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charlieb · Guest

QC Criteria - Customers or Critics?

(Note: I’m using the positive connotation of the word “critics” - as in
critique / constructive criticism - rather than negative nit picking
egotistical attacks)

One of the many advantages of being a member of a turners club is the
opportunity to see day long demonstrations by well known turners. I had
the pleasure of spending a Sunday watching Cindy Drozda demonstrate her
method of turning three types of boxes, two with her signature beautiful
finialed (is there such a word?) tops. She’s a great teacher in addition
to being a very accomplished turner and artist. Her love of, and passion
for, turning is infectous. Here’s a link to her web site. Photos can
only give you an idea of what this turner does.

http://www.cindydrozda.com/

The first piece she created was an elegant little lidded holly box with
a padouk inlaid “rim” and foot. At maybe 2 1/2” diameter and perhaps 3
1/2” tall - including the long delicate finial - there was a lot of very
precise turning packed into a very small and beautiful package.

The piece required two critical fits - the inlayed padouk to the box rim
and the finialed lid to the inlay rimmed box. The blending of all three
to form a continuous whole isn’t trivial either - but I want to focus on
the issue of “fit”.

If you’ve made a “turned lidded box” you know how tricky it can be to
get a nice fit. Even when you sneak up on it, it can be a Too Big,
Still Too Big, Just A Little Too Big - TOO SMALL! Thing.

Now if you’re turning a lidded box to show off your turning skills to
other turners, a good fit means a “click” or “pop” fit. Anything less
is too loose or too tight. BUT - if you want to impress a non-turner -
say a potential purchaser of your turned lidded box, a nice snug “click”
or “pop” fit might work against you, especially if the lid has a
delicate finial. If, however, the top lifts off easily, revealing the
inside of the box, and let’s not forget the underside of the lid, well
the potential for a sale goes up noticably. And even if the person
doesn’t buy a piece, the look on their face as they examine, and
appreciate the piece can be a pay off that money can’t buy.

“Lid Fit” is just one example of the question - how much of what we
shoot for when turning is critical to the piece and how much is just “I
can - so I do”? Is a uniform 1/16ht inch wall thickness really that
significant to the piece? Sure, for Christmas Tree Ornaments, where
weight is an important factor, really thin wall are desirable. But on a
foot tall, 8 inch diameter piece, is there really any need for uniform
thin walls? Other than the challenge of hollowing through a seemingly
impossibly small opening in the top, why not hollow through a larger
opening in the bottom and “plug” it when th hollowing is complete? Is
the non-turner really going to notice, less alone appreciate, a surface
right off the perfect continuous finish cut as opposed to one that was
sanded smooth then given a film finish?

Do you turn to the limits of your skills, and maybe just beyond what you
think you can do, or do you turn to make your idea into a tangible
object - that may or may not be appreciated by anyone else on the
planet?

charlie b

TomNie · Guest

I've spoken before with respect for Cindy's fine work. Look very carefully
at her finials for the tiny added touches beyond simply the good looks of
them.

Agree with your appraisal of the quality of her demos.

If turning to sell then the best work is that which a customer appreciates
and can be created profitably, regardless of what other turners think.

If turning for the AAW or some other show or competition then the anal
details are appropriate since you're trying to separate yourself from many
fine turners. Kinda like fine five gaited horses trying for best of show.
They look different to the judges but they're all beautiful to the normal
spectator.

If turning for yourself then you don't need to care - just go until you feel
good about it. Enjoy.

TomNie

"charlieb" <charlieb@accesscom.com> wrote in message
news:47139C33.4E7A@accesscom.com...

Arch · Guest

Hi Charlie, good post.

I didn't come to making round wooden things by way of making flat wooden
things so I can't say much about cabinet and furniture making, so of
course, I will.

I wonder if stretching one's woodturning skills in order to make thinner
walls, smaller orifices, glassier finishes, obliquer (sic) contours,
etc. on a meaningless round wooden "canvas" isn't in some way comparable
to making a variety of perfect joints to connect several flat boards
just to make a long plank. I'm not talking here about surface
ornamentation, distortion or fenestration. They can be beautiful, but
not just in themselves. They adorn a
volume not a plane and a turned wood vessel ought to be more than just a
"canvas" to embellish. At least, this woodturner thinks so.

Fine joints and thin walls demonstrate the degree or limits of a
worker's technical skill and can add immeasurably to a finished chair or
vase. In themselves, they probably provide self satisfaction, but (you
each have your personal "buts" to finish the sentence and state your
opinions). 'But' in my opinion, the completed piece in its entirety, is
the thing, whether in the true opinion of the beholder or in the opinion
of someone else that's held by the beholder. Whatever, It's the vase,
not its walls and the chair, not its joints that people buy.

A tacky hollow vessel with gossamer walls and an ugly rocking chair with
perfect joints are both just that. YMMV, but even so, somebody will buy
them. :)

Turn to Safety, Arch
Fortiter

http://community.webtv.net/almcc/MacsMusings