Uploaded July 2026 | Updated September 2026, 2 weeks ago
Strictly speaking, black palm isn't a wood at all. It's a monocot, closer botanically to bamboo and grass than to oak, ash, or any conventional hardwood. Once you put it on the lathe, you understand exactly why that distinction matters. There's no grain in the conventional sense, no clear fibre direction to read and work with. What you get is a dense outer layer of vascular bundles and a progressively softer core, which means the tool can catch, tear, or crumble the surface in ways you simply don't anticipate if you're used to timber.
These two small bowls were made for a summer exhibition at a gallery in Farnham. That context shapes everything about how they were made. Turning a matched pair intended for public display from a material this unpredictable is a different kind of challenge to making a piece for practice or for the shelf. Both objects need to look as though they belong together in proportion, surface character, and finish, turned from a material that can vary quite significantly from one surface to the next. The finish had to be right for both the material and the setting. Danish oil was the answer: it soaks into the surface rather than sitting on top of it, bringing out the dark, dramatic patterning without fighting the material's natural texture.
This film follows both pieces from mounting to finishing, covering the tool and speed adjustments that black palm demands and the decisions that go into making work intended for exhibition rather than just the bench.
Can you use black palm on a standard lathe?
Yes, but it needs some rethinking. Sharp tools matter more here than with most conventional hardwoods. The vascular structure of the material dulls edges faster than you'd expect, and the approach to cutting needs adjusting to prevent the surface from tearing.
Why is black palm harder to turn than other exotic woods?
The structure. Unlike timber, black palm doesn't have a consistent grain direction to read. The dense outer layer and progressively softer interior mean you're effectively cutting through different materials as you work. It rewards a cautious, attentive approach rather than confident removal.
How do you get a good finish on black palm?
Danish oil works well because it penetrates the surface rather than building on top of it. A harder lacquer or wax finish can obscure the natural patterning that makes the material visually striking. Less is more.
What makes turning a matched pair difficult?
Consistency across two separate pieces that need to feel like they belong together. With a predictable timber, that's relatively straightforward. With black palm, it means staying alert to how each piece is responding as you work and making ongoing adjustments to keep proportion, surface quality, and character aligned.
0:00 — What is black palm?
0:22 — Mounting on the worm screw
1:08 — First cuts: why the material disintegrates rather than shaving
2:31 — Switching gouges: how quickly edges dull
3:31 — Sanding through the grits
4:12 — Moving to the O'Donnell jaws
4:41 — Hollowing the inside: easier than the outside
6:01 — Cole jaws and removing the tenon
6:20 — Drilling the recess for the maker's mark
7:10 — Danish oil and the finished pair
🎓 Want to learn in person? I run woodturning courses at my school in Hampshire for all levels — from complete beginners through to more advanced techniques. Details at www.thewoodturning.school 🛢️ My Finishes: yandles.co.uk/shop/?manufacturer=martin-saban-smith-woodturning 📘 Design and proportion in woodturning — I wrote the book: msabansmith.com/shop 📍 Based at Garthowen Garden Centre, Four Marks, Hampshire — next to the South Downs National Park. 🌐 msabansmith.com Facebook — Me: facebook.com/msabansmith Facebook — Woodturning School: facebook.com/thewoodturningschool Instagram — Me: instagram.com/msabansmith Instagram — School: instagram.com/thewoodturningschool The visual video content (including my voice), any text and any graphics in the video are Copyright © Woodturning Online Ltd 2015–2026. All rights reserved.
Strictly speaking, black palm isn't a wood at all. It's a monocot, closer botanically to bamboo and grass than to oak, ash, or any conventional hardwood. Once you put it on the lathe, you understand exactly why that distinction matters. There's no grain in the conventional sense, no clear fibre direction to read and work with. What you get is a dense outer layer of vascular bundles and a progressively softer core, which means the tool can catch, tear, or crumble the surface in ways you simply don't anticipate if you're used to timber.
These two small bowls were made for a summer exhibition at a gallery in Farnham. That context shapes everything about how they were made. Turning a matched pair intended for public display from a material this unpredictable is a different kind of challenge to making a piece for practice or for the shelf. Both objects need to look as though they belong together in proportion, surface character, and finish, turned from a material that can vary quite significantly from one surface to the next. The finish had to be right for both the material and the setting. Danish oil was the answer: it soaks into the surface rather than sitting on top of it, bringing out the dark, dramatic patterning without fighting the material's natural texture.
This film follows both pieces from mounting to finishing, covering the tool and speed adjustments that black palm demands and the decisions that go into making work intended for exhibition rather than just the bench.
Can you use black palm on a standard lathe?
Yes, but it needs some rethinking. Sharp tools matter more here than with most conventional hardwoods. The vascular structure of the material dulls edges faster than you'd expect, and the approach to cutting needs adjusting to prevent the surface from tearing.
Why is black palm harder to turn than other exotic woods?
The structure. Unlike timber, black palm doesn't have a consistent grain direction to read. The dense outer layer and progressively softer interior mean you're effectively cutting through different materials as you work. It rewards a cautious, attentive approach rather than confident removal.
How do you get a good finish on black palm?
Danish oil works well because it penetrates the surface rather than building on top of it. A harder lacquer or wax finish can obscure the natural patterning that makes the material visually striking. Less is more.
What makes turning a matched pair difficult?
Consistency across two separate pieces that need to feel like they belong together. With a predictable timber, that's relatively straightforward. With black palm, it means staying alert to how each piece is responding as you work and making ongoing adjustments to keep proportion, surface quality, and character aligned.
0:00 — What is black palm?
0:22 — Mounting on the worm screw
1:08 — First cuts: why the material disintegrates rather than shaving
2:31 — Switching gouges: how quickly edges dull
3:31 — Sanding through the grits
4:12 — Moving to the O'Donnell jaws
4:41 — Hollowing the inside: easier than the outside
6:01 — Cole jaws and removing the tenon
6:20 — Drilling the recess for the maker's mark
7:10 — Danish oil and the finished pair
🎓 Want to learn in person? I run woodturning courses at my school in Hampshire for all levels — from complete beginners through to more advanced techniques. Details at www.thewoodturning.school 🛢️ My Finishes: yandles.co.uk/shop/?manufacturer=martin-saban-smith-woodturning 📘 Design and proportion in woodturning — I wrote the book: msabansmith.com/shop 📍 Based at Garthowen Garden Centre, Four Marks, Hampshire — next to the South Downs National Park. 🌐 msabansmith.com Facebook — Me: facebook.com/msabansmith Facebook — Woodturning School: facebook.com/thewoodturningschool Instagram — Me: instagram.com/msabansmith Instagram — School: instagram.com/thewoodturningschool The visual video content (including my voice), any text and any graphics in the video are Copyright © Woodturning Online Ltd 2015–2026. All rights reserved.
