EVALUATION AND DESIGN
MY THOUGHTS AND OPINIONS ON ---
by Russ Fairfield (3/13/94 and 9/16/98)
NOTE:
This article was the basis for a presentation to an AAW Chapter 1995 and again in 1998, and is a reprint of the Newsletter article that followed both presentations. While old, there is nothing here that isn’t still as true as when it is posted. It is copied here in its original form.
The following is a summary of my presentation on design and woodturning in general at the last meeting I hope that this will be useful, and start some discussion among the members.
ON EVALUATION -
The 4 Questions
We should look critically at everything that we do at the lathe, and then, ask ourselves four (4) questions.
1.What was I trying to do?2.Did I get there?3.How well did I do it?4.What can I do better next time?Be honest. Look at your work with the same critical eye that you would apply to someone else's work. If you can't do that, then get someone whose opinion you respect to answer these same four questions.
Have A Goal - What was I trying to do?
Have a goal every time we turn on the lathe.
Our skills at the lathe will determine the complexity of the goal.
I don’t believe anyone that says that they didn’t know what they were trying to do until the wood was in the lathe,. This is the “I let the wood speak to me” approach. This doesn’t mean that we can’t change our mind once we have started. We may have several possibilities in mind, and a hidden flaw or defect can determine the option. But, we should always have some idea of the mission before we start.
The goal of every turning session does not have to be an object. There is nothing wrong with just making chips to practice a turning technique and improve our skills. For the first time beginner, the goal may be spinning a piece of wood in the lathe, doing something with the tool that will make some chips, and doing this without throwing the piece across the room or personal injury. The session was successful if these goals were completed.
Everyone, beginner or “expert” should occasionally pick up a green branch and turn it into chips. It can be a relaxing venture, and a good way to learn a new skill, or improve an old one.
Published Projects
We do not all have the knowledge or resources available to evaluate our own work. There is nothing wrong with duplicating a published project from a magazine, book, or other source. Then we can measure our success by a comparison with the pictures. Magazine articles often provide a template. The question of “How well?” is answered by the appearance and finish of the end product, and how well it fit the template.
Unfortunately, many magazine articles are a disservice to the beginning turner whom they are trying to reach. The article can have little resemblance to the techniques required to complete the project. Too often, someone other than the original craftsman wrote the article, or too many of the details were lost to the editors’ cuttings. Videos are often no better because too many details have been left out for them to be of any value.
As a club, maybe we should do more reviews of magazine articles, books, and videos from those members who have used them for projects or techniques.
The Instant Gallery
The Instant Gallery at the monthly meeting is one of the benefits of our membership. We can all use these exhibits as a basis for evaluating our own work. The beginner should bring their work for display, and they are encouraged to ask the “experts” to evaluate their work and make suggestions for improvement.
Conversely, we all have an obligation to, “know of which we speak.” As a novice, it is difficult to determine who is qualified to answer our questions. Don’t try to “snow” the beginner with knowledge and experience that we don’t have. If we are not an “expert”, admit that we are not qualified to evaluate someone’s work or answer their questions. Nobody benefits from bad advice.
It is not easy to be an “expert”. When making an evaluation, the “expert” should consider the “four questions”, and also have an understanding of the skills, tools, and equipment that were available, or that the person is willing to acquire. Don’t assume that everyone has all the “stuff” that you have accumulated over the years. It does no good to recommend a tool that they don’t have or can’t grind, or a scroll chuck if they don’t have one.
The “experts” should bring more of their works for display. We all benefit from having the opportunity to see excellence and skill. This may be the only comparison available to the beginners for judging their own work. It can also be an inspiration for all of us to improve our skills.
Demonstrations and Presentations
These are a regular feature of our monthly meetings. Those that know how are invited (forced?) into making a presentation or demonstration. Tool handling skills and techniques are important, and they are relatively easy to present. However, we are neglecting to share our information, reasoning and knowledge (the academic side of woodturning) on subjects such as the design process, color, balance, wood, etc. These are also important to our becoming more proficient at the lathe. The sessions that are devoted to these subjects are always well received. We should encourage other members to share their opinions, prejudices, and experiences.
Useability
This is important for much of our woodturning, and I have coinrd a "Rule" for it;
The “Usability” Rule - “That which is made to be used, must be useable.” I don’t understand why this is not obvious. How often we forget this basic concept that should apply to everything that we make on the lathe with the intent that it will serve a useful purpose. Objects that could be labeled “For Display Only” may be exempt from the basic usability requirement, but they can be subjected to a similar “Visibility Rule”. I will also share a few opinions and observations on “visibility”.
I learned the “Usability Rule” from my mother! Many years ago, I gave her a turned a bowl and jewelry box. After 20 of no activity, I acquired a new lathe, a few tools, and I was ready to start turning - again. At about that same time, I was moving my mother into a new house that was more suitable for an elderly lady confined to a wheelchair than the hundred year old family farmhouse. I found both bowl and box in the back of a cupboard, and neither had been used. The answer to the question, “Why?” is summarized in the leadoff statement. Neither of them was “useable”!
From the craftsman’s view, it was an excellent bowl, nice lines, small bottom, and very thin walled; but it was not useable. Think about how we use a salad bowl. We set it on the table, expecting it to stay in place while we fill it, and then stir and remove the contents with forks and tongs. For the user, my bowl was too light and tipped over too easily. It took three hands to use.
The jewel box suffered a similar fate. The lid had a nice suction fit, perfect from the view of the craftsman; but it was not friendly to the user.
How does a lady use a jewel box? They lift the lid with one hand, search and remove the contents with the other, and then close the lid. It will never be used if it takes two hands to remove the lid.
THAT “VISION THING”
Keep The User In Mind
Remember how the potential user sees our turning. We have a tendency to forget about them whenever we turn something on the lathe. We turn objects for ourselves, or to seek praise from other woodturners, when we should be keeping the user or customer needs in mind. While I am referring to a customer, this could also be the reviewer at a juried exhibition.
How will it be used?
As a woodturner, we see a bowl, vase, or anything else, as an object in itself. Our customer tries to see it in a “place”, or with something in it, flowers, fruit, potpourri, etc. Show them how it can be used, and how it might look in their house. Of 35 weed pots that I had on display, 20 of them had a few blades of dead grass and a clover stem in them. They were the first ones to sell.
The first impression is the most important.
Have you ever watched how people approach and look at our work? We need to know this, because that first impression will make the difference. After seeing the piece on our display table, the customers’ first action can be described for several types of turnings. If you don’t believe me - watch them, or take note of your own actions.
•Lidded Vessel or Box - Without removing it from the table, they lift the lid with one hand, and look inside. Then they look at the underside of the lid. Only after it has passed these two tests, will they pick it up for a closer inspection of the exterior.
Lidded Vessel or Box - Without removing it from the table, they lift the lid with one hand, and look inside. Then they look at the underside of the lid. Only after it has passed these two tests, will they pick it up for a closer inspection of the exterior. •Plate - They pick it up, turn it over, and look at the back. Then they give the face a closer inspection.
Plate - They pick it up, turn it over, and look at the back. Then they give the face a closer inspection.•Bowl - Without removing it from the table, they will either lean over, or tilt the bowl, to look inside. If they then pick it up, they turn it over to look at the bottom. The last thing they do is - - hold it up to look at the outside.
Bowl - Without removing it from the table, they will either lean over, or tilt the bowl, to look inside. If they then pick it up, they turn it over to look at the bottom. The last thing they do is - - hold it up to look at the outside. •Vase - They stand back, as if to visualize it being in a place, or with something in it. Only when it passes this test, do they ever pick it up for a closer examination.
Vase - They stand back, as if to visualize it being in a place, or with something in it. Only when it passes this test, do they ever pick it up for a closer examination. •Artistic Turning - These are first observed from the same distance as the vase, and for the same reasons. When it passes this test, they move in for a closer look.
Artistic Turning - These are first observed from the same distance as the vase, and for the same reasons. When it passes this test, they move in for a closer look.Did we notice that the first action is always to look inside? We should position the object so as to invite this look. What they see should then be an invitation for further inspection.
Conclusions
There are several conclusions we can draw from this discussion:
•The inside of a vessel or bowl issues the invitation for a closer inspection. Give then something to see.
The inside of a vessel or bowl issues the invitation for a closer inspection. Give then something to see.•The bottom of the bowl is as important as the inside.
The bottom of the bowl is as important as the inside.•The lid of the vessel or box must be removable with one hand, but not a sloppy fit, and the underside of the lid must be hollowed and finished.
The lid of the vessel or box must be removable with one hand, but not a sloppy fit, and the underside of the lid must be hollowed and finished.•The bottom of a plate could be more important than its face.
The bottom of a plate could be more important than its face.•The vase should be displayed for the customer’s easy observation from a distance, and it should have something in it to complete the visual image.
The vase should be displayed for the customer’s easy observation from a distance, and it should have something in it to complete the visual image.A Question:
Why are we so obsessed with thin walls?
Why do we spend so much time working on the areas that nobody sees?
Why are we so obsessed with paper-thin walls for a hollow or lidded vessel that will never see service as anything except an object of art? As a craftsman, I appreciate the skill that was required. But, most of the public looking at it couldn’t care less that the walls are paper-thin and that it weighs only ½ ounce, so long as the overall visual impression from the exterior is pleasing, and that its weight fairly meets their expectations.
Thinness can be a negative factor if the piece is too light.
Beginning and intermediate woodturners should be less concerned about wall thickness, and concentrate their efforts on tool and turning techniques, and recognizing good design features. Thinner walls will automatically follow as their skills as a woodturner improve.
Framing The Picture
Many of our turnings, especially plates and decorative bowls, are used to display a natural wood picture. As such, this picture must be framed to focus our eyes and attention, the same reasons that we frame flat art. Without the frame, the image is lost in the surrounding background that we see in our peripheral vision. The frame focuses our attention to the picture as though removing the background. The framed picture has a sparkle that is missing from that left unframed.
The frame for the turned plate or bowl can take many forms:
•Sharp edges on the rim.•Natural edge.•Shadow reveal.•Contrasting rim of either solid wood or segmented assembly.•Carved or otherwise decorated rim. •Square edge is an effective frame. It focuses our attention because the straight line doesn’t occur in nature. •An unusual grain pattern or defect can so strongly focus our attention that framing isn’t necessary.Posted 12/14/2009
Posted 12/14/2009
