Walnut-Snakewood-Maple Vase

[John Hart]

Well...I haven't had a lot of time to turn anything lately, but finally got out to the shop a couple of days this week. And, I managed to turn something without destroying it!!

So..here it is...Walnut Hollow Form body, with a wide Snakewood collar and matching bottom collar...topped off with Ambrosia Maple mouth and Hard Maple pedestal. Finished with clear gloss rattle can lacquer...5 coats. 9" Tall and 4.5" Diameter.
157841

[Carl Miller]

Such imagination to create something that beautiful. We all wish to do a piece like that.

[Scott Hackler]

Really nice looking piece John. I like the proportions and your execution is top notch like always. My only negative would be the mixing of the maples. I would have prefered the ambrosia on the pedestal as well.

[Bernie Weishapl]

John that is a beauty. I agree with the use of just one maple. Well done.

[Michael James]

beautiful form and finsh.. stunning, actually! I've managed to inhale a lot of lacquer fumes in my day, but I must be using the wrong brand..:eek:

My.02 goes with the single maple crowd.

[Tom Sherman]

Very nice John, love the form and finish.

[Roger Chandler]

John,

That is a really nice form. It has a flavor of something I saw at an antique shop some years ago. Well executed, and a stunning finish! I like the multiple woods you put together.

Glad you got some shop time in...........keep it up!

[John Keeton]

Well done, Hart!! Very intricate form, and lots of color! I concur on the wood combo, and would normally have a max of three woods, and in this case, because of their color, I would have separated the snakewood and the walnut for a little interest.

[John Hart]

Thanks guys.:)

Funny thing is...I thought I was doing ambrosia maple for the pedestal as well. I had three maple blanks and grabbed two. After I had the hard maple turned into a cylinder, and realized what I had done, I just shrugged and said, "Well, I'm going to do 100,000 vases before I'm dead, so I'll just do it."

But I agree...it would have been much better if I hadn't taken that particular design opportunity to its conclusion ;)

Mr. keeton...good idea. I think I'll do a separation ring in my next attempt. :)

[David E Keller]

Nicely done, sir. It's a very graceful, flowing form which I find very appealing, and it has your signature, beautiful lacquer finish.

I'm glad you got in a little shop time.

[Richard Madden]

It's different, but I like it. well done and a fantastic finish.

[Aaron Wingert]

I like it. Anything that includes snakewood is cool in my book. I do agree with John Keeton on separating the snakewood and the walnut to show them both off. Nice finish too.

[Tony De Masi]

Very nice piece John. That finish looks superb too. Well done.

Tony

[Steve Schlumpf]

John - that's some really nice work! Really like the form on this and that glass-like finish! I can see this sitting on a shelf in your library - all artful like!

No idea where you found the time to turn - but sure glad you did! Thanks for sharing!

[Roland Martin]

Very nicely done John. Form & finish are great.

[Allen Neighbors]

Great work, John!! Superb finish!!

[Baxter Smith]

Like the form and finish. Not crazy about so many colors but I have been studying the picture for the last 10 minutes trying to figure out the procedure you used for putting this all together. Still haven't got there.:)

[John Hart]

Like the form and finish. Not crazy about so many colors but I have been studying the picture for the last 10 minutes trying to figure out the procedure you used for putting this all together. Still haven't got there.:)

Thanks Baxter. Yeah..there's a lot of color going on ain't there? I think that an ambrosia maple pedestal would have really toned things down.

As far as a procedure...I sorta developed that over time.
Each component is a separately turned piece, then integrated into the previous piece.
The hollow form was done first ...collar second. Mouth third. Under-collar fourth, then pedestal last.
Each piece is fitted and epoxied into the previous piece while on the lathe to ensure concentricity, finish turned and sanded at each stage.

Two lathes would be handy for this procedure.

[John Hart]

Sheesh...I just realized that I must have not clicked Submit when I was thanking everyone. (makes me look like a snob) Ooops.:o

Thank you everyone. I truly appreciate the critiques...because it is the critiques that have helped me grow.:) And I appreciate the compliments...they help my ego grow.:eek:

[Gary Max]

Looks great John-------That is the size item I need to be working on. Like the rest I ain't crazy about the colors but your workmanship is top notch and the finish is perfect.

[Baxter Smith]

As far as a procedure...I sorta developed that over time.
Each component is a separately turned piece, then integrated into the previous piece.
The hollow form was done first ...collar second. Mouth third. Under-collar fourth, then pedestal last.
Each piece is fitted and epoxied into the previous piece while on the lathe to ensure concentricity, finish turned and sanded at each stage.

Two lathes would be handy for this procedure.

Thanks John. I assume you have something mounted in the tailstock for support when you added the pedestal? Did you need/use it for any of the other steps as well?

[John Hart]

Thanks John. I assume you have something mounted in the tailstock for support when you added the pedestal? Did you need/use it for any of the other steps as well?

Well, the tailstock comes into play quite a bit, in concert with my Peacock Steady Rest. Much of the rough-out turning of each component is done with a faceplate and a woodblock that I screw to that. Then each blank I work with, is essentially glued to that block.

Then I go through a series of fixture-creation that accommodates each component. Each specialty fixture is also attached to the faceplate.

With the pedestal, I attached a long 3" square maple blank to a faceplate and supported it with the tailstock at the top-end of the pedestal. At the top-end, I turn a precise tenon, that will fit the bottom of the overall piece.
After completion of the pedestal, I have material left on the pedestal base, where I've parted it off. I leave the waste block material on the faceplate, and turn a recess in it that fits the upper tenon, turn the pedestal around and bring the tailstock center into concentricity with the pedestal. Then I profile the final base, clean up the bottom of the foot, leaving a nub for the live center. Then I'm ready to attach the pedestal to the overall piece.

So, I turn a recess into the waste block that is already on the faceplate, to accommodate the vase mouth (tight fit)...epoxy the pedestal to the bottom, bring up the tailstock, and spin her up to ensure concentricity, while tightening the tailstock.

When I'm satisfied, I shut the lathe down and let the epoxy cure for about an hour. Do all the finish turning, touchups and sanding, then take the bottom tailstock nub down to near-nothing...pull it off, sand the bottom in-hand. Then off to the finishing room.

Nuthin' to it. :)

[Ken Glass]

John,
I always love your finishes. This is a great use of color and style. Well Done.

[Mark Hubl]

I like the shape, lot going on. I tend to agree that a little too many wood transitions going on. But interesting. Might be better if the transitions had a bit of an accent and not just the flat lines.

[Baxter Smith]

Well, the tailstock comes into play quite a bit, in concert with my Peacock Steady Rest. Much of the rough-out turning of each component is done with a faceplate and a woodblock that I screw to that. Then each blank I work with, is essentially glued to that block.

Then I go through a series of fixture-creation that accommodates each component. Each specialty fixture is also attached to the faceplate.

With the pedestal, I attached a long 3" square maple blank to a faceplate and supported it with the tailstock at the top-end of the pedestal. At the top-end, I turn a precise tenon, that will fit the bottom of the overall piece.
After completion of the pedestal, I have material left on the pedestal base, where I've parted it off. I leave the waste block material on the faceplate, and turn a recess in it that fits the upper tenon, turn the pedestal around and bring the tailstock center into concentricity with the pedestal. Then I profile the final base, clean up the bottom of the foot, leaving a nub for the live center. Then I'm ready to attach the pedestal to the overall piece.

So, I turn a recess into the waste block that is already on the faceplate, to accommodate the vase mouth (tight fit)...epoxy the pedestal to the bottom, bring up the tailstock, and spin her up to ensure concentricity, while tightening the tailstock.

When I'm satisfied, I shut the lathe down and let the epoxy cure for about an hour. Do all the finish turning, touchups and sanding, then take the bottom tailstock nub down to near-nothing...pull it off, sand the bottom in-hand. Then off to the finishing room.

Nuthin' to it. :)
Thanks for taking the time to explain your procedure. I was thinking chuck for holding those pieces. More than a few steps for sure. I think I would have to try and go through the process to fully understand it.:)