Members look on as Alan Hollar literally disassembles a burl and talks about how to use the various pieces.
Alan brought some serious burls and a table full of amazing finished pieces.
Finding the piece inside the burl can be a challenge.
How would you deal with a monster like this?
Alan has already made some preliminary cuts on this large cherry burl.
Here's how to find a nice, round bowl blank in it. Alan uses a circular disc of wood, or other material, with a nail in the center. The disc is nailed to the burl, and the disc is then used as a guide for chainsawing around.
The bottom half is still under consideration. He may strip the bark off green burls by first soaking them in water and then peeling.
Hal, Phil, Richard, and Michael look on in awe at some of Alan's turned and carved burls.
These pieces are worth a closer look...
...and from another angle. Alan's rule of sanding is to sand and sand and sand until you think it's done ... and then sand for two more hours. Use the paper like somebody else bought it.
Alan's signature work involves carved integral legs on his turnings.
This amazing piece was carved, not turned. Sometimes a burl makes a better large carving than several smaller turned pieces.
For carving, Alan uses a chain tool for roughing and eventually a burr like this.
Wiping on a little water brings out the figure for us to see in this unfinished piece.
Alan shows another version of his signature carved legs with style.
Alan makes a very strong point that the important part of a natural-edge turning is the top and how it has been leveled and oriented. How the basic block has been cut out is not important.
Alan provides insights into both the use of burls...
...and his thinking while designing and turning the pieces.
Alan knows his burl, and he is an excellent teacher. He proudly keeps the "art babble" to a minimum.
OK, lets say we have a burl that looks like this...
We can cut it like this...
...and like this...
...and like this... the smaller scraps of this valuable wood can be used for small pieces like bottle stoppers, pens, etc.
...and in the middle sits this nice turning blank.
Before and after.
Gary brought a cherry burl for evaluation. Alan's recommendations were to either carve it as is, or cut it into several smaller pieces.
To the lathe... Alan starts between centers. He prefers a 2-bladed spur drive center because this gives him maximum flexibility for adjusting the orientation to get the top lined up properly. So the spur bites into solid wood, he has removed a circle of the bark/top around his nail hole with a Forstner bit. He squirts in some thin CA glue to firm up the center so the spur gets a firm purchase.
Alan uses a variety of 5/8" bowl gouges from a number of manufacturers but grinds them with just a couple standard shapes. He uses mainly a roughly 60-degree bevel but keeps a couple with a very steep (~80-degree bevel) for working across the inside bottoms.
Alan sharpens his tools on a belt sander, typically at 220 grit. He points out that he uses the Wolverine Varigrind jig with the leg in the middle range. For him, this provides the safest and most practical tool. If the leg is too far down, the edge gets thin and grabby; if the leg is too far parallel to the shaft, the edge gets hard to use.
Alan talked about tool angles and showed a variety of pull and push and "tangent" cuts. Editorial comment: it would be much safer if he were wearing a full face shield! Goggles do not protect the face when pieces come flying off, and burls are notorious for that.
Rounding up the bottom. Alan chooses to wear gloves. If you wish to consider this for yourself, care must be taken to ensure that they do not become a safety hazzard.
Adding a tenon and shoulder for the scroll chuck... Alan emphasized the importance of getting the ends of the chuck jaws firmly against the shoulder and having the tenon profile shape matched to the chuck -- some are straight, and some dovetailed. Note the gouge orientation on the very practical "tangent" cut that takes a little practice.
With the outside turned, he reversed the piece into his chuck jaws. Note the hole for the spur center drilled into solid wood by the Forstner bit.
When chucking, we must be aware that the alignment will not be exactly the same as it was previously. Alan feels how true this piece is by gently rubbing the shaft of his gouge with the lathe running.
As expected, a little subtle truing up of the outside profile is needed. Note that Alan is turning left handed here. It is quite valuable for a woodturner to be able to work in both directions with both hands.
All trued up and ready for hollowing. Alan likes the Jet 1642. He calls it a "mini-Powermatic". High praise, indeed. It has a large, solid banjo and tool rest. We thank the Woodturners Club for making it available.
Once again, Alan discusses his tool angles and approach. It's important to start cuts with the flute at 3 o'clock to prevent skating.
Getting started... the tool rest height is set so the cutting edge of the tool is right on center. Keep your fingers behind the tool rest! Those sharp points are there and waiting.
This permits Alan to cut straight across, all the way from the rim to the center. He is using every inch of that long handle. Note the overhand grip with the left hand.
Starting another cut.
Look at those curls fly. Retighten the jaws periodically -- they can loosen due to wood drying and compression. Safety first.
We ran out of time, so Alan was not able to complete the bowl, but it will be completed. Alan was very demonstrative, fully of witty sayings, and a very good instructor. Thanks Alan -- we loved it.
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