I have been gluing up 16 staved constructions and then thinking up something to turn from them. The photo shows the latest effort along with 2 similar glue ups. So what is your honest opinion about this form? 
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Design opinion wanted
- Thread starter Don Wattenhofer
- Start date
I like the form overall; I like the flow. I might tweak how the lines draw the eyes to intersection points, and move the virtual intersection points just a bit.
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My 2¢: I think that there are three bold elements ... each wanting to be the center of attention. For the cup part of the chalice I think that the staved design would work better if the shape were simpler ... for example a monotonic curve with no more than a single inflection point. I think that there should be some sort of transition between the cup and foot. perhaps a solid dark layer with a single raised bead. Maybe a similar dark thin layer at the bottom, but no bead.
To my eye, the cup portion of the chalice (to use Bill's terms) is too large in diameter. I think it would look better if it were smaller in diameter than the rim. I also find the base to be slightly distracting from the upper. Wonder how it would look with a solid color (dark?) base.
Bill, is a monotonic curve just a curve without the ogee?
Bill, is a monotonic curve just a curve without the ogee?
The construction and gluing are first class. I would make the base a little wider, and also would add a bead at the intersection.
I wouldn’t change a thing! The piece is extremely loud and the contrasting reversed base is abrupt making the piece louder. Why try to tone it down? I think the form is simple enough not to distract from the main design element which is contrast.
Okay, since you asked.......
I'd prefer a single glue up instead of the separate top and bottom designs which are confusing and too severe a transition for me.
If both colors of staves were tapered it might give a more interesting look as the width of both staves would change with vessel diameter.
I'm a little biased against bold, high contrast wood colors, nothing subtle about them. Maybe a dark wood combined with a not so dark wood.
As it is now, it possibly could have a bit more of a delicate look by thinning the lip around the top.
Your workmanship looks first class. Design is the part most turners have trouble with.
I'd prefer a single glue up instead of the separate top and bottom designs which are confusing and too severe a transition for me.
If both colors of staves were tapered it might give a more interesting look as the width of both staves would change with vessel diameter.
I'm a little biased against bold, high contrast wood colors, nothing subtle about them. Maybe a dark wood combined with a not so dark wood.
As it is now, it possibly could have a bit more of a delicate look by thinning the lip around the top.
Your workmanship looks first class. Design is the part most turners have trouble with.
The contrasting base is too much - solid color would work better (and I like loud). Just too busy.
The upper cup - do away with the ogee. Continue the upward curve in, or straighter side with the flare.
The upper cup - do away with the ogee. Continue the upward curve in, or straighter side with the flare.
all of the above comments are valid (even if some conflict).
my 1st reaction was that it needed a solid line separating the two sections...just a solid line of the dark (or light) color between the 2 glue ups.
my 1st reaction was that it needed a solid line separating the two sections...just a solid line of the dark (or light) color between the 2 glue ups.
Whole turning would be the same segmenting. The base and chalice, to me, compete against each other. My complements on the turning, though. Need to try it.
Thanks for all of the good feedback!
One of the main comments was that there needed to be a solid line between the two staved glue ups, but since the staved sections are endgrain I was concerned that the assembly would not stay together. The solution I am trying is to make a longer tapered tenon on the lower piece and first apply the segmented ring then true it up and glue the top staved section on. The first picture shows the segmented ring clamped in place (Note: there is a ring clamp block under the hand screw jaws) and the upper staved section in the foreground with it's tapered recess. The second photo is the beginning of a wider base with a recess to accept a tenon on the bottom of the smaller staved section.
I agree that the monotonic curve (it took me a while to figure out that big word) and the thinner lip would look better.
The comment that both of the contrasting woods be tapered for an interesting effect is probably valid however that would make it 32 staves for a combined angle of 11.25 degrees per joint so that the staves are cut at 5.625 degrees.
One of the main comments was that there needed to be a solid line between the two staved glue ups, but since the staved sections are endgrain I was concerned that the assembly would not stay together. The solution I am trying is to make a longer tapered tenon on the lower piece and first apply the segmented ring then true it up and glue the top staved section on. The first picture shows the segmented ring clamped in place (Note: there is a ring clamp block under the hand screw jaws) and the upper staved section in the foreground with it's tapered recess. The second photo is the beginning of a wider base with a recess to accept a tenon on the bottom of the smaller staved section.
I agree that the monotonic curve (it took me a while to figure out that big word) and the thinner lip would look better.
The comment that both of the contrasting woods be tapered for an interesting effect is probably valid however that would make it 32 staves for a combined angle of 11.25 degrees per joint so that the staves are cut at 5.625 degrees.
This is the result of your comments along with the cored piece from the cup, which I don't know what to use for but it is better than shavings on the shop floor.
Much more pleasing shape. Nice work
looks like hole in bottom design in.....orginal
Sorry but I don't understand your comment
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I can translate. Looking at the original segmented glue ups, there are big holes in the center that you didn't address in the description of your original concept piece. Of course, as we all know, art doesn't always hold water.
Might make a lid for the piece with it by adding to the top and bottom of it.
If you are referring to the 3" center hole in the larger glue up and the 1" center hole in the smaller glue up then refer to my June 11 post. The larger upper glue up had the opening trued up with a taper and the end grain face flattened. The smaller glue up has a tapered tenon to match the tapered hole in larger glue up, then the single layer walnut segmented ring is glued onto it. The next step was to true up the face of the segmented ring so that it was flat and the tapered tenon fit snugly into the upper glue up. This routine may seem unnecessary until you consider that the segmented ring after turning was only about 1/6" thick (the outside diameter is only about 1/8" larger than the inside diameter) so the tapered tenon is the main reason that the piece stays together. The application of the Walnut 3 layer segmented ring base is done in a similar fashion, and the hole in the small glue up is filled with a solid walnut tapered plug. The reason I use tapered plugs maybe would be a subject for a new discussion.
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Very nice piece. You figured out how to adopt most comments into the design (not that it was your intent). To my eye, aligning the same colors/woods would look better, with the tapering of both in the lower piece, but regardless it turned out great. The spacer ring and solid bottom piece “quiets” it down.
As regards aligning the woods in the 2 staved glue ups is problematic because they are not accurate enough to line up on each of the 16 staves so I choose to align wide on top to narrow on the bottom. The walnut line between the two further helps to hide the misalignment.