I was just wondering what method those of you that sell your work use to
mark your work with your name etc.? I've tried sticky labels but they
fall off, labels that tie on are OK for small items but not for bowls,
and the "branding iron" type markings I've seen on other turners' works
are usually illegible.

I'm probably going with the idea of a separate card with contact details
and also some limited "care and feeding" instructions, but I'd still
like something a bit more permanent on the piece itself that won't
easily get lost.

Any ideas?

--
Alun Saunders

Alun Saunders wrote:
I was just wondering what method those of you that sell your work use to
mark your work with your name etc.? I've tried sticky labels but they
fall off, labels that tie on are OK for small items but not for bowls,
and the "branding iron" type markings I've seen on other turners' works
are usually illegible.

I'm probably going with the idea of a separate card with contact details
and also some limited "care and feeding" instructions, but I'd still
like something a bit more permanent on the piece itself that won't
easily get lost.

I use different techniques for different products. Bottle stoppers are
fitted to hang cards with thin elastic lace. Spurtles, dibbers etc have
small cards attached by crochet cotton. Weedpots just have a peelable
price label on the bottom, then go into a labelled box when they are sold.

All bowls have name and other details burnt in the base with a
pyrography tool. Bowls finished with danish oil will accept a peelable
price tag. Bowls finished with mineral oil / walnut oil / wax will shedd
adhesive labels, so I give each bowl a unique number, then put a tag in
the bowl with its number and a peelable price tag.


--
Derek Andrews, woodturner

http://www.seafoamwoodturning.com
Wedding Favors ~ Artisan Crafted Gifts ~ One-of-a-Kind Woodturning

Woodburner. Butane-powered soldering iron with a modified tip, in my case.
Allows additions at customer request.

I use sticky price tags or drop a card inside with care instructions and the
price.

"Alun Saunders" wrote in message
...
I was just wondering what method those of you that sell your work use to
mark your work with your name etc.? I've tried sticky labels but they
fall off, labels that tie on are OK for small items but not for bowls,
and the "branding iron" type markings I've seen on other turners' works
are usually illegible.

I'm probably going with the idea of a separate card with contact details
and also some limited "care and feeding" instructions, but I'd still
like something a bit more permanent on the piece itself that won't
easily get lost.

Any ideas?

--
Alun Saunders

I was just wondering what method those of you that sell your work use to
mark your work with your name etc.? I've tried sticky labels but they
fall off, labels that tie on are OK for small items but not for bowls,
and the "branding iron" type markings I've seen on other turners' works
are usually illegible.

Years ago, when I had access to the university's jewelry lab, I cast a brass
brand of my logo with initials. I use a propane torch to heat it. Dan

Hi Alun

I mark all but the smallest of my turnings with a pyrography pen, my
name, wood used, year finish turned, and number that correspond with a
photograph, if the price sticker disappears in the store or gallery a
new one will be no problem as al the pertinent info goes with the
photograph, and it gives me a memory and recall.
The ones that are to small for all of that do get a number and a tag on
a string, ribbon, etc.

Have fun and take care
Leo Van Der Loo

http://www.homepage.mac.com/l.vanderloo/PhtoAlbum12html

Alun Saunders wrote:

I was just wondering what method those of you that sell your work use to
mark your work with your name etc.? I've tried sticky labels but they
fall off, labels that tie on are OK for small items but not for bowls,
and the "branding iron" type markings I've seen on other turners' works
are usually illegible.

I'm probably going with the idea of a separate card with contact details
and also some limited "care and feeding" instructions, but I'd still
like something a bit more permanent on the piece itself that won't
easily get lost.

Any ideas?

I like your system. At first it looks elaborate.
I would benefit by knowing at what MP you are taking the picture and what
type of storage to you use. I am having a problem with unwanted shadow. I
wander how it can be solved without using too much light. As for the
pyrography pen I have one but it does not work fast. You may have a special
one. TIA

"Leo Van Der Loo" wrote in message
...
Hi Alun

I mark all but the smallest of my turnings with a pyrography pen, my
name, wood used, year finish turned, and number that correspond with a
photograph, if the price sticker disappears in the store or gallery a
new one will be no problem as al the pertinent info goes with the
photograph, and it gives me a memory and recall.
The ones that are to small for all of that do get a number and a tag on
a string, ribbon, etc.

Have fun and take care
Leo Van Der Loo

http://www.homepage.mac.com/l.vanderloo/PhtoAlbum12html

Alun Saunders wrote:

I was just wondering what method those of you that sell your work use to
mark your work with your name etc.? I've tried sticky labels but they
fall off, labels that tie on are OK for small items but not for bowls,
and the "branding iron" type markings I've seen on other turners' works
are usually illegible.

I'm probably going with the idea of a separate card with contact details
and also some limited "care and feeding" instructions, but I'd still
like something a bit more permanent on the piece itself that won't
easily get lost.

Any ideas?

On Tue, 21 Dec 2004 13:17:39 GMT, "Denis Marier"
wrote:

Denis.. try either or both of these "tricks" of the product photo
trade:

Use an exterior flash, and take multiple shots with the light bouncing
off different places.. (ceiling, wall nearby, wall behind, etc.)

Use you zoom (optical, not digital, please)
You'll get better depth of field and more even lighting effects if you
back off the subject a bit and then zoom it...
I had 1 client that hated the pictures of his demo model planes, as
they all looked like they were lopsided and had one wing that was much
larger than the other..
We took the shots from across the room with a big zoom and the
perspective/depth of field was right on..

I like your system. At first it looks elaborate.
I would benefit by knowing at what MP you are taking the picture and what
type of storage to you use. I am having a problem with unwanted shadow. I
wander how it can be solved without using too much light. As for the
pyrography pen I have one but it does not work fast. You may have a special
one. TIA

"Leo Van Der Loo" wrote in message
...
Hi Alun

I mark all but the smallest of my turnings with a pyrography pen, my
name, wood used, year finish turned, and number that correspond with a
photograph, if the price sticker disappears in the store or gallery a
new one will be no problem as al the pertinent info goes with the
photograph, and it gives me a memory and recall.
The ones that are to small for all of that do get a number and a tag on
a string, ribbon, etc.

Have fun and take care
Leo Van Der Loo

http://www.homepage.mac.com/l.vanderloo/PhtoAlbum12html

Alun Saunders wrote:

I was just wondering what method those of you that sell your work use to
mark your work with your name etc.? I've tried sticky labels but they
fall off, labels that tie on are OK for small items but not for bowls,
and the "branding iron" type markings I've seen on other turners' works
are usually illegible.

I'm probably going with the idea of a separate card with contact details
and also some limited "care and feeding" instructions, but I'd still
like something a bit more permanent on the piece itself that won't
easily get lost.

Any ideas?

Thanks for the feedback.
If I read correctly. Use of the 35mm camera produces better picture of
detailed craft-work.
I still have my two 35mm cameras. I'll try the bouncing flash method. Too
bad I do not have any of the Agfa film left. Processing of the 35mm is not
that expensive its just that I have to go to the photo lab.

"mac davis" wrote in message
...
On Tue, 21 Dec 2004 13:17:39 GMT, "Denis Marier"
wrote:

Denis.. try either or both of these "tricks" of the product photo
trade:

Use an exterior flash, and take multiple shots with the light bouncing
off different places.. (ceiling, wall nearby, wall behind, etc.)

Use you zoom (optical, not digital, please)
You'll get better depth of field and more even lighting effects if you
back off the subject a bit and then zoom it...
I had 1 client that hated the pictures of his demo model planes, as
they all looked like they were lopsided and had one wing that was much
larger than the other..
We took the shots from across the room with a big zoom and the
perspective/depth of field was right on..

I like your system. At first it looks elaborate.
I would benefit by knowing at what MP you are taking the picture and what
type of storage to you use. I am having a problem with unwanted shadow.
I
wander how it can be solved without using too much light. As for the
pyrography pen I have one but it does not work fast. You may have a
special
one. TIA

"Leo Van Der Loo" wrote in message
...
Hi Alun

I mark all but the smallest of my turnings with a pyrography pen, my
name, wood used, year finish turned, and number that correspond with a
photograph, if the price sticker disappears in the store or gallery a
new one will be no problem as al the pertinent info goes with the
photograph, and it gives me a memory and recall.
The ones that are to small for all of that do get a number and a tag on
a string, ribbon, etc.

Have fun and take care
Leo Van Der Loo

http://www.homepage.mac.com/l.vanderloo/PhtoAlbum12html

Alun Saunders wrote:

I was just wondering what method those of you that sell your work use
to
mark your work with your name etc.? I've tried sticky labels but they
fall off, labels that tie on are OK for small items but not for
bowls,
and the "branding iron" type markings I've seen on other turners'
works
are usually illegible.

I'm probably going with the idea of a separate card with contact
details
and also some limited "care and feeding" instructions, but I'd still
like something a bit more permanent on the piece itself that won't
easily get lost.

Any ideas?

On Tue, 21 Dec 2004 18:12:03 GMT, "Denis Marier"
wrote:

though I hardly remember how to use one, 35mm with a good lens..and a
good operator, would probably be better, but digital is a lot easier..
Also, with digital, you can "shoot like the pros" and shoot 100 shots
if you want to, then pick the perfect one.. crop it, add text,
whatever..
Lens is really important.. we got our digital about 4 years ago and
the reason that we picked the particular camera (Sony dsc something?)
is that it had a nice Carl Zeiss lens, which I was familiar with from
the 33mm days..
We get great shots at 1200 and good shots at 640, which most digitals
really suck at..

Thanks for the feedback.
If I read correctly. Use of the 35mm camera produces better picture of
detailed craft-work.
I still have my two 35mm cameras. I'll try the bouncing flash method. Too
bad I do not have any of the Agfa film left. Processing of the 35mm is not
that expensive its just that I have to go to the photo lab.

"mac davis" wrote in message
.. .
On Tue, 21 Dec 2004 13:17:39 GMT, "Denis Marier"
wrote:

Denis.. try either or both of these "tricks" of the product photo
trade:

Use an exterior flash, and take multiple shots with the light bouncing
off different places.. (ceiling, wall nearby, wall behind, etc.)

Use you zoom (optical, not digital, please)
You'll get better depth of field and more even lighting effects if you
back off the subject a bit and then zoom it...
I had 1 client that hated the pictures of his demo model planes, as
they all looked like they were lopsided and had one wing that was much
larger than the other..
We took the shots from across the room with a big zoom and the
perspective/depth of field was right on..

I like your system. At first it looks elaborate.
I would benefit by knowing at what MP you are taking the picture and what
type of storage to you use. I am having a problem with unwanted shadow.
I
wander how it can be solved without using too much light. As for the
pyrography pen I have one but it does not work fast. You may have a
special
one. TIA

"Leo Van Der Loo" wrote in message
...
Hi Alun

I mark all but the smallest of my turnings with a pyrography pen, my
name, wood used, year finish turned, and number that correspond with a
photograph, if the price sticker disappears in the store or gallery a
new one will be no problem as al the pertinent info goes with the
photograph, and it gives me a memory and recall.
The ones that are to small for all of that do get a number and a tag on
a string, ribbon, etc.

Have fun and take care
Leo Van Der Loo

http://www.homepage.mac.com/l.vanderloo/PhtoAlbum12html

Alun Saunders wrote:

I was just wondering what method those of you that sell your work use
to
mark your work with your name etc.? I've tried sticky labels but they
fall off, labels that tie on are OK for small items but not for
bowls,
and the "branding iron" type markings I've seen on other turners'
works
are usually illegible.

I'm probably going with the idea of a separate card with contact
details
and also some limited "care and feeding" instructions, but I'd still
like something a bit more permanent on the piece itself that won't
easily get lost.

Any ideas?

"mac davis" wrote in message
...
Use you zoom (optical, not digital, please)
You'll get better depth of field and more even lighting effects if you
back off the subject a bit and then zoom it...
I had 1 client that hated the pictures of his demo model planes, as
they all looked like they were lopsided and had one wing that was much
larger than the other..
We took the shots from across the room with a big zoom and the
perspective/depth of field was right on..

Yes and no. Depth of field is inversely proportional to the focal length of
the lens, but proportional to the distance. Theoretically, zooming from a
distance, at the same f stop should be a wash.

Shortening of perspective with longer focal lengths is yet another matter.
There, the longer focal length is your friend, especially when photographing
chubby aunt Maude, or for those pictures where folks are sitting. You can
keep the elephant knees (or larger wings) in better proportion to the face
with longer focal lengths.

Interesting example of shortening is the center field camera at baseball
games that makes the pitcher look closer than the batter, because our eye
interprets smaller as more distant.

Read before you click. Of course it's batter closer than pitcher.

"George" george@least wrote in message
...

"mac davis" wrote in message
...
Use you zoom (optical, not digital, please)
You'll get better depth of field and more even lighting effects if you
back off the subject a bit and then zoom it...
I had 1 client that hated the pictures of his demo model planes, as
they all looked like they were lopsided and had one wing that was much
larger than the other..
We took the shots from across the room with a big zoom and the
perspective/depth of field was right on..

Yes and no. Depth of field is inversely proportional to the focal length
of
the lens, but proportional to the distance. Theoretically, zooming from a
distance, at the same f stop should be a wash.

Shortening of perspective with longer focal lengths is yet another matter.
There, the longer focal length is your friend, especially when
photographing
chubby aunt Maude, or for those pictures where folks are sitting. You can
keep the elephant knees (or larger wings) in better proportion to the face
with longer focal lengths.

Interesting example of shortening is the center field camera at baseball
games that makes the pitcher look closer than the batter, because our eye
interprets smaller as more distant.

Hi Denis

My wife takes the photographs, not digital pic's and they are in a
folder with the info sheets so that we can get at the info anywhere
anytime, and remember it is only for my personal information and
recollection.
The pyrography pen and wire I got at Lee Valley the power supply we made
from an old amplifier transformer, or it came out a radar console, I'm
not sure, its not very hot, but I'm not a production turner, I just do a
bunch if I feel like it or need to fill up the gallery's supply.

Have fun and take care
Leo Van Der Loo

Denis Marier wrote:
I like your system. At first it looks elaborate.
I would benefit by knowing at what MP you are taking the picture and what
type of storage to you use. I am having a problem with unwanted shadow. I
wander how it can be solved without using too much light. As for the
pyrography pen I have one but it does not work fast. You may have a special
one. TIA

Hi Alun,
On pieces large enough to sign I use a fine tip permanent black marker
(Pigma Micron 05) prior to finishing. The Piece gets my name, month, year,
wood species and a number. On anything too small to sign I don't bother.
When my pieces go to the gallery I print out a tag that has my logo and
contact info along with info on the piece including cleaning instructions.
Tony Manella
ndd1"at"prolog.net (remove "at")
http://home.ptd.net/~ndd1/
Lehigh Valley Woodturners
http://www.lehighvalleywoodturners.com/

"Alun Saunders" wrote in message
...
I was just wondering what method those of you that sell your work use to
mark your work with your name etc.? I've tried sticky labels but they
fall off, labels that tie on are OK for small items but not for bowls,
and the "branding iron" type markings I've seen on other turners' works
are usually illegible.

I'm probably going with the idea of a separate card with contact details
and also some limited "care and feeding" instructions, but I'd still
like something a bit more permanent on the piece itself that won't
easily get lost.

Any ideas?

--
Alun Saunders

Thanks for all the suggestions folks. The jury is still out on what
method to use as I have no experience at all with pyrography (pens) or
whatever. My handwriting isn't that good at the best of times, and I
suspect that using an unwieldy writing instrument as well would make the
end result worse, thus somewhat negating the point of marking my work at
all! The idea of using a very fine marker pen and finishing on top of it
appeals, but I wonder whether the finish (depending on what is used)
might make the writing run.

--
Alun

Hi Alun,
I don't recommend the pen while using a friction polish but with any other
finish I've tried; pure tung oil, tung oil finish, danish oil, shellac,
lacquer, polyurethane, walnut oil, mineral oil and bees wax, I've never had
a problem.
Tony Manella
ndd1"at"prolog.net (remove "at")
http://home.ptd.net/~ndd1/
Lehigh Valley Woodturners
http://www.lehighvalleywoodturners.com/

"Alun Saunders" wrote in message
...
Thanks for all the suggestions folks. The jury is still out on what
method to use as I have no experience at all with pyrography (pens) or
whatever. My handwriting isn't that good at the best of times, and I
suspect that using an unwieldy writing instrument as well would make the
end result worse, thus somewhat negating the point of marking my work at
all! The idea of using a very fine marker pen and finishing on top of it
appeals, but I wonder whether the finish (depending on what is used)
might make the writing run.

--
Alun

"Tony Manella" ndd1 at prolog.net wrote in message
...
Hi Alun,
I don't recommend the pen while using a friction polish but with any other
finish I've tried; pure tung oil, tung oil finish, danish oil, shellac,
lacquer, polyurethane, walnut oil, mineral oil and bees wax, I've never
had
a problem.

I've had several brands of "permanent" markers, including Sharpie run when
exposed to alcohol. Imagine ketones would do the same. Don't count on it
staying sharp if you'll be adding finish, though writing on the finish seems
fine.

Lee Valley sells a "branding iron" that you customize, I use it and it works
great.
-
Bill
Kemptville, ON.

"Tony Manella" ndd1 at prolog.net wrote in message
...
Hi Alun,
I don't recommend the pen while using a friction polish but with any other
finish I've tried; pure tung oil, tung oil finish, danish oil, shellac,
lacquer, polyurethane, walnut oil, mineral oil and bees wax, I've never
had
a problem.
Tony Manella
ndd1"at"prolog.net (remove "at")
http://home.ptd.net/~ndd1/
Lehigh Valley Woodturners
http://www.lehighvalleywoodturners.com/

"Alun Saunders" wrote in message
...
Thanks for all the suggestions folks. The jury is still out on what
method to use as I have no experience at all with pyrography (pens) or
whatever. My handwriting isn't that good at the best of times, and I
suspect that using an unwieldy writing instrument as well would make the
end result worse, thus somewhat negating the point of marking my work at
all! The idea of using a very fine marker pen and finishing on top of it
appeals, but I wonder whether the finish (depending on what is used)
might make the writing run.

--
Alun

I don't use sharpies as even the extra fine point is way to fat. I started
using the Pigma when I saw a demo by Jacques Vesery, he signs all of his
pieces with one of these. He could write his name so small I could barely
read it. Again, I have never had any smearing, blurring or fading with
these markers in the four years I have been using them.

I write very poorly also so I print all of the information so it is legible.
I practiced a bit to get better before I signed any pieces. Printing allows
you to go as slow as you need.
Tony Manella
ndd1"at"prolog.net (remove "at")
http://home.ptd.net/~ndd1/
Lehigh Valley Woodturners
http://www.lehighvalleywoodturners.com/

"Tony Manella" ndd1 at prolog.net wrote in message
...
Hi Alun,
I don't recommend the pen while using a friction polish but with any other
finish I've tried; pure tung oil, tung oil finish, danish oil, shellac,
lacquer, polyurethane, walnut oil, mineral oil and bees wax, I've never
had
a problem.
Tony Manella
ndd1"at"prolog.net (remove "at")
http://home.ptd.net/~ndd1/
Lehigh Valley Woodturners
http://www.lehighvalleywoodturners.com/

"Alun Saunders" wrote in message
...
Thanks for all the suggestions folks. The jury is still out on what
method to use as I have no experience at all with pyrography (pens) or
whatever. My handwriting isn't that good at the best of times, and I
suspect that using an unwieldy writing instrument as well would make the
end result worse, thus somewhat negating the point of marking my work at
all! The idea of using a very fine marker pen and finishing on top of it
appeals, but I wonder whether the finish (depending on what is used)
might make the writing run.

--
Alun

On Wed, 22 Dec 2004 10:20:03 +0000, Alun Saunders
wrote:

Thanks for all the suggestions folks. The jury is still out on what
method to use as I have no experience at all with pyrography (pens) or
whatever. My handwriting isn't that good at the best of times, and I
suspect that using an unwieldy writing instrument as well would make the
end result worse, thus somewhat negating the point of marking my work at
all! The idea of using a very fine marker pen and finishing on top of it
appeals, but I wonder whether the finish (depending on what is used)
might make the writing run.

wow.. exactly what I told my wife... something like "nobody can read
my writing, so why burn it into something?"

I figure that I'll worry about it if I ever make anything that I feel
is work marking... assuming that doesn't include leg lifting.. lol

The idea of using a very fine marker pen

Alun, Be forewarned! The ink in those so-called permanent marker pens like
"Sharpies" is fugitive. That is, it will bleed given enough time. Also, not
all are fadeproof. If you want to go the pen route, pick up one of those
'paint pens' sold at hobby stores. Dan

Alun Saunders wrote:
My handwriting isn't that good at the best of times, and I
suspect that using an unwieldy writing instrument as well would make the
end result worse,

Two points on this.

First, pyrography tools are not necessarily unwieldy. I use the razertip
system. The pen is similar in size to a regular pencil, though it does
have a cushion grip which makes it easier to handle and keeps your
fingers cooler.

Second, writing with one of these is not much like normal writing. In my
experience it needs to be done much slower, each part of each letter
being done as a seperate stroke. Perhaps more what one call printing.


--
Derek Andrews, woodturner

http://www.seafoamwoodturning.com
Wedding Favors ~ Artisan Crafted Gifts ~ One-of-a-Kind Woodturning