BLM Burl Hollow Form

[Timothy Mann]

Big Leaf Maple Burl Hollow Form. It is about "5 1/2 x "2 3/8 the finial is about "1 7/8. Hollowed to a little under "1/8 top to bottom. Finish is 7 coats of WOP. I want to give it another week or so before buffing and waxing. My fiancee is holding a toothpick next to the finial in one photo to show how thin it is. I am very proud of this as it is the thinest and smallest I have ever turned one and had it survive, so far, it is less then a "1/16th in thickness. Cindy Drozda is a big inspiration to me. I have sharpened my "3/8 gouge the way she shows in her video and it has truly helped me to do better with finials, so thanks to Cindy for the info. I have only been able to watch her youtube videos as I can not afford her DVD's but they have been a big help, if you havnt seen them and want to do finials I couldnt give a higher recommendation then to watch them when you can. Not that mine are that great or anywhere near hers, just that I have made some improvements in them since I have watched her videos. And thanks again to Mike Cruz for pointing me towards the Picasa software that has helped a lot in straightening my photos and with color correction.

Comments and Critiques are always welcome and encouraged.

Edited spelling error.

[Thomas Canfield]

Great looking piece. The toothpick for comparison really tells a story. Great wood, Great shape, Great finial, Great forms, Great finish. What else is there to say.

[John M. Smith]

Great!!!!!!

[Fred Belknap]

Tim I think they are great, now that's a really slim finial.

[Kathy Marshall]

Looks Great Tim! Can't go wrong with BLM and you've got a very nice form and a great job on the finial!

[Dennis Nagle]

That is beautifull.

[Bill Hensley]

Very nice example of a classic combo. The finial must have been a challenge, well done!

[Faust M. Ruggiero]

You should be proud. The composition and proportions are perfect and the burl sets off your good work. That is a tiny diameter on the finial. I am assuming you didn't have hic cups while you turned it.
faust

[David C. Roseman]

Very nice, Tim! You've may have said it in another post somewhere, but what method/tools have you been using to hollow a piece like this?

David

[Peter Blair]

I really like it Tim! What is the finial made from? Are you still holding your breath?

[Bernie Weishapl]

Great looking piece and wood. That is a nice thin finial.

[jwjerry w kowalski]

Very nice piece, the finial is very elegant looking and really adds to the piece, great job.

[Timothy Mann]

Thank you all for the very nice comments. David I use the mini monster rig for hollowing, for my finials I sharpen a "3/8 detail gouge as Cindy Drozda shows in her youtube video and it has helped a lot. Thank you all again for the positive feedback.

[David DeCristoforo]

I'm going to try and offer a "constructive criticism" of this piece. I'll let Roger decide if I succeed or not.

I have to commend you for being able to make a finial this thin. That in itself is an accomplishment. And the form you chose for the body of this piece is a very difficult one to pull off due to the severe undercutting involved in hollowing it. So kudos are deserved there as well.


I have never felt that "turning thin" should be given priority over form and proportion. Your finial is unquestionably "thin enough". Now you need to work on form and proportion. The "onion" on this finial overpowers the upper section which also "flattens out" rather than continuing the curve of the top of the onion. The "stair step" transition between the form and the finial also breaks the flow. Take a look at Keith's pieces and you will see how a smooth transition between these elements can carry the eye up and down the piece in one effortless motion. There is nothing to stop the eye. This is not to say that there cannot be a distinct transition between form, lid and finial. It does not have to be a totally continuous, unbroken line. But it is very tricky to make this transition in a manner that allows the eye to travel the distance without a hitch.


It has been mentioned that the form might benefit from a higher "shoulder" and I second this as well. There is a reason for this. If you look at the paintings of "the masters" you will notice that the "horizon" is almost always above the center line. This is because if the horizon is "on center", the eye perceives it as being below center which pulls the viewer's eye down rather than lifting it up or pulling it into the focal point. The same thing happens with a form that is more or less mirrored above and below the horizontal center line. It makes the form appear "squat" because the mind perceives the center line as being lower that it actually is.


I should point out that I have by no means mastered these subtleties myself so you could simply dismiss all of this with a "fat lot you know". I offer this only because I have been grappling with the same issues and have come to understand just how difficult it can be to nail these proportions and to make all of the elements work together.

[Timothy Mann]

I'm going to try and offer a "constructive criticism" of this piece. I'll let Roger decide if I succeed or not.

I have to commend you for being able to make a finial this thin. That in itself is an accomplishment. And the form you chose for the body of this piece is a very difficult one to pull off due to the severe undercutting involved in hollowing it. So kudos are deserved there as well.


I have never felt that "turning thin" should be given priority over form and proportion. Your finial is unquestionably "thin enough". Now you need to work on form and proportion. The "onion" on this finial overpowers the upper section which also "flattens out" rather than continuing the curve of the top of the onion. The "stair step" transition between the form and the finial also breaks the flow. Take a look at Keith's pieces and you will see how a smooth transition between these elements can carry the eye up and down the piece in one effortless motion. There is nothing to stop the eye. This is not to say that there cannot be a distinct transition between form, lid and finial. It does not have to be a totally continuous, unbroken line. But it is very tricky to make this transition in a manner that allows the eye to travel the distance without a hitch.


It has been mentioned that the form might benefit from a higher "shoulder" and I second this as well. There is a reason for this. If you look at the paintings of "the masters" you will notice that the "horizon" is almost always above the center line. This is because if the horizon is "on center", the eye perceives it as being below center which pulls the viewer's eye down rather than lifting it up or pulling it into the focal point. The same thing happens with a form that is more or less mirrored above and below the horizontal center line. It makes the form appear "squat" because the mind perceives the center line as being lower that it actually is.


I should point out that I have by no means mastered these subtleties myself so you could simply dismiss all of this with a "fat lot you know". I offer this only because I have been grappling with the same issues and have come to understand just how difficult it can be to nail these proportions and to make all of the elements work together.

David thank you for your honesty in your comments. I like comments like this that help me learn and see beyond my own eyes, so I think you succeeded in your critque. I agree that turning thin dosnt outway form, I hope that the more of these I make each one will be better then the last. I pointed out last night to my fiancee that I thought the onion was to big and not tapered into the stem enough. I also noticed the sharp undercut on the tip of the finial. I am proud of this one as I said, but can see where I can do better next time. On the new WU forum I even made mention of the post that you made a while ago here on SMC talking about form and how you seem to chase it with every turning, I feel the same way as I am sure a lot of others do here as well. Thank you again for the honest critque, you validated my own feelings. Please feel free to always been as honest when commenting on my work, thank you!

[Dennis Ford]

This is a very nice piece, I would be proud of it too. I agree with David on possible improvements except for the transition from vessel to finial. While I appreciate a seamless transition, I think the step works with this form.

[BILL DONAHUE]

Wow! You have every right to be proud of this piece. It is beautiful in every respect and the size of the finial is amazing. I agree with Dennis Ford that the step on the finial works perfectly. Congrats!

[David C. Roseman]

Timothy Mann wrote of David DeCristoforo's post:


David thank you for your honesty in your comments. I like comments like this that help me learn and see beyond my own eyes, so I think you succeeded in your critique.

Tim, what a great way to put it: Seeing "beyond my own eyes." I, too, appreciate reading David's and others' constructive comments here and in other threads. I think I recall learning about the "horizon line" concept decades ago in Art History, but had long since forgotten it until David's post!

David R.