After assembly it was time to start texturing the coved area. I experimented with different gouges and decided to use a #7 sweep that was 10mm wide. This particular gouge had a long bend to it which made it easier to get to all areas of the cove. Do you realize how difficult it is to develop a truly random pattern? After doing a section I’d step back and look at it, then try to decide if there was a pattern or if there were too many or not enough cuts, do I need more, should there be less, etc. Finally I decided to listen to my daughters favorite phrase: “it is what it is” and let it be. The entire frame was checked over, sanded as needed and then I brush on a coat of Zinsser shellac seal coat to all surfaces which is lightly sanded with 400 grit paper before the final finish. 

The finishing process was a succession of first taping off the cove to apply the Japan Black to the edges. When that was dry, the edges were taped off to apply the gray sealer/burnisher. That tape was removed and replaced with the yellow 3M tape prior to applying the slow set size and the laying metal, silver leaf. I’ve found that the yellow tape leaves a cleaner edge since it’s thinner. When I lay composition leaf I use my fingers and cut it to size with a single edge razor blade. I’ve found that if you press firmly down on 6 or so leaves and cut them on a piece of plywood they cut cleanly. This is much, much easier than handling them with a gilders knife on a pad. With this cove I was actually able to pick up the leaf and paper at the same time and use similar to how patent leaf is applied. I’d do one side of the cove first and then come back to do the opposite side.

After the slow set size was completely dry the leaf was carefully burnished with 4/0, oil free Liberon steel wool to tone down the shine of the composition leaf. This was followed by a few coats of Platinum Blonde shellac applied with an air brush. The final step for my finish is to use a white nylon scrubby and Liberon neutral paste wax to tone down the gloss of the shellac. Here’s a final picture is of a corner detail — I believe it complements the picture nicely!

In this video we learn how to apply flutes (or reeds) to wood turnings. These decorative flourishes are notable design elements incorporated into many historic furniture styles including the Federal, Hepplewhite, and Sheraton schools. But even contemporary makers employ fluting and reeding within their work. You can too.

If you aren’t already familiar with the terminology, flutes are concave grooves cut along the length of an object. Reeds are cut similarly but their profile is convex. Flat moldings and trim can be reeded or fluted, but, in this video we focus on embellishing “round things” like bedposts and table legs. Johnathan Sanbuichi, turning specialist at Irion Company Furniture Makers, demonstrates how he uses a router mounted in a shop-built jig, a custom made indexing tool, and his massive lathe bed to accurately, quickly and repeatedly produce beautifully flowing carved lines. Learn and enjoy. — Keith (10 Minute Woodworking Video)

Johnathan Sanbuichi is a cabinetmaker and turning expert at the The Irion Company, specialists in the restoration, conservation, and hand-made reproduction of American antique furniture from the 18th and 19th century. Irion is based in Christiana, Pennsylvania.

The post How To Apply Decorative Fluting (or Reeding) to Turned Objects first appeared on WoodTreks.