Copyright © 2019 Burnham-on-sea Woodturning Club

Burnham-on-sea          Woodturning Club

Meeting Reviews

November 2019 - Colwin Way

October 2019 - Liz Kent

September 2019 - John Blake

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

July 2016 - George Foweraker

George was in a buoyant mood this evening for the clubs first meeting in the new permanent venue in the Burnham-on-sea Methodist Church Hall. There was a good turnout with 3 new members, and as far as we know, no confused members arriving at the old venue at the Community Centre!

George’s main demonstration was the turning of a square platter from a board of spalted beech precut exactly square prior to the demo. Having marked the exact centre, the blank was mounted with the front face against a router mat covered faceplate in the chuck, and supported by the tailstock. Using a long grind 3/8” bowl gouge and a bevel rubbing pull cut the bottom of the platter was shaped.

Top Tip 1 - keep the tool firmly against your body and slowly come right past the end of the cut to avoid knocking the square corner off with a catch

Having turned a spigot of the optimum size for the chuck the bottom of the platter was then finished with a scraper and then sanded from 120 grit down to 400 grit.

Top Tip 2 - the scraper should be at 45degrees to the work and move your body when sanding

The platter was then mounted in the chuck using the spigot and the inside of the platter slowly shaped using a push cut from the outside to the middle.

Top Tip 3 - bearing in mind that the platter is square and therefore the outer edge appears as a ghosted image when spinning, when near the end of the cut, rub the bevel and come back until the noise stops and then push forward to pick up the cut

After frequent stops to check the thickness in relation to the edge thickness, the inside was sanded progressively from the outside to the centre  to remove chatter marks whilst there was still sufficient wood to support the work.

Top Tip 4 - always turn at the fastest speed that is safe as the cuts will be much easier

Finally using a rasp (Microplane available from  Axminster Tools), the edge of the platter was decorated and then scorched (noting that the maximum heat is at the tip of the blue part of the flame), and finally the edge was sealed with sander sealer.

The second quick demonstration was of some of the many many techniques involved in texturing and colouring. Starting with an olive ash bowl. the underside of which had been already shaped, and with the bowl mounted on a spigot, the top was flattened with the 3/8” long grind bowl gouge and then roughly hollowed out in the centre. The still flat outer surface was then scorched to further soften the wood between the grain which was then removed with a wire brush.

Top Tip 5 - ash and oak, being open grained, are the best for this scorching technique

The flat surface was then  sprayed with ebonising lacquer and then when dried sealed with sander sealer. Again, when fully dried gilt cream was rubbed into the grain and the excess on the surface removed with lemon oil to leave a interesting contrast of the black and gold grain pattern. This was then sealed again after which the inside dish of the bowl was recut, sanded and finished to get a clean line between the coloured flat surface and the inner bowl. Further embellishments were then demonstrated by adding beads around the centre, lines at various points and a clean outer edge - the options are limitless. Below is a picture of a similar finished bowl which the report author made as a result of his first lesson with George 18mths ago!

David Langan