Andi Wolfe is a professor in the biology department at The Ohio State University in Columbus, Ohio. Her love of woodturning competes closely with her love of science. In her home she has a scientific office - however, her woodturning studio is only one wall away and while databasing in the first, she is frequently drawn to the second for prolonged periods - some things just have to give!

Andi's scientific career is reflected in the surface decorations of her pieces. She studies the evolution, morphology and DNA sequences of plants. Much of this is done at the microscopic level. All of these are evident in the detailing, carving and painting of her turned pieces. Some are carved with hand gouges and others with high-speed rotary tools. She uses Detail Master and Razor-Tip woodburning tools to produce biological designs and patterns. For finishing Andi uses acrylic paints, Prismacolor markers, WATCO Danish Oil, and Krylon finishes. Woods used include maple, cherry, myrtle, holly, walnut, pear and redwood burl. One of her favorites is European hornbeam.

Andi began by turning the basic form with a rounded shape that appeared to disappear into the surface that it rested on. She used a piece of European hornbeam. The blank was roughed out between centers using the Ellsworth gouge. The outside curve should be flowing to the foot with no flat spots

Andi makes the center hole hemisphere shaped. The shape of the inside should match the bowl's outside contour. The rim is where the carving will be done so sanding is critical. It is not quite so critical in the bowl because it will be painted. Grooves were then cut on the rim surface with a spindle gouge sharpened to a point - two near the bowl opening and one near the edge of the rim creating two rings.

Black Gesso paint defined the areas between the grooves; one near the bowl opening and one on the rim. On the lathe. any Gesso outside the two rings was cleaned off with alcohol. Areas next to the rings were then cleaned up by turning the spill-over away with the same tool used to make the groove.

Next, Andi showed a series of overheads depicting her work area and numerous examples of botanical shapes and designs inspirations such as flowers, seeds, pollen grains and flower stems many of these on a microscopic level. Slides were then shown depicting many of her pieces, texturing processes and Pyrography.

The morning session continued with carving of the piece previously turned and painted. A Foredom tool with the We-Cheer reciprocating attachment holding a flex-cut v-gouge was used. Grooves were then cut from the center to the outside around the rim using eyeball indexing. The main question is, When is enough? You don't want it too sparse or too busy.

Andi began the afternoon session randomly figuring the outside of a hollow form using a ground-off framing nail in the reciprocating Foredom Tool. The wood fibers were not cut only compressed. Next, a seed coat pattern was done, using a high speed rotary tool with a fluted carbide burr, on the outside of a small hollow form. The outline of the pattern was formed and each cell was textured with a series of dots. Then a micro-torch was used to scorch (by kissing ) the dot pattern. Another texturing pattern of lines was made with an inverted cone tip. This was then scorched bringing the pattern out and making it more dramatic. Colors can be added to the grooves to brighten the effect. Next, a carbide ball tip was used to make a series of crisscrossing lines and then the tip was used to make numerous dots among the lines. This was then scorched to bring out the pattern.

Woodburning or Pyrography was then discussed. Andi laid out a leaf design on a bowl taking into consideration any desirable wood grain pattern. A template of the leaf was used as a guide. The vein pattern of the leaf was sketched in free-hand. Then the pattern was burned in to about one-eighth to one-sixteenth of an inch deep. Each vein was double lined. Various leaf patterns were demonstrated. Once the pattern was completed, the pencil lines were erased and the surface was washed with alcohol to remove resins which would interfere with painting or coloring the piece. A woodburning pen was used to form various patterns on the work surface. Patterns could be varied by changing the tip temperature. With higher temperatures glazing can occur due to melting the resins in the wood fibers. Wood grain and burls can show through the texturing. Deep relief patterns can be burned to a depth of one-half the wall thickness. is basically carving while burning.

Andi then demonstrated coloring. Any pencil lines were erased from the piece and the eraser crumbs brushed away. An air compressor is not used so that moisture in not put on the surface. Prismacolor double-ended markers were used to color in areas previously patterned and burned. Multiple colors were used one blending with another with the aid of alcohol on a Q-tip. After coloring WATCO Danish Oil is applied. Then Krylon fixative spray is used followed by two coats of Krylon matte finish. The final coat is a UV protective one.

Acrylic paint was used on the piece turned during the morning session. The inner black ring was dabbed with several metallic colored paints using a brush trimmed in a saw tooth pattern. This produced an inlaid-looking pattern to the ring. The interior of the bowl was then painted with a wash of two colors followed by copper paint. This produced a metallic finish to the interior. These paints, because they are water-based, raised the grain. This was lightly sanded with 180 grit to knock off the raised grain and to gently sand somewhat through the colors to give a muted effect. The small area between the black ring and the bowl s interior was lightly sanded to give a patina effect.

Next, a previously burned leaf pattern bowl was covered with black Gesso. The Gesso was allowed to dry. It was then painted with several colors. A dry brush technique was used. The piece was not colored completely with any one color only with random dabbing strokes. Over the blue-gray-green colors metallic paints (copper, bronze, olive) were dry brush applied. Next, interference pigments were applied again in patches - first purple, then green, then blue. These were allowed to dry and later would be fine-tuned to be sure that areas of color were uniform. Then two coats of WATCO Danish Oil will be applied, then Krylon Fixitif, Krylon matte spray and then UV protectant.

The complete detailed report is available on the our web site and an edited tape of the demo will be available in the club library in December 2004.

--Bob Gunther

Andi's Website

Andi's Resource List