Basket illusion platter

[Robert McGowen]

This is a 12" piece of maple that has been turned, beaded, burned, and inked. The back matches the front. It has been finished with danish oil. It was turned as a gift for a special day, 2/23.

This is a technique that I learned watching a video by Harvey Meyer. It uses the same concepts as Jim Adkins, but the burn lines are laid out in a very precise pattern and the design inked in later. It is kind of like turning a bowl and turning a vase. It is the same thing, but not really the same thing.

C and C are welcome. Thanks for looking.



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[John Keeton]

Nice work! Reminds me more of Nittman's work than Jim Adkins.

[Eric Gourieux]

Very nicely done. What did you use for the colors?

[Michelle Rich]

I always enjoy pieces like this..and I'm always amazed at the skills involved. Super piece.

[Cheryl A. Prince]

Beautiful piece Robert! Was the video you watched on Youtube or did you purchase a video by Harvey? Thank you for sharing!

[Jim Seyfried]

That's a whole lot of precision work! It's a joy to look at. I am really impressed that the pattern on the back is the same as the front, adding to the illusion that the pattern is weaved in. Great job Robert!

[Sid Matheny]

A big wow factor going for this one. I love it!!!

[john snowdon]

Stunning! I was just down in Charleston, SC walking through the Market and admiring the many woven baskets. This is even more impressive.

[Doug Herzberg]

Top notch! Robert, it makes me tired to think of the work that went into this. It must be a pretty special day today. Ditto on the Charleston baskets, John.

[Joseph M Lary]

Robert , that is just over the top ,you must have some time in that, with all the detail in it . very nice job .

[Robert McGowen]

To answer a couple of questions:

I used Copic .too markers to dye the pattern.

The Meyer video is on Youtube. It is quite long.

This is a fairly simple pattern. The key to things turning out correctly is about 80% turning the platter. A poorly turned platter will never look good, no matter how good the dye job is.

[Ken Fitzgerald]

Robert....that is beautiful!

[Justin Stephen]

Robert, I see from looking through some of your older threads that you attended a class with Jim Adkins. Compared to Harvey, does Adkins color in his patterns first and then add the burn lines afterwards? Also, the Copic pens you use, are they the Multiliner or the Multiliner SP or some other model?

Thanks!

[Harvey Meyer]

I think I should weigh in here since you're talking about me. First of all, the YouTube video wasn't planned. I demo'd for the Gwinnett WW Assoc and they asked me if they could put the video on their YouTube channel. What you see in that video is Basket Illusion 101. It's what I can do in a 90 minute demo. What I really do is quite a bit more than that - sometimes. In the video, I turn, bead, index, burn, then color. I also do that when I'm in my shop. But sometimes, I also do what Jim Adkins does, where majority of the burning is done after the dying. There are several other basket illusionists out there and they also do a combination of both methods. I have spoken to Jim Adkins as well as several other basket illusionists. There's no right way or wrong way. Either method gets you a piece that looks like a basket. However, in my opinion, after doing basket illusion for more than 3 years, I have to say that Jim Adkins's method gives you a more authentic looking piece. It looks like the piece has a very tight weave and the closely spaced burn lines provide a more consistent looking weave throughout the piece. The downside is it takes many hours longer than the other way. I do more hollow vessels than platters, and on a hollow vessel, I prefer the index, burn, then dye method, but I index to a big number and my spaces are very small. If I indexed to a smaller number and had larger spaces, then I would use Jim's method. Also as I said, there are others who do this and they also have a few different methods. In the end, it still takes a long time to create one of these and it's not for everyone. It takes patience, steady hands, more patience, good eyesight (or magnification), more patience, and a commitment to the piece.

Regarding dyes, Jim Adkins uses Copic original markers. Others use Prismacolor and some even make their own markers. I use India ink markers from Faber Castell. They are truly archival quality and light fast. However, I am limited to three colors. The pens come in many colors, but only 3 have the appropriate nib sizes for this type of work.

Lastly, if anyone is thinking about trying this, it is virtually impossible to get the Detail Master 9C pen for burning the lines. The company is unresponsive to its vendors and customers. A substitute for Detail Master might be Razertip Bead Maker pens, but I haven't tried it.

That's all for now and I hope I didn't hijack Robert's thread. Nice piece Robert - keep doing them.

[Justin Stephen]

Thanks much, Harvey!