Club Night Report

Wednesday 14th September 2016

Club Night Report for 14th September 2016 - observations by Vernon Hughes

Our demonstrator was Steve Giles RPT from Newbury (see website www.stevegileswoodturning.co.uk) making his first appearance at our club. In his preamble he said that he would be showing his way with metal spinning associated with woodturning. During the evening he commented several times that he would not go into detail about woodturning on the assumption that we were all pretty well informed about it; he would concentrate on the shaping of metal and the incorporation of metal components into turned wooden articles such as coasters and flowerpot stands. This report will contain much more about points made and explanations given than a description of the spinning/ turning work performed. A clear (protective) screen was placed between lathe and audience during the first phase of work just in case bits of metal took to the air.

Steve explained that pewter, copper and brass could all be cut with woodturning tools but added that annealing would be necessary whilst working copper and brass. Application of a lubricant is essential with metal shaping, and as a former plumber he found it natural to use tallow (flux) for the purpose. He started with a thin 5" diameter disc of pewter to make an insert for a wooden wine coaster and explained the set-up of componentry on the lathe. This comprised a specifically shaped former at the headstock end with a 2" spigot for chuck mounting and a matching wooden pre-shaped tailstock support 'follower'. A disc of pewter was centred accurately between these supports, the tailstock being wound up hard to jam the disc securely. Steve emphasised that there is no mystery; the metal will repeat exactly the shape of the former over which it is worked. Lathe speed would be between 400 and 700 rpm. Shaping has a habit of going wrong at any higher speed! On tooling - Steve explained that special tools are needed and that he had obtained the last set made by Robert Sorby. He put them on display during the tea break. It is now necessary for us to make our own. He also displayed a range of formers he has made in a variety of shapes and sizes. He described as crucial the importance of a self-made wooden billet needed to support the metal during shaping. With the L-shaped pulling tool fixed under the right arm he used it to draw the exposed section of the disc firmly over the former with the billet supporting the metal in the bending process. As he proceeded Steve observed that if copper was being worked it would be necessary to anneal it before completion of shaping. The pewter responded very readily to his touch and it was soon time to neatly trim the rim using a skew. The swarf should be retrieved for melting down later. Steve explained that he tended to work below centre height but with the toolrest set high. With the tailstock released the parallel-sided, flat-bottomed dish was pulled off the former 'just like that' to use Steve's (and Tommy Cooper's) words. He had not applied metal polish in this instance but Brasso would be fine and 'T-cut' even better. He went on to talk about sourcing metal, the cost of purchasing ready-made discs, the difficulty of cutting circular metal blanks and the value of scrap hot water cylinders as a source of copper. These could be obtained for about £50 if sourced direct from tradesmen whereas it would be necessary to shell out £80-£100 for them at a scrapyard. Lagging is stuck on very securely indeed and there is the added challenge of lime scale removal. The trick to removing the latter is to heat the metal over a barbecue or fire. The scale will just pop off!

For his next metal shaping task Steve started by working on the wooden former already used to create a shape that, when followed by the metal, would give an outward curve at the top of the resulting short cylinder. A 5" disc was mounted carefully by eye but because the 'step' in the former prevented the billet going fully home the metal deformed badly. He mounted a second disc to allow himself one more go and that worked perfectly. In the process he delivered the advice that any part of the shaping tools that works can be used. The surplus metal was trimmed and there was a super swarf moment as he finished the rim. The nicely shaped completed piece was separated from the former and removal of the safety screen indicated the end of the metal spinning phase.

The first pewter item made was to be used to make a wine bottle coaster and would be mounted in an American Black Walnut (ABW) base, a blank of which was mounted in the chuck using a pre-cut 2" spigot. A recess was marked out and cut with precision using a small bowl gouge and finished/ refined with a small spindle gouge and a ?" parting tool (a long bevel bowl gouge would have been used but was not to hand). Upon offering up the pewter insert it was found that the recess was a little too deep, and there was a knot near the top of the rim. These details were adjusted by judicious use of the bowl gouge, and shaping of the outside of the base was then completed by rounding over in a pleasing curve. A second blank of ABW was then mounted to make a top ring for the coaster. This attractive feature would cover the sharp edge of the pewter. A groove was cut in the bottom of the ring to accommodate that edge. The three components were loosely assembled on the night to show the effect but would be 'finished' later, epoxy resin being used to secure the pewter into the base and the ring onto the top edge of the pewter to complete a single piece, a coaster of highly original design. (Note: Steve advised me after the meeting that an alternative design should be possible but would require practice. This would do away with the top ring and the pewter edge would be rolled over instead - to achieve a safe finish).

Steve moved next to a partially prepared 8" decorative bowl in Ash. A wide channel on the face had already been filled with resin and green plastic glitter to produce a highly appealing surface design. It was mounted in his chuck to fashion a curved recess to take a small copper dish at the centre. Steve advised that the scope for variation in the items that can be plunged in resin to great effect is enormous; you can use whatever you fancy or your imagination seizes upon. He has used coloured paper clips and coins for example whilst others have incorporated fishing flies, brass from gun cartridge cases, feathers, safety pins etc., but the scope is endless. Steve cautioned us - to be sure to read the instructions about resin use which cover heat implications and fire risk. Also, heat causes resin to shrink and it has a shelf-life that should be respected. Allow a week for the resin to fully cure. Also, with safety in mind, do as much as possible out of doors. There is another challenge with it. 'It stinks!' He added that he uses coloured epoxy resin in shapes and incorporates artists' oil paint. When finishing resin surfaces he uses burnishing cream, Brasso, T-Cut (best) and 'wet and dry' to 2,000grit. Then a buffing system comes into play but it should not be allowed to make contact with metal which turns the buffing wheel black. Finally apply steel wool and spray with lacquer. Getting back to work he hollowed out the centre of the bowl to take a preformed small copper dish. His practised hand/ eye coordination perfected the shape in a short time resulting in a perfect fit allowing for 'glue' thickness. He donned very readily fitting blue Nitrile plastic gloves for mixing his two-component epoxy resin. Roger suggested that rubber or vinyl had a tendency to melt when used with epoxy! He used to swear by Araldite but is not so sure now- it can be brittle whereas other resins are more elastic. He applied the resin to both surfaces and fitted the copper dish. He would then clean up the wood and the copper centre and finish off the underside. He would buff off-lathe avoiding the copper at all costs.

To round off the evening a 5½" Cherry blank was mounted, the outside shaping having already been completed. The wavy face of the blank was faced off with the bowl gouge. This piece was also to have a shaped copper dish (a large candle cup) at its centre. Again the process of hollowing out an appropriate recess was carried out step-by-step with great skill and certainty of touch. In fact the fit proved to be so perfect that a trial offering of dish to recess resulted in the former being impossible to remove. That would have to be a workshop job back at base in Newbury.

During the evening Steve called attention to his monumental and magnificent display piece using a highly elaborate section of Yew trunkwood. I suspect we had been rather slow to enquire how such a chunk could possibly have been mounted on a lathe. Arthur K seemed to know. He added that it was turned at no more than 100 rpm and that the finish had been obtained with just Danish Oil.

What an entertaining evening we had enjoyed; and did you all tune in to the underlying humorous content (asides, carefully timed repartee, ripostes and a little subtle banter)? Thanks are due to Steve for a great evening!

References:
See the May 2014 Club Night write up for further information on metal spinning and materials suppliers.

Epoxy Resin suppliers - investigate: CFS Fibreglass Supplies - Cornwall (www. .cfsnet.co.uk) and Alec Tiranti Ltd. - Thatcham (www.tiranti.co.uk)

This month's Show and Tell theme was - A Box.

Joint 3rd Show and Tell winners - on the left a 'nut' themed box in oak from Roger Blake and on the right a box in Corian from Richard Branscombe
Runner up this month was David Branscombe with an urn in burr oak

This month's Show and Tell winner is Arthur Kingdon with a superb 'Pagoda Box' in American black walnut - trophy presented to him by David Branscombe