<![CDATA[NORTHLAND WOODTURNERS & WOODWORKERS CLUB - Events]]>Thu, 20 Feb 2020 11:57:54 +1300Weebly<![CDATA[How to inlay on bowls by Shane Hewitt]]>Thu, 12 Dec 2019 03:17:41 GMThttp://northlandwoodturners.nz/events/how-to-inlay-on-bowls-by-shane-hewitt
<![CDATA[Inlay options and resin use on bowls and platters by Shane Hewitt]]>Mon, 09 Dec 2019 11:25:15 GMThttp://northlandwoodturners.nz/events/inlay-options-and-resin-use-on-bowls-and-platters-by-shane-hewitt
<![CDATA[Working with wood and resin]]>Wed, 04 Dec 2019 05:34:16 GMThttp://northlandwoodturners.nz/events/working-with-wood-and-resinShane Hewitt was the presenter at this week's club night, talking about the many wonderful ways you can incorporate epoxy resin into your woodturned work.

He started off by showing a slideshow of various woodturned pieces he has created using resin, often poured into a channel running the circumference of a wooden bowl's rim. However there are many ways in which you can incorporate resin into a project, and it doesn't always need to be uniform or symmetrical. The sky is also the limit as far as resin inclusions go: seashells, buttons, bone, wood, dried leaves and flowers, nuts and bolts, embellishments, laser-cut shapes, etc. You also have boundless options for the background colour used to highlight the inclusions. Black and deep blue are often popular choices, but experimenting with different hues can have spectacular results.

Shane discussed the process of preparing woodturned items for resin pouring, and how to handle and use resin in order to achieve optimal results. A lot of great information was covered regarding the do's and don'ts, such as:

  • DO dovetail the edges when turning the resin channel in your wood. This will ensure the cured resin is held securely and less likely to fall out
  • DO thoroughly clean your inclusions before you pour resin over them. Boil fat from animal bone, clean salt water and sand from shells, dry flora and fauna, remove rust from metals, etc
  • DO apply sealer in your channel before applying your background colour, which will prevent seepage of colour into areas where you don't want it
  • DO use water-based paints to paint your channel after sealing. They do not need to be expensive - poster paints work fine
  • DO carefully follow manufacturer instructions for mixing ratios and controlling environmental variables such as temperatures and humidity, otherwise your resin may not cure properly
  • DO work in a relatively clean and dust-free environment when mixing and pouring, so as not to contaminate your resin and spoil your results
  • DO ensure your project is level before pouring resin to prevent overflow. Use a spirit or bubble level and check several angles, propping up edges as necessary
  • DO use a butane torch, heat-gun or blow-dryer to release air bubbles which will surface after a resin pour
  • DO use a fan to blow cool air over your poured resin piece if you are concerned about heat, generated by the resin's thermosetting process, affecting your project
  • DO prepare several projects in preparation for a single resin-pouring session. This is more time-efficient and reduces wastage from mixing more than you need
  • DO allow plenty of time for resin to cure fully. If possible leave your project undisturbed for at least a week before working on it again
  • DO work your way up through the grits of sandpaper when trying to achieve high gloss and clarity on your cured resin. Start with 240 grit and finish at 2000 grit, then three rounds of gentle buffing with polishing paste
  • DON'T use any types of glues to adhere your inclusions into your resin channel, as possible glue seepage may mar your results. Instead, simply use a small drop of the same paint you used to paint the channel to hold them in place until you're ready to pour
  • DON'T hold your mixing cup by its base when mixing the resin and hardener - the heat from your hand will prematurely activate the hardener
  • DON'T vigorously whisk the resin and hardener during mixing as you will incorporate excessive amounts of air bubbles, giving  undesirable results. Use a slow, deliberate 'folding in' action
  • DON'T be in a hurry. Resin has a relatively long open time before it starts curing, so work calmly and methodically for best results
  • DON'T ruin your resin finish by wiping excess polishing paste off with kitchen paper or toilet paper, which can be mildly abrasive on the high gloss surface. Use facial tissues or a clean soft cloth instead

For the full 'how-to' on using resin on woodturned projects (including lathe demos of turning the resin channel, and subsequent 'levelling off' of the resin post-cure) keep your eye on our blog for the video footage.​
<![CDATA[Graeme Rigden demonstrates how to create a wall hanging from a board by wood turning & painting]]>Mon, 25 Nov 2019 06:12:16 GMThttp://northlandwoodturners.nz/events/graeme-rigden-demonstrates-how-to-create-a-wall-hanging-from-a-board-by-wood-turning-painting
<![CDATA[Graeme Rigden demonstrates how to turn a bowl from a laminated block of wood made into boards. Part 2 of 3 part series]]>Mon, 25 Nov 2019 06:09:35 GMThttp://northlandwoodturners.nz/events/graeme-rigden-demonstrates-how-to-turn-a-bowl-from-a-laminated-block-of-wood-made-into-boards-part-2-of-3-part-series
<![CDATA[Graeme Rigden demonstrates use of stickware blocks to create 3D design. Part 1 of 3 part series]]>Sun, 24 Nov 2019 23:07:41 GMThttp://northlandwoodturners.nz/events/graeme-rigden-demonstrates-use-of-stickware-blocks-to-create-3d-design-part-1-of-3-part-series
<![CDATA[Dizzy bowls and wall art]]>Fri, 22 Nov 2019 07:22:46 GMThttp://northlandwoodturners.nz/events/dizzy-bowls-and-wall-artGraeme Rigden talked last Tuesday about the process behind creating "Dizzy Bowls". A comical but apt name for these stunning bowls due to the illusion of a vortex created by the use of wood laminates.

Laminating is the process of gluing layers of materials. In this case the use of different coloured timber strips bonded together achieves an extra visual dimension in turned projects.

To make a dizzy bowl, rings are cut from a laminated wood block which are stacked and glued on top of each other to create a hollow form. During assembly, each layer is laid with a slight twist in alignment from the ring beneath, resulting in a flowing pattern emerging.

The hollow form is then mounted onto a lathe to smooth out angles and refine the shape.

The finished piece of art gives the optical illusion of a moving swirl that draws the eye into the centre.

Graeme also showed us how to create impressive wall art. Having cut a milled square of wood into many strips, he assembles them back together in a box jig. The jig is then put onto a lathe to have a design turned onto the face. Add colour to contrast or highlight, and the project can be mounted for wall hanging in infinite configurations. This is because the strips of wood can be rotated, re-ordered, misaligned and manipulated into many formations depending on preference.

Graeme's example which he bought along for the demonstration gave the impression of outward ripples of water, because of the gentle troughs and peaks carved into the wood, finished with metallic blue spray paint. It could potentially be mounted square; with gaps added between the strips; pushed into a new shape; or with the strips turned and alternated to create a random abstract design - the beauty of this project lies in the possibilities. During the demo Graeme also turned the reverse of his wall hanging, which further increased the scope for visual interest.

Keep an eye on this blog for the upcoming video of Graeme's demo, which will illustrate these processes in greater depth.​