The largest vases made of wood. Decorative branches for a floor vase - eco-friendly, original and stylish. Great table decor
All the beauty of making chiseled wooden vases with their own hands consists in the fact that they can be sharpened both with a longitudinal arrangement of wood fibers in blanks, and with a transverse one. I have previously made vases from various types of wood and they were all cross-turned, which is explained by my pursuit of the maximum beauty of the wood material, which most often comes to light during cross-turning, most often, but apparently not always.
It was curious with my own hands to try longitudinal turning, which I had previously done very little. The fact is that for the manufacture of vases with transverse fibers, blanks of a rather large diameter, at least 250 mm, are required, which are very difficult to find in the nature of central Russia, especially when it comes to the most desirable fruit trees with hard and attractive wood.
With a longitudinal arrangement of a segment of the trunk, even on my small lathe, you can carve a vase up to 300 mm high - the length of the guides no longer allows, but this, it seems to me, is usually enough. The first operation is the cross sawing of the extracted tree trunk into logs, usually performed with a chain saw. Until recently, I did it right on the ground or some random supports or linings, which was very inconvenient, and sometimes dangerous. More than once he touched with a chain all sorts of metal objects, which forced him to immediately start regrinding the teeth, and, finally, he was ripe for creating a special design for cutting trunks into logs for turning - in other words, ordinary goats. They are shown in photo 1 and are made mainly from the material at hand. Here you can also round the blanks, that is, cut corners, grabbing the part with a luggage cord-elastic band. which clings to the side metal brackets, bent from nails and hammered in a row on the sides of the goat. You can also turn the goats upside down and saw the block of wood standing upright along the fibers. It's been a handy thing!
The next operation is the sharpening of a peeling chisel (reyer, according to the old terminology), with the help of which the workpiece will be roughed and the external profile of the vase will be partially formed (photo 2). It should be emphasized that this chisel is used exclusively for longitudinal turning and in no case for transverse turning. Sharpening is done at about 45°, and I do it by eye directly on the weight. i.e., without relying on the tool rest platform, because I do not want to spend time installing it instead of a device for sharpening deep grooved chisels much more often, permanently attached to the grindstone. Without pressure, I literally remove microns of steel (carbon in this case), focusing on the appearance of small sparks on the outside of the chisel tip. In this case, a circle of white electrocorundum (based on aluminum oxide) is used. the grains of which crumble during operation, which prevents clogging, as well as annealing of the material being processed, which is especially important for carbon steel chisels, which, fortunately, I have a little, and they are far from the most important.
Most of my homemade chisels are made of high speed steel, which is practically not afraid of annealing on a grinding wheel.
Photo 3 shows the roughing (rounding) of the surface of a segment of the trunk of a freshly sawn apple tree (its length is 250 mm with a diameter of about 130 mm) using a sharpened peeling chisel. Further on the photographs you can see the work with other types of wood for vases, such as mountain ash, bird cherry and birch suvel. Roughly leveling the cylinder, using a thick cutting chisel (7 mm) at one end of the workpiece, I form a protruding bottom for subsequent capture in the Axminster chuck with large cams type G [photo 4]. Their depth is 16 mm, so that the bottom should protrude no more than 15 mm so that the front planes of the cams rest against the cylinder body - this is a necessary condition for reliable fixation of the workpiece, especially a long one. To achieve this goal, when turning the key in the chuck, it is also important to ensure that the workpiece is supported by the tailstock.
The formation of the outer profile of the vase is carried out using a peeling and finely grooved chisel, and with the help of the latter, smaller details are machined, such as shoulders and grooves (photo 5). A shallow-grooved chisel, unlike a deep-grooved one, has a rather burrowing character: you need to carefully monitor the pressing of its chamfer to the surface of the workpiece, otherwise you can ruin the finished profile of the product when burying the chisel into wood. In general, the sliding of the chamfer of turning chisels on wood resembles the passages of the sole of a planer along it during gouging. It is difficult to imagine the detachment of the sole of the planer from the planed plane, which is equally a prerequisite for safe cutting of wood with almost any turning chisel, with the exception of scrapers, the chamfer of which does not press against the wood during turning. but they do not cut, but scrape the part, finally leveling its surface after cutting with other chisels.
The second important condition for the safe operation of a finely grooved chisel is the requirement to always direct it down the slope, i.e. to a smaller diameter. The sharpening of this tool is usually done at 30°. this operation is very convenient to carry out
using a special device that I made for sharpening deep-grooved chisels, slightly changing its setting. The chamfer is perfectly smooth without edges. This device will be described later in another article, but now it should be clarified that instead of a finely grooved chisel, a deeply grooved one with a less burrowing character can be used to form a vase profile, which I often do.
Photo 6 shows a fine scraping of the turned outer surface of the vase with the wings of a finely grooved chisel, which is led at 45 ° to the surface of the part. The final alignment of the workpiece with a longitudinal arrangement of wood fibers can also be performed using a kosyachkovy chisel, as shown in photo 7. True, it has a very burrowing character and even poses a danger, since when buried it can fly out of hands and injure the turner. At the same time, in the hands of an experienced specialist, such a tool is universal, allowing you to grind almost everything, but only with a fractional arrangement of wood fibers, i.e., with transverse turning, a chisel chisel is absolutely inapplicable. By the way, its blade is sharpened at 25 ° necessarily on the platform of the handpiece of the electric grinder.
Having completed the formation of the external profile of the vase and leveled its surface, as well as applying small decorative beads and grooves with a finely grooved chisel (photo #), I wet polish the product with P220 sandpaper. for which I dip the “skin” into a plate of water, and spray the surface with a sprayer. This polishing is preliminary. and in the future, after drying, the product will require final finishing. Next, I cut off the supporting ledge on the bottom of the vase with a thin cutting chisel (photo 9) and clamp the bottom in the cartridge with the support of the product by the tailstock (photo 10) for a snug fit of the front plane of the sponges to the bottom of the vase. The next step will be drilling a deep hole in the neck of the vase, but since it is long, for reliability, I decided to additionally fix the neck in the lunette (photo 11), the use of which is a common practice when turning vases.
Lunettes for small lathes are not for sale, you have to make them yourself. My three-wheeled steady rest (there are also two- and four-wheeled ones) is made of 40 mm thick plywood. The workpiece hole diameter is 220mm, and the inline skate wheels with precision bearings ensure relatively quiet operation. As soon as I installed the lunette, I had to interrupt the work: I had to take a roll of cling film and wrap a vase with it (photo 12), otherwise the item made of wet apple wood (an extremely “crackling” breed) would certainly crack during my absence. By the way, I also wrap half-finished bowls from weak, strongly rotted wood with this film to prevent them from flying into pieces when boring the inner cavity. The vase I conceived was to become universal, that is, suitable for both artificial and natural flowers. In the latter case, the water should be poured into some suitable small container, such as a glass test tube 200 mm long and 20 mm in diameter, placed inside the vase (Photo 13).
I did not find a suitable long drill (such as a Lewis spiral or a feather drill with grooves for chip removal) to make a hole in the neck of a vase. I had to put a simple flat "perk" 22 mm wide from a Soviet-era production set onto a long (300 mm) steel rod with a diameter of 10 mm and clamp it in a powerful drilling chuck with a Morse taper (photo 14). The very short base of my machine did not allow the cartridge to be inserted into the pi-zero of the tailstock, and the thickness of the rod of the device created did not make it possible to fix it in a 10 mm chuck of a conventional drill (9 mm). As a result, when drilling a deep hole in the neck of a rotating vase, I simply had to hold the cartridge in my hand with great effort, resting the rod on the handpiece. Photos 15 and 16 show the initial and final stages of this process. By the way, for the convenience of further use, the test tube inserted into the neck of the vase should protrude from there by approximately 5 mm.
At the stage of finishing the bottom, i.e. removing dents from the cams of the cartridge and leveling the end, it was necessary to unfold the almost finished vase on the machine. Previously, I carved a support faceplate with a recess for the diameter of the neck (photo 17). I placed it there and backed the bottom with a crowned center, into which I inserted an additional home-made narrow nozzle. When later I turned other vases of approximately the same shape, I simply carefully clamped the neck in the cartridge using small F-type cams, placing a strip of plastic more than 1 mm thick under them. A piece of coaxial (antenna) cable will also work as a softening pad.
Photo 18 shows the search for the center on the bottom, when for some reason it was not marked or disappeared. The beating is marked with a black felt-tip pen, then it is necessary, tapping on the mark with a mallet, to shift the workpiece so that the desired center is in its place. After that, the bottom is processed using a deep grooved or finely grooved chisel (photo 19)
After turning, the vase must be dried without cracking. Cracking in the air is almost inevitable, which is aggravated by the large thickness of the vase in the lower part (the thinner the walls of the product, the higher the chance of avoiding cracks, as well as some warping). I dry my raw wood products in one of two ways: either I put them in a kraft paper bag filled with wet shavings from the same wood (photo 20), or I fill the product itself with these shavings, which I then wrap in two layers of newspaper and put on a shelf in shed. The latter method is especially convenient and effective for bowls and plates with walls 4-8 mm thick, which dry out in about two weeks in summer without cracks or warping.
Unfortunately, the formation of cracks in the lower thick part of the apple tree vase could not be avoided even after two months of drying in a kraft bag, and circumstances did not allow drying longer. The cracks had to be repaired by gluing thin sheets of the same material, sawn on a band saw and then processed with a Proxhop grinder with a carbide disc and a Black & Decker electric file. The inserts were almost invisible, but this extra work forced me to reconsider the technique of turning vases in order to make their lower parts hollow to reduce the likelihood of cracking.
I must say that from the very beginning I had doubts about the legitimacy of a simplified approach, limited to simply drilling a narrow channel in the neck, which can be seen in a number of videos on the Internet. I used to bore the cavities in the bottom of the vases, but there were always various difficulties. True, I rarely made vases. Last summer, I made a series of vases of a similar shape, and the problem had to be solved radically. From the very beginning, at both ends of the cylindrical workpiece, it is machined along the ledge. Having formed the outer profile of the lower part of the vase, you should immediately start boring its cavity using a steady rest, holding the workpiece in the cartridge by the protrusion in place of the neck. Using a deep or finely grooved chisel, a hole with a diameter of about 50 mm is bored. through which it will then be possible to introduce one of the curved chisels - articulated, with a carbide nozzle or a nozzle cutter (photo 21), and the residual wall thickness is constantly controlled by a caliper.
Upon completion of the boring process, it is necessary to separately machine a plug of suitable diameter from the same wood material and glue it into the hole of the protrusion (bottom). Here it is necessary to estimate the depth of protrusion of the plug into the cavity in such a way that the test tube, which will later rest on it, goes out by the above-mentioned 5 mm. If the test tube falls into the neck, there will be an additional hassle with gluing a piece of wood to the bottom of the vase through a narrow channel.
That part of the glued plug that protrudes outward, I cut off on a band saw. Next, the bottom will be finally processed in the manner already described above.
If the vase has a different shape with a much wider mouth, then
a tag as a vessel with water will not work here. What to do? The solution came pretty quickly when I took a half-rotted birch suvel with a bright texture, harvested a couple of years ago in the forest, and carved a vase from it with a neck with a diameter of 35 mm. Further, in my stocks, I found a two-meter plastic tube of bright green color with a diameter of 32 mm and cut off a piece about 160 mm long from it on a band saw, deciding to turn it into the required vessel. First, using a gas microtorch, I made sure that this plastic is not thermoplastic, i.e., it will not be possible to weld the desired container from it. I had to turn to gluing, first sawing off another small piece from the original tube and making an additional fractional cut on it. With the help of an industrial hair dryer, I heated the cut to a soft state. unrolled it in a plane, put it under a press, and after cooling the leveled piece of plastic with a compass, I applied a contour of a circle on it, which will play the role of a bottom in a vessel from a tube. Further, I quite accurately, albeit by eye, brought him
size according to the internal diameter of the tube (28 mm) using a Black & Decker electric file (photo 22). I drove the circle into the tube to a depth of approximately 3-5 mm and filled the outside with a thick layer of a fairly universal waterproof superglue "Master" based on vinyl acetate copolymers, which I had been keeping for ten years (photo 23). The bright color of the vessel seemed vulgar to me, and I painted it with a brown quick-drying nitrocellulose enamel. Subsequent exposure to water for a month showed the tightness of the made vessel, and the general aesthetic properties of a chiseled vase with a live goldenrod branch can be seen in photo 24.
Finally, I would like to note that a wide variety of plastic water pipes are sold in stores, from which you can easily make any vessels for fresh flowers and place them inside chiseled wooden vases. Photo 25 shows a number of such products that I created last summer from various types of wood using the method described above.
DIY wooden vase - photo
Photo 1. Cross-cutting a log on a goat. Photo 2. Sharpening a peeling chisel on an electric grinder. Photo 3. Rough processing of the workpiece with a peeling chisel. Photo 4. Forming a protrusion at the end of the cylinder for the cartridge using a cutting chisel. Photo 5. Forming the outer profile of a vase using a finely grooved chisel. Photo 6. Fine scraping of the surface with a finely grooved chisel. Photo 7. Finishing the surface with a jamb. Photo 8. Application of decorative beads and grooves with a finely grooved chisel. Photo 9. Cutting the support ledge with a thin cutting chisel.
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How to make a vase out of wood. Wood vases are usually round and made from a solid piece, with turning turning 75 percent of the wood into shavings. As a result, we get one vase and a huge pile of shavings, but vases are not made from poplar - from precious woods, although poplar has been growing for more than one year. Our way of making a vase out of wood will be different. It will soon become clear to you how to make a vase out of wood, with great savings in wood.
We will need:
- A glued board made of three types of wood (17*20*3 cm), or bars of three types of wood, in different shades.
- Drill.
- Drill for wood.
- Sanding attachments.
- Clamps..
- Wood glue.
- Shellac (a substance widely used in woodworking).
- Muslin (cotton), tassel.
Tape machine for cutting wood.
The entire vase made of wood can be formed from one glued blank-board. This allows us to make an angle at which the rings of our future vase are cut. And the effect is as if the vase is made from a single piece.
First, we need a glued board made of various types of wood (walnut, mahogany, maple).
The gluing, along the long side, goes in this order walnut, mahogany, maple, then mahogany, walnut. We fit the template to the center line of the adhesive strip and apply the markup. It is precisely the exact alignment of the central strip that will achieve the effect of a solid workpiece.
We cut out the blank along the outer contour of the first ring, for this (unfortunately) you will need a band saw for cutting wood.
After that. At the intersection of the center lines of the workpiece and the inner marking oval, you need to drill a hole at an angle of 25 degrees in order to refuel the saw.
For drilling at an angle, it is necessary to cut an auxiliary template - cut off one edge of a wooden block of hardwood, at this angle. Write the angle values on the bar (we will need several with different angles).
Then we cut out the core of the workpiece along the contour, set the table angle to 25 degrees. We fit the ring to the rest of the board, aligning the central stripes, circle along the inner edge, create a cutting line for the second ring. Next, we repeat the cutting procedure only, we take the hole angle of 28 degrees. With the help of the second ring, we make the third, adhering to the above instructions. As a result, we get three rings and the bottom of our vase made of wood.
Glue the three rings together. We first check whether they fit snugly against each other (you can combine the rings and shine a flashlight inside). Adjusting irregularities, if any, is done with sandpaper, and again we check.
We smear the rings with glue, combine them so that the center line appears solid. We clamp in clamps with the help of two boards.
Our glue is dry, time to sand.
We grind with various nozzles, gradually reducing the grain size, to obtain a smooth surface. After grinding, we glue the bottom, we try so that the glue does not protrude, if it protrudes, after five minutes, gently unclench the clamps, wipe the glue with a damp cloth, and clamp it back until it dries completely. Next, we grind the vase along with the bottom.
The final operation - we apply several layers of shellac, shine with a piece of muslin.
How to make a vase out of wood is now clear - but it is not very easy to realize what was conceived, as it turned out.
Wooden vases look very beautiful. Usually made on a lathe. But 90% of the wood turns into shavings.
There is a technology that allows you to make a vase from a flat shield.
Here's what happens:
It took a long time to choose the material for the sample. On the one hand, I want something interesting, on the other hand, so that it would not be a pity to spoil it.
As a result, I settled on walnut, with oak and wenge inserts.
A walnut board 75mm wide and 15mm thick is cut into 3 parts.
Oak 4mm veneer must be cut into 15mm slabs.
How to do this if there is no circular saw, but there is a pair of clamps and a scoring saw?
So - the pist is clamped between the nut dies ...
And drinking.
The result is an even die of the desired thickness:
I glue the walnut into a shield with spacers - two oak dies, between them a thin wenge veneer. (which was sawn using the same technology)
Scratches from the saw are visible. A little sloppiness, plus solid oak that sawn along the grain.
It's not scary, anyway, the shield will have to be sanded to even out the gluing errors.
And again I glue it with spacers, leave it overnight:
I level the shield with a belt grinder, remove the remaining glue. Probably it was worth making the wenge continuous:
The result was a shield with a thickness of 14 mm. On each side it took 0.5 mm.
Based on the shield and the desired dimensions of the vase, the angle and step are selected:
I print the drawing, with the help of an awl I combine the centers of the shield and the drawing, I glue the drawing:
I saw a small rail at an angle of 38 degrees:
I fix the shield with clamps on the jigsaw table and using the rail as a guide, I drill 2mm holes with a drill at an angle of 38 degrees:
I pass a file into the hole:
And let's go!
Cut through the first ring:
And here it is - the bottom!
The wood is very hard, it is sawn slowly, if you squeeze it a little, the file bursts. To replace the file, you need to return the table to a horizontal position, unscrew the fasteners of the file, thread the shield, adjust it again to 38 degrees, adjust the tension ... Moreover, the file almost always breaks when 3 cm remains before the end of the ring.
The second ring, the picture is beginning to emerge.
Bottom view:
And after the fourth ring, the saws ran out. Used half a pack. No more, I'm saving it for tomorrow.
I drove to the store, bought 8 packs of files (to be sure to have enough), sawed:
I'll move the rings:
Sleight of hand and no cheating, the rings stack in a vase:
Can be combined with shift. You can insert between layers. Lots of options.
I start gluing, while without a bottom, so that it would be more convenient to grind the inner surface:
Checking layer alignment:
I leave it overnight under load:
Result. The surface is rough, but the alignment of the lines without serious violations.
Darkening - traces of sawing with an ultra-thin file (41 teeth per inch), which sank in sawdust and the wood burned.
It is necessary to level the inner surface.
Attempt number one - a steel rod with sandpaper glued to double-sided tape.
Not an option, too flexible.
Attempt number two, sanding drum on the same spindle.
It doesn’t fit either, the machine is light (as I intended it to be). It does not hold, plus it is inconvenient to work.
Attempt number three. Grinding drum on a flexible sleeve.
The drum is small, sawdust fly to where it is least needed, but you can work:
For fine grinding, I collect petals of 400 sandpaper:
But it doesn't grind. I continue with my hands.
It takes a lot of time, the surface is far from ideal.
I find an error - the penultimate ring is glued with an offset of 180 degrees.
Well, as a reminder... After all, it could have been a lot worse. Let it give charm - it will be a border. The main thing is that the spacers are normally combined.
Most of all, the sweat flooding the eyes and falling on the vase interferes.
The respirator was once snow white:
I glue the bottom. To speed up the process, I use my weight with dumbbells in my hands as a press ... The vase can withstand more than 100 kg without creaking, despite its lightness and thin walls. Now I think, what would happen if the vase shattered?
Wooden vases fit perfectly into any interior, and with their appearance they are able to give a twist to the design and serve as its accent. To decorate your home in this way, it is not necessary to spend a lot of money on their purchase.
DIY wooden vase
In order to make such a Vase with your own hands, you will need the following tools:
Workplace preparation
As usual, the first thing you need to do is equip your workplace where you will work. The rules are not complicated: there should be no extra things on the table, all the tools should lie in their places and be at hand. Not everyone has their own desktop, and for sure you have already thought about creating it. Making a table is not difficult - it is more difficult to choose a place for it in the house. A good option is a warmed balcony, where you can start working on crafts at any time. If you have a specially equipped room with a workbench, then you can be said to be lucky. In a separate article you can read about where I tried to describe the entire process of its creation in as much detail as possible. After you have completed the process of creating a workplace, you can proceed directly to your future craft.
Choice of plywood
The main elements will fit on A4 plywood, since some parts need to be made in several copies, then you will need several blanks. The thickness of the plywood should be from 2.5 to 3 mm, and depending on the thickness, it should be cut along the inner or outer contour, this is true for the grooves into which the craft elements are inserted. Before transferring the drawing to plywood, sand the workpiece with a sandpaper with a large grain, and then a fine one. Wrap a wooden block with sandpaper, and then start sanding. Sand the harvested plywood along the layers, not across. A well-sanded surface should be smooth, perfectly smooth, glossy-matt in the light and silky to the touch. Pay attention to the location of the fibers, knots, dents and other defects. Quality and color. If the plywood is not of very high quality and delaminates when sawing, read the recommendations for elimination. 
Transferring the pattern to plywood
You need to translate the drawing accurately and accurately: fix the drawing with buttons, double-sided masking tape, or simply hold it with your left hand. Check if the drawing fits the dimensions. Arrange the individual parts so that the plywood sheet is used as economically as possible. You should not rush, because your future craft depends on the drawing. If time is short, then to speed up the translation process, you can use the technique of quick translation of a picture, for this I suggest that you read the article in the tips section:.
Cutting a vase out of plywood with a jigsaw
There are many rules for sawing, but you need to be based on the most common ones. First, you should cut out the internal elements, then proceed to sawing out the contour. There is no need to rush when cutting. The main thing is to keep always straight at an angle of 90 degrees when cutting. Saw pieces along precisely marked lines. The movements of the jigsaw should always be smooth up and down. Also, don't forget to watch your posture. Try to avoid bevels and bumps. If you get off the line while cutting, do not worry. Such bevels, irregularities can later be removed with a flat file or “Coarse-grained” skin.
Rest
When sawing, fatigue occurs. Often fingers get tired as well as eyes, which are always in suspense. During work, of course, everyone gets tired, but in order to reduce the load, do a couple of exercises. You can see exercises. Do this several times as you work.
Assembling a plywood vase
The assembly of the details of the Vase in this work is simple. Please refer to the drawing for assembly. If some parts are not included in the desired parts - file them. When the craft is assembled without problems - glue it. You need to glue the dish with PVA or titan glue. You don't need to pour a lot of glue.
DIY varnishing
If desired, the dish can be varnished with fine wood stain or simply transparent, it is not necessary to do this, but this will add more individuality to your craft. Try to choose a good and high-quality varnish. do it with a special brush, take your time. Try not to leave visible streaks of bubbles and lint from the brush.