The Art of Segmented Wood Turning (gnv64).pdf

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A Sp-ySp G m J. bb







































The  of Segmented Woodturng

 Sep-by-Sep Gude  Malolm  tts Al ghts svd. o  svd . No pa pa o is ook ma e epodd o tansmttd n an om o 

an mans, ltoni o maa, dng dng photocopg codng, o  an an  nomation stoag and etva sstm wtot wten pemissio om te plis

 2003 Malcolm  ts 579864 IB 10 094196864 IBN ' 978-0-949686-6 htd  C

a o Congess aaloginginPliatio aaloginginPliatio data s Malolm, 1949Te a o sgmnted wood nng ; a stp--step gde I  Malom Ttts p. cm ogaphcall ns and index nld ogaphca nld  0-9196-86-4 (p alpa) 1 Tnig  oodwo  tl 0 004 0 684·08-dc







































Table o Conts 1. Introdton

9

,. yes of onstto onstto



3· Tools

3

4 Safey

5

AAW ah Sae Gdels Respao Potton 5 Udesandng Wood

Moste otnt estig o Moiste ott Wood Ga Oiaio oosig Wood pag Yo Woo 6 le

lamg Ge Sae 7 enqes a s

g Segmets Ds Sag Gig Sgmts ogete eag Rigs o Stakig ses o MDF Woig wi Vee Sting Rgs o Mtipe Rings Vesse Bases mpovg Eiie

89 aating ompo Mite Ages 89

Buig a Stav Vesse Motise-ano Joi  Lamnaon ey

6

ig Zgzag Rigs MtiGao mao wo Was to  Diamons Laminaed Segmts a Stavs A Bow om a oa

7 19 '0 '  

4 6 '7 '9 3 3 38 47 49 54

6 7 8 6

8. T Dsgn roess Desig ips eae Rngs ag a et A Saml Dawg

7

9 o's ng

73

an lankt Fate Rg

10 Save Consrton

63

63 65

67

12 rodion nng 

  Ova Bowls Meg complte Rigs nsalling Rou Desigs

4. ldng an osaedo

Sphee ig eni enies es asomig Spees ito Vesses A ncat osaeo 15 oroles ad arge ngs

Big a ohoeSe Rig Big ag Diamt Rig ehs iing Snise Segmets Athe Wa o set Diamos Moe age Vss iqes

9 96     ' 8 13 "

9 3 3 39 3 8 9 13 3 9 6 6 63

6 Segmened bbons

67

 7 nal ogts

 75

Aendx Mamaal Fomlas & opts allaig omo Mes osco o aton Sods at o omo Mt Agles

76 76 76 76























































































































9

 Intductn From the time  bul my is bidhouse a age fve in my granddad's shop. I have always had a fascnaon with woo More han thity years ago aer movng no an ago a n empty house, with my wes encouragement. I purchased a table saw instead o nexpensive affodabe furniture olowing wenty years o buiding funitue for ou home in Lake Tahoe I discovered he magica capabiities o the lathe As Jlook back at my past furniture desgns t stikes me hat I have aways expeimented with designs using contasting wood coor combinaions Gven my prior woodworkng experences and my owneshp o he necessay toos  was ony natural that I gravtaed towards segmented woodtunng wood tunng Segmened woodurning, o as t has been caed poychromatic woodturning woodturning has been around for a very long time Many years ago someone probaby had the need or a bow that was arger than her ages pece o wood and though, �I just gue wo pieces ogeher" rom hat moment in time, the ar" o segmened urning has coninued to evolve Long befoe I glued togethe my irst ring o segmens many other woodunes pursued

sa wih thei own vey frst segmened proect I you are looking or a new chalenge, hen t is my hope hat these pages wl povide you wih the techniques and inspiation needed o ceae your own is segmented turning f you have already staed down ths path then  hope some of my deas wil renew your interest and encouage you o deveop new chaenges n these pages, I have attempted to share my experencesl have descibed the techniques that have worked or me and in some cases, hose that have no worked I wan to make it cear that  do no offer the mehods described on these pages as the ony way I know rom casua cona wih other turners, hat eveyone develops the own way I shoul should d aso pon p on out that not a of these echniques are my own invention Woodurners are ve sharing and many technques have been ofered to the public in woshops, symposums, and magane atces; I have ried to gve cedit where t s due Segmened woodtunng is much more than glung together peces o wood ino a bow It is about creating exciting obects that chaenge











































E  OF EGMENE WOONG

B SNAA, 2 inches wd











































2 pes  Cnstuctn e ee st cn es  seente cnstcn e:

2·0 eent ad staves e te t t c et

tl f U tei te nles st  u t 360 ut  f  cplete ccle e in f seens n e i se   -01 sws seens  tw ffeent lents n te se n.









































1

E ART F EG EGMET METD D W

segmented work. There are endess ways to assembe and embeish these eements, and many w be desbed on the foowing pages Ceating tunngs from a simpe amnated bok of wood ayes s aso oasonay used as a method of onstrution Most woodwokes aready know how to make simpe amnatons so I w not be fousing on this tehnque Peope often onuse segmented work wth ad work The pub seems to be more t he tem "iad "iad Thee Thee is a bg famar with the derene Iayng is the poess of creatng a reessed avty fo the inserion of anothe piee o wood Thee are oppounities fo ths tehnique n segmented wo athough most assemby nvoves ayeng thke pees of wood together theeby eatng the same desgn on the nside as we as the outside of the turnng For exampe suppose you wanted a damond shape of ght-ooed wood surounded by daker wood To inay, you woud ut a reess into the surfae of the darke wood (by hand o route) and then the n gu a thn but auatey shaped piee of the ight·oored wood nto e eess To amnate the damond shape into a turning reqes a dfeent appoah You stat wth a damondshaped pee of wood the sae cess as the rest of you turning omponents omponents and then the n gue the soudng dark wood to the damond's four sdes using the dis sande to eate tightgue tight gue nes This assemby is then mahined into a segment to be but nto a ng of segments. The













































3-01

3

h   w  my m hd hd t



 r  d











































14

3-0

H A f  f EGMENT EGMENT WNlN WNlN

CRtBG£ RD 16 es mete





















































































  

 AR F GND WURNI

nee v er s. I I n entts. seg gmen  d cut more se k  bacck en I go ba  en ttin ng cutti thee cu ustt th ocus on jus rs ty ng o f ocu nd d hou ours spn sp g up the xing kee p mxin s. I keep ens. gmen segm eds of se of hn of dre hndr

workoad Ths helps keep my mnd focused n e job e job at hand t keeps my mind in i n the game As a segmented er you have the danges of mny power toos in addiion to he dangers of he athe Te the ime o devise whaever kind of ig is necessa in order o avoid puting yo narr movng movng saw bades dr bis hands na andng discs etc A very genera piece o advce: f you have to cut or dri or sand a very sm piece of maea hen attach t to a arger piece tha can be safey hed It is reay quite simpe if you sop and hink abou it if your hands are never very ose o a moving saw bade hen it s diicu o cu your inger. In addion add ion insead of ooking fo r your safey gasses when you hin you need them us mke it a habit to aways pu on eye protecon upon enterng your shop For many yea I managed outdoor operaons a a major s resort and as such  was

advancement of woodturning check hem out at woodturnerorg Wh their pemSion nd encouagement 1 have ncuded heir athe safety gudenes

W e ey dee 1. afe efective use of he wood

ae reqires reqires study and nowedge of procedures fo usng this too Read and thoroughy undersand the abe waing on the athe and n the owner/opetor's manua manua

 ways wear safety gogges or safety gasses incude de side si de proecion and a fu-face that incu shied when needed Wood dus can be hm to you respirato sysem Use a dus mask or hemet and prope veniaion dus coection system in dusty condiions Wear hearing protection during eended period of operatio 3 Tie bac ong har Do no wear goves oose

cotng jewey or an cotng jewey anyy danging Obects th that at may catch in roating pas or accessoies











































y o y ib  l of an thee possib vo o d th a v lpss a help T his he thee ad off the la lath outt o g ou mpg jum iecee ju d piec nce ced al ln nba unb th he ope aor . sr ikng t 9. When nng a lahe  reverse,  s possble

for a chuck or faceplae to unscrew unless  is secely ightened on he lahe spndle 10 Know you capablites and lmits  experenced woodurner may be capable of procedures not recommended echnques and procedures for begining urners 11 When usng a facepae, be cen the work

pece s soHdly mouned When ng between centers be cean the work pece is seure remove the the ool rest before sandg 12. Aways remove or poshng operaions 13 Do not overeach, keep proper foong and a tmes aane a a tmes 14_ Keep he lathe n good repa Check for

damaged pas, aignmen bndg of movng

Rey Re y e

One   bggest hazads n ny shop menoned n he AW gudeines s the asy wase subsanc subsancee produced - te dus! I ges dow your shi and no your shoes nd before you know t tere s a ra of i toughou you home owever tha s not the wors: i lso coa coats ts te t e insde of your lngs lngs Once you destroy lung ssue ssue he body can never regenerate i he damage s permanen bVousy anyhng ha makes you cough and choke canot be good for you Whe some wood speces seem o be more harmful and iriaing thn others, no dust is good dus So how do we protect ourselves? By all means necessay! In my ow shop  operate a 3HP dust collecton sysem a celingmounted dus filtraon deve and a 2nch fan mounted mou nted diretly diretly hough he exeror wal rght nex o my athe When hs fas to keep the keep the air cean, I use an air helmet sysem or clohtype respator My favore me of he year ye ar s the summer when  can can operate my rge w fan contuousy wt















































 T  ETED WT













































UNDERSTANDING WOD













































20

THE A OF SEGMENED WDURN!NG

Moisture Content s " he " he a s  a e  on e w e c on is t t w m o ois ne s " m le y y d ef ne s adle def H o o ad  d d c v i e s o f ls a  alls e ce ce     wal he r n t h  e e r f w w  we w eigh  o f

ood expressed express ed s a percege of oven-dry of eigh." In ohe ods if i f  osody piece piece of p e e ce o f me e p  m this is s  nd th s, a a nd n d d s, p ou ou n 1.1 .1 p h s s 1 ig h d weig w oo d w oo

ood eghs ony 1 poud ae i has ood eghs bee has bee bed in a oven uil  s compeey dry, hen he oo is moisue coe ould be 10% If he ood d ha you ha o  you use is is o  leas l eas s dy s s  s enonme hen i  con enonme coninue inue o ose voume vou me s i connues drng dr ng To pieces of ood on eihe eihe  sde of a gue jon ih deren moisu moisue e conens w pob pobby by move hs uabe e o res resc c hs diereny dieren y Gue is is uab

ed he he supis ised ed hen I measu I measued e iby sup eiby moiue conen. I ag aged ed damacal d amacalyy from up o 4% fom f om boad boa d o 9% up o board. bou 9% board. y  ee vesse on ay he mai m ai  ood i e  e vesse on he fron ha pae from ha cove is gennea mesuie from cove sore you o ood inveoy s Ho you sore Ho you mporan especialy f you ive in a humid cmae You soage aea obvousy has o be Mounaiss of dr  ive i he iera Nevada Mounai Clifoia Clifo ia Lae La e Tahoe Tahoe d fo fo bou h h hee e ejoy a ver dy clmae he ne yea e yea comes  can be dy one dy nd snong he dyn g shed h a e n bui n bui  heed dyng dehumifier my dehumifier my ood veory as al alays ays i a sae of chnge h he sesons c s

























































































22

E  OF SGMTD WOURN

exeig g oposing pressure ogeer, whout exei on the on the glue n nes es A is wel d he vesse sod V appy for a vy og tme_ Compex turnigs coaig eemes ha are no  orotal rese a more dfcul chaenge: you mus mnmize opposing fores durg te deSgn pase of your project. That does not men hat you ano posion wo pieces o wood peredicuar o eah oher  sml dmensos s an be doe wih ofidece The ot movemen whi very smal pieces of wood s usuay ot a problem I o tha tha smle vesse wh a is we go bak o segmens osioned hooally ad we now

wood d movemen mov emen a need mo of by ossible woo ed-gr -grain ain e aenon Besdes, e weaer e weaer ed oints re usuay reinforced by he ovrappg sideoside grn ons ons hat are presen between rngs rng sBy overapng he algnme f verical gue li lies es (ik (ikee ayng  ayng briks), you re esseniayy creang a seres of motiseand essenia wh are very ve ry srong ad ad type pe jons, jons, wh tenon ty tenon eecive

Choosing Wood hoosing wood for a g can be  ecause mos of he me, relaively sml quanites are requred, we have e















































UNDERSTADING WOD















































24

E  O SMEE WOO

oy oiy woods such as cocoboo nd teak Guing a woo ike cocoboo o itsef is much more risky han guing cocoboo to a non-oy wood.l hve head pope suggest h ceanng oy wood gue suaces h substnces substn ces such s cone or acquer hnner just bef before ore gung ensure success but I hve never found t

creae our own spectcu grain nd fgre efecs We do not hve o puchase e bgges mos expensve boards a e store  order o creae bauty. We cn uiize sma bods, c os and scraps a condeby ess expense  hve consruced many tunings fom numeous miary cooed woods in order to





























































































26

THE  F SEGMENTD WOTURNIG















































n ng a assse rshy gued  sem mbe ess in as  tt   aah hou e glug, but I m usuy n intht in tht much of  h. We  gue joint my  stong enough to , ncued gue squeez-out on e sd  u ngs cn be messy to de wth   gs  oe your gouge nd then when ng yo gouge it gzes oe you gindg whee  i diut to vod wihout

this typ of glue i tat it s m mo os sure activ iv ted, meain ing, g, t th hat t nee need ds a l li ie e m mo os sttw to cure. Supe-d -d  wood sho hou ud d b be e  g ghty y m mo o ttened wth a ms sti ti g spray  le bfoe ommencin ing g he gue ob

Ml ck) HoMl Ho I use hot met oten o tempoy cment

















































28

THE  F  WODRNING







































GLUE







































30

E T  EED WD

















































Q   

31







































H

 F GMT WR1NG











































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































THE DGN

CESS

8. The Desgn Process K you have al your ools sp. yo have your shop n cleandyour cleand nd d yo are are ready ready o reate yo yr rst segmened trnng What do doyo mae? he hoies are endess that's one of te great joys o segmened work Yo a reae jt about ny shape hat yo desire sig mos ny type of wd tat tat yo have avaabe  course, as shapes ad desgn omponents beome more omplex then the design proess bcmes mor ompl  ml desigs re bri·aid open bowl shapes bu even wh simpe shapes nd designs acate asmbly is mportant A loo a poo 801 shows a lidded open bowl relatvely easy to trn b stll reqrg aefl onsution nd alignmen f te segmen g mponents

Cosed forms (vesses wi sma op openngs) re a poplar hoie Tis sape is aally mh easier  rn as a segmened pie ompared o r rnin ning g e sape rom a od blo of wood The reason: yo n reae e shape s two separae pen trnings and hen oi te seins togeter here is no srggig wth  ng ng blin blind d r wi e difly of of removg wood thgh a smal opening FOR T Bo KING, a exampe o a osed ug at was onstred  seons is shown in p 8·02

Wile the vessel is eaiy e mst ommon type o for form m rea reaed ed n he lae yo are no

Den 

Regdless of what type of orm yo hoose t create the shape is what maers most Interestg exoti wds ad patterns  not erase he pialls of a pleasing shape I reommend  yo fis fos on he spe abe a ese Petend tat yo ae mng a solid blaolored orm As yorsl "Cn th shape be imprd Loo a he nes tha y desgn and dede i ey ow smoohy here e many diferent opnions regrdng god form. b I tn mst resped ers wod agree a the profe lnes  yor shape shod uay hge direin as gradaly as possible h f a piece o sring freely spended between wo poins, ompared to te sae piee  sring sring wt wt a weig attaed mewhere alg is lengh Gavy rms a m mre peasing shape wh te eighted sig  you vry he separation and/r strng ngte eevtin o the two ends the str te shape ages bt  genery remns pleaSing Most pleasing forms n be reated by ombing seions of differen gavtyoed gavtyoed uves o emphasize ti e me say a I m a bg fa of e panish arte nt adi wo designed many fan bdings in arena  he 1890S and early 95 One f his design ehnies ws o reate a psidedown model o is bldings by hnging stngmounted elemens above arge mior y vewng he







































64

TH AR Of SM W

cuy look Sve for a vessel base that is no larger than needed for stability.  smal base w oen gve ife to you shape One tric, whch I picked up fom the late Gene Pozses is to creat create e a smal a gap at the edge of your vesse's base wch will give the illusion that the vessel s oating. In othe words hide the ontact pont between the vessels base and the srace upon which it sits nothe tip that I pcked up a ong time ago om the wel-known rnerr Davd Elswoth: look at you design rne upside down t should remain just as peasing

of studyng a bloc of wood I oen study my wood inventor and then design based on what I have availabe  you do not ow much of an inventory, then you need to anayze what s avaiable at you supplier You do not want to nea te competon of a turnng ony to discover that you do not have enough woo of a pacular ye Whle you mght be able to acquire anothe boad its gran and colorng might not match the rest of yo tuning and you wil reget you lack of panning  real1y pays to plan ahead

Vessel wa thcness has an eec and pocs a feeling Thee is no fomua for proper wa thicess athough in general the smaller the turnng the thne the wal  s also imotant imo tant that the th e wal thiness thiness be consistent om top to boom he wd s going to move; inconsistent  thicnesses cod cause uneven movement and resut in unwanted stress If you tk of wood movement as a pecentage of ts dmension then it s logica that the smae the dimenson, the smale the tota movement I generaly strve for about 1/8 small ll tngs, tngs, up to to ich wa thickness on sma about 3/8  on large pieces

One easily made mistae is usig your boads as you need tem durng the conston of a tuing  your boards were not sequentaly cut rom the same log then their coloring pobaby wl dife. If you use of one boad before cuing ito the nex boad then you  the risk of uwated olor breas i your turnng For a more consstent look t s bte to use a litle of eac board as you buid yo rigs ten the colo differences will be random and the eec wll be a bending ofthe colors

Good fo fom m is pehaps the most mo st dicult aspec acheve eve and undestand I wood odtunn tunng g to ach of wo know that I continue to learn with every pece that I make A Supreme Cour justice once said he had diiclty describng poography but he new t wen he saw it Good design is aso dicut to descrbe but qucly and easiy ecognized  suggest studying te woks of the mastes and not ust of othe wootuners ist  museums look at works done in ceramic and glass. Study the forms that nate creates because natuay ocurring shapes are among

It s vey common to incorpoate sevea derent ypes o r coors of wood nto a segmented ing. hat is anothe eason this style of tung is so much n. he colors catch the eye and eay sepaate ths style fom solid wood forms.  s ver easy to ovedo t and I have ertainy been guilty of the oveuse of multpe wood es Usng many dierent types of wood is not always a bad thng one just has to be aware that it can be overdone and that too many coos can esult i a busy tuning Sometmes less is bette s you design your turnings you must make many other decisons One choce s the numbe







































E IG PC

gments per ring becomes fewer seg numer of se oints jo g coner j ing he in th te shapness of t wiith illl have to contend w inceases, and you wil rocces. ut dung the turning pro ou po end-gain chp he th iing t ly the moe segments per  Conversely e the ressult, th d as a re and moe gente the coes an oothly. smo shapng on the lahe wi go moe sm

As a geneal pacce I avoid constucing ings with fewe than 10 segments and 12 to 24 segments pe ng s more the nom. On large dametes (20 plus inches) 24 to 60 segments should be consieed Even on lage tunings segments that ae longe than 5 nches usuay appea too big Try to vsualize the appeaance befoe decidng upon the number of segments Befoe decding calcuate the segment lengths fo bo the argest and the smalest ngs I lke to maintain the same number of segments pe ring thoughout the tung t is ceainly possible to vay the numbe of segments pe ring, howeve  would recommend that you do it n a way that s not mmediatey apparent to he vewer Regardng staved constuction you do not have he same segment cone issues while tuning the prfile but you eed to selec a number o staves that ceates a nce proporton to the oe sie of you design A column ceated om only thee o fou staves s pSble but you mght as wel tun a sod bloc of wood  ie to construct staved vessel foms wth a miimum of eght staves A big concern with stave constucion s "How do you add any ayes above o below the staved poon of the fo?"The fo?" The wood grain n the staves is vetica: Do we have to maintan the same gan oentation in the othe adjacent components

e1gn can e et b bcg feet cooe oo oo 804

constucon of a staved vessel and I ofer a soluton to the gain oientation challenge

ee Rings t s commo for segmented vesses to cotan a eature eat ure ring ring wthin wthin thei desgn  a decoaton that adds inteest o the viewe The numbe of corr rrespond espond to t o the design elements shoud co numbe o segments hat compise the othe rngs in the turning Fo example   decided to construc a tung wth eight Indan blaket desgns postioned ound t then I woud omaly bud the ohe igs wth eght sxeen, o entyou segments This woud low me to align l the ings in a banced confguation I do not want to ceate a conguration that dispays dramatc dfeences n the alignment of the veca glue joints between ayes whch would occur if al he







































66

T AT Of SMND WDI

otey y and bakey ave sowe Indian ote ad a ig infence on egmened woo degn Thei geomec deign lend hemee ey nicey o he aembly poce of egmented wok, whch i wy o many egmened ne hae foced on hee ye ohwe hwe deign de ign ao ee o  of degn o qte oa wih e yng c   o the m Q Qe ehe he ae cetay no limied to them contay becae tee  o mch ndae wok eing done,  encoage yo to epoe othe oiilie

805  rge dmd requ requre re te ue f   n

re eed ed he  he eng en g fr fr h h  l 806 A ouer r m p.

ckad deign aea eaiely Sie bt accate concon and aignmen ohe ing i eena and n a lage deign oatona agnment  ey diffcl to manain Comlee ee can e cncte n i manne o he incacy o yo de  comleey yo decion h ye of contcon  ey able becae te w gain  conSenly hozona ccef agnmen o he egmen doe eie od ng. Rng R ng a a aee j lgly o oa a w w c ce e nea egmen lengh and e e e conency n Cae , a odon    ml m la a bc-lad bc-lad ee e e i eened eened n addton o ck ayng wt ea-ied egmen egmen  neal ne al egmen leng ao ca e ed. e d. To aoid conion dng contcto yo deinely need a deae deaed d kec om om whch to wok. Damond ceaed wh a dc ande ae anothe choice and tey ae acaly qi qiee me o make Poo 805 how a ae lag damond deign (aot -1/ inche wde) f  ook ey co coel ely, y, te ode of aemy ca  een.. oo 8-06 how a oecea een oeceaed ed







































 GN PO

Pl g r af lag

lank  gn ar ay n y 808 ia lank know the ck

809

tey ca be flat or steep depedig upo e mte agles. Deailed step-by-step sucio s aso peseted  Capte 

deas surroud ou ives, toug peaps mos satsg ae te orga desgs tat e as artsts vet

ee ae coutess varatos of Ida baet desgs (oto 88) Tese desgs ae easiy aceed by executg umeous ooog steps as descbed  ate 9.

Creating a Bueprint

  ave a sgatue eemet t s pobaby pooes or segmets it dos Tey povide a oppouty or corporatg endless desgs to you tugs Te sampe so  poo 89 s qute sma ad dspays smal c cabocos o macassa eboy  ave aso used sto stoe e cabocos  some of my pooe deSgs Lage dos ca be used o dspay maquety desgs; te tecque s coveed i deta  apter 5. e cured pieces of maple  te poto esult from exposg a ayer it te segmets aote tecique coveed  ape 13-

 al but te mplest o desgs you must ave a pa  ca be a ad-da setc o a detaed compute dag bu YOU HVE TO HVE  L Befoe ceag tat pa et us e a e basc geometc pciples: a crce cotais 36 degrees te ccumferece of a ccle s equa o is damete tmes p p s equal to 3146 e dameer o a circle s equal to ts circumfeece dvded by pi Also









































68

 AR f SGTD WNG

 aatg eget legth, whe yo

8-

The terms can become confusig.

yo a detee eveyhg yo eed by ple ltpcato ad dvo t to ay oe oo egadg et e dee ad ltate a ew g hoo 10: eget legth legth o the og de (the oe to coe) eget wdth wdth o oad o wch ae t  eget heght thke o oad o eget ae ct _eget age the age o ct ally 36

dvde cceee by e o eget yo gve eaeet  a a legh (a cved eaeet) o the cceece cve t' ot qte the ae thg a te egh o a eget whch hold e thoght o a a chod legh (a taght eaeet) h deece ca aly be goed  aey ae a deece eae a lte xa the  geeay added to the eed daete ad to the wdth o the eget dg the deg poceI yo cotety goe th deece thoghot the ete hape, eveyhg hold e p jt e I oy eto t o the ath whz who ght eto y calato ethod

Uing Graph Paper Copte ae powel too, t they e ot eceay o ceatg alty deg A e wth a good eae oe gaph pape ad a le ae al yo eed Ft, decde o te oveal e o yo tg  t  gge tha yo gaph pape heet the yo c tape ltple heet togethe o yo ca wo at a e cae I peoaly e wog wth aale dawg ce yo do ot have the alty to tetch o h the pec awg o yo hape a yo a  a opte poga yo ght wat to t alate the tota (g, eate









































TH DSIGN POCESS

- 2 . IS 

- t. t. 2  l.

' 2>

8-1

Ung grap aphh paper make drawg drawg a design much er

















































































THE DEG RE

71

EBOY HOY

EBOY 8- 1 2

Cpr rawi pora ar vy any   eary

"W  I     ? ? T o ol oe     g   I by b y g g h   fl o o h   o   y o o   g ? I  









































72

90

 A F NT TNNG

(2-2 2 JOHN'S TURNING (2-

 he ia he i a m mer er) )  l   wrk wrk,,  wrh wrh t er r.





















































































14

HEE  OF SGMNE H SGMNE  WDRNIN ea tye o wood or ea sde o te oea ee o boodwood ees; tereore, I t 5 sma sts o ea oor s a ew extra  ase I dsovered a deeve ee we gg A ew o tese t sort strs are aso sow  phot 9-03.

90

Ancr the f t piece in t gl  ng jg_

 ts eatre rg 1 deded to ae 0 desg eemets arod te esse as sow  phot 901 a ee o boodwood w rode o  o a ometed eemet so I eeded at et 20 ees o boodwood Ts w beome m earer  te e ew ste I aways mae a  ree e a ew etra etr a eemets. eem ets. s I  be abe to re er ometo Wt ts  md I t 28 ees o boodwood ad 8 ees o oy e I  so ta a t or o te oy ees  so p d  psod   ed   sts tat wod be ged togeter ater s was eog ees or  omete desg e I ad 8 ees o boodwood  ged ogeer or strs osstg o sve boodwood ees ea Te gg o tese











































JN' RNN

and the bak o the tray hIS gap would be losed dung th atual glung step that olows I paed ths ps

on th guing tray with glu spread on al matng suas Wth th spring lamp hoding th holy pe n pla  added a quik lamp to for the bloodwood pie against the bak whh n turn fored th holy p to sd sghtly to th right whl beg rsstd by h prn lm D propry ther should be nough pressur on  h p p of  ip  ge   ap he gu onts to ensur 9 07 He a e h tight seams   hav ored th pie o hoy too far away, therby ausng a loos gue oint I relas th

7











































16

THE R  SD WOURLNG

e tey wee u e a eeen e aw kef. Fn tee t e an eaebn e eae ne-a  te en e eu  n e t i wn n ph 910 e  ee t nfue e ee: ea nua   e n te ak a a 

99

 this example,  stp wee t f

each assey

9

To reate he ese egn eah p   fppe ve.

Befe un te  ete I ae te ug e du ane t eae a aw e ak an t enue  ue ne  wa f  eeay nene wt te aeaane f an an  yy e ne  wa  uan f eqa aun f ea f e  t aatey antan e en  nen n en tkne Centen a te t eeen wt eet t ea te wu e ut   e t a e u beaue f e way ey wee eate t wa qute eay ea y By B y auaey ann te en  ea t wt ne ante a te eeen wn e  auaay ne  wt ea ote Een f one f e











































JOHN' URNG



terr saw e mte the sh hows th 2 s entt Photo 92 ele emen gn el desig desi ts.. e componets t paatg t sep se efo ore bef ed b pa ared y p e a ee reuy are es e ees -- pe ha se ha hese The o aves did not qute wo Ifw ogether. If to beng gued t ed re d tr and ide e an ly,, I put one asid ettly effe atcch pe mat tte tt an nd a  or a rror and err a an ta By t e.. By anote ged to nag er,, I mana dss saner e d te ng t sng ment us stm adjust rss par gued pa ung fe  un fp pees; a fe af a ch a the  atch mat e a ate rat agnment r 13 Ina own i poo 13 so e s ae a ed,, so I took iced otic no asly n ea iss e es i lve of the two halv carre whie gluig exeme ca

Even togh I only needed 10 ompeted eements I glued a the haves together because a e were not ey t pass mste and at ths pont it is ar too ate to go ba and mae more h 914 shos two haves amped togete toge te to om  om one on e mpete desgn.  lened up the mpeted deSgns on te dsc sander and nspeted them one mre By sides,  as able t seet the 10 eng both sides, best These eements n eeded to be mte t n ode to m the 360 ng: 10 pees, 0

nl l  f f 9-'2  m ter    t t n comon.













































7

TE ART OF $EGMENfO WlRNI

 j  cy   cotto d   ce  Chpe 7. 1 , b h  hy e th , p p  chee th t  u  h   b bht ht ht Th o ot t hv to b peec t ke  ye wh -cp  h p h ke to  bh ht

9'5

mitrr aw  USd to cre egmt The mit

fm he lu aseb

My g c o  vtc pc f eby eeet. t. Php  pooe bwee ch eee hve ve b b  e e  t t h p f wold h eboy o  g p bt tht w hv pepeu u to th potoe he boy g pepe Ite te  t ee I  of th bk ee the g he e w   t h hee hy  g hoty o th h













































J 

4.11" �90+ 3.7



00 2.00 2.3 2.6

8  

2.75



2.50

79

























































































JOH'S TURING

waste blok that would ac a handle, nd flaened them on one side ug the di ader. Uing a amp fom he eiing, I then gued them to the ebony g The ode o ontuting the emaning ring made e difeene Howeve to ave woo i s best to rip the wdet egment materi frst Ae  ut the wde egments, t wa abe to e ip the unued poon of thoe strps to the dimeion ion If  had staed with the nex widet dime nowest stps of wood firt then I wou have been unabe to ue etovers for the wide segments  ontinued to bud the bubinga g n the oder o width om wdest to nrowest My bubinga strips wee a ut from

Crc ton  Crcton  wt ot to a botto ebony ng.

9-













































82

9-22

THE AT OF SGMED WOTURNlN

Cla sces help r gd gue

9-23

th  vsl was at maxiu tal,  th















































OHN S TU TURN RNI IG G















































84

THE AR OF SEGMND WOODURN WOODURNIN IN

e ogee fe fee ey, y, o exe e oe  I fe e e I cefy che te e  oe ee o te g ce  e te e o te wo e to te f w ce   tc ee, 1 w tg o  coe w o 16 c f te ee  bee c e y tce go wo















































JOHN URNNG

8















































86

E   MEED WDU

wt  g o  sck f wo ows ow og  is jus s mpo o poec te iside s e outside Te fis is  brer g moisure To peve uequ wood moveme, bo sdes eed te same tetmet. If  vesse opeg s too sm fo yoes d, e te ext best g is to pou oi , swr  rou dr t b out















































JOHN' TURN

dout-haped rng of MF ung s16-inch al ubber and hread rod. Thin ayer of foam ubber and pece of paper towe protec the vee iih, a how i phoo 9·35. I'm not ure why bt one of he frt thng people do aer they pk u a woodtrng  ook at the bottom o I try to give them a ite omehng to ook a. o creae a proeioa

















































88

HE R  SND WOODTURNIG







































 CSRUO

89







































go

THE A OF SGMNED WOoRI







































ST CU

91







































92

THE A OF SGMND WOURNIN

















































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































PRDUN NNG

2]

2 Podutio Tu One does not normaly assocate segmented ng with poduon poduon g. Most segmented wok tends to be one of a nd bui one pece at atime a time Howeve, occasionaly  do a producon run of ha a dozen tings to mee a Chismas gf deadne or peaps o quicly e-stoc a gaey wih owerprced iems Sch was te case wt te sx ows hat I proe n ts chape Tee ae many adantages to cnsung muples o he same design een ogh e w can be te tedios The design f  pdction n s a sma open bw shape nsing  2 ayes r rngs n e dawng at fows,  did not oer to numbe te venee ayes, bt ey do account fo 72 pieces f wd  made he p f ings and e bm fur ngs using 18

2 W o   k sing e   g  gee eet t g g g g w e v fc egments eac we he remainng ngs segmen enss a a  a total o  conssed of 36 segm pes  wod ng h m pg onsdering I made sx owls tha adds p o moe han , sma segments  was a ot of wo bt not as mc as you migt  oo 2 displays the sx competed ows Te is step is to ceate he desig W a pjec sch as is  needed wo designs: the bwl shape and ng dimensns (poto 2-2), and te aangemen  te caid olred segmens in each ing desgn (poo 2-) 







































14

TH Au OF EM W W l lG G

drew the shape design Just as an any y oth other. er. thoug I dd not boter to overlay rctangles to detemne the segment wdts wdts becase they were almost all the same Te rngs were  but om ·nch wde strps except for a few Wder rngs near the top and bottom, bottom, wc wc  determned by usng my cpers on the draWng Usng the beprnt nformaton I created a cuttng lst wt te segment engh nformaton

I cose 3 segments per g so I could repeat a paern sx tmes around he vessel he aual layout of te coored segments requred a ttle doodng I used te same ayout for sx vessels, but  substtuted dfferent woods creatng thee derent combnatons t  (prevous page dspays the arrangement of segments To caluate caluate t tee number of each ype of segment per ng t was a mater of countng te dferent cooed retanges n the dawng and then mutpyng by  (the layout drawng s ony / ofte ccumference t s ver easy to mae a mstke whe cung nd gung so may dferent coored segments nstead of "measure twce cut once� ts more le"chek le "chek three tmes gue once I made a ceckst for each of the three dfferent desgns that ncluded te number of segments of each te of woo per rng I so made tree dfferent layout drawngs to gude assembly Evn wth these ads t s easy to mke a arrgement error You av to stay on your toes

I constructed the top and bottom poons of the bows bow s usng us ng standa standard rd tues buldg te ebony nd maple rngs from 3/3/-nc mteral and ten sptng tem to two rngs thus savng a lt lte e rngbulng rng bulng tme t me Constu Constutng tng a the multcolored ngs consumes te most

-  ee e - et t o 3/4inch tall rngs ame pae, t eet ws ta rngs therefore 1 coored ngs woud produce two dentca bowls I mlled the oars to a consstent thckness rpped strps for te wdest sements frst and proceeded to gue g gungg usng Ttebond ubber bnds nd te gung shown n Chapter 7 pt 7-6 Ths reur a couple of days of monotonous cuttng sadng nd gung I sanded only the ends of te ht colored to lghtcolored seams whc I rubjont glued separatey before usg te rubber bd glungjg glung jg Chapter 7 to assembe te rngs I 7 used the a-rng metod of gug (Chapter 7 ofgug Gang-cuttng two segments at a tme eped to speed te process and I mantaned rng dentty by labeng tem wth a mar marng ng  Pht -0 shows sxtythree 3/-nch t oored rngs twenty twentyone rngs of ea ea coor combnaton the sx bases nd three ebony rngs whch  become te sx top ngs







































 

 Spliig the ns ung a ab abes esw w jijig g

 Mn ae wa a

ee six deren e. acomed  o ay bem  afey comome  ed a  ( 12-05). wch I omay   ct e o o cte ame c tead  dg te g a ec c I camd   ae ae eed the aw e ad h t bad aed   o t ct to t  Keg my a we above te bad oca  owd a  o  bad ad we matag od g ctc  e d    td t  e bad' ot Mtg  m p eved e bad om abb    opato edced  o te-pag wk  t me w od mo c d tet tcee I d t eced t mhod  p mae  beca y ge od be t e to t a bde, ceag a y a ao Th t a    206 w x

ge I ao aaced  o g o by t b  o a  od add add ae b oed  o th e oto  te b  aotmet o tee ye o M wae boc e  o  Cae    ..  amd ad aeed e gg ac o t 1 moed   a  a cc Next  atac te adg   # 1 #3 ad #20) o ahe e f a bc ceteed d ttced wt x t bea  om e By  M  t e m  dmete t t g ceeg ca b yebaed J a q c  o te d d d ty we eady o gg to t ma I ed e cage bo/  ee a dbed  te 1 t ge  tee g gee E  cd  a aa ac o o de f  m ad  d adaeed







































16

THE ART OF SGMED WDT�NING

 8 Al i 8 ixx bo bow wss   v ro ros s stges o costctio wste oc s out to e eovd d the sest se st g s  s out to e peped o o he he  g

 section of oe bowl beg ssemd, o o lyer t t  te e

12-07 12-07

This

IS

hs po sees   og pocss, ut t u wt qute quck e  photo (2-0) shows the pogss  the uppe e coe, the o the ows e stg to t te shpe:  hve gued gs 8 though #3 oto h se ss d hve dded e d seco sec o gs #4 thou th ough gh #9 #9.. to g 8 Iy yu u ook cose at the cet ow o gs, ou wi s tht I hve outed the top g o o eo wth ts v es d pe gs to wt 1, 1, e top po o ocks Stg wth g  ocks th ows s tg shpe  cotued th







































!RDCION TURNNG

"7

las. 09 To mint by, hpe he boom of he bowl las.

b  orde o he t ower co

he bw e receved x co o h (oe o o dg ee ou co o o, d oe o o o bed w) whe they were  oued o he be we boc Revere oug  doe  ow ow  Chte 9, ho ., o I oud h d g e boo A bg oje - ybe. I deed deed u you ve Oe g  or ue kg x eeve ee w oe   e wh 90 ege ech woud hve e robby thee thee te oge he bc echque ued ued o bud tee bow c be ded o y y oher deg though I m o o ue I woud ejoy couctg rger Ug  h er Fry, I woud reer

Avod eg your w eg u you re ue tht you o oger eed oe ece y c Dg th rojec I eed u he e o oe bow by ccdey gg oe g th th oher Fouey I cugh the e beore ddg oe g I oud o ve the g bu I w be o ct ohe 3 6 eget beue y te w w  coecty e •

Sed ety o te g he rojet, ote oog or hotcu, d veg echque o ccoh he job  ecey  be •









































8

 AR  SGN WNNG











































13·

Miscellaneous ti ha  wil ecrbe a f me ays belish a egmne urnig ang  h a addiinal mhds of trctn. Once hav mad basc consuto you r pbably i to   to e yurs. Sme  thes hors chqusar chqus ar k ky y  r may mayhors as) of r sas  sre and a can l here ar mny rds or w  sma mtake ca u a arge invesmen  tme ad wo diappointmen i part of the game game

Bowls has a  ic vati om the al  and hey  n cul o bd eqpment  no nssry bu  d  care plan is V smpy, the technqe requirs a nvonal te-ta-wde bl

 te te a ded e e tht  e ed to e a te. the vee apart any conseny  ery nceble aln h xpod ge There are many mhs ad too fo measrg wa hss bu  his ase I can ue a unconnl mhod Afer determng the locain  he u ie  impy dred a erie  iny hls ad used the depth gauge on my









































130

THE Al OF SEMED WORNlNG

3-02 Mutig the owl on a ft board ti. . prdes tabi lit urig ti

-0 T ct on th half-cio can b d wl  l  l a aac ach h   e oard andd wl









































 

  N ROU (16-inh dameter nuts)   pee fit  eqire. wt a feet wt feet ae k abt ab t te et et of g a bjec to oe ta tw ee e e of taog bect by tg

te a eget I ee evea e f ag  tak lg a g wt a te folwe by  ag.  a oe









































132

   GM WJN

taped usng   ne nd trnsport try wi with th  sh er oe o e edge. 18 Rmg are taped cete ooth ce Sc they wee gog to be fthe e, eet gle ce wee ot ece The  e  b  wth  e e w ge to lt ech g h cetg  g bot  ch t  the g h be y e o ey' ke I oy oyo o hve ed e o the the te o o the  w To covet thee ll g to

octe wth e g t I col ctey ee the two thckee I lt the g 45 che  ete  oe to he  tle oo o l hg My tl gol o the ote ete o the ot  5  th  e ete o 37 ch Ug te ete I clclte tht the ccece wee 385 che  785 che epcvey











































MISCEANEU TRK

o   each ng. t I wted a eqa mltple ple asses ale  either sde Ae mlt truh te sader my measremets dcated that the shms were a smde t tk I aped tw layes  mask tae uder the -smmed sde er ather pass tr the sader I emved r rs staked tem ad measred te tta tess sde ad tsde Measg  thkess ad te dvd by fr s mre ate tha meas jst e The measemets were se eg s I remved a the rgs rm the trays The rgs, mte saded  th sdes, are sw  phoo 13. Te red sas maks, wh I made bere emvg the rs m the trays date te tkest   ea  Bee sadg I ged ha  te gs  te trays wth a semet seam sted t he tsde, ad te te ha wth a semet ete t te tsde Ts was mrtat bease t allwed ay me t assmbe the rgs  a r a r y atte wtht ay lss  gle

3 cucy  te tp dpd uo mucul hm djtm ent

'33











































134

THE AR OF SEGMENED WOOD1NG

go of egt g The go of fo wee tff d od o I w be to e t two , oe o te de d oe o te otde I oted to o g  t fo t I d ebed o qeeto, w I te oed to wo feto  how  photo 13-l evo ge) Cete g  ofe eey: I ed gg  tted wt otet, d bbe bd

13-2 iner

A lrge jm-chuck provide provide e to the

surfe.

Now te two e wee t bo edy fo g I toed te  o te d de to ete  god ot d teoy oed te wt dobeded te_ e ede of   oect w etey e d I  ot gog to ote eey det I otted  eod te ye oetoy oeted, g wt te te ed ge otde d de u de f fo o ye of MF to t te two g (phoos 13-12 d photo 3-13). I t te ft g t t te ted ot d eed ow t ft oud te te eod g Cef eg o te oeodg dete d te e of  4 dete











































MLSCENOU RK

'6

N  WO (

ih dmetr) - nstng oud lmnt c  tky. w o dvjdy td d d bo b Gg t g togt wod v vodb td  g

135











































36

TH   M WNG

Ocener turing eqies a lrg 

318 Se 3 Sere re  d d a a ra rae e   oi oig g i s eque.  I W WD D  ppey 6 h 











































MEEOUS TRCKS

137













































138

THE ART  SM WUI













































BUWG A OHEDRO

14· Bu ildi n g a n Icosahedon  yu re le m pep. y re prby syng t yrsf "Wht e hck is  icshdr ics hdrn? n? We, We, elee t or or nt, e hv hv been ny bks win n the suje An csadrn s e f ve Ptnc slds which ar regu tr·dmnsn slds

4- A Y (9 In .)  my r ohdr oh dron on

39

























































































BUILDING A COSAHER

14-07 Mang tape hold pies  agnme.

4-8 Fold te ee ad doube ek the acra o he f













































142

  Of S WUR

14-09 Tis can e foldd nto a per.

by I  ot ee ep to t t Sue, t  ee c be gu togee but y tce  e o teeo  u e ece By tg  e t e e  c cy oe  cc o ucc e e  cete og t e o e 12 eeo o ot tu g o get e e e c o ue y cccy  te    e'  y g beee o ge e, e g  e o e tt g to  e g  eu t  o teo e e o  ote eeet to te gug cege e ce  o o e te  eey u o yu te oy eqeet  t e 































































































E AT OF EGD WO WO :NG

poeee o ee  o o fe Tg  ee   e  o  q ey o e  g ewee e  pe eo,  I e o cop e  Photo 141 o e ow poo of e pee w ee pooe g  fe  po I   ge j w  A A















































BULNG AN ICSAHEDRON

Isse iing the c ck k par of I A 

plu lug gs is aurat ate ely lo on nmg he sphre withn h he e ja-chuk. J'.l le ra aa an nd-e -er ro o. By cu This eques a  u g g pn nin ing g, you can co com mpar 3n udrszd op ar  th the e the th betw tw n e splines es.. If If hy ar spc sp cm mg be r n no o pos osiit to on th then th  sphr aco en rp equal th corrdn ng gy

fo tung the opning o th rqurd damr. oo 14-16 shows that the jarah















































146

TH AR OF GMN WRN1NG

cptra c ta I ed TNIC MUL m oor of ato), a ow  photo -8 Te remader of te projct coed of creatg te maer per ad g t ae. e oy oe oewory tcqe pera to t o cot cotg g e 3c pr w ter ort-ke rg ee were fr aemd y ag v egmt egmt  g  g g t t MDF















































LNG A lcSAO

47

















































148

HE  OF SGND WOURNC







































BULIG N SHEDRON

'49









































TH AR F  WN1NG







































BUNG AN ICOSHEDRON







































5

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!u

lue joints endgn to endgin n Glue sueeze avoiding135 avoiding 135 Gle, lyurethane  Glng: a! at one time, 109 cleaniness when 74 end'grain to end-grain 167-168 key ts when, 78 o feature ing 789 o halfvessels 84 o cosahedrn. 42 o ily wods, 23 SS oge bowl, shaping vessel with 85 Grain orientation ompmised,95 imance of 22 in feature rng. 78 in aminated bowl 167 in segments , 36 in staves,  8990'9 incompatiblity of 19. 21 f,, 65 management f of diamond shae shae 10 12  12 f slines slines 6 f vessel base 96 Hand plane leans u strps 76 Hat eorge. 143 Heat ee on gue lines. 1189 tehen tehe n 3 for mitering jig 157 fr sandingjig. sandingjig. 4 fr tablesaw sled � imotance of 31 when sawing staves 92 Holdin mpoance f 31 Holes tapered 135 ug o 80 favoed se of, 3 in diamnd shape 111 in feature ring73 ring 73 roblems of 24 spline splin e f f 18 1 8 Hose clamps: fr cylinders 62 fr gluing sphere 42 se of 99 Hotmelt ue ses f  cosahedron definiion of 39 ging of 142 in sherica shae 139140 miter of 176 Indan blankt as design souce, 67 in feature rig 73 Inaid woodturning defined, 12 Irnwood se o 

fr glng74-76 glng 74-76 9394, 14 fr mtered ngs 13 13  for meng segments 57 fr merng triangles 14 fr routing diamnd notches 1 for sanding 78 103 fr sawing segments, 02103 fr sawing staves 9 for splitting rings, 25 for trmming stips 108109 impoance of 1 Joint for vessel base 96 oint failure causes of 1 Lacwod, limed use f 22 Laminatons cutting into 112114 design of 105 fo saved cnsion 14 ge fr 09 mligen ml igenerati erational, onal, 104 stng f 154 dt dth h of 10 Lathe: as ang to 115 as clampin devce 82 sze sz e of  Latven Bud 9 175 Ughting mprance of of 4 Limba use f 2 Machine ools lis of 3 Madrone lmted se f f  Mahogany imited se of  Mahogany mountain avored se of, 3 Mae: laminaed bowl of 67 laminaion of 14 spline of 4 56 Mae veneer splne f 8 Mae birds-eye fr sphere plgs 44 favored use f 23 Mape: rly as base plug 97 diamnd shape of 110 in va sha 112 splne of 93 staves f 91 favoed se of 3 Maple hard: favoed se of 3 with exotics, 4 Maple soft imited use f,  Maple, spaled faore faored d use of 3 3 Maquety deigns in rholes 6 n lugs 148 Maskng tape as glue resist 75 MDF: fr making tes cuts 9 a n of 55

!

segment ctting with 33 veial acuracy acuracy of of ] iters comnd calcation of 8990 use f f89 89 osture ost ure cnten measung meas ung f 20-21 f oise·andtenon for vessel base 96 ytlewood favored use of 23 Nish ale 9 118 Oak: baels of 89 limted se of 2 Oahedn mir angle of 76 Oily wod guing of 23 27 155 Orientation f igsag patterns 103 " eorange use f 22 Ova shapes in lamiated boad  technue of 129

f

Padauk: limited use of 22 24 Palm sander and laminated staves. '"

Patin ool fr splittin rins 8 82 83104159 Pentagons nsid ug 5-151 Pesmmon, favored se o 23 Pi definitn of 67 Pink ivo favored use of 23 Platonic sods definiton of 39 Plgs fr base 9 fr decotve effet,135 effet, 135 fr sphere 14 Pychromatic woodtrning defned 9 Polyurethane glue ses of 27 Popla limited usef use f 22 thles n feature ing67 ing 67 turning of 153 Powe tools ist f, 4 Pzsesi Gene desgn techniue of 64 Production trning 12 ureheat: favored se of 23 in aned rings. 118 n diamond shape 110 n tures tures 154 splie f 14 VA glue: oen tme with 49 uses of, 67 Redwodlimit Redwod limited ed se of 2 Resrator arhelmet 15 mpotane f 17 Resratoy haza hazard rd  glue, 29 o MF, 55







































Rings, mit�rin of ) Rosewood: Brazian2] Brazian 2] cocobolo,] Eas Indian 2]. 98 flamewd flame wd2] 2] Honduras. 2] pau feo 2] tulp tulp ,23 oute! for damond shs, 111 ub oint repaaton of 3839 tecnques of 40 Rubber bands clampng wih 8 40 48 95· 09 or amping segments 600 for guing rngs 14 not wi th olyurethne olyureth ne gue. 49 abe saw for splitting rings 9 Safety Safe ty gudelnes, 6 anding gits wt 85 nsde vessel. 64 per 85 Sanding block uses of, 5152 Sanding Sandi ng Jg 43 Sanding m  16 Sanding sea e; 99 appication appicatio n of of99 for l 15-16 use 86 Sculer Me.9 e.9 craper diamondined, 5, 9 damondponed damond poned59 59 Scraper cbnet for insde ceanup 164 cObne. smooting  th 85 dimondpoint96 round rou nd 55 she, smotng wit 85 Stewat 886 Screw  or assemby 135 clptua fom attraon of 6] egment defnion of. 68 176 egment dscsandng dscsan dng of.] 8 frand sandng of 80 111\ gluing witou sanding 4 Segment eig defintion of 68 egment lengt calculation of 67 defniton of 68 176 mpotance of 7980 Segment widt widt  defnition of 6 6 egmented constution: defined. 9 efficiency of, 61 ] monoton of 15 of rbbons 167 style 12 Indan designs designs 66 egmented rngs

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sawng ode of 81 eitzman Uncon. 9 Shuer Mike 9 ehnque of 118'120 Sgnature. of of tuer 87 Sketh: computer for 70 gh paper for, 68 imporane of, 66. 67 ofohns of ohns n 707 op agle and vessel fo 89 occer bal gomet of 4950 outwest Indan dgns 6667 pere bemes vesse 148'149 sanding o 48 splttng of. 146 turning of 4]44 wth anged rgs 14849 Splne for angled ngs ngs,, 118 n icosaedon, 142 amination of, 93 Spay glue uses of 7 Spng Dav  Staves defined 1 gluig of 9395 99 numbe of. 65, 89 onstuon th 89 vesseonstuon vesse top block comund tered 169 16 9 for cosu cosutt sed ] for sanding jig4] jig 4] for sawig saves 9 for trimmg g jg. 109 for zgzag paens. 02 maea a fo for. r. ] pvoing 106 of,] urve 163 flatness flatnes s 505 to Suer glue, uses o 7 ymmety impotance of 65 able saw crosscut sled for ]] segment cutng wih 33-35 szeof sze of ] Tack clot cleanng  86 86 Tape as glue esst 99 Tek lmted use of 22 Template fo potholes, 53 Tetrhedn, mier angle of 176 Ticknessng wh dm sander. 13 Thin strips utting of,]7 774 Tites impoane of 173 wtng13 Toos,  wtng 13 Tn ng ges es ter tered ed sawing sawing of 4°14 4°1 4 Tupwod. favored use of 23 ea res glue uses of 27

closed63 donut 131 fna shpng of 83 motance of. 6]64 o 6] ovod.. 129 ovod of ]0 we sope angle 89 esses large tuing speed of 164 ods,gue ods, gue for fillng 27 Wall thickns detemnaton of of 96 finalizing finali zing 97 importance of 64 inoval in oval bwl 19 In ohole rng 58 management of 8 84163 84 163 of segmened ibbn 71 Walnut dyeng bac 57 splne of, 9] use of  Walnut veneer of n val sape 112

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spere plugs 44 n spline. 142 use of, 2Z Wennnger, Magnus 143 Wood choce of ZZ co of, 4 64 densy of, 23.73 of. Z5 dying s o fatteng of 25 gran orientation of 78 nspiraion from 64 usage of. 18 mosture conent of 19"20 moemen of 19 21 ode to 24 oiness of ] preparation of, 425 68 soure  91 stoge of 20 Wood dust Inhton of 17 Yelloweat favored use of, 3 ebrawod limed use of  igzag saps: eation of, 66 pecse ftting n, 01 of 10 icoe, use of 23







































The Art of Segmented Wood Turning (gnv64).pdf

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