Mark Baker RPT, editor of Woodturning Magazine

‘Japanese Forms’

June 16th 2004

Reviewed by Fred Cannings

In the first part of his presentation Mark spoke about form and shape appreciation which, in part, depends upon the viewer. He spoke about Japanese ceramic workers and the way in which they combined form and function. Studying their work is a good starting point for wood-turners seeking inspiration. Rather than copy slavishly, adjustments should be made for individual feelings. He suggested that one way of testing shapes is to make a simple turning, then spray it black so that it can be viewed without surface distractions. This was illustrated with several bowl forms and changeable support plinths.

Having decided to make a bowl shape Mark stressed the problems of dust. He suffers from rhinitis caused by earlier years of wood dust exposure. One way of minimising sanding is to cut good surfaces, and this requires sharp tools. Sharpening, and which tools to use, were subjects raised constantly during the session. Several early points were:-

Scrapers cut better than gouges on some woods. This usually applies to harder woods and end grain. Sharp cutting edges only occur when two polished surfaces meet. Mark maintains edges by frequent honing with diamond or ceramic stones. A scraper edge only cuts its best for about seven seconds, then a micro-burr should be regenerated.

Mark favoured ground back (fingernail) gouges for working the outside of bowls and initial squaring, but preferred squared end (60 degree bevel) for inside curves.

All these observations (and more) were made during the working of a blank piece of oak into a thin-walled bowl. Mark demonstrated that the cross section around the rim of a bowl can have a strong effect on its appearance. He explained that it is not necessary to have an even wall thickness. If the function of a bowl is to hold small items such as sweets or nuts then an incurving or rolled edge feels better.

To avoid making dust when sanding Mark likes to wet the surface with oil. This enables dust-free sanding which works a slurry into the pores of the wood, thus filling them. Wipe the excess away before the oil hardens. The slurry process does not work on woods with surface colour differences, as it smudges them. Another problem with oil is that it may get fingermarked. In this demonstration Mark sanded further. While the oil was still present any dust fell away without hanging dangerously in the air. With the oil gone he was able to apply a melamine lacquer.

Concerning oils – some people are dangerously allergic to even the slightest trace of nut oils. Rape-seed oil is banned in the U.S.A. Olive oil can go rancid. Sunflower cooking oil seems the safest and is a lot cheaper than commercial food-safe oils.

For sunflower oil, Mark recommended saturating with four coats in one hour. Burnish with paper and allow a week to harden. The oil will exude if taken too soon into warmth.

Whilst sanding Mark used a small power drill with Velcro backed sanding discs. Velcro backed abrasives are now available in sheet form and it is economic to cut ones own discs. He also used the drill with a lightly waxed polishing mop to apply the final sheen.

At the end the bowl was re-chucked to finish the foot. The drill with a small brass wire brush was used to remove any chucking marks and the final parting pip.

Our thanks to Mark for his most interesting demonstration which was much enjoyed by those present. Further thanks are due for his generous donation of a subscription to ‘Woodturning’ magazine as a prize in our raffle.