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TIPS ON PEN TURNING

These pages are intended to assist the beginner in getting started making the pen and project kits we sell. At this early stage it is still quite limited but will expand as time permits me to develop instructions. I will also be adding images to complement the instructions. If you are interested in learning the basics of wooden pen turning, this site by Russ Fairfield takes some beating! W oodturner Russ Fairfield

TIPS FOR TURNING ACRYLIC AND RESIN PEN BLANKS These guidelines relate only to the main differences between turning timber and resins/acrylics. I present them assuming the reader has adequate experience in using woodturning machinery and equipment, and is familiar with the basics of penturning and all necessary safety measures. Introduction There is a huge range of different terms used to describe the blanks we use in penmaking. Blanks are marketed using terms such as Acrylic Acetate, Celluloid, Acrylester, and many others. The most commonly used blanks are one of two basic types: 1. Acrylic Resin: is a thermoplastic, meaning that it is one of a group of plastics that can be repeatedly heated and manipulated. These blanks are produced by specialist manufacturers and some of the components are toxic and/or explosive. Of course the finished product is safe to use with normal precautions such as adequate ventilation and dust protection. Acrylic Resin pen blanks are not something that the average craftsperson is going to be making themselves, unlike Polyester Resin. 2. Polyester Resin (PR) pen blanks are available commercially and can be individually made by the craftsperson. PR is a syrupy clear liquid which can be coloured using compatible pigments. To this mixture is added a measured amount of catalyst that generates heat and curing of the mixture. PR can be used to encapsulate different objects and is very useful for stabilising timber, such as burls, by filling voids. There are craftspeople making their own blanks using all sorts of different items in the resin. Coffee beans, coloured noodles and snakeskin's are just a few examples of items mixed with, or encapsulated by Polyester Resin to make interesting and unique pen blanks. As a general rule I find Acrylic Resins more brittle than Polyester Resins. Although if too much catalyst is added to PR, it can produce a blank with a more brittle feel to it. Both Acrylic and Polyester resins are easy to turn with the proper tools and techniques. Drilling the Blanks Unless absolutely essential, I don't drill all the way through a resin or acrylic blank. The greatest risk of having these blanks crack and break (a blow-out) occurs where the drill bit exits the blank. Acrylics and resins do not appreciate getting hot which can easily occur during the drilling process. Heat can cause a blow-out, or the blank to melt close to the drill bit, causing a poor fit of the tube. Some people prefer to drill on the lathe, holding the blank in a scroll chuck. I prefer to do them on the drill press, held by a vice. Doing it this way, ie. holding the blank vertically, allows me to easily add a little squirt of water in the hole from a spray bottle to keep the bit and blank cool. Withdrawing the drill bit frequently to clear cuttings is also easier on a drill press. Withdrawing the bit to clear the cuttings is essential to success. Perhaps as much as every quarter of an inch. I keep an old toothbrush at hand to dislodge cuttings which can be caught in the flutes of the bit. I prefer to drill the blanks deep enough to accommodate the tube and then dock the blank on the bandsaw to expose the hole to prevent blow-outs as previously described. Preparing the Tubes Pen tubes are always sanded to scuff them and remove any oils possibly present from the manufacturing process. Roughening the tubes this way provides extra grip for the glue. Now for a little reflection! We need to assess the blank to decide whether or not we need to paint the tubes. Some blanks are so pale and/or translucent that the brass tubes may show through the finished pen. A consideration too, is the style of pen being made. Some styles are much thinner at the barrel ends than the central part. So, that while brass may not show through in the centre of the barrel, the ends where your nib, clip finial or centreband are, may show an undesirable colour variation due to the tube showing through. I have noticed this affect even with jet black resin blanks. As a general rule, I paint all tubes either black or white using fast drying acrylic paint in spray cans. Regardless of how fast the can says the paint will dry, I always allow at least 24 hours being fitting the tubes, and maybe 48 hours in cooler weather. If the paint is anything but fully cured, the glue may soften the paint and cause it to scratch when inserting the tube in the blank. It may also be beneficial to paint the inside of the blank to give a more consistent coverage of colour. There is no reason not to use brighter colours to paint the tubes with the more translucent blanks. Doing so can create a strikingly different appearance. Gluing the Tubes in I frequently use Medium CA (superglue) if I want to have them ready to start turning ASAP. Epoxy is also a very effective adhesive for pen tubes and is the glue of choice for many turners. Use enough glue to get good coverage and insert the tube using the same technique you use with wooden blanks. Milling the Ends Once the glue has been given time to dry, it is time to square the ends relative to the tube to ensure a neat fit between the blank and the metal fittings such as centreband, nib and cap etc. Again, this is no different a process than for wooden pen blanks. Some people sand the ends, others, including me, use a pen mill. Ensure that the mill is nice and sharp and go carefully down to the brass tube. Being too aggressive or experiencing a catch can obviously damage the blank. Turning the Blank Sharp tools and a gentle touch are essential! I have no particular preference for the type of chisel used, and so long as it is sharp and you are not forcing the cut, turning acrylics and resins should be an enjoyable experience. I usually start with a roughing gouge to get a square blank down to round, and then switch to a skew chisel. Always cut from the middle of the blank and work to the ends. Once a blank is round, your chisel should be producing long ribbons of acrylic or resin. I turn at full speed on my Jet mini lathe, which is about 3,300 rpm. Get the best possible finish "off the tools" as possible, this will minimise the amount of work necessary in sanding and finishing the blank. Finishing Finishing should be done at a lower lathe speed, down to 1,500 to 1,800 rpm is best. I sand from start to finish using water as a lubricant on the sandpaper and/or pads. I use a shallow container of water on the bed of the lathe beneath the blank and generally use the various grades of sandpaper going up to 2,000 grit Colour coded abrasive pads are also available and are very effective. These pads are easy to use and long lasting. A buffing machine using a Swan's-down mop which is loaded with White Diamond works to polish the finish blank. Some people, instead of buffing, use a plastic polish of some sort while the blank is still mounted on the lathe. I have tried extra cut car polish and it works to remove very fine scratches, but is prone to showing finger marks from handling. Brasso is another product that works well as a polish. Assembly Is as for timber pens. Take care not to exert too much pressure when pressing parts together. After all of your great work, you don't want to damage the blank at this stage!
	This image shows my drilling set-up. I use a standard drill press vice and leave an old square permanently next to the drill for aligning the blank straight in the vice. You can see the black line on the bit made by a marker pen which indicated the depth I will go to. The piece of masking tape on the blade of the square works as a marker to ensure that the blank is as high as possible in the vice that it will just fit beneath the bit when I position it to drill. This is necessary due to the limited travel of my quill, which means I can't afford to waste drilling depth with longer barrels by having too much space between the bit and blank.

	*This image shown the blank having been docked to length on the bandsaw to expose the drilled hole. I use a simple sled on the bandsaw table.*

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All designs and photographs are copyrighted by their owners and may not be reproduced or copied without permission. Dimensions provided for timber and resin blank products are approximate. . The colours and design/figure in the resin and timber examples shown are representative of the specific items photographed, other pieces of the same design/species may vary slightly. Prices and conditions of service are subject to change without notice. All prices are in Australian Dollars and are inclusive of GST (Goods & Service Tax). Goods that we deliver overseas are exempt from GST.