Turning To The Unfamiliar

Inspired by Barbara Dill’s article on multi-axis turning in the Fall
2007 issue of American Woodturner I’ve been playing with some of the
ideas she presented. Right now it’s all between centers turning.
Outcomes are still somewhat unpredictable but that’s improving with each
piece -it’s always easier to turn a variation of a piece you’ve already
turned - and can study.

Have done some shapes and forms that are so different from the familiar
circular cross section / symetric about a single axis turning that I
have no aesthetic reference to evaluate them. And unlike other more
traditional turnings - vases, bowls, boxes , plates, architectural
elements, etc. - there isn’t even the illusion of function. The pieces
are “just” interesting objects - which don’t look like anything
familiar. They may have some elements which are familiar - but somehow
“off” just a little - or a lot.

With the more familiar turned objects, which have single axis symetry,
you can “see” the whole shape / form from a single vantage point.
Consciously or unconsciously you can identify what type of object it is
- along with the shapes and forms of that type of object - as well as
some idea of what is and isn’t ideal. That often is NOT the case with
multi-axis turnings. In fact a single persepective can cause confusion
- the viewer’s mind trying to impose a preconceived notion of what the
visible outline of the object implies - assuming a single axis of
symetry - and not being able to make sense of what it thinks it’s
seeing. It’s the Blind Men Describing An Elephant thing - areas seem
familiar, though not quite “right” - with adjacent areas that may not be
familiar at all - the whole being an apparent paradox - an assemblege of
contradictions.

This “something doesn’t look quite right” thing about some forms of
multi axis turnings present interesting design options and
opportunities. You can turn a piece that looks like something familiar,
but mildly disturbing because “something doesn’t look quite right but I
can’t say why”. OR - you can turn something that is obviously not
familiar and let the viewer try to make sense of it - or - just enjoy
running their eyes and/or hands over its surfaces - and edges.

You really have to handle these things, turning them to see what isn’t
obvious from the “front” or the “top” or even as it is turned. In fact,
the sense of touch provides a much better idea of the shape /form -
without the visual ambiguity - and assumptions - your eyes impose. (And
if the adage “If you can get the customer to pick up a piece you’re
better than half way to a sale.” is true ...).

If you haven’t tried multi-axis turning, make up a dozen 3/4 x 3/4 x 5
or 6 inch blanks, mark two or three “centers” on each end and start
experimenting. In two or three hours you’ll begin to have a feel for
things - what obviously doesn’t work - and - some interesting things to
study and then refine with the next set of blanks. Doesn’t take a lot
of time - or wood. AND if you get a dig in / catch or a spiral cut -
that’s no big deal. I mean it’s not like you’re going to get hurt and
worst case is you’re out a little time and very little wood.

Try turning to the unfamiliar.

Charlie b