Copyright © 2019 Burnham-on-sea Woodturning Club

Burnham-on-sea          Woodturning Club

Meeting Reviews

August 2019 - Sandra Adams

July 2019 - Chris Foweraker

June 2019 - Paul Sweet

May 2019 - George Foweraker

April 2019 - Bryan Milham

March 2019 - Mark Sanger

February 2019 - George Foweraker

January 2019 - Paul Sweet

November 2018 - Jason Breach

October 2018 - Colwin Way

September 2018 - John Blake

August 2018 - Paul Sweet

July 2018 - Mark Sanger

June 2018 - John Lancaster

April 2018 - Liz Kent

March 2018 - Paul Hannaby

January 2018 - George Foweraker

November 2017 - Jason Breach

October 2017 - Tony George

September 2017 - Bryan Milham

September 2017 - AWGB

August 2017 - Mark Hancock

June 2017 - John Aitken

April 2017 - Chris Foweraker

March 2017 - Mark Sanger

February 2017 - George Foweraker

January 2017 - Paul Sweet

November 2016 - Jason Breach

October 2016 - Bryan Milham

September 2016 - Mark Sanger

August 2016 - Keith Fenton

July 2016 - George Foweraker

June 2016 - Chris Foweraker

June 2016 - Stuart Mortimer

April 2016 - Pete Moncrieff-Jury

March 2016 - Mark Sanger

February 2016 - Ray Blake

January 2016 - George Foweraker

December 2015 - Nick Agar

November 2015 - Paul Hannaby

October 2015 - George Foweraker

September 2015 - Mark Sanger

August 2015 - Jason Breach

July 2015 - Chris Foweraker

June 2015 - Nick Agar


April 2019 - Bryan Milham


Bryan’s demo was based on adding texture and colour to a turning. To this end the demo was in 2 halves - firstly the rough shaping of a bowl and vase with sufficient surface finishing to be able to demonstrate the texturing and colouring products and techniques without worrying too much about the objects shape and form, and then secondly the adding of the decoration.


Preparation of the sycamore bowl …

Standard tools and techniques used to shape the bowl followed by appropriate abrasive. The outside was then coated in gesso (an acrylic base) and then, with the lathe running, BBQ skewers were used to create texture.



















Preparation of the holly vase …

With the pre-drilled blank mounted on a spigot and the drilled end held with a cone mounted live center in the tailstock an Asley Isles 1/2” spindle roughing gouge was used to shape the vase followed by refining the shape using a skew and finally abrasive.

A couple of reliefs were cut, then covered with masking tape around the relief edges and then a skew used to ensure a perfect straight edge. The rest of the piece was then protected using kitchen roll before a hot melting glue (HMG) gun was used to create a random pattern on the masked off area, which was then sprayed with ebonising laquer.




















The second half of the demo proceeded as follows …


The use of metallic gilding flakes on the central area of a pre-decorated bowl. Using PVA “Sticky” glue the metallic gilding flakes are pressed lightly into place. Many other makes and colour combinations are available from craft shops. The flakes are then burnished to remove the loose part of the flakes.






























A good example of the finished burnishing is shown below …


























Returning to the ebonising laquered vase, gilding wax is applied as a highlight to the HMG. Use a gentle touch using a hand to ensure a light coat (i.e. no large lumps or heavy application). A light dusting of the wax is also made to the ‘troughs’ between the HMG to lighten what would otherwise be a heavily black area.
































Use the point of a skew to gently cut against the edge of the recess to separate the HMG overflow from the HMG recess. This is to allow the masking to be removed without lifting the HMG from where it is wanted.
































Returning to the bowl … With the gesso now dry, a mouth venturi tube (substitute for an Air Brush - available from Chestnut) was used to apply spirit stain in different colours.









































Once dry the effect is lightly touched with abrasive to remove the higher points of the scratched pesso to reveal the white of the gesso and ‘tone down’ the overall effect.


Finally, another bowl was decorated using a variety of products.


A pre-prepared blank with the top face covered in gesso and allowed to fully dry before being sanded to a smooth finish.














See YouTube for the many demonstrations of the various uses  and applications available.


The bowl rim is lightly spritzed with water and the crystals very sparingly sprinkled over the wet surface. As the crystals interact with the water, they dissolve, and spread, creating irregular and interesting colour patterns.



















Other interesting examples of such techniques were also shown and we thank Bryan for effort that he put into his demo to introduce many of us to the range of colour and texture possibilities.


My thanks also to James Whitmore for the photographs from the second half of the demo.


 David Langan