Spirit of Snowdonia

[Les Symonds]

This is the latest in a series of pyro-engraved platters that I've made, decorated with Celtic images of mythical and pseudo-factual creatures. This has a symmetrical pattern comprising eagles and dragons; the eagle being the bird from which Snowdon takes its original Welsh name of "Eryr" and the dragon, or "Draig" being the central symbol of the Welsh flag.
This has been made on commission for a local client who is buying it as a Christmas present for his wife, whose favourite stone is Turquoise. I guess that we could have used some local stone, but the dark grey granite and the grey slate of Snowdonia both seemed a little somber for this platter.

It's about 18" - 45cm diameter, out of a 2" - 5cm thick board. Finished with cellulose sanding sealer and microcrystaline wax.



C&C always welcome...Les

[Duncan A]

I'm not usually a fan of pyrography but that is wonderful; should earn your client, and you, some brownie points!

Can I ask what tool you used for the beading? I recently bought a Crown beadforming tool and it doesn't form a symmetrical bead, which rather defeats the object. I will try grinding the end at an angle to compensate, but shouldn't really need to  grind several mm off a brand new tool to get it to work properly.

Duncan

[Les Symonds]

Thank you Duncan. I use the Ashley Isles bead former....gives a symetrical bead every time. I find that it works best when the tips of the 2 points are ground off a little.
Les

[andy44]

That's a great looking piece Les, I'm sure it will be gratefully received, could I ask how the back is finished fella? I'm always interested to see how larger pieces are finished on the back, i.e a recess or foot etc, also how do you design the pyro? is it done by computer then transferred or drawn on freehand? sorry for all the questions fella (if you don't ask you don't learn)
All the best
Andy

[Les Symonds]

... could I ask how the back is finished fella? ...

Andy...I can't post a picture of the back, as it has the recipient's name on it and she doesn't yet know that she's getting it for Christmas. To answer your question, though, here's my method. There's a chucking point (100mm tenon) on the back. When I've finished all the turning and the pyro work, I mount onto my lathe a plywood disc that I keep for this sort of work. It's about 24" diameter and set onto a faceplate which is never unscrewed (otherwise, with repeated screwing and unscrewing, the screws would fail to hold). I place a soft sheet of 2mm foam onto the plywood disc, then hold the platter against it and bring up the tailstock to a pre-marked centre point. That allow any finishing work to be done, leaving as small a central pillar of grain as you feel confident with, which is governed by things such as the nature of the wood, whether it's side grain or end grain etc. On this piece I was able to turn it down to a 15mm pillar, finish all the sanding, then turn the pillar down even further. The pillar is eventually sawn off and the stub sanded to match its background.

...how do you design the pyro? is it done by computer then transferred or drawn on freehand? sorry for all the questions ...

....the pyro is based on some ancient images as a starting point. I cut a circle of paper (wall-paper lining paper) such that it is a comfortable fit into the rim. Then I draw, freehand, the platter's design on just one side of the paper, plus any of the little overlaps, like the heads of the dragons and the eagles. The paper is then taped into place in the rim of the platter with 2 sheets of carbon paper under it, one ink-side down, the other ink-side up. Next I draw over my design with a sharp, soft pencil (usually a 4B) so that the pencil doesn't emboss any lines into the surface. The purpose of the two sheets of carbon is that one of them transfers the lines onto the face of the platter, the other transfers ink onto the back of my paper pattern. It's then a simple matter of flipping the paper pattern over, with a single piece of carbon paper under it, to transfer the design onto the other side of the platter's rim.

Hope this explains it for you...if not, by all means ask again.
Les

[georg]

 
    Can Not fault it Les .... The perfection in detail is perfect .... Bet it looks even  better in the flesh.
   Kind  Regards
   Tony Di

   Don't want to pinch your thread Les ... But I think it might be worth pointing out that most turners use the Beading tool
   the wrong way up . It needs to be used upside down (names underneath ) and stop just before the wood touches the
   centre of the bead .... A diamond file glazed over the top will bring the edge back.
   I used it the wrong way up for 10 years until I saw Mark Baker demonstrating at Daventry.... Oops.
   Kind Regards Tony

[bodrighywood]

It's a bit good is that.

Pete

[andy44]

... could I ask how the back is finished fella? ...

Andy...I can't post a picture of the back, as it has the recipient's name on it and she doesn't yet know that she's getting it for Christmas. To answer your question, though, here's my method. There's a chucking point (100mm tenon) on the back. When I've finished all the turning and the pyro work, I mount onto my lathe a plywood disc that I keep for this sort of work. It's about 24" diameter and set onto a faceplate which is never unscrewed (otherwise, with repeated screwing and unscrewing, the screws would fail to hold). I place a soft sheet of 2mm foam onto the plywood disc, then hold the platter against it and bring up the tailstock to a pre-marked centre point. That allow any finishing work to be done, leaving as small a central pillar of grain as you feel confident with, which is governed by things such as the nature of the wood, whether it's side grain or end grain etc. On this piece I was able to turn it down to a 15mm pillar, finish all the sanding, then turn the pillar down even further. The pillar is eventually sawn off and the stub sanded to match its background.

...how do you design the pyro? is it done by computer then transferred or drawn on freehand? sorry for all the questions ...

....the pyro is based on some ancient images as a starting point. I cut a circle of paper (wall-paper lining paper) such that it is a comfortable fit into the rim. Then I draw, freehand, the platter's design on just one side of the paper, plus any of the little overlaps, like the heads of the dragons and the eagles. The paper is then taped into place in the rim of the platter with 2 sheets of carbon paper under it, one ink-side down, the other ink-side up. Next I draw over my design with a sharp, soft pencil (usually a 4B) so that the pencil doesn't emboss any lines into the surface. The purpose of the two sheets of carbon is that one of them transfers the lines onto the face of the platter, the other transfers ink onto the back of my paper pattern. It's then a simple matter of flipping the paper pattern over, with a single piece of carbon paper under it, to transfer the design onto the other side of the platter's rim.

Hope this explains it for you...if not, by all means ask again.
Les

H Les
many many thanks for taking the time to answer my questions and also explaining how you do things, will help me a lot when I get into the larger stuff
cheers
Andy

[Duncan A]

Thank you Duncan. I use the Ashley Isles bead former....gives a symetrical bead every time. I find that it works best when the tips of the 2 points are ground off a little.
Les

Thanks Les, I've spoken to Crown who were very helpful and it seems it is a new line for them, with some development difficulties. All to be sorted out, I'm sure.
Duncan

[Derek]

I thought that I had commented on this piece on one of the forums  but had not. I do like this and some very tidy pyrography the recipient should be well pleased to receive this I certainly would.

You say you use carbon paper I find that some of them leave a waxy residual so I tend to use the graphite paper now so much easier to remove any lines still visible with a rubber or very light sand.

[Les Symonds]

... I tend to use the graphite paper now so much easier to remove any lines still visible with a rubber or very light sand.

...I must admit that I was unaware of graphite paper....will give it a try!
Les

[Derek]

...I must admit that I was unaware of graphite paper....will give it a try!
Les

I can't remember where I got mine but it is this one not cheap

[Les Symonds]

...I must admit that I was unaware of graphite paper....will give it a try!
Les

I can't remember where I got mine but it is this one not cheap

....that's not a bad price.....there's plenty around at over £2 per sheet!

[bodrighywood]

Mo uses the graphite paper for her work. Seems to work far better and is cleaner than using carbon paper.

Pete

[edbanger]

Lovely work as always Les I'm sure the recipient will be over the moon.

All the best

Ed