By Janel Laidman

Dave Larson of Long Beach, California makes unique laser-engraved spindles from a variety of unusual materials, including Lucite. I caught up with Dave in Los Angeles, and got him to describe some of his unusual spindle creations.

S: How did you first get started spinning?
DL: Years ago (thirty I think), I had bought a knitting machine with no thought of where to locally obtain coned yarn. I found a weaver's studio that did (we're still friends in fact), and while there, saw this "stick with a disk" sitting in what (in hindsight) was the dirtiest wool in a basket. I asked her what that was, she said it was a drop spindle and showed me basically how to use it. She confessed she wasn't a spinner, but had it around for shop decor. Well, I went home with some coned yarn, some dirty wool and a drop spindle. About two weeks later, I had bought my first wheel.....

S: How did you get started actually making spindles?
DL: Since I have a laser engraver, I was in the learning process of laser engraving. Being curious, I tried sticking whatever would fit into the machine. I had remembered somewhere seeing a laser engraved spindle whorl, and thought I could try that too. Since it was winter and raining outside I couldn't use my lathe since I use it outdoors, it occurred to me that if I kept the thickness of the whorl within the limits of the laser, I could not only engrave them, but in fact have the laser cut the disk as well. Cool.

S: Would you please describe the process of making your unique spindles?
DL: I found the laser could engrave and cut the whorl, so then my task was to learn the software program for designing. I also learned which designs look better when lasered, and that sometimes it is better to cut something as the negative of the art. Using both available free clip art and original designs, I first define a circle of the dimension needed for the whorl — in fact now it's not always a circle; I have hexagons, octagons and a few random shapes that spin as well if not better than the circle with the bonus that they don't roll away when set down (flat sides and all). So, define the outside shape, draw or place the art where you want it, define a circle for the hole size where the shaft goes, and then let the laser do its thing.

You'd think that would be it, but then there's finishing. As wood has to be varnished before lasering, I still have to clean up edges, smoothe them out (remove some char depending on the type of wood — some burn very easily), then glue in the shafts. Drill and fix the hooks to the ends, shape the tips of the spindles (always sanded individually into shape) and a final finish coat of varnish or poly. Sometimes I will add some gilding, sometimes not. This is where individual spindles get their personalities. I give them a look over and just "know" which ones have to have it and which ones don't. After all, some may be used as reenactment pieces and peasants would not have gold-edged spindles. Others almost are enrobed with it.

The acrylic spindles follow a similar route, though with high-end cast acrylics and material-specific glues (the glue I use actually fuses the spindle and whorl into a single unit, melting them together). Also with the acrylics, I hand carve the hook into the acrylic. I tried, on suggestion, inserting a hook and it looked ok, but found quickly that if you try to adjust the angle of the hook, the acrylic easily fractures. So until I find a way to stabilize that for the consumer, I won't use them.

S: You use unusual materials. Can you tell us which materials/designs work best for spindles?
DL: I find clear, high contrast seems to give the best impression. I can do anything with custom work, but the ones that seem to get the attention are clear and defined patterns. I love doing Celtic knots, and graphics. I am branching out, though, to reach a broader taste range. I guess right now my thought is — try it, if it doesn't look good, it's in the trash or fire. If it does look good, then I finish it out as s drop spindle. With the clear acrylic you also have to consider that you can see through the material, so there is an implied extended space that works as part of the design. It's almost like designing an etching for a window rather than for flat wood. Some work on both surfaces, some don't.

S: Tell us a bit about where you live.
DL: Right now, by the beach, Long Beach, California. Wonderful breezes.

S: Where can our readers find your spindles?
DL: Right now, They can be obtained from me in person and from Village Spinning and Weaving in Solvang, California and Stick and Stone Fiberarts in Van Nuys, California. I don't do mail order right now, no time for running to the post with my day job.

S: What other spinning tools/accessories do you make?
DL: While I concentrate on the spindles, I also make knitting needle gauges, angle of twist measures and lined journals which have wooden covers engraved with spinning, weaving, dyeing or other fiber related images. I also started making tablet weaving cards in 1/32-inch plywood in sets, and some bookmarks with engraved images as well. I also on occasion get lidded boxes with fiber themes done.

S: Is there anything else you'd like to share with Spindlicity readers?
DL: This is fun. And I'll keep doing them as long as it is. I am open to suggestions on the spindles as well as other items that might be needed.