In some ways, selecting wood for turning is like choosing lumber for any woodworking project. Stock should be free from defects, such as knots, splits, checks, and shakes. Blanks for spindle turning should be straight-grained; for bowls and other faceplate work, grain is less of a concern. In fact, a wildly figured piece of wood can yield a stunning bowl.
In other ways, selecting wood for turning has some advantages: Since wood turners are not limited to boards and planks, small offcuts at the lumberyard or fallen fruit trees at a local orchard can provide the needed raw materials.
Turning is typically done with hardwoods, as softwoods are often incapable of rendering sharp detail. Exotic woods are popular with many turners because of their striking figure; however, many are being harvested at an alarming rate and some are scarce and very expensive. Check with your local dealer for exotics from well-managed sources. See the list below for the characteristics and uses of some common turning woods.
While it is preferable to turn wood that has been air-dried or kiln-dried to a moisture content of 8 to 10 percent, green wood can sometimes be used. Blanks for large, deep bowls are sometimes best cut from a freshly felled tree. Yet while green wood is easier to turn, it shrinks more, and end sealer should be used to help prevent excessive checking.
A SELECTION OF WOODS FOR TURNING
| WOOD TYPE | CHARACTERISTICS AND USES | PRICE AND AVAILABILITY |
| Apple | Hard, tough wood with attractive straight grain and fine, even texture; light sapwood, reddish-brownish heartwood. Good workability; accepts finishes well. Excellent for small, ornate turnings. | Moderate; relatively plentiful |
| Cocobolo | A heavy, dense tropical exotic with medium texture and straight to irregular grain; purple, orange, rust and yellow in color with black markings. Moderate workability; finishes well and takes a high polish yet produces noxious dust when sanded. Used for small spindle turning projects such as vases, cutlery and tool handles. | Expensive; scarce |
| Mahogany | Straight to interlocked grain, moderately coarse texture, light reddish-brown to medium red. Good to excellent workability, depending on species; takes finishes very well; a tough, strong wood for general turning. | Moderate; becoming scarce |
| Maple | Straight grain, occasionally curly or bird’s-eye, fine texture; red-dish-brown heartwood and white sapwood. Good to moderate workability; accepts finishes very well. Hard and dense, maple is suitable for general and fine turning. | Inexpensive to moderate, depending on figure; relatively plentiful |
| Olivewood | Interlocked grain with fine, even texture; yellowish-brown with variegated streaks. Moderate to difficult workability; accepts finishes very well and takes an unusually high polish. Ideal for ornate turning. | Expensive; rare |
| Pear | Straight grain; fine, even texture; pinkish-brown to reddish-brown. Excellent workability; takes a high polish. Typically used for fine, ornate turning, and musical instruments. | Expensive; rare |
| Rosewood | Straight to interlocked grain, depending on the species; golden-brown to dark, purple brown. Good workability; accepts finishes well, provided the species is not too oily. Used for fine turning. | Expensive; becoming scarce |
| Tulipwood | Irregular grain, medium-fine texture; rich golden-pinkish hue with salmon to red stripes. Difficult workability; splits easily. Accepts finishes very well; can be brought to an unusually high polish, yet produces noxious dust when sanded. Used for small, ornate turnings | Very expensive; scarce |
Popularity: 3% [?]
Be The First To Comment