David DeCristoforo
08-09-2015, 2:13 PM
This is very similar in construction my last one. But, playing around with the design, I started stretching the whole thing to make a taller, more slender form.
319244
The lid is, again, threaded. This is the best mating set of threads I have managed to date. It's funny how such a simple thing can provide so much enjoyment. I have screwed the lid on and off a dozen times or more just to revel in how nicely the threads mesh.
319245
Other than the elongation, the construction and detailing are basically the same. I did make a few small changes in an attempt to refine the "flow", especially between the body and the lid as suggested by Keith Burns. The body and embellishments are from a found burl and the black pieces are ebony. About 5" in diameter X 16" tall.
Couple of things learned: With these vessels that have a collar (more or less a necessity in order to have wood dense enough to take a good thread) the opening is larger that "usual". It's much easier to hog the guts out of a lump of wood through a two inch hole than through one that's only three quarters of an inch! Also, these pieces tend to be a "three steps forward and two steps" back process. With each element, there may be unfortunate events that necessitate reworking in some manner. An unexpected void in the little bead or weak grain in the thin part of a stem and you're back to square one. Actually, you may end up behind square one because now you have to find another piece of wood to replace the one that just got ruined, that perfect little piece that had just the right markings on it, a figure in the bead that perfectly matched the figure in the main form, a delightfully subtile finesse that is now lost to a momentary lapse of attention or a less than perfect presentation of the cutting edge. The fact that the pedestals and finials are constructed of several discrete elements helps because a mishap does not mean trashing the whole thing. But time gets eaten up by these little "annoyances" and there is the ever present knowledge that compromises, however small, have been made.
Acknowledgment and Disclaimer:
I in no way take any credit for the concept this piece is based on and fully acknowledge the influence of the many woodturning artists who have previously traveled this path, including but not limited to Ms Drozda, Messrs Burns, Costelle, Lucas, Syvertsen, Addy, Keeton and others too numerous to mention. Furthermore, there is no intended suggestion in this statement that my work would be placed on the same table as the work of any of the afore mentioned.
So… have at it...
319244
The lid is, again, threaded. This is the best mating set of threads I have managed to date. It's funny how such a simple thing can provide so much enjoyment. I have screwed the lid on and off a dozen times or more just to revel in how nicely the threads mesh.
319245
Other than the elongation, the construction and detailing are basically the same. I did make a few small changes in an attempt to refine the "flow", especially between the body and the lid as suggested by Keith Burns. The body and embellishments are from a found burl and the black pieces are ebony. About 5" in diameter X 16" tall.
Couple of things learned: With these vessels that have a collar (more or less a necessity in order to have wood dense enough to take a good thread) the opening is larger that "usual". It's much easier to hog the guts out of a lump of wood through a two inch hole than through one that's only three quarters of an inch! Also, these pieces tend to be a "three steps forward and two steps" back process. With each element, there may be unfortunate events that necessitate reworking in some manner. An unexpected void in the little bead or weak grain in the thin part of a stem and you're back to square one. Actually, you may end up behind square one because now you have to find another piece of wood to replace the one that just got ruined, that perfect little piece that had just the right markings on it, a figure in the bead that perfectly matched the figure in the main form, a delightfully subtile finesse that is now lost to a momentary lapse of attention or a less than perfect presentation of the cutting edge. The fact that the pedestals and finials are constructed of several discrete elements helps because a mishap does not mean trashing the whole thing. But time gets eaten up by these little "annoyances" and there is the ever present knowledge that compromises, however small, have been made.
Acknowledgment and Disclaimer:
I in no way take any credit for the concept this piece is based on and fully acknowledge the influence of the many woodturning artists who have previously traveled this path, including but not limited to Ms Drozda, Messrs Burns, Costelle, Lucas, Syvertsen, Addy, Keeton and others too numerous to mention. Furthermore, there is no intended suggestion in this statement that my work would be placed on the same table as the work of any of the afore mentioned.
So… have at it...