Not only did Sue Meads take pictures all day but she also made notes and here are her notes and observations.
George Foweraker / Mark Raby texturing and colouring workshop
Saturday June 25th 2011After initial notes regarding health and safety were absorbed we were given some handy hints from Mark.
- If fingers become hot while sanding STOP. Use less pressure and try a different angle.
- NO kitchen towel for finishing - use specially designed cloths
- Experiment to get the WOW factor. Create ideas for yourself. If it doesn’t work re-try.
- Use Tack cloth while the Lathe is off.
- Don’t fold Abranet because it creates a hard edge. Use Abranet to 400 grit and then –
- Scotchbrite / Webracks
- Green 600 – 800
- Red – 800 – 1,000
- Grey – 1,000 – 1,200
- White – non-abrasive
- To finish wood –
- One coat of sanding sealer. De-nib with grey scothbrite. Tack cloth with a stationary lathe. Then apply FRICTION POLSH – Speed an eez – with the lathe running. Be sparing with the friction polish. THEN apply Carnauba Wax with a light touch. Finish with White non-abrasive. Buff
Be creative in the tools you use. Nails, screws, basic workshop items will create texture.
CROWN SPIRAL TOOL
George demonstrated how differing pitch and twist profiles are made possible by altering the presentation angle of the cutter. The tool needed to be used with some pressure and the lathe running at about 1000 RPM. When the desired effect is achieved use a light wire brush or scorch on a still lathe. Try to scorch a darker outer rim and graduate to a lighter touch towards the inside. This draws the eye in.
CROWN TEXTURING TOOL
George used this to create an effect that altered the tactile and visual qualities of the bowl. It added that personal mark to the work. Orange peel, striated and ribbed patterns are possible.. Some of these effects were subtle some very coarse and aggressive depending on the angle of the cutter and the pressure George applied. The effects will also vary depending on the type of wood used – we were using sycamore .
ASHLEY ILES BEADING TOOL
We used this tool – 3,6,9 mm after the texturing had been achieved. George showed us that the tool is presented handle-down as the front end has a bevel which, when the handle is held low, presents the flute at a nice cutting angle to the work. To cut the bead “wiggle” and gently lift the handle. Once one bead is cut, placing the wing of the tool in the groove of the bead gave us a series of nicely aligned concentric beads.
To add colour George blew on MYLANDS SPIRIT STAINS. These can be diluted 50/50 with cellulose thinners. When a pleasing pattern is achieved sand gently with 150 grit and then lacquer with Autocare double coat acrylic.
ACRYLIC ARTISTS PAINTS can also create an individual pattern by being used on a moving lathe.
George then demonstrated LIberon Verdigris Wax which is a multi-purpose coloured wax that creates a striking effect. It gives green hues of oxidised copper and brass. It can also be applied as a wax finish to bare or coloured wood. The wood is sanded to 240 and then beads were created, scorched and wire brushed. The Wax is then rubbed on with a nail brush and with the lathe running a flat piece of wood is offered over the face of the beads – a leather pad can also be used. The beads are cleaned out with a wire brush and the piece finished with gilt cream.
Jo Sonja Decorative Artists Acrylic paints
“are made with the finest quality, pure pigments, the colours will remain vibrant and true.The paint has a beautiful, velvet matte finish associated with traditional gouache. They are water-resistant and will not chip or crack when cured. Excellent lightfastness. Safe, water-based and clean up easily with soap and water.”
The piece to be decorated was sanded to 320 grit. Coatings of PLAST-KOTE gloss – red, turquoise and green were sprayed on a moving lathe. The Jo Sonje colours were mixed and put on by using fingers. They were left to dry, helped by a hot air gun. With the lathe spinning ROWNEY ACRYLIC ARTIST PAINTS were syringed around the top of the indent of the bowl. The effect created was to radiate to the rim of the bowl. A PROXON carving tool was used to add effect.
MARK RABY – COLOURING
Use Of MYLANDS SPIRIT STAINS
Mark emphasised the importance of sanding any project with care. Sand through the grits gently, stop the lathe and horizontal sand.
The stain must be applied to BARE wood. It is fast drying and has good U.V. resistance. Always put on with safety cloth. White can be used to make pastel shades. The slower he lathe is turning, the more intense the colour will be. Take care to blend over the colour in bands. With the lathe stopped wash the colour over gently until the desired effect is achieved. To further enhance metallic effects can be used to highlight grain, bark, cracks etc. Acrylic sealer will lift the colours and fix them. Lightly de-nib ( grey ) and apply friction polish and carnuba wax. Burnishing cream will further lift the colours by buffing when there is no residue left on the cloth.
Sand to 400 grit, seal and de-nib. Section using LINING TAPE – 3 and 6mm with a random pattern making sure to carefully seal where there is overlap. Ebonise, paint, texture, pyrograph etc etc each section Then seal with acrylic satin sealer.
Rub 'n Buff
A gildd wax in colours for antiquing a rough piece of wood. Sand to 80 grit and Tack. Use a dark spirit stain base colour. Squeeze a very small amount of Rub 'n Buff ANTIQUE GOLD from the tube and pick up with finger. Rub evenly and thinly over a smooth or raised area using a gentle, rubbing motion. Buff gently with a soft cloth or tissue to achieve a lustrous finish. A soft cloth pad or short bristle brush may be substituted for fingertip. Continue to build up colours taking off surplus with kitchen towel – China red, ebony, silver etc. Finish with Liberon Virdigris special effect wax applied liberally with kitchen towel. Finish with Acrylic sanding sealer.
Add in whatever texture is required. Then colour with acrylic paint or Jo Sonje. Finish with Acrylic spray lacquer
A GREAT DAY
Thankyou to both