North East Chapter – Irish Woodturners Guild


April 2014


Pat Carroll travelled from Gorey to present our April demonstration to a full house at Seamus Cassidy’s studio in Newgrange.  A large blank of Lime 12” x 6” was mounted on a face plate with five screws in preparation to turn a textured and coloured bowl.     Safety precautions were outlined in detail before starting to turn, incorporating secure mounting principles, fire precautions, wearing of safety glasses, dust mask and lathe speed / torque.  Using a long (19mm) ground back bowl gouge which produced a continuous stream of shavings as the outside was given a primary shape and the centre-point marked on the base.  


Reverse chuck, checking that chuck fits on base spigot before removing faceplate.  True up face and mark 12 lines meeting at the centre.  Adjust the tool rest to allow the arbortech guard to run along it as the arbortech cuts along each line cutting from the outside rim to the centre. Mark a black circle on the arbortech blade to act as a depth gage guide.  Apply decoration between each cut with a light touch of the arbortech, and clean with a wire brush.  Spray on several coats to black acrylic paint, drying between each coat using a blow torch.  Turn a central 5” bowl with a recess at its top which will later facilitate reverse chucking in expansion mode.  When sanding through the grades alternate the lathe direction between grits. 


tn_Pat Carroll – His demo piece on fire after blowtorch application

Pat Carroll – At the lathe



Reverse chuck to shape the base and to create a 20mm bead between the rim and the bowl.  Next reduce the width of the rim to meet and expose the arbortech cuts each side of the bead.  Continue to turn the outside of the bowl to mirror the inside shape and finishing with a rounded base.  Finish with a random light application of Gold Finger gilt cream – resulting in a classic piece of woodturning art.  


Pat’s second project was a 12” Beech bowl featuring a black bead under the rim, and a broad face rim incorporating a 6mm flat bead at the outside followed by a 37mm flat section which was 6mm deep, followed by a 12mm flat bead.  The rim was sprayed with black acrylic paint, and when dry, a series of fine groves inserted in the centre of the flat area.  The central bowl was turned using a 3/8 bowl chisel with emphasis on its presentation and position during the cut – starting with a closed flute and finishing in the centre with an open flute.  


Thanks Pat for two very enjoyable projects incorporating a range of techniques and a host of tips and advice throughout the presentation.  


Thanks to Seamus Cassidy for providing the critique on the following items:-




tn_Burr Elm night light bowl – Cecil Barron 

Burr Elm night light bowl & Mountain Ash platter – Cecil Barron. 


tn_Sweet Chestnut – Carver’s mallet – Patrick McKevett

Sweet Chestnut carver’s mallet – Patrick McKevett. 


tn_Burr Elm box Richard Coyle

Burr Elm box – Richard Coyle. 



tn_Pair of Beech candlesticks – Gene McConnell 

Pair of Beech candlesticks – Gene McConnell. 


tn_Spalted Cherry bowl – Eamon McKelvey

Spalted Cherry bowl & Ash lidded urn – Eamon McKelvey.


tn_Ash square bowl – James Halligan

Ash square bowl – James Halligan. 


tn_Ash popery box – Bob Dier 

Ash popery box – Bob Dier. 


tn_Laburnum hollow form with finial – John Conneff

 Laburnum hollow form with finial – John Conneff.     


tn_Ash lidded urn – Eamon McKelvey

Ash lidded urn – Eamon McKelvey


tn_Mountain Ash Platter – Cecil Barron

Mountain Ash Platter – Cecil Barron