DEMONSTRATIONS

[TONY MALIN]

I feel sure GBF won't mind me re-starting this topic in his absence. However let's take Paul's definition as read.

In my experience demos range from average to very good. The most expensive are not necessarily at the top of that range.

I would like to raise a couple of points for demonstrators which sometimes tend to be overlooked, and which I hope are helpful.. First, where there is A/V equipment please work with the cameraman. Talk to him. Give him time to focus on a point of specific interest. Second, where a question comes from the front row, please remember there is a wider audience who want to hear what's being said. Third, I cringe every time a hand is applied to rotating wood.

[The Bowler Hatted Turner]

Sorry can't remember Paul's definition. I know demos range from good to bad, all demonstrators at some time have an off day/evening when everything goes wrong, the trick is to overcome your mistakes and put them behind you and carry on with the demo.
I agree about working with the cameraman, but when you are stood out the front demonstrating and being paid for it you are acutely aware that you are being paid for every minute and sometimes the camera gets forgotten.
    I also agree about having a wider audience, luckily I don't have a problem there as I am quite loud naturally.
 Finally Tony, cringing when a hand is applied to rotating wood? woodturners have worked like that for 100's of years, touch is part of the arsenal of tools at my disposal and anyone that has seen me turn will tell you that I am constantly touching the wood and I know I am the H&S guy who should be telling you to stop the lathe and saw your work off but that doesn't happen in my workshop, I part off completely with the piece cradled in my hand so I have to touch it then aswell. During a demonstration I demonstrate how Iwork and howImake various bits and pieces, it should not be a sterile demo where every aspect is perfectly carried out, if it was you would only have to see one demo to learn how every one does it and then there would be no individualism left in turning.

[TONY MALIN]

I suppose I should have excluded parting off, but isn't it a special case? The work is finished hence smooth. Near the point of separation the speed is reducing to zero.
I was thinking of beginners watching those who use their hand to check if the flats have gone when rounding a square.
It may not be that serious and probably falls into the same category as moving the tool rest.
Reminds me of a guy I saw making a multiple item changing the piece without stopping the lathe. Can't remember the detail.
C'est la vie.

[Bryan Milham]

Tony,

touching the wood? I think any of us would avoid touching rotating timber that was not rounded or at least so nearly rounded that would make no difference. The most important thing is to know where and how to touch the timber, never in a position where it can 'push' your fingers and never in a position where you can get your fingers moved into a trapped (between wood and toolpost) position, or knuckles rapped by the chuck.

You are correct, it would be foolish to try thouching on rough timber, the fast rotating corners of a square or Angel wing bowl and with a little thought we can all add many others to that list.

However I do agree with john (BHT), my fingers (correctly applied) are one of the most important tools I possess for creating smooth curves and finding the occasional rough patch of grain.

[Graham]

I am registered blind and rely a good deal on touch but I'm not so daft as to do it while the wood is spinning

[bodrighywood]

I worked a bit with a totally blind turner in one club I used to belong to and he touched the wood a lot, he used to keep the speed down mind. He could get a better finish using 180 abrasive than most of us with 400. Amazing guy, learnt a lot from him.

Pete

[Graham]

I am a long way from totally blind, to be able to turn without some impression of where the wood is must be really scary. I would have to watch demonstrations through a pair of binoculars. That makes a lot of people feel uncomfortable.

[Bill Mooney]

I am also registered blind & have been retrained by Blind Veterans UK & now turn  for occupational therapy. I've been turning since 1959 & turning was part of my apprenticeship & my job. I can see colours & blurred shapes & I touch the timber lightly with my hand when turning but sound , experience, a great respect of machinery & concentration & confidence make it an easy option for me.

[The Bowler Hatted Turner]

Bill and Graham, I tip my hat to you, although having turned for many years I am not sure if I would be brave enough to try it if I was blind or partially sighted. Bill I appreciate that touch and sound are some of the tools in your box and probably more heightened than the fully sighted of us.
regards
John BHT
 

[Graham]

I suspect Bill will agree ( but maybe not ) that the idea of other senses being heightened is a bit of a myth. I do think we learn to pay much more attention to them than sighted people do though.

[Bill Mooney]

I totally agree with Graham, I think you just become more aware to compensate. I also wear 2 hearing aids (industrial deafness I'm afraid). We just use touch like anyone else but others aren't so aware of it as we are.
Seeing a nice table you can't resist running your hand lightly over the top to feel the finish before thinking 'nice' or otherwise. Sometimes you don't realise you have done it, but Graham & I do.
Thanks for the compliment John.

[bodrighywood]

Working with a registered blind turner made me use my sense of hearing and touch a lot more. I often close my eyes and feel something I am making as I learned that I can sense defects that aren't always visible until you put a finish on it. Learned a lot from him.

Pete