Beyond the Lathe

When I was just beginning to turn, the lathe was it. I thought that I would never run out of ways to make better piece using this great big spinning machine. Certainly the lathe is the staple tool for any turner, just as the band saw is the workhorse of the chair maker. However, just try to picture a Maloof chair made solely with a bandsaw, and you will see that the lathe, while versatile, is not the only tool of a woodturner.

My goals are to share both the challenges and the frustrations of off-the-lathe work and look at how this truly enriches the art of woodturning.

I will admit, it was difficult making the leap from the lathe and gouge to chisel and rasp. Some, myself included, haven’t gotten too far from the lathe, and most of my pieces are still turnings first and sculpture second.

On the other extreme, there are artists like Michael Peterson, who have nearly forsaken the lathe in favor of carving tools.

I will refer to lathe based sculptural items as lathe-plus pieces. These would basically be any pieces which have been roughly made on the lathe (hollowed, rounded, rough-shaped, etc.) and later refined and reworked using a variety of other methods.

I made the piece on the left solely with the lathe, while the piece on the right spent more time under the knife and rasp.

Everyone knows that line and shape can make or break a turned piece. Although difficult, it is possible to get that perfect line on a strictly lathe turned vessel. One has only to examine the side profile of the piece to observe flat spots, bumps or a pleasant, flowing line. A combination of patience, good cuts and, of course, practice, will yield a near perfect line on a turned bowl or vessel nine times out of ten.

The challenge presented by lines grows exponentially when a piece comes away from the lathe and falls under the carving knife. No longer is there just one line to consider, but hundreds of lines each resulting from a different angle of view.

The difference between a turned piece and a more sculptural piece carved away from the safety of the lathe is analogous to the difference between a painting and a sculpture; between two and three dimensions. One is not better than the other, but there is no doubt that they are different beasts entirely. Indeed, saying one pursuit is better than the other is like saying Van Gough was a better artist than Michelangelo.

First comes the inspirational/idea gathering phase of lathe-plus work. This in itself warrants an entire novel of information, but basically my philosophy is to have some idea before one begins. Many of my ideas come from natural forms, and the work of other artists working in any medium. Don’t feel bad about adapting the work of other artists, after all, imitation is the highest form of flattery!

Everyone’s mind is capable of creative thought. The greatest tool, by far, is the mind. Using one’s mind to think of new and different ideas for pieces takes some real practice. My best ideas usually come to me before I go to sleep. Keeping a sketch book beside the bed is good idea.

Once you have an idea, sketch it out on paper and on the piece to be worked to give the lines a chance to take on a flowing state in the mind. I probably spend as much time visualizing the piece as I do with a tool in my hand, and this way, when finished, bad lines don’t come from nowhere and surprise me.

While working with heavier and later the lighter carving tools, always take time to evaluate the process. Step back and carefully look the piece over from every angle to be sure each line is developing to your satisfaction. Consistency throughout the piece is a must for me, and I am always asking myself if one part of the piece compliments the next. When finished, a piece should look good from every angle. Often, inconsistencies are easy to spot and fix.

Taking my pieces away from the lathe has been the single most beneficial thing for my turning since, well, the lathe itself. Anyone who is ready for a new dimension in woodworking should give it a try!

Ben Carpenter