Racing Off On Another Road

[Dick Wilson]

Since the December AAW issue I have been experimenting with suspended forms. Alan Carter, Neil Scobie, Graeme Priddle, Mike Hosaluk, etc. are the masters. These turnings are fun. The most difficult part is getting the legs perfect. Obviously I have a long way to go. I haven't found "myself" yet, but I am working on it. Comments, critiques are welcome. I am very interested in what you think I might have done differently. Compliments are very nice, but I learn more from honest criticism. Thanks181988181989

[Dennis Ford]

Those are very nice. My only suggestion would be to try making the legs slimmer on the beaded form. I love the curve on the legs, they just seem a little heavy.

[Dick Wilson]

Thanks Dennis

[Harvey M. Taylor]

Both are really nice. Just getting into beading myself. Not there yet, as I still get a flat one or two.Do you cut the legs with a scrollsaw, then sand, or how. How thick are they? Look way behind you, I will be there trying, somewhere.Max.

[Jon McElwain]

I had the same initial reaction as Dennis. That is of course after I got past the "whoa, those are cool" reaction!:D

I cannot quite put my finger on it, but something about the top of the legs of the first piece is bothering me. I think that perhaps the size and abrupt angle are drawing attention away from the rest of the form. It doesn't seem that this feature should be a focal point, but it ends up being just that for me. Perhaps if there were some sort of finial for the inward pointed leg tops to frame? Try putting some different shaped objects on top just to see if there is a form that makes use of that negative space?

All minor critiques on some imaginative and well executed forms! I especially like the beads and the rhythm they induce on the second piece. I also like the pierced and stippled feature ring on the first piece, and having a background to it on the inside of the form. Great work!

[John Keeton]

Dick, first of all, you have exhibited excellent turning skills! I had to look back at the journal to review some of these forms in order to comment. While there are actually very few of this type of turning that I find appealing, I do have a significant appreciation for the skill level required. I am pretty certain that I could not pull off what you have done here!

From looking at the various forms, it seems most of the artists strive for flowing lines, fragility (or at least the appearance of such), and lift. To that end, in looking at the two you have done, I think the form is too large in proportion to the legs, and it sits too low in the suspension - lacking the lift - particularly as to the one on the left. The return angle on the legs (the left form) seems to magnify that effect and makes the form seem to be "pushed" down further negating the lift. All of the elements are extremely well done, particularly the forms. I do agree with Dennis on the legs needing to be more slender, and I think that is a part of the proportion thing. Were the forms smaller and with a more fragile appearing suspension system, there would be more lift. I think that was the point in the article on laminating the legs for strength in order to have them appear more fragile.

Please keep in mind that I have never attempted one of these, so my comments are simply my visual sense of what I see. However, some of these forms do call out to me, particularly the ones by Bruchard. Very organic and masculine. Alan Carter does some unbelievable work, too, but little of it appeals to me - just a little too art deco. I am certain that I am in the minority on that one!!

I look forward to seeing what you do with this endeavor.

[Roger Chandler]

Gee, there is not much to be "critical" of here. Slimmer legs would enhance the visual of the form a little, but not much. If I were to change anything, maybe on the second form, I would have added a little finial to the lid, just for visual interest. These are very well done, and both have their individual appeal, but I am partial to the beaded one, although the other one is nice as well.

If I were to change the first one, it would be to not have the horns of the legs over the top of the form...........that however is simply one persons perspective and preference, and yours is what counts! These are both just great forms and it shows considerable skill and artistic prowess to pull them off. Nice work!!!

[Tim Rinehart]

I think you're off in an interesting direction, one that has appeal to me. I really enjoy the creative ways these forms are elevated, sometimes over complimentary finials, etc. I look at the first one and think it's missing something at the top of the form, something the 'pointing fingers' would be pushing towards in some manner. An added finial with tie-in would provide some relationship of those fingers which currently just seem to make you look and go 'why'? All that being said, I think the flat top is interesting in its own right, but doesn't work with rest of form as it stands.
The second piece reminds me of something organic, like a beehive, I think I'd like seeing the supports out of tree branches, or somehow hanging from a sturdy branch. The feet are ok, but as mentioned, they see a little heavy and perhaps too close to the form.
I know from experience of 'one', these feet take ALOT of time, and their shapes came out nicely.
Enjoy the journey...I think it will be a fun one with lots of opportunities.

[Dick Wilson]

Harvey,

No, I am not Alan Lacer with a skew. I used a Sorbie beading tool. The trick in using one of these tools is to slightly move the handle back and forth a little bit as you move into the cut. The tool is aimed slightly down. As you approach a round bead you lower the handle just a goosch. If all goes well you will get minimum tear out.

The legs are approx. 3/8" thick. If you look closely you will see a light center in the legs. I didn't use the method Neal Scobie used in his article. He laminates his legs. I used maple veneer with the grain running perpendicular to the walnut grain. I cut them out on the band saw. I have a jig to cradle my belt sander. I sanded to the lines. From there it was all sanding with a Dremel and sanding disk.

[Bernie Weishapl]

Dick those are beauties. I would say you are off to a great start.

[Dick Wilson]

John,

The walnut form was a puzzler for me. I wanted to glue curley maple veneer on the inside. I tried everything I could think of to get the veneer to conform to the compound curve. After splitting five or six pieces as a test run I decided that I didn't want to get any glued in place and then have the last one split. I used vynl I got from a yard goods store. I think it would look better with a light deer skin.

As to your comment about the top: I totally agree and I plan on re-visiting the piece some time soon. The legs come up, then move in to nothing. A finial of some type that makes the top flow is much needed.

[Tim Thiebaut]

I think they both look fantastic, I actauly like the legs on the second one, I would like to see a picture of the leg in the front to get a better feel for the widith of the leg, but I think they work good with the piece, this is amazing work you have done here, congrats on a good job! My only issue with the first one is would it be difficult to get the lid off with the legs swept over the top of the HF like that? Other then that I guess it could be a little higher as others have said but again, I love both pieces. There are a few people I see around here that turn stuff that is so amazing to me in my eyes they should be on display somewhere, I think your pieces are among the ones that should be displayed. This is all just my opinion of course and I know I am new to turning and all, but....I like what I like! lol....Tim

[Dick Wilson]

John,

I spend some time going through your web site and the pictures you have on WOW. Let me tell you my friend, that your critique is well appreciated like the others. Don't kid yourself. The Suspended Ambrosia Form blows me away. and The Burl Pagoda....wow!. Your finials rank right up there with Drozda. Anyone who can turn those can easily do a suspended form and knock the socks off turners. Your comments about my work come from your style and I can easily see from your work what you are talking about. Man, what a learning experience!!! Thanks. Dick

[John Beaver]

Dick,
First of all, I think these are really nice. The workmanship looks very good. When I saw them over on the AAW site I didn't even think to critique as I thought they were great.
Looking at them with a more critical eye, (we're getting very nit picky here) I do feel that they are a little "crowded" looking. While I agree with some of the above comments on using slimmer legs and maybe smaller vessels, I think you might want to try to place the legs further away from the vessel. I think the space would make the vessel "float" a little more and make the whole piece lighter feeling. Then again I could be wrong.

Keep it up.

[Dick Wilson]

Tim,

Thanks for your comments. It would be sorta hard to remove top since it is glued on because of the glued material on the inside :-)))). The jury is in a finial it is.

[Steve Schlumpf]

Dick - very nice work on both pieces!!

When I first started studying the form on the left - I also thought a finial would help pull things together. Then as I looked at it - I realized that it reminded me of the big fiery eye that sat on top of a mountain in one of the Lord of the Rings movies. With that in mind - the finial does not have to be standard and I think using a suspended disk would work quite well. Have fun figuring all that out!!

On the beaded form, it is hard to see in just the one photo but it looks like the beading stops a couple of inches from the bottom. It just stuck out to me because going the other way - the beads run all the way to the top. I really like the shape of the legs but will agree with the others that they would enhance the piece even more if they were slightly thinner and located a little more away from the form.

I like both of these - especially because it is not something you see every day! Thanks for sharing! Looking forward to seeing where this takes you!

[David E Keller]

Impressive work, Dick! I haven't attempted anything suspended yet, but I generally like the forms. I agree with the others about the need for a little more separation between the form and the legs. Steve's comment about continuing the beading also rings true with me, and I'm not sure about the two contrasting beads near the bottom of the second form... Visually, they seem to 'weigh the piece down' which eliminates some of the lift that Keeton was talking about. Perhaps the thing that stands out the most to me is the lack of an opening in the top of the forms... I know they're hollow, but visually they appear somewhat solid because my eye doesn't see an opening.

The detailing on those pieces is fantastic, and I'd be happy to have turned either of them. Like you, I generally appreciate the critical thoughts and suggestions more than the attaboys. Sadly, my opinions and $6 will barely get you a cup of coffee at Starbucks! I'm looking forward to your next one.

[Dick Wilson]

Thanks Steve.