allows more mass & stability for thin walls. Stop to Steps check the profile & wall thickness frequently. Use a thickness gauge or translucence of light colored, wet wood. If turning to 1 2 translucent thickness, BLEND EA. SECTION W/ THE PRE- 3

Cut supported fibers 4 VIOUS– AS YOU PROGRESS. c. Finish the interior base– Use gouge w/ appropriate bevel angle to allow bevel support throughout the cut. Traditional bowl gouge profile allows bevel support in deep bowls. Re- hearse cuts before attempting. d. Use sharp scraper & finesse to blend curve if necessary, then sand & finish as desired. e. Measure interior depth & mark on exterior of bowl.

3. Clean-Up the Exterior Underside & Foot- (reversed, jam chuck) a. Reverse using a jam/vacuum chuck– Align using center mark from roughing.

Internal Jam Chuck External Jam Chuck Deep Jam Chuck

Recess to match rim exterior. b. Complete the bottom profile. 4. Finish/ Embellish as Desired- (according to personal taste, wood, & intent)

Facegrain VS. Endgrain Bowl Turning– What’s the difference?

1. Grain Direction– In a facegrain blank, fibers lay perpen- Facegrain Blank Endgrain Blank dicular to the axis of rotation. In an endgrain blank, fibers lay parallel to the axis of rotation.

2. Thin Walls– Light is more

Face easily conducted through short End

grain fibers. Dye, pigments, finish grain

also passes through endgrain

much easier than facegrain.

3. “Supported cut”- Endgrain Facegrain Endgrain blank requires an external cut Supported Cut from large to small diameter, Supported Cut an internal cut from small to large. Facegrain blank requires the opposite; from small to large (external), large to small internally.

4. Force must be placed only in the direction of the cut. Bevel pressure must be minimal; think of GLIDING or steering the bevel instead of “rubbing” the bevel. As walls thin, flexion & distortion with occur with excess bevel pressure. Endgrain & sidegrain flex dif- ferently, resulting in oscillation/ vibration with each revolution of the blank. Vibration will cause uneven cuts, cracks in the sidewall... even loss of the bowl!

Fingernail Grind Bowl Gouge Traditional Grind Bowl Gouge

FORCE FORCE

© Copyright 2016 Eric Lofstrom, All Rights Reserved 12 ~Foundational Info.~ Eric Lofstrom - [email protected] ABC...D’S of Controlling the Cut: Cutting vs. Scraping: A = Anchor tool on toolrest.  Cutting = Bevel glides across wood. B = Bevel glides across wood, directing tool.  Scraping = NO bevel/ relief L contact;

C = Cut supported fibers when possible. drawing the burr/ edge across the wood. D = Direct attention ahead of the cut.  Shearing = edge angle approaches par- ‘S = Shavings are feedback on quality of cut. allel to surface movement of wood, de- creases resistance to the cut. 3+ Anchor Points = Stability Using a Shearing angle will result in the Three points of contact (tripod) yields control cleanest cut/ scraped fibers. & stability; 1)toolrest, 2)body, & 3)bevel. Cut when you can cut… scrape when you Maintain bevel contact by steering the bevel are unable to maintain bevel contact, or to where you want the tool to travel. refine the curve.

Grain Orientation Matters! Face Grain Spindle Grain

Axis Axis of Rotation Axis

Rotation

Fibers lay perpendicular to axis of rotation. Fibers lay parallel to axis of rotation.

Fundamentally, wood is a bundle of straws which flex & tear if there is no support behind them, resulting in torn grain (a.k.a. “tear-out”). Cutting “supported fibers” gives a cleaner surface & less sanding. -When cutting highly figured woods, grain direction varies -take light cuts & determine which way the wood cuts cleanest.

Spindle Roughing Gouge: Used to Short Point rough-cut spindle to desired shape.

~ Bevel = 1 1/2x shank 70 ͦ thickness

Long Point ~45ͦ Radius Profile Skew: Used to peel, plane, bead, V-cut, & pare ends of fibers.

Fingernail Grind Bowl Gouge: Neg. Rake Scraper– Top View Used to remove nearly all facegrain wood inside & out, shear cut & shear-scrape exterior. Also useful for spindle & endgrain turning. This tool is VERY versatile!

Profile– Side View ~70ͦ < 90ͦ Relief ∟ ~55ͦ Negative Rake Scraper:– used to Fingernail Bowl Gouge– Side Profile refine facegrain & endgrain turn- ings. Negative rake adds versatility & creates a more forgiving tool!

Use profiles that work for you & KEEP YOUR TOOLS SHARP!!!