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    Woodturning With Ray Allen

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    Woodturning With Ray Allen

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    Woodturning With Ray Allen

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    A Master's Designs & Techniques ity Segmented [Pear ca ieee DALE L. Nish fier retiring in Yuma, Arizona, I found myself getting involved in many dilferent enterprises bul none gave me the satisfaction [ received from creating something using my imagination and my hands. Even after spending thirty years in the construction business I still had the desire to build something. I spent a year and a half playing on a woodturn ing lathe and my desire tuned into an obsession. In 1988 [ decided to direct all of my energy towards segmented wood- turning. I had finally discovered something that I felt I was meant to do. My inspiration came from prehistoric through present day pottery. The elegant forms and intricate designs presented me with the challenge [ needled to recreate their everlacting heanty in wood I believe that I have captured, through trial and error, the same satisfac- tion in viewing a completed piece as those wha have inspired me. Ray Allen DEDICATION I his book was written to document the work of Ray Allen and his unique contribution to segmented woodturning. The book was sterted in the Winter of 2000, and Ray passed away in August of 2000, shortly after ‘open heart surgery. He was a great friend to many of us, and we have missed his straight forward approach to life, the twinkle in his eye, and the satisfac tion Ray received from accepting the daily challenges of working with seg- mented woodturnings. He always greeted me with, “Hello, Mr. Nish,” and I returned the greeting with, “Hello, Mr. Allen.” When the formalities were over, we shook hands and we went to work. He was a best friend who is missed, but he will always be a part of my life, —Dale L. Nish ACKNOWLEDGMENTS book of thiy nature Cannot come wycther without the input of many people. ‘The author would like to specifically acknowledge the following for their contributions to this publishing project. ish, Zell. Phorography: Ray Allen, Dale L- Darrel Nish, Don Dafoe Jr, and Gar Computer Mlustrations: Don Daloe Jr. About the Artist Introduction Chapter One: Tools and Equipment Chapter Two: Drawing Blueprints Chapter Three: Turning a Segmented Bow! Chapter Four: Gallery Chapter Five: Bowl Plans Chapter Six: Design Segments 13 4B 99; 122 Ray Allen (1930-2000) ay Allen was om October 24. 1930 on a small farm near Dickson, Tennessee. He had two brothers and two sisters. Upon finishing high echool he onlisted in the Air Force, and after receiving an Honorable Discharge. he became a car penter. He spent the next 30 years in the construc- tion industry, primarily working and forming cway interchanges in the Los Angeles area. In 1982 Ray retired and bought a small business where he and his wile, Phylis, made redwood signs for local peuple and “snowbirds,” (tourists from the north spending winters in Yuma) Kay bought his frst lathe aK and began (o turn all the usual things begin- ing woodturners do. He studied books by Dale Nish, Richard Raflan and Ray Key. ‘After abuut a year, Ray began to search through his woodworking magazines for anything he could find about wining. The one that impressed him most was an article by Addie Draper and Bud Jatven about turning segmented bowls. He tried what thoy presented and found it to be very chal lenging, and Ray always did love a challenge. Ray’s first segmented turing in 198K was made fiom that anticle aud was not very good at all, but fhe kept tying, Then he began to work on his own shapes and designs, inspired by southwestem, pre historic, znd modem pottery. He found that he could draw a bowl with a lot of design, but after he drow it, he couldn't constmet it, Ray soon learned that he had to puta lot of thought into the design so that the project could be constructed. Practice, practice, practice became his mantra. In the years since that first turning, Ray’s work improved dramatically. In 1990 he received Best of Show, Purchase Award, Wood-Hand Formed at the Fes- tival of the Pines in Flagstaff, Arizona. Other first, place and best of show awards followed including the Scottsdale Art Festival, Scottsdale, Arizong; the Southwest Arts and Crafts Festival, Albuquerque, New Mexico; and the Del Mar Fair's Design is ‘Wood, Del Mar, California. He exhibited his work in galleries and museums nationwide. Photographs of his segmented bowls and articles on his tech niques. were published in Wood magazine, Fine Weodworking, American Waodturner and Wood- ork magazi Ray Allen passed away in 2000, He is survived by his wife, Phyllis, two children, four grandchil- dren and two great-grandchildren. This book rep resents the woodturning achievements of his life. egmented turning can be accomplished by many different techniques, including seg wetting, blocking and studing. Each of these gen eral methods of work can be accomplished in several different ways to produce simple or complex designs depending on the skill of the craftsman and the intended design. Segmented work requires great mechanical skill and precision and the adaptation or construction of special tools and equipment to pro duce the desired results. Segmented turning is a method of work associ ated with the long history of woodturning and can be documented well into the eighteenth century, In 1973, Polychmmatic Aswerbly for Woultuming, by Brown, and Brown, was published for the use of members of the Society of Ornamental Turners in England and the Entermativnal Woud Culleciors Society in the United States. Phe authors, Cyril Brown of England and Emmett Brown of the United States, were both recognized masters of the art and developed many of the procedures used in the eralt today. In recent years there has been increased interest in segmented turning, primarily usings segmented rings and block: ing to produce work with patterns of various pes, some being more successful than others. tn 1988 Ray Alle retired from heavy construc- tion and sturted developing methods of work emphasizing segmented work and incorporating Southwest Indian designs and forms, This comb nation of authentic Indian designs and pottery shapes, as well as Ray’s ability to solve problems in @ practical manner quickly established Ray Atlen as the premier segmented turer in the United States. His primary focus was to make segmented work ecceptable at the gellery level and collectible by collectors of turned wood. Within a few years he had achieved this goal but kept moving forward He created more intricate pieces, turned larger ves sels, used more rare and figured woods, and devel- oped different designs, including miniatures. Ray enjoyed the study of early American Indian pottery and designs. His particular interost focused ontribesin the Southwest, both prehistoric and mod em. These included prehistoric tribes such as the Anasazi, Casa Grandes, Cibola, Hopi, Mogollon, Salado and many others. Modern pottery included ‘Acoma, Hopi, Jemez. Maricopa and Pima, Navajo, San IIdefonso, Santa Clara, Zia, Zuni and others. This study wee the focus of his chnice of forms and pattems used in his turnings. He could name the design elements in any of his work as well as identify the tribal origins and ume period of the original pottery. All the design features end forms in his work were incorporated with reason and pur pose, but some were adapted geometrically due to the limitations of the woodworking process Ray was not interested in making an exact copy but tried to capture the essence of a good pettery piece, which is foremosi promoted by the shape. All his segmented pieces originated [rom a sketch or picture, which was developed on graph paper and dealt primarily with size and shape The major deviation frum Indian pottery was the selection of materials. Wood gave hiry a material with which he was familiar, and the variations in cotor, tone and figure gave him a pallet of colo: choices not available to the Indian craftsperson. As a result his turnings were much more colorful and the designs most distinct and prominent. At the same time, due to limitations imposed by the mate: rial and the mechanical processes used to produce the segmented feature rings, his designs became somewhat stylized yet maintained the integrity of the original designs Ray had no formal dosign training, but his artistic nature and intuition were honed by study, experi mentation and on-the-job experience. He was also a quality silversmith, working with silver and semi piccivus stones to produce jewelry in die Southwest design. However, he eventually concentrated on working with wood. He loved beautiful woods and enjoyed the give-and-take with wood dealers, many of whom became his best friends In his Yuma shop were stored more than 50 dif ferent woods from all parts of the world, and he was always looking for more. However, he used a lot of Uimbers from the Yuma area, such as carob, palo verde, citrus, desertash, mesquite, olive, desert iron wood, desert mahogany. greasewood, figured cot tanwood and pecan. Ray also enjayed working with woods commonly used by musical instrument mak ers, such as curly maple and quilted maple. The exotics, such as pink ivory, ebony, purplehesrt, bloadwood, pernembuce, blackwood, bubinga, becote, cocobolo, tulipwood, mesur birch and many others, were primarily used in the feaure sips and design segments. Every year or su Ray and Phyllis would drive back 10 Tennessee {or cherry and black walnut, [He would cut out the forks in the limbs for beautiful catch figures, Occasionally he would find other treasures, such as spalted hackberry, and bring them back as well. Most exotics were purchased as one-inch or two-inch boards, and the native Ameri can woods were usually one to three inches thick Any wood brought into Ray’s chop was set aside for at least two years before he would use the mate rial in segmented work. Wood stored in a shop for over two years in Yuma is dry, probebly 6% MC. or less. At any rate, wood used for segmented work must be 8" or less, because the finished pieces will be displayed in homes with central heating and air conditioning, which will cause cracking or delam nation in woods that are not dry. fy Allen's work included segmented bowls as small as a dime (bcttom hcto) and bowls big enough to accommodate an adult. The phote above was taken in ject a6 2 teply to the quectinn, “Hew da you sand the inside of the large bowl?" Ray replied, “I crawl inside the bowl, put sandpaper under my butt, grab my body grinder. nd turn the lathe fon.” Ray got tremendous satisfaction in talking with people, butin the end, bs super: craftsmanship and design were hs major cortabutions 10 segmented woodturing Tools and Equipment ay Allen produced superb quality work with a minimum of tools and equipment. In this chapter you'll find information and photos on common woodturning tools and equipment. White the combination of tovls featured here guaranteed success for Ray, they may not be ideal for you or your work- ing conditions. In addition, keep in mind that Ray worked in the construction industry and was familiar with tools, and equipment. However, in the photo sequences 1 hss bouk, there are a number of practices which will canse concern from a safety standpoint, particu- larly among teachers or crafismen who are very safety conscious. The book was written to show how Hay wcrkesl. No apoh wey are mad for the fact thet he wore his watch and ring, while he worked. A face shield was not always warn while he turned. The table saw was operated without adequate guards These safety omissions, which were aff too common Kay's era and siill are today, ase not recom. mended. Turners who would like to do segmented in the Ray Alten style are encouraged 10 take colnatovoe sutfety: m. da basic Delta Unisaw, set The only up with a table extension and fence: changes he made we: Ray laminated a smth pi pod and fit the opening i the table. The fit bad to be snug. With the blade down aud dhe insert in place, he used a wood block and hold down on the insert, at the same time cranking the running blade up through the insert so there was no clearance around the blade for small pieces to drop into and cause a problem. (See Fig. 1.) Ray also made a clearance block that he clamped to the saw fence. This block allowed him to adjust the fence to the length af the segment by sliding the stock up to the clearance block, and provided space between the fence and blade when the segment was cut free from the stock. ‘The stop block had (o be set far enough in front of the blade to allow the segment to be [ree rom the stop when it was cut off the stock. This pre vented binding segments berweon the blade and the fence, thus eliminating dangerous kickbacks that could ruin the segments, Mrrer Gauce: Ray screwed a 4/4” x 21/2" x 16” piece of serap stack to the miter gauge, which allowed the waod to extend across the blade’s path, about six inches. A wooden block was clamped along the miter fence and acted as a stop on the miter fence. making il easy to cut multiple pieces the same size. (See Fig. 2.) Disc SANDER: Ray’s sander was well main tained, The dise was set at 90 degrees to the table with no play m the bearings. The sliding table stid easily in the groove with no play as it moved bach and forth. The abrasive was an BO-geit disc, firmly aitached to the metat plate. The sliding table with a guide on the botom was made from a flat piece of aliuninum or medians den sity fiberboard (MDP). Ray’s was aluminum with a 12" square table. Me attached a guide strip on the bottom to fit into the maer slot on the sander table The sliding table moved easily back and forth, with zero Clearance between the shding table and the sanding disc, This arrangement provided full sup port under the segment bemg sanded to finished dimensions and prevented small pieces fom getting ht between the table and the disc. (See Fig. 3.) Ray bolted a stip af wood to the top of the sha table at 90 de cise. This strap § Figure1 This tase setup shows a segment beng cux. The zero clearence insert isin place and the clearance Hock has been clamped tothe fence to prevent the segment from binding between the fence and the blede. This setup will prevent kick backs, wihich may ran the seoment and possibly inure the operator ‘igure 2 “This setup shows the eck being held securely tothe miter gauge fence. Aim ‘cut has been made and the steck wil be flipped over and pesitioned to make the next angled cut Hands are well away fru the bode was 4 fence, which the sanding jig was held against, when Ray sanded segments to dimension. A stop block was clamped with light pressure 10 the bottom of the sanding jig and approximately in position. This block hit the edge of the sander table, and stopped the sanding jig when the desired dimension was achieved. (See Fig. 4.) The sliding table was positioned on the dise sander ible and the sanding jig slid toward the disc until the stap block contacted the edge of the sand: table. When Ray used the sanding jig, he placed 4 segment between the jig and the sanding disc 10 check the position. If the jig needed to be moved (oward the dise, he would slide the jig along the lence of the wble until the stop block was a few inches fom the edge of the table. Then the jig was slid lismly toward the disc until the stop made con lact with the edge of the table, One or more gentle bumps and the adjustment was made. When adjusted, the clamp was tightened securely. The set produced the linished dimension be wanted Paes: Ray used a homemade press that pressed work up to 18 inches in diameter and about 10 1 The press was set up to put even pres sure on the assembly. He used melamine-covered ty fiberboard undemeath and on Figure 3 The aluminum sliding table with the guide on the bottom is custom designed for Ray's 12° dise sander. Ray made sanding Jigs for the various angles required in his segmented work Figure 4 Shown is the siiding tablein position en the scsander. with @ sanding jig in position. This one is for 16 pieces and the end angle 15 11.25 degrees. top of the segmented ring. These materials made cleaning easy. A wet cloth was used to clean the sur- faces as soun as the ring was removed from the press. The press was used 10 fatten individual seg mented rings and glue the rings together. Medium pressure was all that was needed. The press screw Was from a woodworking vise. (See Tllus. 1) Camps: Ray used hose clamps to clamp the segmented rings together while the glue set. These Tong clamps can be purchased from plumbing sup ply houses or found in flea markets, Made from stainless steel, they can be soaked and cleaned in water and will not rust oF stain the wood lustration 1 VERNER CALWERS: Measu nig instruments Weremand sull ine-essental to check the uf the sey gment dimensions. Ray uyed vers calipers. but digital calipers are now available and ate vaste to use. (See Fig. 5.) Figure 5 Calipers, whether traxitional o¢ ‘igital, are an essential tool ‘Measurements ‘must be perfect Toots: Ray used typical turning tools for most of his work. These included bow! gouges, parting tools, scrapers, and others; but, he also made many of his own tools from old files or tools designed to use metal working bits. These tuuls were shop-rmade front files and were used by Ray al various times during the turning process (See Fig: 6.) The long, curved file scraper, was used to blend the areas and produce the final surface shape. The scraper on the right is neatly worn out; the one next to it is newly made, The tools on the left are heavy scrapers, ground to a double bevel. This makes the tool less aggressive and less apt 0 catch, giving better control duiing, use. They are used as shear scrapers, giv excellent surface. Ray used a different set of tools on the inside of his vessels u turn the walls to « thickness of about ‘/w"". (See Fig. 2) The cutters were made fiom old liles, selected for thickness and width, then cut to length on a metal cutting abrasive blade, They were shaped by the grinder so they could be used in any position. A carbide bit was used tu drill a hole the cutter to accept an Allen screw. The small. nayght cattery were made trom machine shop metal turning bits. The tool holders were: made fiom square tron bar stock, which could be bent. shaped oF drilled and tapped for serews. Woodet handles completed the tools. gan SANDING BOARD: A sanding board was used to produce a flat surface on a ring or base when it was turing on the lathe. Must wood was removed with gouge, but the final surface was made flat and true using the sanding board. This was a flat board 4/s inch thick, 3 inches wide and about 18 inches long A strip of 800 grit abrasive paper was glued to the board. (See Fig. &) SANDING JiGS: Sanding jigs were the method Ray used wo get the accuracy he waned on wuld ple pieces. The jigs also ensured the high quality surfaces needed to make perfect joints. All joints Figure 6 These shop-made ‘ook, created fiom ld files, ore used during the turing, process Figure 7 Specialized tools, also made from ld files, are used totum the inside of the bow in segmented rings were sanded and then dimen sions were checked with a vernier caliper. Sand ing jigs were easily made, slight adjustments quickly accomplished, and critical dimensions achieved. (See Illus. 2.) Turn Hanns: These liitle shop-made hold downs were called “third hands,” as they were essential in guaranteeing the safety of Ray's fingers while he was holding pieces close to the sanding disc. Four (o six inches lung, they were made feom scrap stock and the metal end was usually & nail or stif! wire. Low tech, bul very elfective. (See Fig: 9.) Tools and Equipment igure 9 “Thad ards" ae smple shop-mate tools that hold pieces stil ar beep Angers sale. Figure 8 ‘sanding board creates a fat and true surface on therings. ANGIE SANDING JIG ate an arate i hy cuttrg cut 1 pec, jolted cre ede and12r orc no. Pe teen df Weak ee ft agnnet the free, and the nea alga hn duntet heoda lect he Moment apts goss hago? Angle Sanding Jig ning he eondedt de ol dren ne» gud eeny fed hey age se andra ‘Send url thofilend of Une gle sanded othe core ange, nde ad at. Illustration 2 Glew thor cry Bleck tothe top ofthe gto act 20 hand. Drawing Blueprints tart small and simple until you get the hang of it. Take a piece of grid paper and draw a vertical center- line on one of the grids. Decide how large and what shape the bowl 1s to be. In decid: ing the shape and size, you may end up using several sheets of paper. Make the drawing full size. Draw the outline of half of the bowl on one side of the center line and put a piece ef carbon paper under the folded grid paper (carbon up) and trace ‘over the outline. Naw you have the size and shape complete. (See Drawing 1.) You are ready to put in the design. Atthis paint you will need to decide how you are going to construct the vessel and to figure oul the number of segments that will make up the fin- ished vewel. “Vhink.” Before yeu ject, the best thing you can do is study your n you are ready to go ch 1993) pow! or use wt te work on. for a day or se to work, ‘American Woodturn y fone of the patterns in the book 1 decidle 19 desig General Information aL turnings consist of basic parts; the and possibly v The sexs solid base, segmented ring, These are m veneer divid is. However, Kay the number ing staps betwe usually inserted dividing strips without calculating their effect on the diameter. “The segmented rings form the major parts of the turning and can be in various thicknesses, as well as vary in the number of pieces in each segmented ring. Typically, most average size turnings such as the bowls in this book, will have as few as eight or as many as forty eight segments per ring. It is important to become famil- iar with the terms used in various parts of a seg- mented ring, such as segment, width, length, veneers, angles and grain direction. Segment Formulas Smet Angle 460 number of segments example: $600 + 16 =221/° 22/2 + “The angle is cut on each end of the piece, therefore 22172 must be divided by 2 tu determine the angle at each end. Multiple Angles 400° can be split up any way as long as all the pieces add up to 360" Segment length This is the side of the segment which ts on the ont side of the turning, and shows on the finished piece: As an example, the ring is 10” in diameter, with I segments. Diamete 12 = circumlerene ch: 142 10 = 1.963" = segment length. Segment Wid This is the width of material needed to provide h wood to allow for the shape of the wall at nt, plus a little extra, usually 250 to .375 inches. Segment Thickness ‘This is determined by the section drawing on the plan. It can be as little as .125 inch and in the area of the design segment can be as much as 1.50 inches or more. Seymene Sixe Once the actual or net size of the segment is deter mined, it is necessary to add 0625 to .125 inches to segment lengths and thickness, to allow for sanding to finished dimension. It is not necessary to add extra (o the width, as this dimension is not sanded. Itis already to size. Veneers The plans in the book do not make dimensional allowances for the addition of veneers. As most veneers are 1/2 or .035 inches thick, they can be added as the designer deems necessary without sig- nificantly changing the dimensions of the work. Ray frequently would make a veneer separation strip using thice layers of vencer, usually a dark/light combination, but still made no allowance for the increase in height of the finished piece. In fact, 12 layers of veneers in a piece would only increase the vertical height by -12 inches, and he fell this of no consequence. Choice of Materials Ray Allen was very particular about his choice of materials. All woods selected were their natural color, with the exception of some veneers which would be dyed black to simulate ebony. He tried to avoid gluing open grained woods next to close grained woods, particularly ifthe colors were bright ing. This helped prevent colored sand: dust scutng in the pores of the open grained he surface a stained or cloudy ther problem is when woods of contuast- ued together for « design segment, such as ebony and a light colored wood. He tried ta glue ebony (close grained) to a fight colored wood which is close grained, such as hard maple or holly, Ebony glued to white ash (open grained) 1s difficult to sand without the black sanding dust getting in the open pores of the ash He also avoided woods which were soft and would sand away quicker than surrounding wood. Cily woods which would not glue well were used sparingly or notat all. Otherwise he usually chose woods which were high figured, colorful, and would work well int his desig. Bone, agua nur and stone such as turquoise were used frequently as, accent pieces. They were glued into the segment with Titebond glue. iviny wood look. Ar ing colors are Adhesives ‘Most of the joinery in the segmented bowls con- sisted of wood-to-wood joints and the adhesive most ‘commonly used was Titebond wood glue. This high quality aliphatic resin glue had the qualities he needed; high tack for slip or rub joints, fast initial set and strong cured joints for bow! assembly. Cyanoacrylate adhesives such as Hot Stuff Super T, a thick glue, was used to spot glue rings to dises for sanding or blocks to rings to hold the ring in position when it was put in the press: This adhesive was chosen for the nearly instant bonding feature, as well as being brittle and allowing the piece to be removed casily when necessary. Abrasives Ray used the abrasives typically available to wood- turneys, euch as aluminum oxide or silicone carbide, seldom using a paper coarser than 80 grit, and mov ing through a sequence of 80, 100, 150, 220, 320. and occasionally 400 or 600 grit, He was very care” ful to use only new. sharp abrasives and Irequently changed t a new paper, if the old one showed sigs of getting dull. He used separ ng and sanding, whichever was needed tw the Miter Angles Segmented turning ts the method where a num- No. of Segments Miter Angle be of segments are glued into a ring and a number 4 a6 of Pings are constructed and stack laminated to 6 30 make bowls. Each segment has thickness, length 8 25 and width, as well as a miter angle on each end. we is The thickness of stock is determined by rin, if ioe thickness from your plan, and the width of the stock 20 os is taken from the plan section, the length of the seg- 24 a5 ment 1s determined by the number of segments in 28 Gan the ring and the diameter of the circle. The miter 32 AoE angle is calculated from the number of segments in 36 5 ‘4 ring, The more segments, the smaller the miter ny 35 angle. The chart will explain this further. 8 Ga Drawing 1 Blueprint Outline First Step ‘Second Step Draw outline of one Fold under and side ofthe vessel copy cher side SEGMENT LENGTH & MITER ANGLE Segment Length = Diameter X 3.1416 = Circumference Circumference + No. of Segmente = Length of Segmente 1/4" Added to Ring os a jiameter For Turning \ ‘ 8" Finished O.D. t ‘ \ 1 i / A 8.25" X 3.1416 = 25.91" + 16 = 1.610" Length of Segment = 1,610" Thickness 360° +16 = 22.5° 225° 22 = 11952 Miter Angle = 11.25° | urning a Segmented Bowl ‘segmented bowl can be made in any number of sizes or shapes: however, Ray Allen was intrigued with the pure form and clean lines of Southwestern pottery, prehistoric or contemporary. constructed by various Indian cultures. While the forms may be derivative in their shapes, the basic forms Ray used were historic in nature. An integral part of Ray's segmented bowls were the design segments used in the feature ring. These bowls also had historical origins that were interpreted by Ray. The step-by-step sequence in the following pages wes photographed in Ray's shop with Ray, himself, constructing the bowl. The bowl he selected was a form that Ray felt Was representative of Southwestern forms. It incor- porates several clements that Ray typically used in his work DIAMOND with TURQUOIS, also DOT to DOT Sk DIAMETER PCS. THICKNESS LENGTH WIDTH 4.475 6 250 859 5.00 250 490 16 dark 250 490) 3 575 10 250 112 + “0.425 a 6 —_ 750 iwi 5 10.05 6 250 6 tnt w r 05 1G ® 750 1G 9 “BATS mh 0 1 CHAPTER 3 Turning a Segmented Bow! Making a Waste Block Fror to beginning the segmnerted fom. Ray rickes é waste block and ‘astens itto 2 faceplate The block should be about 11/2 inch thick and about "2 inch Larger in hameter than the3 inch faceplate. He wants the yeste blockto be thick enough so the 1” #10 sheet metal screws vil not intsfre with the tools wien he i shoping the bottom ‘The blocks cut in the shape ofa cirde on the bereisaw, then centered ond screwed tothe faceplate, The faceplate and waste block ‘are pastoned onthe lathe. The waste blockis tuned to @ tue circle, ard the foce fs ted true ord flat ester the base pce tthe press and put sre Ttebond gle in the

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