Decorative Woodturning. Part 1: Introduction to Segmented Woodturning.

Decorative Woodturning Artful Designs with Exotic Woods. by

Heiko Weiner

Part 1 Introduction to Segmented Woodturning. www.hwrwood.com

No part of this manual may be reproduced for commercial purposes without prior obtaining a written permission of the author. The patterns and instructions in this manual are intended for the personal use of the reader, and may be reproduced for that purpose only.

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Part 1 Introduction to Segmented Woodturning.

Table of Contents Page No.

Basics of Segmented Woodturning

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Domestic & Exotic Hardwoods

9

Common Hardwoods & Properties

13

Synthetic Materials

32

Adhesives & Glues

40

Finishing

43

Tools & Acessories

48

Shop Safety

51

Summary

55

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The Basics of Segmented Woodturning Segmented turning is the result of a combination of various techniques, and there are several methods for building or constructing an item to be finished by turning. A few basic steps are needed to produce simple designs, and multiple steps and techniques are needed for more complex projects. Segmented work requires great mechanical skills, precision, and the occasional creative adoption or construction of special tools and equipment.

The main difference to traditional woodturning is in the initial construction and assembly of an already hollow body, which later on is to be finished by turning it on a lathe.

Another distinction is that no single, large piece of wood is needed, and that the resulting body is already hollow. With segmented work, there are virtually no constrains on size and shape, and it allows the efficient use of any kind of wood in form of many small pieces (“segments�). It can be cost effective for rare, or expensive woods, since much less is needed in comparison to traditional turning. Finishing a piece by turning is only one of the last steps of several preceding stages. For more complex designs, additional steps, such as the inlay of semi-precious stones, minerals, metal ornaments etc. may be needed.

In general, nearly all available domestic and exotic hardwoods are usable for segmented work. A large variety of wood types are available through multiple outlets, stores, on-line resources, or local saw mills. Note that for segmented work, the wood should be dried to below 8% of moisture.

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For selecting a back ground wood, I recommend to choose one that is less figured, exhibits an even grain, and is of high dimensional stability (i.e., Mesquite). For patterns, consider color and grain coordination, and contrast to obtain the intended effect. Avoid combining woods with a vastly different hardness, since those tend to sand unevenly. Similarly, avoid combining dense, closed-grain woods (i.e., Ebony) with open-grain, softer woods (i.e., Ash); the sawdust from the darker wood tends to get trapped within the softer grained material which can result in a discolored “unclean� appearance.

Segmented turning starts with carefully planning your project.

This can involve just a few, or a variety of additional considerations, all depending on the complexity of your project, and your level of skill. Start with deciding on the type of project, consider overall size, shape, and the intended use. Carefully consider the size, and diameter, since this will be needed for material calculations. Select materials, such as wood types, veneers, glues, sanding materials, sealer, wax, oil, or varnish for finishing. Take special considerations if the finished item is to be used with food. Check for tools and equipment needed, including cutting tools, clamps for assembly, and if there might be a need for some special or modified tools, and jigs.

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Basic Terms & Formulas Some general steps are almost always part of a segmented turning project, regardless of the size or its complexity. The projects descriptions in this series will outline these basic sequences, and introduce certain techniques that can be used or modified for more advanced designs later on.

I do recommend starting small, and getting familiar with some of the terminologies, calculations, and techniques. Some basic terms and formulas are introduced in Scheme 1.

Segment Length (L) = {Diameter (d) x 3.1416} / No. of Segments (n) = {Circumference (CF)} / No. of Segments (n) Miter Angle (MA) = 360 degree / (n) / 2 Scheme 1. Basic terms and calculations. Several values are used to determine the materials needed for a segmented ring: Number of Segments (n); Segment Length (L); Segment angle (MA). You will also need the Segment Height, and it’s Width.

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The basic principle of designing segmented bowls is to construct individual rings, also referred to as Layers, then stacking the rings of varying diameter and thickness in order to achieve a desired layout, and then finish by turning it on a lathe. While extensive turning experience is not required to get started, it is a good idea to familiarize yourself with some basic turning techniques. After all, some significant work and time will go into assembling the three-dimensional layout of a segmented bowl, and you would want to be confident in finishing it successfully.

Number of Segments (n). The number of segments for a desired ring largely depends on its design. For average size turnings with diameters of 6 – 12 inches, this can be a number as low as 8 and all the way up to 80. Good average values are between 16 and 24, if the ring is made from the same size segments. It is a good idea to pick a number than can be divided by 4, such as 12, 16, 20, 24 and so on, which will allow to construct quarter rings that then can be assembled into halves and subsequently, whole rings.

Segment Length (L). The length for a single segment is calculated by dividing the circumference (diameter x 3.14) by the number of segments (n). This value is also needed for calculating the amount of material (i.e., the total length of a board) that is needed to obtain a certain number of segments of this length.

Segment Angle (MA). The angles for all segments (each segment has two) has to total 360 degree, regardless of their individual length. For a given number of segments, the segment angles (miter angles, MA) are obtained by dividing 360 by the number of segments (n) and dividing again by two (since two miter angles are needed for each segment).

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Segment Height. The height of a segment is determined by the vertical dimension of the ring. This value is also needed for estimating the amount of material that will be needed for a certain number of segments.

Segment Width. This value refers to the horizontal dimension of the segment, i.e., its “thickness”. The width of an individual ring depends on the shape of the finished bowl. If the ring is part of a section with significant curvature, this value will be larger. If not sure, always go a bit larger here, rather than too small. Having extra material to turn will be a small problem, compared to not having enough left to complete the turning cleanly.

As a rough guideline, the length of a board for cutting a specific number of the same segments can be calculated as follows: Total Length = (L + 1/8”) * (n) * 1.10 with: L = Segment Length (”); 1/8” for blade width; (n) = number of segments needed; * 1.10 for a 10 % excess

This formula takes into account that you have decided on the height and the width of the segments that will be required. The formula includes a 10% excess for some additional segments if needed, and also some board length to securely hold on to while cutting the segments. I would recommend using these calculations until you are comfortable that you can cut the segments safely, and do not need much excess material.

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Domestic & Exotic Hardwoods With an estimated 100,000 species, the number of trees worldwide makes up approximately twenty-five percent of all living plant species. The largest number of trees can be found in tropical regions and many of these areas have not yet been fully surveyed by botanists. Thus, the true tree diversity and their ranges remain uncertain.

Figure 1. Sequoia grove at Redwood National Park, California.

There are a lot of interesting, and fun facts about trees. The tallest living tree is believed to be a coast redwood (Sequoia sempervirens) at Redwood National Park, California. It has been named Hyperion and is 115.66 meters (379.5 ft) tall. The tallest known broad-leaved tree is a mountain ash (Eucalyptus regnans) growing in Tasmania with a height of 97 meters (318 ft).

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The largest tree by volume is believed to be a giant sequoia (Sequoiadendron giganteum) known as the General Sherman Tree in the Sequoia National Park in Tulare County, California. Only the trunk is used in the calculation and the volume is estimated to be 1,487 mÂł (52,508 cu ft).

Figure 2. The ancient bristlecone pines can be found in the White Mountains, located in Inyo County, in eastern California.

Also located in California is the oldest living tree with a verified age. It is a Great Basin bristlecone pine (Pinus longaeva) called Methuselah, growing in the White Mountains. It has been dated by drilling a core sample and counting the annual rings and was considered to be 4,844 years old in 2012. The tree is part of a grove, and its exact location is not marked for obvious reasons‌ After 1950, the carbon-14 method for historical age determination had been established. When scientists began using this method it turned out that the new radiocarbon numbers didn't seem to match up with the written records.

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In fact, in some cases they seemed to be hundreds of years off.

The bristlecone pine, like any other tree, lays down a growth ring every year. With a record of the amount of carbon-14 found in the atmosphere available through the pines, scientists were then able to calibrate the test and get dates that matched their written records. By comparing the growth rings of living bristlecone pines with ones dead for many years, scientists have been able to extend the carbon-14 calibration chart back for about 11,000 years‌ Wood has been used as building material and for decorative purposes for thousands of years. As there are many species of wood, their wide range of properties has made it a choice for nearly unlimited usages. Wood can be very flexible under loads, maintaining its strength while bending, and being compressed vertically.

There are many different qualities to different types of wood, even among the same tree species. Specific types are better suited for various uses than others, and the growing conditions largely affect their properties. Some species are exceedingly hard, such as Cebil (Anadenathera colubrine), Black Ironwood (Krugiodendron ferreum), or African Blackwood (Dalbergia melanoxylon). Lignum Vitae (Guaiacum officinale), and Quebracho (Schinopsis spp.) are considered the hardest ones known. Naturally, some of the hardest are also the heaviest ones. Among the heaviest are African Blackwood, Itin (Prosopis kuntzei), and Black Ironwood with densities approaching 80 lb/ft3. On the other end of the scale, some woods can be very light once dried. Several Cedar species, such as Western Red Cedar (Thuja plicata), Atlantic White Cedar (Chamaecyparis thyoides), and the Northern White Cedar (Thuja occidentalis) are among the light, soft woods. The lightest one, and by far, is Balsa (Ochroma pyramidate) with an average density of just 7.5 lb/ft3.

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Due to a wide range of properties, availability, and cost, the choices for woodturning projects are many, and largely depend on the intended purpose. Today, a good variety of domestic and exotic wood species can be obtained through various outlets, locally and internationally. Fresh, “green� wood can first be air-dried; depending on the initial moisture content, an average drying time of at least one month per inch of thickness should be anticipated. Kiln drying is another good alternative. For decorative woodturning, wood should be seasoned, stable, and dried to a moisture content of less than 8%.

A summary of domestic and exotic hardwoods with properties, common usages, availability, and expected costs is provided in the following Section. Please note that price and availability listed there will depend on the quality, quantity, drying stage etc., and can vary significantly. For some domestic species, it may be useful to visit a local sawmill. For exotic woods, consider buying bulk, and try to get whole sale pricing; weigh the cost of shipping vs. a visit to the outlet.

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Commom Hardwoods & Properties Some of the more common domestic and exotic wood types with their properties, usages, availabilities and approximate costs are summarized in this section. The woods are organized alphabetically, and within their respective families. For example, there are eighteen known species of Maple. The ones included here are shown under “M”, and grouped together in alphabetical order. Cocobolo and Tulipwood are members of the Rosewood Family; hence, they are listed with the other Rosewoods. Note that the cost can vary significantly based on quantity, quality, dimension, and the state of drying. Price ranges provided here are based on averages that were obtained from several sources, and refer to 4/4 and 8/4 lumber if not stated otherwise.

Afzelia Burl (Afzelia xylocarpa). The heartwood is reddish brown after exposure; the sapwood is pale straw to whitish and well defined. Its texture is moderate to coarse, the grain is straight to interlocked, and it works to a smooth finish. It is somewhat difficult to work with due to its interlocked grain and open pores. Typical Uses: Exterior joinery (window frames, doors), flooring, heavy construction including harbor and dock work, furniture, and because of good acid resistance, used for vats and tanks. Region: West, Central, and East Africa. The prices are high to moderate for burls ($55/lb), somewhat less for lumber. The very rare and distinct Afzelia Xylay species can be upwards of $250 for thin individual boards, such as 1/8” x 10” x 24”.

Amboyna Burl (Pterocarpus indicus). Amboyna Burls come from the Curly Narra (or Red Narra) tree. The heartwood varies from light yellow, through golden brown to brick red in color and has a characteristic odor. It is among the most sought-after, and expensive burls. The grain in Amboyna is wavy, interlocked or crossed and these irregularities give rise to mottle, ripple and curly effects of figure. The more red the Amboyna wood, the heavier it is. Amboyna Burl can be nailed, screwed, glued and stained satisfactorily and takes an excellent polish. It is a very durable and highly decorative wood. Region: Indonesia (Ambon Island). Expect $35.- per pound. A turning blank of 3” x 3” x 4” sells for around $150.

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Aniegre (Aningeria genus). The heartwood is of a light yellowish-brown, and it tends to darken to a more golden brown over time. The trees can get quite large, and good-size lumber is usually available. The grain is mostly straight, has a medium uniform texture, and good natural luster. In general, it machines well, and has good workability with hand tools. The wood tends to contain various amount of silica, thus it does have a blunting effect on tools. Main usages are for veneer, furniture, cabinetry, and interior joinery. Availability is good, and pricing modest, expect around $15 per board foot.

Basswood (Tilia americana). The wood is a fairly soft wood, preferred for carving and is easy to work with. Basswood exhibits a fine, straight grain with an even texture and little contrast between early and late wood. Europeans sometimes call it American lime because it bears some carving similarities to European lime (Tilia vulgaris). Basswood is an off-white, almost cream colored, tending towards very light brown. It holds carving detail very well. The wood has no characteristic odor or taste. It seldom warps after seasoning, making it close to ideal for larger pieces, as well as great for smaller carvings. Region: North America. Pricing is in the lower range, about $2.50 – $3.50 per board foot; can be more expensive for larger pieces of carving stock.

Black Palm (Borassus flabellifer). Black Palm is a hard, heavy wood with a dense, stringy, and straight grain. The black fibers are embeded in lighter grain. It is somewhat difficult to machine, needs sharp tools, and exhibits a distinctive end grain. The dark, hard fibers tend to splinter easily, and can pull out. Typical Uses: Knife handles, game calls, pens, pool cues, bowls, wine bottle stoppers and other ornamental turnings. Region: Myanmar. Due to a trunk structure with a light, soft center, only the outer section are used, and cut into smaller boards. Expect between $30 and $35 per board foot. Smaller dimensioned boards and turning blanks can be considerably more expensive.

Blackwood, African (Dalbergia melanoxylon). African Blackwood heartwood is dark purple-brown with dark black streaks and the sapwood is creamy white. It usually grows to a high of 15 to 20 feet, but may occasionally reach 50 feet (15m). African Blackwood is very dark in appearance, but related to the Rosewood (dalbergia) family. It was originally referred to as “Ebony” in ancient Egypt. The grain is usually straight; the wood is slightly oily to the touch, extremely fine and even textured. It is known

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as one of the hardest and also heaviest wood, but actually considered an exceptional fine turning wood. Typical Uses: Musical instruments (guitars, clarinets, oboes, etc.), inlay, carving, tool handles, and other turned objects. Region: South and Central Africa. Availability is limited to smaller pieces and boards due to its slow growth and rather small size of the trees. Pricing is expensive, and in the upper range, with 2-3 times that of other rosewoods. Expect $250 - $280 for a piece sized 4” x 4” x 12”.

Blackwood, Burmese (Dalbergia cultrata). There are four species of blackwood. Burmese Blackwood is a member of the rosewood family, it comes from South East Asia, and is dense and hard. The color of the heartwood can be variable, ranging from reddish brown to darker purple-brown with nearly black streaks. It carves, turns and polishes well, and also tends to darken with age. Typical Usages: Decorative turnings, carvings and inlay. Region: South East Asia. Availability can be limited, and pricing is in the mid to upper range. Mostly available in smaller quantities and sizes, expect $10 - $12 for blanks in 1.5” x 1.5” x 12”.

Bloodwood, Satine (Brosimum rubescens). This beautiful, dense and heavy wood is as red as blood and as smooth as silk. The wood tends to darken with time, and upon exposure to direct sunlight. Bloodwood is also known as Satine Rouge, Conduru or Satinjout. The wood is very resistant to bugs and decay, and its resistant properties contribute to possible allergic response to the dust. A dust mask should always be used while working with this wood. Typical Uses: Accent wood for box making as well as for billiard cue butts, drum sticks, xylophones and organ pipes. Region: Brazil, French Guiana and Suriname. Availability is usually good, and pricing is moderate, expect $12 - $15 per board foot.

Bocote (Cordia alliodora). Bocote is a beautiful and decorative wood that is easy to work with. Its colors vary from light to golden brown with variegated irregular markings. The wood has an attractive ray fleck figure if quartersawn. Bocote is quite dense, exhibits a medium and uniform texture, and straight or shallowly interlocked grain. It polishes to a smooth finish, and stains and glues well. Typical Uses: Boat decking, fine cabinetry, fine furniture, decorative and figured veneer, moldings, inlay work, joinery, and turnery. Region: Mexico & Central America.

Pricing is in the mid to upper range, and variations are due to the extend of figuredness (more figures species will be more expensive). Expect around $18 per board foot on the low end, and around $40 per board foot for highly figured species.

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Boxelder (Acer negundo). The Tree is native to portions of the southern tier and Susquehana Valley, but has become more broadly established throughout many parts of the state. Boxelder grows commonly along the banks of streams and rivers. Boxelder has a soft wood that has no commercial value, but is important for wildlife and the stabilization of stream banks where it grows.

The wood however is sought after for decorative wood workings due to its red-orange color patterns. Typical Uses: Decorative wood carvings, turnings, inlay or marquetry. Region: Susquehana Valley, North America. The wood is rarely available as lumber, but can be obtained occasionally locally, from speciality saw mills, or private sellers. Pricing is usually moderate, around $10 per board foot, but highly figured, and pink colored species can be more expensive.

Brazilian Cherry (Hymenaea courbaril). It is also known as “Jatoba�, with variations in color from a lighter orange-brown, to a darker reddish brown. Some trees can be as much as 14 feet wide. The wood also tends to become darker with age. The grain is wavy and interlocked, much like mahogany. Brazilian cherry glues, stains and finishes well, and also turns well on the lathe.

Jatoba is exceptionally stiff, strong, and hard, among the very toughest and durable of all timbers worldwide. Typical Uses: Flooring, furniture, cabinetry, tool handles, ship building, railroad ties, turned objects, and some other, specialty items. Region: Central America, southern Mexico, northern South America, and the West Indies. Availability is good with pricing at the lower end. Expect between $5 and $8 per board foot.

Bubinga (Guibourtia tessmannii). Bubinga has a strong resemblance to rosewood. The heartwood is pink, vivid red, or red brown with purple streaks or veins. On exposure it becomes yellow or medium brown with a reddish tint. The sapwood is whitish and clearly demarcated. The texture of this wood is fine and even with a straight or interlocked grain, it can be highly figured. The wood machines well, and takes a high polish. Gluing can be difficult at times due to a high content of natural oils.

Typical Uses: Fine furniture and cabinetwork, musical instruments, decorative veneers, fancy turnery, inlay work. Region: Eastern Africa. Regular Bubinga is moderately priced around $16 per board foot. Figured grains, such as pommele, and waterfall are considerably more expensive (four to five times).

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Canarywood (Centrolobium microchaete). Canarywood is yellow to orange with streaks of red, purple and black. The pale-yellow sapwood is sharply demarcated from heartwood.

The wood has a medium texture, and is of lighter weight with more open pores. It is easy to work with both hand and machine tools, and takes a high natural polish. Typical Uses: Furniture, doors, flooring, interior millwork, decorative inlay and turning.

Region: Brazil, Bolivia. Pricing is moderate with good availability. Expect between $15 and $20 per board foot.

Cedar, Spanish (Cedrela odorata). Spanish Cedar in a member of the Cedar family. The wood does vary in color, depending on the place of origin, soil conditions etc. In general, the heartwood has a pinkish to red color that will darken over time to a deeper red-brown. The wood is usually straight grained, soft with a low density, and has a fine and uniform texture. It is easy to work with both with hands and machine tools. It does not bend or warp with changing humidity; hence Spanish Cedar is most commonly used as wood lining in humidors. Other usages are as veneer, plywood, and for musical instruments. It is usually priced on the lower end with around $6 per board foot.

Cherry (Prunus serotina). The heartwood is reddish brown to deep red, with brown flecks, and will naturally darken with age. Cherry is known as being one of the best all-around woods for workability. The wood dries fairly quickly with moderate shrinkage, but is dimensionally stable after kiln drying. It is stable, straight-grained, glues, and machines well. Cherry has a decent strength-to-weight ratio, though it's not as hard as some other denser domestic hardwoods. Typical Uses: Furniture, cabinets, construction and turned items. Region: North America. Regular Cherry comes around $8 - $10 per board foot, Curly Cherry with $11 - $15 per board foot.

Dalmata (Cynometra spruceana). This hardwood is reddish-brown to dark brown in color, and exhibits darker streaks and veining. Its texture is medium to fine, it machines well, but requires sharp tools. Typical uses are for small or specialty items such as boxes, ornamental turnings, and knife handles. Region: South America. Availability is limited to smaller dimensioned boards, and turning blanks. Pricing is moderate with $18 - $22 per board foot.

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Ebiara (Berlinia auriculata). The heartwood is colored from light yellow-brown to deep reddish brown with dark, almost black streaks. The sapwood is pale, and clearly demarcated from the heartwood, and it is also referred to as “Red Zebrawood”. In general, workability is good to fair, both with machine and hand tools; sharp tools are required, some tear-out may occur. Typical uses are for furniture, cabinetry, ornamental turnings, and musical instruments. Region: Africa. Availability is good, and pricing modest with $12 - $15 per board foot.

Ebony, Gaboon (Diospyrus crassiflora). Gabon (or Black) Ebony is one out of eleven Ebony species known. It is a very dense, very hard wood with straight to slightly interlocked grain and a fine texture. Not all Ebony is all black, although it is believed to be the blackest wood that grows. The tree is quite small, and it is difficult to obtain larger dimensioned pieces. It is necessary to pre-bore black ebony for nailing and screwing, it does take glue well. The wood has an high oil content, and gluing may be problematic at times. Ebony can be polished to an excellent finish. Typical Uses: Tools, cutlery and knife handles, door knobs, butt ends of billiard cues, piano and organ keys, violin and guitar finger boards, other musical instrument pieces, turning, fancy articles and inlay. Region: Africa. Gaboon is one of the most expensive woods, on average 2 – 3 times more that most Rosewoods.

Ebony, Macassar (Diospyros celebica). This heavy, dark wood has a dramatic striped appearance, somewhat similar to zebrawood. The dark brown to black heartwood exhibits bands of yellow to golden brown. Very hard, dense, and heavy, it can be brittle at its heart. It can be somewhat difficult to work with due to its hardness, but the wood is excellent for turning. The grain is usually straight but tear-out may occur on pieces that have interlocked or irregular grain. Typical Uses: High-end cabinetry, inlay work, musical instruments, or decorative applications. Southeast Asia. Avaiability tends to be limited to smaller dimensioned boards and turning blanks. Pricing is high, similarly expensive as other members of the ebony family (Gaboon). Expect around $140 per board foot.

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size and state of drying.

Eucalyptus Burl (Eucalyptus obliqua). This decorative wood is light to pale brown with some silvery shine. Its structure is coarse with open texture, straight grain with fiddleback or curly figure. It is also referred to as Messmate Stringybark, or Brown-top Stringybark. The wood machines well, and is also very workable using hand tools. Typical uses are for parquet flooring, veneers, fine furniture, and turned items. Region: Australia, Tasmania. Expect around $12 - $18 per kilogram, depending on Granadillo (Platymiscium ulei). This wood is referred to with various other names, Macacauba, or Macawood, also with Coyote, or Trebol. It is very hard, nicely redish-brown in color, and with a swirling grain. It has good working properties, both with machine, and hand tools, and makes a good turning wood.

Some tear-out may occur due to its hardness, sharp tools are recommended. Region: Typical uses are for furniture, musical instruments, decorative turnings, and specialty wood items. Central and South America. Availability is good and pricing moderate with $14 - $16 per board foot.

Jobillo (Astronium graveolens). Jobillo (Tigerwood, Goncalo Alves) heartwood is russet brown, orange brown, or reddish brown to red with narrow to wide irregular stripes of medium to very dark brown. After exposure it becomes brown, red, or dark reddish brown with nearly black stripes. The dingy grayish or brownish-white sapwood is sharply demarcated. It is not difficult to work in spite of its high density; it finishes very smoothly, and takes a high polish. The wood weathers well and is highly resistant to moisture absorption. It is reported to be somewhat difficult to glue. Typical usages are for flooring, cabinetry, turned items (pool cues), and other specialty objects. Region: Guatemala. Pricing is moderate, somewhat depending on dimensions, with $20 - $24 per board foot.

Katalox (Swartzia cubensis). This very hard, dense, heavy, Central/Latin American wood has a generally dark purple and brown heartwood that can show considerable color variation.

Katalox (Mexican Royl Ebony) can be quite attractive and it takes a high natural polish and sometimes has interlocked grain that can create an attractive curl in the figure. Finishing agents will turn darker pieces almost black, after which it can be difficult to distinguish from Partridgewood due to the similar wenge-like, but very tight, grain pattern.

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Katalox has exeptional strength properties, is ideal for an Ebony substitute in stringed instruments and is nearly as dense as Ebony. Region: Yucatan Peninsula – Mexico. Availability is average, and pricing is in the modest to upper range with $24 - $28 per board foot.

Lacewood, "Brazilian Lacewood" (Roupala brasiliensis). Lacewood is also known as Leopardwood, but there are several other species. Lacewood is pale pinkish brown to medium brown with flaky, speckled figure with dark flecks, varying from a small lacelike pattern to a larger "splashy" figure. The texture of Lacewood is fairly coarse. It is moderately hard, fairly easy to work with and takes a lustrous finish. Common uses are for veneer, musical instruments, ornamental turnings, and for high end cabinetry. Region: Chile, Brazil. Lacewood is fairly rare, and pricing is in the medium range with $15 - $20, largely depending on dimensions.

Lignum Vitae “Genuine” (Guaiacum officinale). Lignum Vitae heartwood is dark greenish-brown to almost black, the pale yellow sapwood is clearly demarcated. The wood tends to darken with age, and upon exposure to direct sunlight. The wood has a high content of natural oils, and can be polished to a fine luster.

The wood turns well, however, gluing may be problematic at times. Common usages are for bearings, mallet heads, tool handles, and other objects that require durability and hardness. Genuine Lignum Vitae is generally considered the heaviest, and the hardest wood in the world, and unsurpassed in its durability. It has been classified as endangered species, and is restricted in trading, thus prices are generally high. Care should be taken when buying since it often stems from questionable sources.

Smaller dimensioned boards and turning blanks are available, and sometimes are sold based on weight, rather than dimensions in board foot, expect around $10 for a piece measuring 4” x 4” x 2”.

Lignum Vitae, Argentine (Bulnesia sarmientoi). This wood is a close relative to the famous tropical Lignum Vitaes, and is similar in its appearance and working properties. The olive-green wood (Verawood) is typically highly figured, and tends to darken with age. The resinous wood has an oily feel and a strong spicy-sweet fragrance. It is considered difficult to work with, both due to its high density and high oil content. Often used for turning, Argentine Lignum Vitae wood provides an excellent polish. The Argentine name Palo Santo literally means, Saint Wood. Region: Argentina. Argentine Lignum Vitae lumber is priced in the upper range with $40 -$50 per board foot.

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Maple, Birds eye (Acer saccharum). There are eighteen different species of Maple. It is so named because the figure resembles small bird's eyes. Bird's-eye figure is a phenomenon that occurs within several kinds of wood, most notably in hard maple. The figure is reportedly caused by unfavorable growing conditions for the tree. The sugar maple attempts to start numerous new buds to get more sunlight, but with poor growing conditions the new shoots are aborted, and afterward a number of tiny knots remain. It turns well on a lathe, allowing it to be shaped into decorative canes, bottle stoppers and pens. Typical Uses: Refined specialty products, such as in automobile trim, both in solid form and veneer, boxes and bowls for jewelry, thin veneer, humidors, furniture inlays, handles, guitars, and pool cues. Region: North America. Pricing is around $25.- per board foot.

Maple (Curly, Western Maple) (Acer saccharuin). The Curly Maple wood is cream-colored white with a reddish tinge.

Fine brown lines give attractive growth ring figure on plain sawn surfaces. Other names for this phenomenon are Tiger maple, Fiddleback maple, or Flamed maple. Its texture is fine and even. It is a dimensionally stable wood with good strength.

The wood glues well, and has average workability with both hand, and machine tools. Region: North America. Pricing for Curly Maple is varying considerably, depending on color, frequency of curls, and intensity. Expect $10 - $18 per board foot.

Maple, Hard (Acer saccharum). Hard Maple is one of the eighteen Maple species. Unlike most other hardwoods, the sapwood is most commonly used, rather than the heartwood, which tends to be of a darker brown. Its sapwood color ranges from nearly white to an off-white cream color, sometimes with a reddish or golden hue. The heartwood tends to be a darker reddish brown. The wood machines well, but Maple also has a tendency to burn when being machined with high-speed cutters such as in a router. It turns, glues, and finishes well, although blotches can occur when staining, and a pre-conditioner, gel stain, or toner may be necessary to get an even color. Typical Uses: Flooring (from basketball courts and dance floors to bowling alleys and residential), veneer, pulpwood, musical instruments, cutting boards, butcher blocks, workbenches, baseball bats, and other turned objects and specialty wood items. Region: USA, Canada. Pricing is moderate, expect around $10 per board foot. Bird’s eye, curly, and quilted maple are considerably more expensive.

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Mahogany, African (Khaya ivorensis). There are seven known species in the Mahogany family. The Honduran species is often referred to as Genuine Mahogany. The heartwood is of a pink-brown that darkens to a reddish-brown when cut. The texture is medium coarse, with mostly straight grain, it can be interlocked in some cases. The wood machines well, and is very workable with hand tools. It finishes well and has a lustrous quality. Typical uses are for furniture, cabinetry, musical instruments, paneling, flooring, boat building, and interior joinery. Region: Africa. Availability is good and pricing moderate with $10 - $20 per board foot. Quilted African Mahogany is significantly more expensive. Expect upwards of $40 per board foot.

Mahogany, Honduran (Swietenia macrophylla). There are seven known species of Mahogany. The Honduran is also known as Tropical Mahogany, South American Mahogany, Caoba and Chiculte. It is planted throughout the whole of the tropics as a sustainable forest crop, and is widely available. It has a short grain which grows in a swirling pattern. The shortness of the grain makes it perfect for carving, turning, and other woodworking. It cuts beautifully without chipping, with properties similar to Walnut. It sands well, glues well and finishes to a luxurious red-gold sheen. There are only a few woods that are as beautiful or as pleasant to work with. Common uses are for furniture, cabinetry, carvings, turnings, and musical instruments. Region: North of the Yucatan, Venezuela and Brazil, Columbia, Peru, and Bolivia. Availability is generally good, and pricing is in the mid-range with $10 - $15 per board foot for standard lumber. Highly figured, musical instrument grade Fiddleback Mahogany can be four times that, expect around $45 per board foot.

Makore (Mimusops heckelii). Makore heartwood is pink to pinkish-brown, the sapwood is lighter. Makore has a high silica content that can cause blunting of cutting edges. The wood exhibits excellent finishing properties and glues well; it has excellent stability. It can be finished to a lustering shine. Typical Uses: Furniture, cabinetry, musical instruments and turning. It is often used in veneer form. Region: West Africa. The wood is generally in good availability, and goes for around $10 per board foot. Musical instrument grade, Curly Makore is considerable more expensive with upwards of $20 per board foot.

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Mara (Loxopterigyum grisebachi). Mara, or Argentine Snakewood, is a member of the rubber tree family, it is a very beautiful, golden-brown wood with dark streaks. It machines well, and appears to be very stable. The grain is variable, ranging from straight, to swirled, to burled. The wood is quite rare, but used locally for fine furniture building. Other uses are for decorative, turned objects (billiard supplies), and other specialty items.

Region: Southern Brazil, Argentina. The wood is difficult to find in usable quantities. Small pieces measuring 2” x 2” x 18” sell for $8 $10.

Marblewood (Marmaroxylon racemosum). Its overall appearance is somewhat similar to Zebrawood, although with some finer textures. The heartwood is yellow golden with streaks in a darker brown. It is sometimes referred to as Serpentwood, it is quite hard with interlocked grain, and somewhat difficult to work with. Sharp tools are recommended to prevent chipping, is does finish well, and can be polished to a lustrous shine. Common uses are as flooring, cabinetry, and turned items. Availability is good to fair, and prices, depending on amounts and dimensions ranges from $20 - $25 per board foot.

Mesquite, Black (Prosopis Nigra). Black Mesquite is one of three known species, its heartwood is mid-brown to dark chocolate in color. Black Mesquite lumber comes in wide, long boards, light chocolate to almost purple. The wood resembles Mahogany, is excellent to work with, it glues and finishes well. Common uses are for flooring, cabinetry, furniture, and decorative turned objects. Region: Argentina, South America. The wood is widely available, and priced in the medium range with $16 - $18 per board foot.

Mesquite, Honey (Prosopis nigra). Honey Mesquite is of golden yellow color, with a straight grain, and is highly dimensional stable once dried. The wood is excellent to work with, both with machine and hand tools. It is a very good wood for turning, and it finishes well. The wood tends to darken with time. Typical usages are for fine furniture, cabinetry, turned objects, wood paneling and as veneer. Region: South America. It is widely available and pricing is in the mid-range with about $15 per board foot.

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Olivewood (Olea capensis). The heartwood is often pale to medium brown with irregular streaks that vary from brown to dark-brown and dark grey. The sapwood is generally pale yellow.

The wood has excellent strength, but can be difficult to work due to interlocked grain and oily surface of the wood. Olivewood needs care when drying to avoid checking or honeycombing, especially with thicker material. The wood is reported to have a low dimensional stability. It glues well, pre-boring is recommended when nailing. Olivewood polishes up well and gives a smooth even finish. Typical Uses: Sculpture and carving work, decorative turnings, inlay, and high end custom furniture. Region: East Africa. Olive trees are mostly cultivated in groves, and larger amounts of the wood are not easily obtainable. Smaller dimensioned boards and turning blanks are available, pricing is in the upper range with upwards of $25 per board foot.

Pink Flame (Rinorea racemosa). Pink Flame is a remarkably beautiful, rare timber from Peru, found in the upper Amazon basin. The tree comes in a male and a female version – with the female one being thought to be the more colorful. The heartwood of the female tree is capable of turning brilliant pink to dark red by some natural chemical processes. Although its looks are similar to boxelder, this wood is much heavier, a lot harder, and more colorful. Typical Usages: Decorative turnings and inlays, very rare.

Region: Peru. Due to its very limited availability, pricing is high, even for small dimensioned boards and turning blanks. Expect $12 - $18 or higher for a blank dimensioned 4” x 4” x 2”.

Padauk (Pterocarpus soyauii). African Padauk is a vivid-red, sometimes orange wood, and can be bright red with dark streaks.

The grain is usually straight, but can be interlocked at times. It is also known as Ngula, Mutui, and Bosulu, and there are more than a dozen known species. The wood is easily workable, glues well, and takes a nice polish. It is somewhat comparable to Walnut, and tends to darken considerably with age, and upon exposure to direct sunlight. Common usages are for veneer, turned objects, musical instruments, and furniture. Region: Central and West Africa. Expect $8 - $20 per board foot.

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Pecan (Carya illioinensis). The Pecan tree is the state tree of Texas. Pecan heartwood is light to medium brown with some red-brownish hue. The sapwood is often not clearly demarcated, and is of a pale yellow to light brown color. The wood itself is quite strong, and the grain is mostly straight, with some occasional wavy appearance. Various species of Pecan and Hickory occur together, and they are often sold as Hickory. The wood tends to be somewhat difficult to work with, and tear-outs occur when plaining. The wood is used for many applications, including flooring, cabinetry and furniture. Due to its higher energy content in comparison to other local species, it is often used for fuel and smoke applications in wood stoves. The wood is readily available, and priced in the lower to mid-range, depending on dimensions and quality. Expect between $5 and $8 per board foot.

Pink Ivory (Berchemia zeyheri). Pink Ivory is a rare wood, in value comparable to Ebony. The grain is straight to irregular, while the texture is very fine. Pink Ivory sapwood is almost white, and the pink heartwood, after long exposure, tends to become orange-colored. The most valuable pieces are vibrant pink. Pink Ivory seasons very slowly and needs care to prevent checking. The wood is somewhat difficult to work with using hand tools, but is machines well, and takes a good finish. Region: South Africa, Mozambique, Zimbabwe. Due to its limited availability, pricing is around $50 for a 2” x 2” x 18” blank.

Purpleheart (Peltogyne paniculata). Purpleheart is also known as Violetwood. This violet colored wood is a very dense hardwood that requires sharp tools and patience, but the results can be stunning. The grain is usually straight, but can be wavy or irregular. The oily wood holds an oil base finish very well. To fully protect the bright color apply a color stabilizer. It’s easy to mix and easy to apply and it will maintain the purple color.

Typical Uses: Construction, abutments, fine furniture and floors, decorative inlay and turnings. Region: Central and South America. Availability is usually good, and pricing is in the medium range. Expect $7 - $15 per board foot, depending on size.

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Quina (Myroxylon peruiferum). Quina or Argentine Sandalwood is a pinkish-red wood with an oily feel and incredible perfumed scent that lasts. Quina is beautifully figured. Finely textured, this wood provides an excellent polish. The wood is somewhat difficult to work with due to its density, and noticeable blunting effect on cutting edges. Quina is extremely durable and is widely used in Argentina for a variety of purposes. Typical Uses: Window and door frames, counter tops, cutting boards and flooring. Region: Argentina. Quina lumber is priced in the mid range with around $18 per board foot.

Red Oak (Quercus rubra). Red Oak is one of eleven species in the Red Oak group. The wood is straight-grained, with a coarse texture that varies according to rate of growth. The color ranges from light cream, pinkish-red to dark tan or golden brown. It machines well with hand and power tools. It has moderately high shrinkage values resulting in somewhat mediocre dimensional stability. Typical Uses: Furniture, cabinetmaking and turning; takes a stain well. Grain runs with the longest dimension. Region: North America. Pricing is on the lower end due to good availability, variations are expected for thicker boards, and varying states of dryness. Expect approximately $3 - $8 per board foot.

Rosewood, Bolivian (Machaerium scleroxylon). Bolivian Rosewood (Morado, Pau Ferro) is part of the extensive rosewood family. This wood is deep, dark chocolate brown to purple black in color with occasional strips of even darker grain patterns. This species is hard and heavy with a fine texture with variable tones and when worked, exhibits a smell reminiscent of walnut. It machines well with sharp hand and power tools, is an excellent turning wood, and rated very durable. Typical Uses: Fine cabinetry, fine furniture, decorative veneer, moldings, inlay work, joinery, and turnery. Region: South America. Pricing is in the moderate range, somewhat lower than for other, more scarce rosewoods (Albertina genus).

Expect between $20 and $25 per board foot.

Rosewood, East Indian (Dalbergia latifolia). East Indian Rosewood is an excellent exotic turning wood that is easy to work with. The heartwood varies from light brown to a dark, purpelish color with nearly black streaks. It is very stable, has a beautiful striped figure, and machines well. The resin makes it a bit harder to glue, and it is necessary to pre-drill before nailing. Typical uses are for ecorative inlay and ornamental turnings, marquetry, and components for musical instruments.

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Region: India, Sri Lanka, Indonesia. Availability is usually good, with pricing in the upper range; expect $40 – $50 per board foot.

Rosewood, Honduran (Dalbergia stevensonii). The lighter colored sapwood is sharply demarcated from the darker heartwood.

Honduran Rosewood heartwood is described as pinkish brown or purplish with darker and lighter bands. The combination of colors and streaks gives the wood a very attractive appearance. The grain is typically straight, and the texture is medium to fine. The wood has low to medium luster. When freshly cut, the bark and sapwood have a characteristic odor similar to that of stored apples. It machines well, but can be difficult to glue due to its high oil content. Typical uses are for musical instruments, verneer, high-end furniture, and specialty items. Region: Guatemala, Honduras, Panama, Columbia. The wood is generally available, sometimes difficult to obtain in larger quantities. Pricing is in the mid to upper range as typical for true rosewoods (dalbergia); expect between $30 and $40 per board foot.

Rosewood, Yucatan (Dalbergia yucatensis). Yucatan Rosewood is a member of the true rosewood family. The wood is hard, of light-reddish brown color with darker-reddish brown grain. The sharply demacated sapwood is pale to light yellow. It looks like a cross between Honduras Rosewood and Cocobolo, but does not have the allergenic properties of either of them. The wood is lighter than some of the other rosewoods, and its oil content is lower. Typical Uses: Decorative carvings, furniture, musical instruments, sporting implements, xylophones, umbrella handles. Region: Central and South America. Availability is good, but mostly in form of smaller dimensioned lumber and turning stock. It is priced lower than most of the other true rosewoods. Expect $18 to $20 per board foot for boards of 3” 10” in width, wider boards are considerably more expensive.

Cocobolo (Dalbergia retusa). Cocobolo is a member of the Rosewood family. It grows in the drier uplands on the Pacific side of Mexico down to Panama. Cocobolo wood shines up to a nice luster, machines easily, and has a spice-like cent when being cut. It is an excellent hardwood for making knife handles because it is waterproof. It has a high oil content that can occasionally make gluing problematic. Cocobolo varies in color from red to yellow-orange and striped with black to lighter black, often with hints of purple which makes for an amazing contrast. This hardwood darkens with age. Typical Uses: Knife handles, game calls, pens, pool cues, peppermills, bowls, wine bottle stoppers and other ornamental turnings. Region: Mexico, Central America. Supply is somewhat limited, hence expect around $75 - $85 per board foot.

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Tulipwood (Dalbergia variabilis). Tulipwood is a beautiful hardwood, and a member of the true rosewoods (dalbergia family). Tulipwood is hard and heavy, has irregular streaks of yellow, rose and red or violet on a cream to straw colored background. The wood has characteristic smell, a fine texture, high luster, and takes a high polish. It machines well but is somewhat difficult to work with. Typical Uses: Fine turnings, small boxes, inlay and marquetry, fancy accessories. Region: Tropical South America, especially Northeast Brazil. The wood has limited availability, and the tree is small enough to considered a shrub.

Consequently, only small dimensioned boards and turning blanks are available. Expect around $85 for boards of 2” – 5” in width, wider boards are considerably more expensive.

Sapele (Entandrophragma cylindricum). The heartwood is golden to dark reddish brown. Along with Utile (Sipo), Sapele is widely used in Europe as a substitute for Genuine Mahogany, particularly in the furniture, flooring, door and window industry.

Sapele has a very attractive Mahogany color, it is durable, and has great working properties. In general, it machines and finishes well, and has a distinct cedar-like cent while being worked. It has a fine, uniform texture, and good natural luster. It is usually priced below Genuine Mahogany, and supply is ample. Region: Africa. Pricing is moderate, expect $10 - $15 per board food for regular Sapele, $65 - $75 for Quilted Sapele.

Snakewood (Piratinera guianensis). This is one of the world’s most rare species, only growing in a small region in the north part of South America. It is named snakewood due to the remarkable resemblance to a real snake’s skin. Snakewood is extremely heavy, hard and strong. Heartwood is reddish brown with speckles of black appearing as hieroglyphics or snakeskin markings. Snakewood has a straight grain and fine, even texture.

Snakewood is brittle and splits easily. Very smooth when finished; has a natural polish. Typical Uses: Decorative turnings, umbrella handles, walking sticks, caskets, fancy items, cabinets. Region: South America. The trees are fairly small, and as one of the rarest woods, availability is limited to small dimensioned boards, half-logs, or turning blanks. In terms of a pricing, this wood may be the most expensive of any exotic woods available. Expect around $170 for a piece with dimensions of 2” x 2” x 14”, which amounts to a board foot price of more than $430.

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Sycamore (Plantanus occidentalis). There are two species known, the American Sycamore, and the European Sycamore (Acer pseudoplatanus). The American Sycamore is quite similar to maple, and the white-to light tan sapwood is used predominantly. The heartwood is of a darker, reddish-brown color. Its texture is fine to even with some interlocked grain. It is easy to work with, both with machines and hand tools, it does glue and finish well. Common usages are for flooring, cabinetry, plywood applications, veneer, and specialty wood objects (tool handles).

Region: Eastern United States. Availability is usually good, and pricing is in the lower to mid-range, depending on quality and dimensions. Expect $5 to $10 per board foot.

Tambooti (Spirostachys africana). Tambooti, African Cocobolo, or African Sandalwood, is a dense, heavy hard wood; lustrous and with a powerful, persistent, and pleasant scent sweeter than that of sandalwood. This pleasant odor will last long after the wood is cut. A piece of furniture made of it can scent a large room for a long time. Because of its limited quantities, and the defectiveness of the tree, it is a rare wood and therefore sought for small fancy articles and high grade furniture. Typical Uses: Carvings, luxury furniture, turnery and curios. Region: South African Lowveld and Swaziland. Pricing is in the mid to upper range, comparable to some of the rosewoods, expect $45 to $50 per board foot.

Walnut, “Black Walnut� (Juglans nigra). There are a total of seven known species of Walnut (Bastogne, Claro, English, Peruvian, Tropical, White). The heartwood can range from a lighter pale brown to a dark chocolate brown with darker brown streaks. Color can have a grey, purple, or reddish cast. Sapwood is nearly white. It has a medium texture, the grain is usually straight, but it can be irregular. Black walnut can occasionally also be found with figured grain patterns such as: curly, crotch, and burl. In general, easy to work provided the grain is straight and regular. It glues, stains, and finishes well, and has excellent dimensional stability. Typical Uses: Furniture, cabinets, gun stocks, interior paneling, veneer, turned items, and other small wooden objects such as pens, bottle stoppers, knife handles and pepper mills. Region: Canada, USA. The woods of these various species are very popular, and prices range between $8.50 and $14 per board foot.

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Wenge (Millettia laurentii). Wenge is characterized by a deep brown color with tight black stripes throughout, it can be nearly black in appearance. This is the dark and heavy wood that falls between Walnut and Ebony for quality, color and price. Wenge is coarse, hard and heavy with a straight grain.

Works fairly well with machine tools but has a high blunting effect on cutting edges. It tends to splinter, and sand unevenly due to the difference in density between the brown and the black areas. It turns well, but is somewhat difficult to glue if resinous. Typical uses are for flooring, cabinetry, and furniture.

Region: West Africa. Expect between $12 and $16 per board foot.

$8 - $14 per board foot.

Yellowheart (Euxylophora paraensis). Yellowheart is also known as Pau Amarello, Limao rana, Pau Setim, and Pequiea Setim. This beautiful hard wood has been used for everything from hat racks to flooring, drawer slides to fine furniture. It darkens only slightly with age. The wood machines well, and the yellow stays yellow, and does not fade.

The wood exhibits a mild, characteristic, tea-like smell while worked. Gluing properties are excellent, it finishes to a beautiful sheen, and the finished product promises to become heirloom quality. Region: Brazil. Pricing is in the mid-range with

Zebrawood (Microberlinia brazzavillensis). Zebrawood heartwood is a light golden-yellow with narrow veining or streaks of dark brown to almost black, giving the quartered surfaces a zebra-stripe appearance. The grain is interlocked or wavy and produces alternating hard and soft grained material. The wood machines well, but can be difficult to plane or surface due to the prevalence of interlocking grain. Common usages are for furniture, interior joinery, and decorative turnings. The wood is hard, heavy and stable. Region: West Africa. Pricing is in the mid range for regular lumber with around $15 per board foot.

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Ziricote (Cordia dedecandra). Ziricote heartwood is tobacco colored to reddish brown, with irregular dark brown or blackish streaks and variegations, with more or less of an oily or waxy appearance; rather sharply demarcated from the grayish or yellowish sapwood. Luster variable; texture fine to medium, grain variable. It resembles Brazilian Rosewood because of its unique grain lines and tendency for spider webbing, supply is rather limited. Ziricote is a very dense and heavy wood which allows for a bright, glass-like tone, and is highly durable. Typical Uses: Fine furniture, musical instruments, cabinet work, turnery, flooring, rotary and sliced veneer. Region: Mexico and Central America. Due to its limited availability, pricing is in the upper range, exceeding that of true rosewood species. Expect between $85 and $95 per board foot for widths ranging between 2� - 8�.

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Synthetic Materials In recent years, various synthetic resins have found a growing use for decorative turning projects, such as pens, pencils, small tool handles, and various types of stoppers. These relative new materials are becoming increasingly popular due to their decorative nature, good availability, and nearly unlimited variety with respect to color, and patterns. One drawback can be the cost of specific resins, which thus far has put some limitations on using these new materials for larger turning projects.

Nevertheless, their highly decorative nature, an ease of modification, and a potentially limitless variety make synthetic resins exciting materials for those who would like to expand the possibilities of “wood-only� based turnings. To some degree, synthetic resins have already been used to enhance wood-turned objects by applying a method referred to as Inlace Technique. The basic principle here is to inlay resins into various surface carvings or crevices, either by applying cured resin pieces, or use the resins in a semi-liquid form and allow the material to cure during the insetting process.

Another related technique is the use of mixtures of clear synthetic resins and finely powdered materials, or chips, such as Turquoise, to achieve a decorative filling of naturally occurring cracks in turnings and other projects. Once cured, the modified surfaces can then be sanded, and finished if desired, much so as for wood-only projects.

The use of cured synthetic resins as components for segmented wood turnings has been very limited at best. I have spent considerable time exploring this area, and would like to introduce this approach here to the interested artists.

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Figure 3. Acrylic and polyester resins are widely available with a large variety of colors and patterns.

As mentioned above, there are some potential limitations with respect to cost, and availability of sizable resin components. This can be overcome quite easily by producing the desired resin components yourself. Not only are the components fairly readily available, it also allows you to use your own designs, resulting in a once-made, and truly unique, final object.

Incorporating new materials may add some complexity to the already somewhat demanding technique of segmented wood turning. I do believe, however, that the rewards very much justify the extra efforts, and it is my conviction that this area will receive further attention in the future. Following is a summary of some most commonly used synthetic resins, their basic compositions, and properties.

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There are three groups of synthetic resins that are commonly available. Those include Polyester Resins, Epoxy Resins, and Polyurethanes. Large variations exist within the individual groups, and numerous variations are available, based on the desired specific properties. For a simplified discussion here, the examples used are “thermoset” resins that consist of the base resin, and a hardener, or “catalyst”. Upon mixing the base resin with the hardener or catalyst, the liquid resins transform into a solid and durable polymer.

The so-called “wood-plastic-composites” or Artificial Woods represent a separate category as these materials are containing up to 50 % of real wood. These materials have become more popular recently in outdoor applications; hence they are included here for completeness.

Polyester Resins. One of the most common materials is Methylmethacrylate (MMA), the methyl ester of acrylic acid. Upon addition of a small amount of a peroxide catalyst, the resin is transferred into solid Polymethylmethacrylate (PMMA). The resin is widely used for a variety of purposes, such as dental implants, artificial nails, and shatterproof glass applications (“Plexiglass”). Various additives, such as pigments, and solid modifiers can be added, resulting in the various “Acrylic Resin” blanks that are available for pen, pencil, and other small tool components. This may be a good place to start exploring the various acrylic resin blanks for segmented turning projects. Other polyesters are obtained from a reaction of a diacid or acid anhydride, and a diol (i.e., ethylene glycol). The most important commercial type is Poly(ethylene terephthalate) or PET, and Poly(butylene terephthalate), or PBT. PET and PBT have many attractive properties, such as high strength and toughness (“Fiberglass”), good chemical resistance, and excellent dimensional stability.

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The latter makes them a great choice for use in combination with wood for segmented turning projects. As for MMA, polymerization is accomplished by adding a small amount of a peroxide catalyst to the resin. The base resin cures into a solid usually within a few minutes or hours, depending on the specific type. A variety of dyes, fillers, and modifiers can be added, and from a cost perspective, the polyesters are usually the most economical ones.

Epoxy Resins. A second group of more common materials are the Epoxy Resins. The most common epoxy resin is the diglycidyl ether of bisphenol A (DGEBA), and curing (or hardening) compounds, such as primary, or secondary amines are used. Many of the properties of polyesters are also observed; in addition, epoxides tend to be more resilient, and physically durable.

Major drawback is the additional cost (1.5 - 2 times that of polyester). Some additional complication may be the need for exact measuring of the two components (resin and hardener) which is required to achieve optimal resin curing. Some epoxy resins do not hold up well upon exposure to direct sunlight in outdoor applications. The simplest epoxy system consists of two components (resin and hardener), that just need to be mixed one-to-one by volume.

Polyurethanes. The last group to be discussed here are Polyurethanes (PUR). The most important commercial ones are aromatic isocyanates, such as toluene diisocyanate (TDI), and diphenylmethane diisocyanate (MDI). This group is very diverse, with many formulations tailored to specific applications; one major advantage is their excellent UV stability. Major drawback is that they are even more expensive.

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One potential complication can be the moisture sensitivity of the base resin which leads to very short curing times that can make adding fillers, dyes etc. more challenging. Most polyurethanes are available as simple one-to-one systems. The materials obtained are considered for high performance applications (automotive industry), and one has to weigh cost versus benefits needed for specific applications.

Wood-plastic Composites (WPC). These materials are also referred to as “engineered wood”, “plastic”, or “synthetic wood”, among others. It is mostly intended for outdoor applications, such as for decks, stairs, siding etc. It is manufactured mixing saw dust from fiber fillers, such as pulp, peanut hulls, bamboo with a powdered plastic, such as polyethylene, polyvinyl chloride, polypropylene, acrylonitrile or butadiene styrene. Other wood species, such as oak, maple or pine are also widely used; the actual wood content can actually be between 50 and 70 %. The mixtures are then extruded or molded at elevated temperatures.

The resulting materials exhibit similar characteristics of real wood, and can be subjected to the same processes including cutting, planning, drilling, and sanding. The resistance to rotting or decay is greatly improved, resulting in minimal maintenance. Depending upon its intended use, there can be some significant drawbacks.

First, overall cost is still significantly higher, 2-3 times that of an average domestic wood.

The material is much denser than real wood, which makes it also significantly heavier. And, most of all, the look does not nearly resemble that of real wood. The artificial “wood structure” view is limited to the surface, and does not extend throughout the material.

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However, the materials can easily be combined with real wood, or incorporated into turning projects. For decorative purpose, wood-plastic composites appear to be of limited interest. They may be attractive for specific outdoor projects, such as decorative planters or flowerpots. I will leave it to the imagination for those that are open exploring the possibilities of these fairly new, non-traditional materials.

Figure 4. Synthetic wood, or “wood-plastic composites� are available in a variety of shapes, colors, and sizes.

Although, workability of the synthetic materials is quite good, some special considerations are worth mentioning. The materials can usually be cut or shaped easily with table or hand saws, attention should be paid to chips and cut-offs that can be sharp, and some synthetic resins can exhibit glass-like properties.

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It is best to cut the materials with a slow and even speed, and avoid overheating. The same care should be used while sanding resin components. All materials discussed here are from a group of so-called “thermoset resins”, meaning they will eventually melt at a higher temperature.

Colored resin blanks usually contain a variety of additives, such as silica-based pigments, and dyes. The blunting effect on machine and hand tools can be significant, and is very noticeable during turning activities. Some of the resin components are quite brittle, and turning a smooth surface can be a bit challenging at first. Apply sheer cutting techniques for best results.

For segmented turning projects, the individual resin segments are incorporated by either first gluing resin components with one another, or combine them directly with wood segments. When gluing resin segments with one another, cyanoacrylate-based glues (“super glue), or epoxy-based glues (“Gorilla glue”) are providing a secure bond. The cyanoacrylate glues have the advantage of setting fast, usually within less than 3 minutes. However, they can be quite hazardous to work with on a larger scale due to their obnoxious and toxic odors. Proper ventilation is a must for larger applications. Epoxy-based glues take longer to set, but are much less hazardous, and easily applicable for larger projects. Select “non-foaming”, gel-like glue; various versions are available as clear “Gorilla” glue.

Resin components or smaller individual segments can be combined with wood using Tidebound II glue, the most practical glue for all wood-only applications. For sanding, use new sanding paper, change often to avoid clogging or an uneven surface build-up; apply medium speed to avoid overheating of resin components.

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Fine steel wool (“0000-type�) is a good choice to remove resin, or residual glue build-up during finishing. Avoid sealers or finishes that contain organic solvents, such as acetone or ethyl acetate since these can dull or partially compromise the resin components. High glosses polish of the resin components can be achieved using 1000 and higher grid textile-based sanding pads, and even automotive polishes and waxes can be applied.

Before using any of the synthetic materials discussed here, it is strongly recommended to gather sufficient information on their physical and chemical properties by consulting individual Material Safety Data Sheets (MDSD), and become informed on typical usages, toxicity, and required personal protection, such as gloves, and breathing masks. It goes without saying that proper ventilation should be maintained at all times, and in particular when working with larger amounts of material.

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Adhesives & Glues For most, “all-wood” applications, Tidebound II is the recommended adhesive. It does allow some time for adjustment, but also sets fairly quickly. Tidebound III can be the choice for any outdoor applications, it is water proof, and also provides a longer setting time.

When gluing segments, try to apply pressure horizontally by sliding (“rubbing”) the glue faces against each other. I recommend to do a “dry-fit” before applying the adhesive, in order to check that the joint will close completely, and without a gap. Sand (or re-sand) the segments if any gaps are being observed with this process. Segments that have been glued with Tidebound II usually are ready to be processed further after setting aside for 10 - 15 minutes. Differences may be observed when using denser grained woods (i.e., Ebony); allow for some extra time to have them set properly.

Figure 5. Various glues are recommended for different applications.

For all-wood projects, Tidebound II will be your best choice.

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Cyano acrylate glues (CA) are practical for smaller applications, and particularly if different types of materials need to be combined, either with each other, or in combination with wood. Take note that CA-type adhesives can release harmful and toxic odors when used in larger amounts. Make sure that sufficient ventilation is available in your work area. Most CA-based glues are hard and brittle once dried. This can become an issue when combining different types of materials, such as stone, metals, and also some of the synthetic materials with wood due to their vastly different expansion behavior at varying temperatures or humidity.

For combining stones or metals with wood, a glue that not only provides a solid adhesion, but also remains somewhat flexible is highly recommended. Some types of CA adhesives are available as gels, and also remain flexible after curing. Polyurethane-based glues, such as Gorilla glue, can also provide a good alternative. Note that the most commonly available Gorilla glues do foam, and expand during the curing process. Look for the clear, non-foaming versions of Gorilla glue. Be advised that both CA-type (“Super glues”) and PU-based (“Gorilla glues”) adhesives come with some significant health risks with respect to inhalation or indigestion. Be sure to read the instructions carefully, and consider the pros and cons before using them for a particular project. Experiment with some smaller pieces first to better understand the properties of a specific adhesive.

Hot glues, applied with a heat gun, are useful as a temporary adhesive, and for projects steps that require to have a part secured in place for a limited amount of time. This may be the case for temporarily securing a single ring for sanding, or even mounting a particular piece for off-center turning.

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I have repeatedly secured rings larger than 12� in diameter this way since those are too wide for mounting on a standard NOVA chuck. Another practical application for hot glue is to secure smaller boards onto a “push board� for safely cutting them it into narrow strips with the table saw.

Finally, hot glue can also be a good choice for combining materials such as stone, metal components, or resins with a partly finished turning since the glue remains somewhat flexible after cooling.

Experiment with some smaller pieces before committing to use hot glue for more permanent applications.

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Finishing Before proceeding to finish your project, make sure you have completed all of the turning that was needed, and you piece does exhibit its final shape. One of the most important features of a turned project is the outer shape, much more so than any complicated or intricate design pattern. Turned bowls and vessels bear a close resemblance to pottery, and the final shape almost always determines its aesthetic appeal.

A well thought out, and executed shape will always dominate over the design pattern, and a poorly shaped project can diminish the effect of a nicely designed and executed pattern.

Your turning should be fairly smooth and even. Start sanding with 80 – 100 grid sandpaper or textile-backed abrasives, and work your way up to 150 – 220 grid. Make sure your sanding abrasives are clean, do not over-use them, and replace clogged or dull abrasive papers or textiles frequently.

There are some different thoughts on how far to take sanding before applying the first coat of a finish. At any rate, make sure that all of the uneven marks and scratches have been removed before moving on to a higher (i.e., finer) grid. If your lathe allows to turn in reverse, sand in both directions. Check progress by running your hand back and forth across the surface. Wood fibers tend to bent and lay flat following the direction of the turning. You can remove these fibers by either sanding them off once the lathe is turned off or, more easily by reversing its direction. This will also help with sections of end grain that are a bit more difficult to finish cleanly.

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Sanding with too fine of a grid sometimes tend to close pores with some woods, making it more difficult for the first layer of finish to penetrate the wood surface. I sand at least to a 220 grid, sometimes even up to 400 grid before applying the initial coat, which could be a sealer in some cases.

Try to sand evenly, and with medium pressure. I also recommend sanding at an intermediate speed in order to avoid overheating of the wood and the abrasives. This is particularly important when finishing projects that include synthetic materials, such as acrylic resins and related materials. Finer grid abrasives in particular tend to just slip over the surface, rather than cutting if the speed is too high.

Depending on the intended use of your project, sealing the surface may be an important first step in the finishing process.

Figure 6. The use of a sanding sealer is optional, and depends largely on the type of wood, and intended use of your project.

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The use of a sanding sealer, or grain-filler as the first coat is optional, and may be useful with some coarse, open-grained woods such as pine, cedar, poplar, walnut, or mahogany. Its intentions is to fill pores, and allow sanding to a more smooth and shiny surface. It also will reduce the amounts of finish that have to be applied in order to fill the grain, and provide adequate protection towards heavy use or the elements. I have used products like Mylands Cellulose Sanding Sealer (lacquer-based) and Zinsser SealCoat (shellac-based) with good results. For the more natural, open-grained appearance of decorative wood turnings, however, a sealer is not required, and may even be undesired.

Use a food-safe sealer and finish if your project is intended to be used for foods. Do not use any products that are based on oils found in some nuts, such as walnut, peanuts and the like since these can cause allergic reactions for people with sensitivities to contents in nuts and seeds.

There are numerous options for food-safe finishes. Be diligent and educate yourself, and select the ones you feel comfortable with. I personally prefer to use the line of Tried & True finishes for all indoor projects intended for use with foods, children’s toys, furniture etc. All Tried & True products are 100% solvent free, zero VOC, and safe for food and skin contact. These natural finishes combine beeswax with pine resin or polymerized linseed oil to bring out the beauty of wood, they are highly durable, and decorative finishes.

I usually apply 3-4 coats from start to finish. Read the instructions carefully, note that sufficient curing time needs to be maintained between coats.

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Figure 7. Tried & True products are natural, 100% solvent free, zero VOC, and safe for food and skin contact.

For more information, visit their web site (www.triedandtruewoodfinish.com), or check at a local outlet, such as Wood Craft or Rockler in your area.

Figure 8. Minwax Sanding Sealer and Polyurethane finish are good choices for projects that are exposed to high traffic or the outdoors.

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For durable, high-traffic, or out-door applications, some synthetic sealers, and polyurethane finishes may provide the finish to be desired. The extensive line of Minwax sanding sealers and stains can be chosen from, including some polyurethane varnishes and clear coats. Some products are water-based, and contain polyacrylic, or polyurethane-based polymers, others do contain organic solvents to various degrees. Read the instructions on these products carefully, make sure you are using adequate respiratory protection, and your working area is properly ventilated.

The last step in finishing your project may be the application of a polishing paste (wax-based), applied with a clean cloth, and buffed to high shine at medium to high speed. I often use small amounts of Tried & True finish (bees wax and linseed oil), and polish the surface with a cheese cloth or clean staining pad. Repeat the final polishing step once more, if desired.

In order to maintain color and appearance, avoid display or storage in areas with excessive heat or humidity. Prevent exposure to direct sunlight as the UV radiation will break down colors and stains over time, which will darken the appearances of most woods.

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Tools & Accessories Segmented wood working includes specific requirements on repeatability, accuracy, and precision, and some basic machine tools are recommended: Table Saw. A model equipped with a sliding table, and a precision fence, adjusted for straight, and parallel cuts is recommended. In addition, a zero-clearance insert, and a stop block for clearance, to avoid dangerous kick-back are useful. A blade with 80+ teeth should be used to achieve cleaner cuts. A thicker blade (1/8”; 3 mm) helps with reducing vibrations, and allows for more precise cuts. Select a brand that comes with carbide tips, and expansion slots for improved heat removal when cutting more dense, and Band Saw. A general use band saw with a 14” clearance will be sufficient for most applications.

Recommended are models that are equipped with a tilting table, and a sliding fence. It is useful to maintain a selection of different saw blades, narrow ones (1/8”) for curved cuts, and wider ones (3/4”) for straight cuts. Check the blade tension periodically, and adjust the bearings and gards to minimize blade drifting.

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Disk/Belt Sander. Various models that have both a sanding disk, and a belt are available. Recommend are models with a disk size of at least 10”, 12” is better, and a belt with of at least 4”, or wider (i.e., 6”). Most models use PSA-type (Pressure Sensitive Adhesive) abrasive disks. Maintain a selection of various grids, 80 – 100 grid disks are sufficient for most Useful Accessories. Keep a selection of various rulers, knives (i.e., “exacto” knives), and scissors.

Also useful are digital and manual calipers, pens and pencils, electronic miter gauges, and a digital moisture meter. Keep a sketch board, and notebook close by for quick drawings, outlines, and calculations.

the tightening section.

Hose Clamps. Keep a wide selection of hose clamps. Most are available in a range of sizes, starting from 4”. Larger ones can easily be obtained by combining one or more of the smaller ones. Simply extend a hose clamp either by inserting a separate piece (from another hose), or just by combining two hoses via 49

Various clamps. Maintain a good stash of various type clamps and sizes, there can never be too many of them. Most useful are 2” – 4” size clamps. Bigger ones are needed for the assembly of more complex designs and larger size segments. In addition, a set of Turning Tools. Various turning tools will be needed to finish a segmented project on the lathe.

The choices are numerous, and also depend largely on personal preference. Traditional gouges of varying size, as well as miscella-

Sanding Accessories. For sanding of larger projects, power sanding with a rotary or orbital sander may be practical. Various types of sanding papers from 80 to 600 grids, and steel wools (00 – 0000) are recommended. Finer grids (400 – 1000) can be used for sanding in between coats, or for final polishing. Synthetic materials, such as resins, or metals can be finished or polished with textile sanding pads that are available from 1000 to 6000 grid and higher.

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Shop Safety Every year, hospitals see injuries caused by woodworking tools in the emergency room. This includes professionals and hobbyists, students and homeowners. The types of injuries vary, as there are more ways to make mistakes in a wood shop than there are ways to plan ahead for them!

According to the National Electronic Injury Surveillance System (NEISS), approximately 39,750 reported incidents/year relate to injuries caused by table saws, compared to about 10,930 combined incidents for accidents caused by joiners, planers and other equipment.

Noteworthy are the 6,800 incidents/year caused by miter saws, and about 3,550 incidents/year that are related to the use of band saws.

For segmented woodworking projects, a lot of work is done by using a table or miter saw, a band saw and, of course, a lathe. Following below are some thoughts on safety using these power tools.

Respiratory Protection. The one thing these tools all have in common is that they generate copious amounts of dust and debris. For any extended time working with wood, power tools or not, it is imperative to protect against the inhalation of saw and sanding dust and related fumes (i.e., from burning and smoldering wood). Use face masks whenever available, and equip your shop, or the stationary machine tools with a dust collection system. I use surgical face masks during sanding, and also have a dust collection system installed for most of my equipment.

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Table Saw Safety. I personally prefer a table saw over a miter saw. I do believe that you can use the table saw safely and effectively, and also achieve the needed high degree in accuracy, and repeatability.

First of all, there is no magic procedure for table saw safety!

Concentrate on what you are doing, and do not look around or talk while operating the saw, and do not use the table saw when tired.

Anything that flaps around is hazardous, such as long hair not tied back, necklaces, bracelets, ties and loose clothing. Do not work with your shirt pockets full of objects. Pencils and rulers have a way of dropping around the saw blade, so do not use the fence for storage of these items.

Select your working gloves carefully, and do not wear bulky ones since they can catch on things. Always unplug the saw, when you are changing blades or doing routine tune-ups. Make all adjustments with the blade at a dead stop. It is recommended to set the blade to extending no more than 1″ above the workpiece (I only use one teeth height), and lock the fence for ripping.

Use guards whenever possible (i.e., splitter), always wear safety glasses, or goggles. Never cut freehand! Use the rip fence to rip and the miter gauge to crosscut. Make sure that the miter gauge slides freely, never use the rip fence as a guide together with the miter gauge. You are inviting dangerous kickback! Avoid “risky� cuts, and assess your comfort and skill level objectively. And, most importantly: Watch your hands at all times!

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Band Saw Safety. Set the upper guide as low as possible without touching the wood, and adjust the upper blade guard so the blade is completely covered. Check the blade tension periodically, and adjust the bearings in order to minimize blade drifting (“running”).

Use the correct width blade for the desired cut radius, and don’t try to force a wide blade through a tight radius. Keep your hands away from the line of cut, and never push stock directly into the blade with your hand in line with the cut without a push stick. Watch your work piece, and your hands when the blade is about to break through the wood. Ease off pushing the wood towards the blade, and avoid any sudden jerks or movements. Wear safety glasses or goggles.

Lathe Safety. Although, turning is just one step in the process of segmented woodworking, most will spend a considerable amount of time advancing, or finishing a project on the lathe.

The American Association of Woodturners (AAW; www.woodturner.org) has issued a valuable list of safety tips for the lathe, and I have included those here with permission. Always wear eye protection – preferably a face shield or industrial quality safety glasses with side-shields. Wear short sleeve shirts, if possible, or long-sleeve shirts with snugly fitting cuffs, and remove wrist watches, necklaces, chains and other jewelry, and tie back long hair so it can’t get caught in the rotating work.

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Never leave the lathe running unattended, and always double check to make sure your work is securely clamped in the chuck or between centers before starting the lathe.

Remove the chuck key immediately after tightening the chuck, those chuck keys can be lethal projectiles if the lathe is started with the key in the chuck. Start the lathe at low speed, and increase the speed gradually, keep your fingers clear of the rotating work and cutting tools. Check the owner/operator’s manual for proper speed recommendations. Generally, use slower speeds for larger diameter or rough pieces and increased speed for smaller diameters and pieces that are balanced. If the lathe is shaking or vibrating, lower the speed.

Keep the belt guard or cover in place, check that all clamping devices are locked, such as on the tail stock and tool rest. Rotate your workpiece by hand to make sure it clears the tool rest and bed before turning on the lathe. Keep the tool rest as close as possible to the workpiece to avoid cantilevering too much of the tool over the rest, so that it might catch in the work and lever dangerously out of your hands. Re-adjust the rest as the workpiece becomes smaller. It is always safest to turn the lathe off before adjusting the tool rest.

Exercise caution when turning wood with cracks, splits, checks, bark, knots, irregular shapes or protuberances. When running a lathe in reverse, it is possible for a chuck or faceplate to unscrew unless it is securely tightened on the lathe spindle, if available, secure the chuck with a set screw. Always remove the tool rest before sanding or polishing operations, and keep your tools sharp and clean for better and safer performance. Some woods tend to dull tools rather quickly; re-sharpen frequently will lead to smoother turning and finishing. Stay alert, watch what you are doing, and use common 54 sense.

Summary Armed with the contents of this Introduction you now should be able to understand the basic terminology of segmented wood turning. The resources provided in Part 1 will allow you to select your materials, perform the necessary calculations, and select the tools and equipment needed.

Carefully review the safety recommendations for tools and equipment, and consider personal protection for respiratory safety and ventilation in your work area.

Starting with Part 2 of this series, a selection of decorative woodturning projects ranging from simple to more complex designs will be introduced. The projects cover segmented woodturnings using wood only, and also mixed-materials designs that incorporate semi-precious stones and minerals, synthetic materials, and jewelry-grade metals.

Each project description includes information on materials, step-by-step instruction with actual photographs, and is intended to demonstrate particular designs and techniques. Feel free to mix or replace materials, and apply the techniques to your own designs.

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About the Artist: Heiko Weiner Heiko started his woodworking journey in Germany more than 30 years ago. His grandpa was an avid carpenter, and he had the fortune of being taught the traditional European craft starting at a young age. The woodworkers he learned from at the time were making a living building toys and carving figurines.

After coming to the US from Germany in 1994, he spent the following years between Colorado, West Virginia, and Michigan, moving to Texas in 2008.

Over the years, Heiko has succeeded in developing his own, distinctive style. He combines wood with various other materials, such as semi-precious stones, metals, and acrylic resins. The resulting style is colorful and ornamental, much resembling that of decorative pottery.

Multiple precise techniques are required for his work, and each individual piece, regardless of size and complexity, is an original, and one-of-a-kind.

His artwork is shown in fine art shows across the country. Under his registered trademark Heiko serves clients worldwide with an interest in unique and one-of-a-kind decor.

Heiko is married, and lives with his wife Katrina and two children in Pasadena, Texas.

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