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"AAW and AAW Symposia have greatly expanded my knowledge of woodturning through introducing me to woodturners the world over. I would not be creating my current work without exposure to techniques and ideas pioneered by Graeme Priddle, Jacques Vesery, Benoit Averly, Yann Marot, Liam O'Neil (his passing was a great loss), and other artists."
~ Jim Piper, Portland, OR
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TURNING NORFOLK ISLAND PINE
AND MORE
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Today, we're sharing the splendors of Norfolk Island Pine in our weekly picks. If you're not familiar with it, Norfolk Island Pine can take on a brilliant translucence that is difficult to achieve with other turning woods.
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AAW FORUM TURNING OF THE WEEK
Below is the AAW Forum's "Turning of the Week."
Sign up for the AAW Forum, a member-moderated online community ideal for sharing work and ideas, obtaining feedback, and connecting with other woodturning enthusiasts. You can upload photos, converse with other woodturners, and maybe even see your work as a "Turning of the Week."
(Note: T
he AAW Forum requires a new username and password that are separate from the AAW website.)
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NOTES ON NORFOLK ISLAND PINE
In this brief commentary, Casimer Grabowski explains the turning characteristics of green Norfolk Island Pine. The article originally appeared in the June 1999 issue of American Woodturner, yet the content continues to be relevant today.
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Norfolk Island Pine Vase by Ron Kent |
I buy my wood from tree trimmers who deliver the logs within a day of cutting the tree. The log is usually on my lathe the day after.
Almost as soon as they are cut, the logs exude a think gum-like sap. (This is not, however, resinous or pitchlike, as would be the case from a true pine tree.) This gum congeals on the cut ends where bark meets sapwood.
I force a large screwdriver between the bark and the log; the bark comes off in one thick layer, leaving a shiny-wet (almost slimy) wood surface.
If you work the logs shortly after the tree has been felled, this wood is WET! Even at low speeds, it throws an almost continuous stream of water as it revolves. Not only does water puddle on the surface of my scrapers, but it soaks everything in a radial circle up to five feet from the lathe bed which, of course, includes the woodturner.
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Norfolk Island Pine Bowl by Ron Kent |
Most of my work is done between centers with the log mounted along its traverse axis. Thus, the bowl is cut end-grain. The wood cuts cleanly with a variety of gouges, but also shaves beautifully with a sharp scraper. In this fashion, you can make a peeling cut from outer circumference right to the core, with a single continuous ribbon piling up in your arms, over your shoulder, or on the floor. The ribbon may be as diaphanous or thick as you choose.
Within a few months of the trees' felling, the logs have lost much of the moisture. They still cut smoothly, but with a lot less spatter.
The knots, an important part of Norfolk Island Pine, usually are solidly implanted in the wood, but brittle and resinous. As a general rule, the knots respond better to a sharp scraper than a gouge.
I rough cut the bowl to about ½" thickness and set it aside to dry. This takes only a week or two, and usually involves minimal warpage. Dry and remounted, the final cuts and sanding go quickly, but my finishing process takes up to six months. I prefer to hand-sand the bowl with Watco oil and 80 grit wet-or-dry, then allow a few days of drying. Repeat again and again for up to six months. ~ Casimer Grabowski, Florida
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Woodturners might be curious about why other turning artists have been spotlighted in the world of contemporary art. But, how were they selected? How did they form relationships with the galleries? Kevin Wallace's article, "Alternate Realities: Recent Works by Sharon Doughtie and Pat Kramer," from the Spring 2009 issue of American Woodturner, offers a little insight on this topic. Additionally, most of the work featured in the article is made from Norfolk Island Pine!
Click here for a direct link to the article.
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VIDEO SOURCE: FLICK OF THE WEEK
While this video has nothing to do with Norfolk Island Pine, we think you'll find it interesting and fun. Watch Heath Knuckles make an "out of this world" hollow form using stabilized wooden balls and a pinch of resin.
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J. PAUL FENNELL: PACKING FRAGILE WORK FOR SHIPPING
At some point, your fragile creations must leave your careful, loving hands, and be thrust into the topsy-turvy world of transportation. It does not matter which carrier you use - your package is one of millions in their system each day, to be delivered with indifference in a certain manner at a certain cost. What does it take for the work to arrive intact?
Checkout our special panel discussion, "Packing Fragile Work for Shipping" with Tib Shaw and Kristen LeVier, moderated by J. Paul Fennell at the 2018 AAW Symposium in Portland.
As a woodturner since the early 1970s, J. Paul has stories far and wide about packing and shipping around the world, with pieces traveling to and from exhibitions and making their way to new owners.
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