Copyright © 2017 Burnham-
George was in a buoyant mood this evening for the clubs first meeting in the new permanent venue in the Burnham-
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 -
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 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 -
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 -
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 -
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 -