How They Did It: Shaped to Perfection
See how he creates undulating forms without touching a latheWhile Grant Vaughan’s flowing shapes (back cover of FWW #203, members can view it online) suggest a carefree exploration of form, the reality is quite the opposite. The design, drawing, carving, sanding, and refining of each piece takes weeks, not hours or days. When Vaughan tried to work in a less structured way, carving and designing at the same time, the designs weren’t successful from all angles. Now, he works out the design before he begins carving and accomplishes these fluid, organic pieces by working precisely and methodically, without a lathe, which he feels would limit his design possibilities.
Layout and rough shaping. Vaughan transfers drawings to multiple sides of a squared block of wood. He then uses an Arbortech power carver to shape the underside, leaving a flat on the bottom where he can glue on a clamping block. |
Shopmade jig for depth control. Once the outside is close to final shape, Vaughan uses the Arbortech to rough out the inside to about 1/2 in. thick and then moves to a jig to drill multiple holes at a consistent distance from the outer wall (right). Before drilling, he uses calipers to set the bit extension (left). |
Another pass with the power carver. Because the tool is very aggressive, careful control is important. Vaughan leaves the drill marks barely visible and moves to chisels and sanding disks to smooth the final surface. |
Finishing touches. Gouges are used on any area that the Arbortech can’t reach and to form any delicate details (left). The final smoothing is done with sandpaper (up to 1200-grit wet/dry), both by hand and with foam disks, 2 in. to 4 in. dia., on a drill (right). |
Interlocking pieces. Because of Vaughan’s precise shaping, one element of this white beech vessel fits inside the other without a base, joinery, or glue. (At right, the extra width is for the carved lip.) |
Photos: David Young
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