Twist Drill Start
This piece allowed Les to reiterate some of the key points made in relation to piece 1, the “completely useless hollow boxy formy thing with an equally pointless finial with a point” whilst including additional points of technique. He made it from three smaller pieces of wood, thereby saving wood. After turning it to round, he examined it for flaws which determined which end he would use for the tenon. This time he used a twist drill to start the hollowing process but then switched to a spindle gouge.
Hollowing Using a Swan Neck Tool
To demonstrate its use, he continued the hollowing using a swan neck hollowing tool in order to introduce an undercut under the rim. He pointed out that the cutter should be in line with the shaft, a detail that is often not adhered to so that people find the tool difficult to use. He sometimes uses a side handle for extra stability, particularly on larger pieces. He emphasised using the centre of the tool rest for maximum support. In hollowing, he ensured that he left sufficient thickness in the bottom of the main body to accommodate the spigot on the base piece which acted as a stand.
Chattering for Decoration
After hollowing, he continued to shape the outside, maintaining a smooth curve that narrowed towards the bottom of the piece. He demonstrated a different way of texturing the piece by cutting two parallel grooves with a skew chisel (his signature multitool!) on the long point then using a spindle gouge, set at an angle and spiralling a narrow groove between the two grooves. This produced the “chattering” necessary for the texturing (and is a cheaper way of producing texture than using a decorating elf (for example)!
He made the base for the piece using a contrasting piece of wood using a small spindle gouge for the detail.
Considerations When Making a Finial
In making the double-ended finial, he shaped the more delicate pointed finial first in order to keep the most weight in the finial piece for when he shaped the knob-style one. He made a jam chuck to accommodate the double-ended finial, using masking tape to secure the disc in between the two ends of the finial.
He discussed finial shapes pointing out that they should complement, not overpower, the main body of the piece. He discussed colour implications in terms of contrast and use of small pieces of more exotic timber. In cutting the slender finial, he used his finger under the tool rest for support.
Sharpening Tools
He added some points about sharpening, recommending a CBN wheel in conjunction with a Tormek jig on the grinder and explaining that using a narrower wheel reduces “dishing”.Report by Mary Dunne