Sunrise Bowl

[Bill Bulloch]

I got this Sunrise design from Malcolm Tibbetts' DVD -Volumn 2. He walks you through all the steps.

I am really proud of the way the feature ring turned out, but disappointed that I didn't get the top ring aligned properly. Guess I need to re-visit Malcolm's Volumn 1 and see if he can help me out here.

Other than that, what ya think?? Oh, it is 10" in diameter and about 5" high. Hard Maple, Curly Maple and Paduak with a floating bottom.

[Kevin J Lalonde]

Another purdy piece. I just cant imagine the time that you guys put into these segmented pieces. Great job!

[Brian George]

That's your 1st one? Looks purty dern gut ta me!!

[Steve Schlumpf]

Well - I think it looks great!

Really like how you used curly maple for the rays of light! Cool idea! Very nice feature ring! Can't imagine how long something like this would take - but you sure did a nice job on it!

[John Keeton]

Bill, very well done, and honestly, I don't think I would have noticed the alignment on the top ring. The feature ring shows well, and as intended, it is the accent that draws one's eye.

Nice!

It does look like there is another species of wood in there, though?!

[GLENN THOMAS]

Very nice Bill,

My hats off to anyone that does segmented turnings. You have a lot more patience than I do. All I want to do is throw a chunk of wood on the lathe and make shavings.

GT

[John W Dixon]

Really nice Bill!

[Bill Bulloch]

Bill, very well done, and honestly, I don't think I would have noticed the alignment on the top ring. The feature ring shows well, and as intended, it is the accent that draws one's eye.

Nice!

It does look like there is another species of wood in there, though?!


You are right. The rings and bars are Sapele Mahogany. The bars look darker because the whole feature ring is End Grain. It is designed this way so you do not have cross grain problems.

[Bill Bolen]

Gorgeous piece. That sunrise is a real eye catcher...Bill..

[David E Keller]

It looks good to me. I wouldn't have noticed the top ring alignment without you pointing it out. Great wood choices.

[Richard Madison]

Very nice work Bill. Yeah I see some alignment "issues", but it happens. Difficult to maintain focus on two or three things simultaneously. Many non-segmenters will never notice. Good that you know, and the next one will be even better.

[Bernie Weishapl]

Bill that is beautiful.

[Baxter Smith]

Very pretty form, segment arrangement and color!

[bob svoboda]

Bill,
That's just superb!!

[Tony De Masi]

I like that alot Bill. Extremely well done.

Tony

[Malcolm Tibbetts]

Bill, very nice job. You are not alone when it comes to arranging the alignment of vertical seams. When a feature ring is inserted, depending upon the number of border/framing rings, the best positioning is often difficult to determine (to say nothing about doing). It's usually best to avoid having two vertical seams, very close to each other, appear "almost in line"; it's better to off-set them in a brick-lay arrangement. But with only one border layer, a brick-lay arrangement results in the verticals of the feature ring wanting to line up with the verticals in the next main body ring. Such a perfect alignment is quite difficult and a slight miss-alignment easily shows. So what the solution? For me, I sometimes try to design with two thin border layers and instead of a 50% off-set brick lay, I'll off-set each of those by about a third. They are quite short and their vertical seams are not so noticeable. Then when I position my feature ring, I have the option of placing its vertical seams in the middle of the adjacent body ring joint. Hope that makes. Something else to consider… placing two species such as paduak and mahogany next to each other is kind of a wasted effort. With just a little time, the unavoidable color change will destroy any contrast. This segmented stuff can drive you crazy; maybe that’s why some of us pursue the challenges.

[Keith Burns]

Extremely well done . I love the feature ring. Most people won't even notice the alignment issue.

[Bill Bulloch]

Bill, very nice job. You are not alone when it comes to arranging the alignment of vertical seams. When a feature ring is inserted, depending upon the number of border/framing rings, the best positioning is often difficult to determine (to say nothing about doing). It's usually best to avoid having two vertical seams, very close to each other, appear "almost in line"; it's better to off-set them in a brick-lay arrangement. But with only one border layer, a brick-lay arrangement results in the verticals of the feature ring wanting to line up with the verticals in the next main body ring. Such a perfect alignment is quite difficult and a slight miss-alignment easily shows. So what the solution? For me, I sometimes try to design with two thin border layers and instead of a 50% off-set brick lay, I'll off-set each of those by about a third. They are quite short and their vertical seams are not so noticeable. Then when I position my feature ring, I have the option of placing its vertical seams in the middle of the adjacent body ring joint. Hope that makes. Something else to consider… placing two species such as paduak and mahogany next to each other is kind of a wasted effort. With just a little time, the unavoidable color change will destroy any contrast. This segmented stuff can drive you crazy; maybe that’s why some of us pursue the challenges.

Thanks Malcolm. It make perfectly good sense. As-a-matter-of-fact I was wondering if that would be acceptable, but every thing I read says to "stagger those segments".

I hadn't thought about the the color changes of the wood over time offsetting the contrast of the woods. I'll keep that in mind for the future.

I have been having a problem with alignment, other than around feature rings, caused mostly by the ring slipping and sliding during glue-up. I guess the only preclusion for this is to pay closer "attention to detail".

[Richard Madison]

Bill, I usually build a piece on the lathe, as this avoids those slippin' and slidin' problems that I used to have too. The workpiece is typically glued to a waste block that is left in the chuck or screwed to a faceplate. Each ring in turn is carefully centered on and 2-stick taped to a flat disc on a dedicated faceplate. The ring is turned/sanded flat, and the disc+ring removed from the spindle, screwed onto an adapter and placed in the tailstock. The workpiece goes back on the spindle, already turned/sanded flat, apply glue and gently squeeze together with the tailstock whilst aligning the joints. Kind of a slow process (one ring at a time), but it does center each ring well, easy joint alignment, and no slippin' and slidin'. Even if all your rings are already sanded flat both sides (drum or wide belt sander), it's only an hour or less between rings.

Lots of words to describe a simple process. Hope it made sense.