Question about hollow forms and collars

[keith zimmerman]

I have been thinking for a long time about how people decide on the size and shape of a collar, if the decision is made to use on a hollow form.

I often use collars on my hollow forms, but have noticed that they tend to be short curved that continue or restart the curve of the form. I am pleased with the collars I use, but am interested in expanding the style of collar I turn.

Quite simply asked; when you decide to use a collar on a hollow form, how do you decide on the wood, shape, size, and height of the collar you turn?

Inquiring minds need to know.

Thanks in advance.

[charlie knighton]

for me it is an evolving process, that is like David Nittmann and Cindy Drozda Right Brain/Left Brain rotation at richmond

somepeople have to measure things and have a plan right brain

somepeople just turn it, look at it, turn it til the like the shape left brain

as you turn more and more items you will probably become one or the other :D

the hard part is if a teacher is right brain and tries to teach a left brain or vise versa :eek:

[Bernie Weishapl]

I have to agree with Charlie. I attend the same rotation at Richmond and it was definitely interesting. I guess I would classify myself as a left brain. I mount the collar and turn till I like what I see. Most times I don't have a plan most times other than yep I am putting on a collar.

[Jim Becker]

Quite simply asked; when you decide to use a collar on a hollow form, how do you decide on the wood, shape, size, and height of the collar you turn?

Obviously this is a very subjective thing. Relative to species/color for a collar, I tend toward a definite contrast and most of the time, prefer dark/black for this kind of design element. For shape/size/height, I prefer to be very careful about proportion. The collar needs to visually blend with the master piece, particularly where they join together since the whole idea of a collar is to be complimentary. This also affects the size/height size of things.

I know that the few times that I've decided to do a collar, I tended to make more than one to help work out what "works best" with the particular master form. This is more work, but in the end, you really want the final results to look like things belong together.

[Dean Thomas]

Sometimes ya turn a piece and it just needs something. Like wrapping a present and adding ribbon. Sometimes the ribbon is fine, but sometimes, it just needs a bow.

The other discussion on collars during this same time span was also interesting. How the shape of the collar is used to blend with, to complement or augment the shape or color of the piece. Deciding how large is too large/small, when the collar is an accent or when it becomes the focus of the piece, or when it is so small that it becomes a distraction the other way.