David Ellsworth is the grandfather of the wood art movement and Ellsworth on Woodturning is the book woodturners worldwide have been waiting for. With this first-ever book from the grandmaster of woodturning, woodworkers and artists can learn to replicate his highly evolved techniques and signature style. Step-by-step directions and crisp, absorbing photos show exactly how Ellsworth creates an open bowl, a natural-edged bowl, and an astounding hollow vessel featuring a tiny opening and coin-thin walls. In sharing his vision, Ellsworth reveals not only his techniques, but the power of the creative process—the feeling of direct engagement with the wood that develops an artist from each project to the next.
For anyone new to the lathe, Ellsworth on Woodturning provides expert tips for getting started. Intermediate and advanced turners will appreciate advice on everything from working with green wood to design to tool making and sharpening. Best of all, stunning color photographs of Ellsworth's work will inspire artists to unlock the natural beauty in wood.

"His work overturned all the deeply held traditions of functionality that had defined turning. For the first time, woodturners were seeing themselves as artists."
- Terry Martin & Kevin Wallace, New Masters of Woodturning

"A brilliant exposition of the art of woodturning by the premier writer, teacher, and practitioner of the art. It's clear complete, and superbly illustrated."
- Jane and Arthur Mason, wood art collectors

Over the last three decades, David Ellsworth has earned a reputation as a premier designer of turned wooden vessels and is credited with being the first person to develop practical methods for creating eggshell-thin hollow forms.

Ellsworth used his previous experience at the potter's wheel to revolutionize the craft of woodturning, and introduced a new contemporary art form to the world. His work is included in numerous private collections and museums throughout the United States. He is a Fellow of the American Craft Council, and has received fellowship awards from the National Endowment for the Arts, the Pennsylvania Council for the Arts, and the PEW Fellowship for the Arts. Ellsworth is the recipient of the Lifetime Achievement Award from the American Association of Woodturners and the Collectors of Wood Art. He travels the country teaching his signature turning methods, and runs a private woodturning school at his home and studio in Bucks County, PA.

Renowned for creating thin-walled bowls and vases, Ellsworth, a first-time author but a recognized artisan and woodworker, authoritatively here reveals the secrets behind his signature style and offers sound advice. The section on stretching and posture, where he addresses muscle strain or back injury during wood turning, is worthy of major praise. Much of what is covered in this book is very advanced stuff but with results of ethereal beauty. Highly recommended for advanced woodworking collections.

From the 'grandfather' of contemporary wood-art movement. David Ellsworth provides step-by-step directions for three projects - an open bowl, a natural edged bowl, and a hollow vessel.

Most wood turners know about David Ellsworth, the "Grandfather" of Woodturning.
They know of his contributions to the world of wood turning including his being a founder member of the AAW and then serving as the AAW President for 6 years, the creator of the modern bowl gouge and an early innovator of eggshell thin hollow vessels.
Many of us have been lucky enough to take David's wood turning classes taught in his home shop in Quarkerstown, PA. For me, personally, David's course helped me master some major concepts of woodturning; tool control, shear cutting and impact of posture to your turning! David's classes expanded my knowledge in and my enjoyment of wood turning!
David has now released a book condensing much of his knowledge into a single volume. The book covers three projects—a hollow bowl, a natural-edge vessel, and a pot. The book provides tips for mounting objects and making different cuts, including techniques for the "Ellsworth Gouge" tool he created. Intermediate and advanced turners will appreciate the chapter on designing and sharpening their own tools. A gallery of David 's turnings and those in his personal collection will really stimulate your turning design juices!
We highly recommend this book to all people interested in wood turning!!

David Ellsworth's new book on Woodturning is, on one level, a concise introduction to his art. It covers everything that he teaches in his intensive three-day seminars taught at his home and in his week-long classes offered at leading schools of arts and crafts. He offers insights on wood selection and object design. He explains what tools he uses -- and how to make them -- and the techniques with which he applies those tools to the wood. With beautiful photographs and his own sketches, Ellsworth demonstrates how to create the three basic forms: open bowls, natural-edge bowls, and hollow vessels. He literally takes the reader from the sawing of a log to the sanding and finishing of a final product. On that level alone, his book would be a great success, one that anyone interested in woodturning should read.

But the book offers much more. Ellsworth is, after all, a master of his art. He invented many of the tools and developed many of the techniques that are used today by woodturners around the world. He as much as anyone has been responsible for the recognition that woodturning is more than a craft that produces useful objects. He has greatly contributed to the public appreciation that woodturning is an art and that its practitioners can produce works of beauty, revealing the special qualities of wood in shapes and forms with visual and tactile delight, often incorporating references to classic ceramic or glass forms. Along the way, he has challenged the conventional notions that woodturnings need to be functional, or that forms need to be monumental to be appreciated as art. In very personal ways, in this book, Ellsworth shares his sense of awe at the qualities of wood, and his appreciation for the work of other woodturners. For example, the sketches in the book are all by Ellsworth's own hand. They are very personal and, to this reader at least, each sketch says as much about the author as it does about the subject of the sketch.

So on a second level, the book reveals much about the mind of a gifted master of his art. He shares his deep appreciation of the qualities and varieties of wood, especially its ability to change as green wood dries and matures. He demonstrates the importance of using tools in their most efficient and effective manners. Ellsworth's appreciation for efficient use of tools also extends to the human body. For him it is important that the body be used in ways that minimize the wear and tear and maximize the opportunities for success in woodturning. For Ellsworth, the body of the artist should move in an almost dance-like way as the tools move through their arcs on the wood. It is only through such smooth and efficient movement that smooth and graceful lines can be created. On this level, the book reminds of George Nakashima's "The Soul of a Tree."

Finally, Ellsworth is not only a talented artist, he is also a caring and gifted teacher with a delightful sense of humor. In his brief concluding appendix, he sets forth his approach to teaching, revealing much about the artist as a person who takes joy in sharing his insights with others. And in his glossary we see his humor -- a buyer is someone with the means to purchase a turned wooden object; a collector is someone with the means to purchase a second object.

In summary, Ellsworth's book is a great read for anyone interested in woodturning, or in gaining insights into the mind of a master artist.

David Ellsworth is often and justly regarded as the 'grandfather' of the contemporary wood art movement and you only have to look through Ellsworth on Woodturning to discover why. This book is eagerly awaited by audiences all over the world and is aimed at both the woodworker and the artist, catering for both simultaneously and drawing upon Ellsworth's signature style thoughout.
The book is beautifully illustrated with signature pieces and is not only incredibly comprehensive but also highly visually engaging. Ellsworth generously shares his secrets with the reader on how to create such pieces, which include the hollow form with coin-thin walls as well as the classic open bowl. Not only does he share his techniques, but also aims to inspire the reader to go on to create something as beautiful as the pieces he has produced.
David explains his unique perspective on wood and this book really does engage from start to finish. Not only is it suitable for those new to woodturning, but also the more experienced turner who is perhaps looking to develop their repertoire, or experiment with employing a more artistic approach.
The book features excellent step-by-step instructions on how to produce the pieces and also features many other useful sections, such as tool making and sharpening, both essential elements in the process of creating successful turnings. The illustrations and photographs really do make this book stand out and I'm sure this book will become an essential tool for any turner wishing to develop. The book really would make an ideal gift for anyone passionate about wood and will most definately inspire anyone with an eye for aestetics, or those who simply appreciate beautiful wooden forms.

Ellsworth, widely credited with being the first to develop practical methods for creating thin-walled hollow vessels and bowls with wood, explains secrets of the craft and gives step-by-step directions for projects in this color-illustrated how-to book for woodworkers and artists. For those new to the lathe, he gives advice on correctly positioning the body for more control and less strain, and provides tips on mounting objects to the lathe and making various cuts. Intermediate and advanced wood turners are treated to a section on designing their own tools. In addition to tools, techniques, and materials, the book discusses the creative process, design, and teaching. All techniques and projects are illustrated with color photos, and a photo gallery of Ellsworth's work provides further inspiration. A glossary and a list of vendors and classes complete the book.

David Ellsworth, one of the most successful woodturners in modern times, will receive a Masters of the Medium award on April 26 from the James Renwick Alliance of the Smithsonian Institution.

As the Renwick Alliance explained in an announcement, the award "recognizes artists of consummate craftsmanship who have contributed to and influenced their chosen fields." The Masters of the Medium awards are given every two years to people working in ceramics, wood and furniture, glass, metal and jewelry, and fibers and baskets.

"What makes this award special is that it's not coming from the woodturning community," Ellsworth told FWW in a phone interview. "I do appreciate all the awards I've received from woodturning organizations," he said, "but this signifies an acceptance of woodturning" from a wider artistic realm. Members of the Renwick Alliance, representing different crafts, vote for the award recipients. "It's pretty nice for a woodturner to get an award like this," he said.

Ellsworth is the third woodturner to receive a Masters of the Medium award since they were first given in 1997. Bob Stocksdale received the award in 2003; Edward Moulthrop, in 2001. Other recipients in the wood and furniture category are Wendell Castle, John Cederquist, and Judy McKie, leaders of the studio furniture movement.

The James Renwick Alliance, founded in 1982, is an independent organization that helps advance scholarship and education on contemporary American crafts. Among other things, it assists the Smithsonian's Renwick Gallery in adding to its permanent collection.

Ellsworth began woodturning in 1970, and is perhaps best known for his hollow vessels with extremely narrow openings The photos above show two examples. His work appears in a half-dozen galleries and some 14 museums. He was one of the founders of the American Association of Woodturners.

Over the years, Ellsworth has developed and successfully marketed his own turning tools, sharpening jigs, and instructional DVDs. He also operates a school at his studio in Quakertown, Pa.

Last fall, he published "Ellsworth on Woodturning" (Fox Chapel Publishing, $29.95, paperback), which is equal parts how-to, philosophy, and gallery. Written in a refreshingly clear, direct style and abundantly illustrated with photos of his (and others') work, Ellsworth's book would make a useful addition to any serious woodturner's library. One unique feature of the book is Ellsworth's focus on exercise—limbering and loosening exercises that he practices himself and teaches to his students, in order to improve their balance and control at the lathe.

Ellsworth on woodturning; how a master creates bowls, pots, vessels.
Ellsworth, David.
Fox Chapel Publishing, ©2008 247 p. $29.95 TT201978-1-56523-377-5
Ellsworth, widely credited with being the first to develop practical methods for creating thin-walled hollow vessels and bowls with wood, explains secrets of the craft and gives step-by-step directions for projects in this color-illustrated how-to book for woodworkers and artists. For those new to the lathe, he gives advice on correctly positioning the body for more control and less strain, and provides tips on mounting objects to the lathe and making various cuts. Intermediate and advanced wood turners are treated to a section on designing their own tools. In addition to tools, techniques, and materials, the book discusses the creative process, design, and teaching. All techniques and projects are illustrated with color photos, and a photo gallery of Ellsworth's work provides further inspiration. A glossary and a list of vendors and classes complete the book. (Annotation ©2009 Book News Inc. Portland, OR)

A lifetime of wisdom is contained in this major book by David Ellsworth. The time he spent writing is probably quantifiable; the experience of living and working with wood is not.

Ellsworth on Woodturning: How a Master Creates Bowls, Pots, and Vessels can be read and enjoyed on several levels. Upon receiving my copy, I eagerly thumbed through the entire book, looking at the images, which are numerous and varied. The images alone contain a wealth of information, making the book worth owning for just that feature. For instance, David not only talks about using a hanging bar, he includes images to illustrate how he uses one, regularly, to rejuvenate his body and improve his posture.

In some ways, it's easy to write a review of a book by and about David Ellsworth: one ought to buy a copy because David is one of the field's icons. On the other hand, it's a challenge because no matter what's said, there is so much that 'goes without saying.” David is a well-known master in the field of woodturning.

If you've ever wondered how to stand correctly at the lathe or your grinder, David clearly illustrates the postures best suited for a variety of turning activities in Chapter 8, 'The Body.”

For the chapter on design, David includes images of a number of his early works. Even though the quality of the images is understandably not that of today's standards, I appreciate seeing this earlier work, because it makes his discussion of the evolution of his hollow forms more meaningful.

For those primarily looking for tools and techniques, there's plenty to enjoy
and learn. David devotes individual chapters to making tools, sharpening, chucks, wood properties, sanding, and
finishing. (A note about the images: David said that the second printing would correct the slightly darker-thannormal
printing of many of the images.)

David clearly speaks for himself in this book, so if you want to get to know the man, his life, and his work, be sure to buy a copy.

Over two decades ago, when The Australian Woodworker had been published for only a few years, David Ellsworth was already a leader in the woodturning community. His thin walled hollow forms were the envy of other woodturners and reaped high prices from collectors who saw their value as evidence of a paradigm shift in the contemporary art world.

While his hollow forms were the most notable and, indeed, the most admired of his work, he also explored many other avenues, all with the same enthusiasm and with the same degree of professional care and accuracy.

Never afraid to share the most arcane of secrets of this methods, he taught and demonstrated through the world (including Australia), turning huge chunks of wood with laconic ease.

Now, at last, David Ellsworth, the spiritual grandfather of modern woodturners, has written a book.

Ellsworth on Woodturning is sub-titled How a Master Creates Bowls, Pots, and Vessels. The book is well laid out and richly illustrated, but above all, it is so wonderfully informative and written with such simplicity, that it is sure to educate and inspire both novice and experienced woodturner alike.

The book is divided into 17 chapters on design followed by a chapter on what must be the most unusual topic ever included in a woodworking book. Titled The Body, it is an examination of the effects of woodturning on the turner's body - and even to some extent, the reverse. It deals principally with how to minimise physical damage when spending long periods at the lathe.

The remainder of the book, about two-thirds of the total number of pages, is devoted to techniques. Chapter titles include: Turning an Open Bowl with a Cut Rim, Turning the Exterior of a Hollow Form and Turning Spirit Forms.

The last few chapters discuss Sanding, Finishing and Drying while Teaching appears in an Appendix.

It would be hard to imagine a woodturner who would not benefit in some way from this carefully written book by one of the great masters of modern woodturning.

The old master of the modern Drechselkunst

Ellsworth on Woodturning Davids Ellsworth is designated often as an "Urvater" of the contemporary Kunstdrechselns and counts since more than three decades to the probably best known wood fashioners. It had revolutionized the early Drechselbewegung with its extremely thin turned scarves and are its containers that it hollows out through smallest openings, for many turner inspiration. In seminar and demonstrations, it shows its technologies and teaches the form language of its works. Now a book of David Ellsworth appeared finally, on which one waited worldwide. In easily more intelligibly manner it divides its underpinned knowledge in full circumference with the reader and the observing of the numerous in this work, pricked becomes sharp color photo the experience. Thanks to the many statement strong detail reception, the mode of operation can be understood, even also without English knowledge, very well. Next to different projects such as
scarves, nature edge scarves and hollow containers the steps for step explained become, dedicates itself Ellsworth abundantly under many other subjects of also the surface formation, the tool and/or tool building, the chip linings or the drying of wet wood containers. Are certain especially unique however the chapters design or The Body. In the latter, it goes in on a healthy body bearing in the Drechseln and shows even different relaxation practices. Ellsworth on Woodturning is to be recommended, that for the material wood and the art skilled-labor manufacture of object containers is interested, to every.

I have always been a book kind of guy and on many subjects I would almost as soon read about it as do it. There are dozens of books in my home on many topics of interest, but as you can imagine, woodworking and turning are two of my favorites. I was cleaning out a few books a while back and came across an old favorite from some years ago. It was published by the National Geographic Society in 1975 as part of a series on many different topics. This one is called "The Craftsman in America" (now out of print) and as I thumbed back through it I realized that much of what I love to work on and really admire springs from this book.
In the introduction, Gilbert M. Grosvenor captures what I think may be the feelings of every craftsman in the world: "Every morning when I dress for work, I smile smugly at the quiet, smooth way my chest of drawers opens and closes at a slight touch of a fingertip. The early sun's rays reflect the warm matched grain and the rich color of the wood. My pleasure goes beyond mere ownership, for I built that chest myself from teak I imported from Burma and carefully aged in my basement workshop for two years." I know exactly what he meant. I have a table I made at the back door, a lamp table in the den, a clock in the hall and another on the mantle, all of which I made with these two hands and enjoy every day. Bowls I make for sale sit in my dining room so I can see and touch them every day and sometimes I consider keeping all of them. Would you sell your children?
In the National Geographic book from 1975, they featured Sam Maloof, who died only recently after a long career in woodworking. We should all be so good; that was 35 years ago and he was well known even then. Of course there were many other craftsmen in the book, among them, Bob Stocksdale, wood turner extraordinaire. In fact, in the picture of Maloof's furniture, the bowls on the table were by Bob Stocksdale, taken in trade for some Maloof furniture. What a deal on either side of that exchange!


I bought a book at Highland last week about Bob Stocksdale and it is quite well done. The title is Turn the Perfect Wooden Bowl, the Lifelong Quest of Bob Stocksdale by Ron Roszkiewicz. It is a perfectly delightful little book, full of color photos of bowls plus many other photos of Stocksdale at work. Apparently he was not always a very social fellow; he just wanted to work in his shop and not be bothered by guests, students or writers. He collected wood from all around the world and when he passed away a few years ago, his shop was filled with literally tons of wood. Some of it was good and some of it was not and some of it was good firewood. That didn't bother him, because as he explained, he had two fireplaces. I like that.


Another book I really enjoy is Ellsworth on Woodturning, subtitled "How a Craftsman Creates Bowls, Pots & Vessels" by David Ellsworth. This is a big glossy book by another master of the craft. Ellsworth is the inventor of the eponymous Ellsworth Signature Gouge, which is one tool I have not managed to purchase yet, but I admit I am intrigued by it after reading this book. This is more a reference book than some you see, and I intend to make this a step-by-step instruction book on hollow forms – the next step in my turning education.
Besides that, how can you pass up a book with a whole chapter on proper exercises before beginning work? Ellsworth starts his turning classes with everyone stretched out flat on their backs on the floor. He also has a small trapeze in the ceiling of his shop which he uses to hang by his hands several times a day to keep loose and flexible when he is working at the lathe. And I don't think I have ever seen instruction on how to plant your feet versus your elbows and hands while holding the tool at the lathe. Who would've thought?


I think the main thing I get out of books like these is "possibility." Somehow I can fool myself into thinking that if those guys can do it, then I can do it. Seeing it broken down into steps and watching someone do it just opens up all those possibilities to me, and I am empowered to start. Once started, I find that I can usually get better and then off I go.
I promise not to buy a book on brain surgery.

About the Author: Over the past three decades, David Ellsworth has earned a reputation as a premier designer of turned wooden vessels and is credited with being the first person to develop practical methods for creating eggshell-thin hollow
forms. He used his previous experience at the potter's wheel to revolutionize the craft of woodturning, and introduced a
new contemporary art form to the world. His work is included in numerous private collections and museums throughout the United States. He is a fellow of the American Craft Council, and has received fellowship awards from the National Endowment for the Arts, the Pennsylvania Council for the Arts and the PEW Fellowship for the Arts. Ellsworth is the recipient of the Lifetime Achievement Award from the American Association of Woodturners and the Collectors of Wood Art. He travels the country teaching his signature turning methods, and runs a private woodturning school at his home and studio in
Bucks County, Pa.

About the Book: David Ellsworth is the'grandfather”of the contemporary wood art movement and this is the book woodturners worldwide have been waiting for.With this book, woodworkers and artists can learn to replicate Ellsworth's
highly evolved techniques and signature style, allowing them to broaden their skills and adapt their own styles.Step-by-step directions and crisp, absorbing photos show exactly how Ellsworth creates an open bowl, a natural-edged bowl and an astounding hollow vessel featuring a tiny opening and coin-thin walls. In sharing his vision, Ellsworth reveals not only his techniques, but also the power of the creative process—the feeling of direct engagement with thewood that develops
an artist from each project to the next. For anyone new to the lathe, this book provides expert tips for getting started. Intermediate and advanced turners will appreciate advice on everything from working with green wood to toolmaking and sharpening. Best of all, stunning color photographs of Ellsworth's work will inspire artists to unlock the natural beauty hidden below the surface of the wood and themselves.

David Ellsworth's Book may be taken as what it says it is,
'How a Master Creates Bowls,etc.”
While this is not a foundation course, it should be read by
every new turner because Ellsworth's perspective is from a
man with so much experience turning and so many years
thinking about turning. Do not wait to share his rich knowledge
of the field.
What are the pitfalls facing the new turner? First may be
that we always spend too much money on tools we must try
to learn. As we gain experience, we find we bought the
wrong tools or tools we will seldom use. David Ellsworth describes
himself as a low-tech guy, and he spends the first
chapters in his book explaining not only how the tools work
but also how to make one's own tools. He obviously does
not describe how to make a gouge, but he does tell his reader
how to sharpen one for its intended use.
The novice will not appreciate all the book. They will not understand
how potent Ellsworth's comment is when he writes,
'... after Ed Moulthrop explained to me...”
The name dropping(and I don't meant that in a bad way)
continues when David quotes Mark Lindquist from a 2001
lecture saying 'the most important technological achievement
in woodturning since the mid-1980's has been the that
we've finally learned how to attach the wood to the lathe.”
David Ellsworth has worked with and studied many who
have brought the woodturning field to where it is. Ellsworth
on Woodturning is his way of sharing this with us no matter
where we perch on the limb of woodturning experience.
Chapter 1: Working with Green Wood and Dry Wood
Ellsworth tells his reader that '..wood moves.” He maintains
that is the universal law of woodturning which must be born
in mind regardless of the intended purpose for the piece.
He cites the example of a piece of veneer all crinkly and irregular
because the force of the wood has moved its 1/64
inch thickness as it dried. Then, imagine Ellsworth says ,
the same force in wood at two inches thick.
Chapter 2: Managing Materials
He writes about the characteristics of wood and how to preserve
one's materials. The one questionable statement Ellsworth
makes is about using beer to actuate or speed up
spalting. A statement that probably can not be supported in
a scientific way.
He completes this chapter with a cogent description of the
three type of burls: classic, onion and root.
Chapter 3: Why Turning Tools Work
In this insightful chapter the author compares a skew to a
razor and the scraper to a splitting maul. He discusses what
he call 'Mechanics of Sharp”, calling the gouge a compromise
between skews and scrapers.
Ellsworth describes cutting as occurring when the blade
edge is raised when it come in contact with the wood.
Scraping, on the other hand, is when the blade meets the
wood at a 900 angle.
In this chapter the author also describes the various tools.
This was where he described how he learned from Ed
Moulthrop about lowering the cutting edge to reduce vibration
with a parting tool.
The hollowing tool section make the book worth the cost.
Ellsworth lists and explains six principles of how hollowing
tools work. He clearly asserts that a 650 grind is the safest
and most effective grind on hollowing tools.
Chapter 4: Making tools and Tool Handles
For anyone with a bent to make tools and jigs, this chapter
will be their favorite. It explains in simple steps how to make
hollowing tools for pieces ranging from the miniature to the
huge.
Chapter 5: Sharpening
The author shares how his thinking changed about sharpening
jigs over time.
Chapter 6: Chucks, Glue Blocks and Face Plates
This chapter contains little new information to an experienced
turner, but wil definitely aid the newcomer. All should
read it as it is a concisely written handling of the topic.
Chapter 7: Design
In this chapter Ellsworth reveals more of Ellsworth than perhaps elsewhere in the book. He marks 1977 as a watershed
year in his career despite and not because of a failed marriage. It was then he began making hollow forms.
He credits Mark Linquist as a powerful influence during his maturation as an artist. This chapter never attempts to be a howto
portrayal of design. But David offers his reader ways to think about design.
Chapter 8: The Body
The reader may be tempted to skip over this chapter, but don't. Ellsworth writes about a turner needing to exercise and
keep fit.
Chapter 9: Turning an Open Bowl with a Cut Trim
This is a great how-to chapter. One suspects all but another master turner will benefit from reading and rereading this
chapter.
Ellsworth positions his reader at the lathe, gouge in hand. The illustrations depict how David holds his gouge and where he
holds it. The thinking offered in this chapter is essential for the new turner whether they choose to copy David Ellsworth or
not. An experienced turner should read and compare their own techniques. Even if one never changes their technique,
David offers all a pattern on which to hang your process thinking. This writer would be excited to read about the turner who
is so skilled they never need think about their process.
Chapter 10: Turning an Open Bow with a Natural Edge
Here the author extends the previous chapter into natural edge pieces. This is another great how-to chapter.
Chapter 11: Turning the exterior of a Hollow Form
Ellsworth tells his reader that turning hollow forms is his most fulfilling activity. One suggests several readings of this
chapter. It contains much. It is a little complicated, but with work it appears to be an excellent how-to work.
Chapter 12: Turning the Interior of a Hollow Form
This is the companion to the previous chapter. As in it, David brings much technical information about hollowing a form.
Here again study and rereading will benefit the reader. As noted earlier, David Ellsworth is most satisfied with hollowing.
Everyone appreciates his hollow forms as well. Here is the master describing the acme of his skill and techniques.
Chapter 13: Turning Spirit Forms
The two previous chapters lead naturally to this. The forms are micro hollow forms. Those who enjoy small turning this
chapter offers a great help. For those who insist on turning washtubs, the spirit form is great practice.
Chapter 14: Jam Chucks & Vacuum Chucks
Here, David offers an excellent how-to explanation for manufacturing and using vacuum chucks.
Chapter 15: Sanding
David Ellsworth offers some excellent thoughts on sanding wood forms.
Chapter 16: Finishing
The author discuss various types of finishes and treatment. He cautions about using wax finish on pieces that will sit with
little attention such as in museums. Wax will eventually mold. This was the first time this writer had learned of this fact. All
in all Chapter 16 contains excellent information.
Chapter 17: Drying Green Wood Vessels
This last chapter contains little not found elsewhere, but it is a nice compendium about green wood. For the new turner, this
is a must read. For everyone else this contains the least new information, but that does not lessen the quality of the writing.
Ellsworth presents an appendage on teaching which should be read by anyone who demonstrates or teaches wood turning.
One could make a nice check list to measure one's lesson plan or even school against.
This writer has been reading and rereading Ellsworth on Woodturning off and on since January. Having finished now a report
on the book, I still look at it on the desk feeling I really need to get into this book. This may result from the fact that
while David Ellsworth offers so much how-to information, he also serves up David Ellsworth at times. Even if one has no interest
or experience in woodturning, this book offers an insight into the mind of the artist like no other.