Oak burr dry-vase

[Les Symonds]

Turned from part seasoned oak burr, using the split-turned or two-part system that Mark Sanger featured recently (and a few years ago) in "Woodturning", but with a slight twist to facilitate the natural edges top, and given the moisture content and the inevitability of some movement, I gave this piece a hefty internal collar fastened with oodles of two-part epoxy, instead of the usual stepped joint.

Overall height is 17", diameter about 5" and opening about 2 1/4" (44x13x6cm) with the joint concealed by one of the graduated scorch-lines and the bottom half inch/centimetre fully scorched.

C&C always welcome.....Les

[John Plater]

A lovely idea and, as ever, well made. It represents a brilliant way of using a piece of wood of those dimensions. The alternative would have been to make a number of smaller pieces from the one and they would possibly have sold for more than the one larger piece if that was the intention. However the finished piece pays greater respect to the timber and the turner 
IMHO only half of the scorch lines could have been used, starting with the second one down from the top. I wonder if their geometric precision detracts from the busy swirls of grain and cracks ?
ATB John

[Les Symonds]

Thanks John....as for the scorch lines....I like the way that the lines get more and more closely grouped at the base, giving the appearance of weight and stability, whilst the greater spacing at the top gives a feeling of lightness. I've tried doing one with fewer lines, but feel that it doesn't give the same impact.

Les

[Derek]

A very nice piece nice shape. I also use that method sometimes depending on the piece. I like the line spacing and agree with why you did them the way you have

[Les Symonds]

Thank you Derek...much appreciated

[Bryan Milham]

Hi Les,

When I opened this post, I could only see the top 2 images. With your scorched lateral lines and the natural longitudinal line in the wood, the small images made it look like you’d taken up segmented work!

What a great piece of Burr you found there. I do like the way you’ve scorched the base area, making the timber ‘disappear’ into the darkened area. It gives the appearance of lifting the whole thing away from its own base, very clever.

You've studiously avoided showing one part of it, there is a dark section half way down, the edges of which are just visible, is it a bark inclusion or natural void?

I think this needs a peacock feather and a couple of fronds of Pampas Grass, or is that too 70’s?

[Les Symonds]

... it look like you’d taken up segmented work!

....no fear of that, such a discipline would never suit my spontaneous style of turning.

...there is a dark section half way down, the edges of which are just visible, is it a bark inclusion or natural void?...

....it's a bark inclusion

...I think this needs a peacock feather and a couple of fronds of Pampas Grass, or is that too 70’s?

I prefer those plastic-coated bendy-wired fronds of artificial greenery, with sparkly silver glitter on them. Such taste!

Les

[Mike313]

I like the way the lines are further apart as they go up. May I ask, was the spacing done to a formula (say, like multiplying the space below by constant - if you know what I mean - or by eye?

[Les Symonds]

I like the way the lines are further apart as they go up. May I ask, was the spacing done to a formula (say, like multiplying the space below by constant - if you know what I mean - or by eye?

Definitely not by eye....the pattern is too extensive to risk getting a spacing wrong, as it would stand out like a sore thumb. Here's how I work it.....

• put a pencil mark where the lowest ring is going (about a half centimetre up from the base)
• I then space out the rings such that each subsequent ring is 1mm further apart than the previous one, thus the distances from the bottom are (in millimetres)1, 3, 5, 8, 12, 17, 23, 30 etc.
• each ring is marked lightly with a pencil line and then I keep going until I get to the joint, where minor adjustments are made to ensure that a scorch line conceals the joint
• finally, I continue the sequence upwards to the rim and make any slight adjustments so that the final scorch line is where I want it

Les
[/list]

[Mike313]

I thought that would be how you did it  -carefully planned I mean - but I didn't want to assume because you mentioned your style being spontaneous. I enjoy planning details like that, as I progress in woodturning I hope to be able, some day, to produce such beautiful pieces. Thanks for explaining your design process.

[Percy]

I think its lovely. The thing that is driving me mad is trying to work out which of the scorched lines is hiding the joint line!

[Les Symonds]

....driving me mad is trying to work out which of the scorched lines is hiding the joint line!

....then I shall defer your madness....it's number 9 down from the top.
Les

[Derek]

....driving me mad is trying to work out which of the scorched lines is hiding the joint line!

....then I shall defer your madness....it's number 9 down from the top.
Les

Or 20 from the bottom

[Walnut Les]

What can I say that hasn't already been said before, the more I look at this the more I like it. well turned Les. Les