From the President VISION 2020, Every Issue of American Woodturner

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A ASSOCIATIONNEWS NNEWS Editor’s Note As part of the AAW’s 30th anniversary, we’ve put shows the broader story of woodturning and our relatively small part together a woodturning timeline (inside front in it. The timeline reveals that our thirty years are but a short moment cover spread) that offers a broad overview of the when you consider the long history of woodturning. But in those long journey of our beloved craft. Compiling this thirty years, the AAW has had a profound effect on the direction and timeline was a challenge, and I want to extend my use of this ancient craft. deepest thanks to Tib Shaw, AAW arts administra- Perhaps it was a perfect storm that led us to this point—the culmi- tor and curator; Terry Martin, a woodturner, his- nation of converging factors, evolving woodturning from industry torian, curator, and frequent AW contributor; and into a pastime and art form. I am excited to see what twists and turns John Kelsey, a woodturner and former editor of Fine Woodworking. It woodturning will take over the next thirty years. was their insights and resourcefulness that made the timeline possible. Although the original inspiration for the timeline was to help celebrate this important milestone in AAW’s history, it ultimately —Joshua Friend

From the President VISION 2020, every issue of American Woodturner. past and embrace the needs of future a service We’ll continue to develop our own woodturners. Long-term members will evolution new and exciting content, but VISION continue receiving the benefits they AAW membership has 2020 will expand our offerings by most enjoy, even as we fulfill our obli- always been a great aggregating content from many other gation to evolve and remain relevant value proposition, sources. Leveraging the Internet will in a changing environment. with benefits like the be a critical part of this evolution. Woodturners have a long history of American Woodturner Here are some of the added benefits sharing. Thirty years ago, a group of journal, the Annual International you can expect to see between now mostly professional turners wanted Symposium, and support for local and the year 2020: to bring turning to a larger mass of chapters, vendors, professionals, and • Access to an online searchable data- people. They worked with manufac- woodturning schools. However, as base of woodturning videos, linking turers to develop new and better tools; in most other parts of society, wood- you to the best of what is available on they supported craft schools by teach- turners are increasingly using the the Internet ing and demonstrating; they worked Internet to broaden their knowledge, • An integrated learning curriculum to with galleries and museums; they obtain specific information, connect better meet the needs of all turners made woodturning an art. I believe through social media, and find learning and AAW chapters that without the professional turner, resources. We still want those quality • Individualized online learning the AAW would not be what it is today. publications and experiences, but in this resources, made more accessible It is with this rich history and spirit of information age, we now expect even through a user-friendly AAW website sharing that we look to the future. We more value for our membership dues. • Improved local-chapter support, know we must embrace new technology In anticipation of evolving member including guidelines and tools for to improve and expand our member expectations, in 2014 AAW leadership better demonstrations and the use of services. The AAW has always been the began researching ways to continue video, handouts, and more “go-to” organization for all things wood- meeting your needs. VISION 2020 is • An interactive online directory tool turning, and we plan to build on that the result. Created from hours of focus designed to help chapters find out status with VISION 2020, a plan that groups, interviews, and analysis, VISION about demonstrators will make our learning and information 2020 is AAW’s plan to remain the leading • Efforts to encourage more people gathering a 21st-century experience. resource in woodturning. Its programs to take up woodturning, especially are inclusive, with the intent to fulfill the those from under-represented groups Looking forward, needs of hobbyists, professionals, collectors, demonstrators, and vendors. A history to grow on The AAW already has a wealth of During this 30th-anniversary year of information online, such as access to the AAW, it is a time to reflect on our Greg Schramek

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Moulthrops to Present at Atlanta Symposium

The Moulthrop family, comprising He experimented with chemical three generations of woodturners, compounds to prevent green wood holds a place of prominence in the from cracking prior to turning. Rather history of modern North American than show his work on the craft-show woodturning. The late Ed Moulthrop circuit, Ed chose to market it through (1916–2003), a successful architect galleries next to high-end glass, ceram- turned full-time wood artist, had a ics, and centuries-old paintings. major influence on elevating the status His work drew national attention, of wood from a utilitarian material appearing on magazine covers and in to an art form. He was a pioneer in museums a decade before the AAW reconfiguring tools and converting was formed. metal lathes to wood use to assist him Today, the Moulthrops’ large, clear- in becoming one the first to turn large coated vessels remain an iconic brand bowls and hollow forms. in the high-end collectable market. Philip and Matt Moulthrop, 2014, during an exhibition of work by the Moulthrops at Ed’s son Philip and grandson Matt, The popularity of their work persists, Auburn University. renowned woodturners in their own with demand from five major national Photo: Mike Etheridge, Auburn University Photographic Services right, will present a lecture, “Material galleries and smaller regional venues. Selection and Creation of Turned Objects Using Personalized Tools Following in Ed’s footsteps “We haven’t changed our philoso- and Methods,” at this year’s AAW Philip quit a law practice to join his phy and won’t. Showcasing the beauty International Symposium in Atlanta. father in the family woodturning busi- of the wood always comes first,” said Their appearance, sponsored by AAW’s ness in 1979. Together they produced Philip. “But we are a family business. Professional Outreach Program, will be work received by the Pope, numerous You have to work hard in a changing part of the Special Interest Night activ- heads of state, and business leaders market to pay the bills. The schedule ities, Thursday, June 9, at 7:00 p.m. across the world. Following his father’s doesn’t give us much time to see a death, Philip worked alone until his lot of our friends in turning, so I’m History son, Matt, gave up a business career to looking forward to this time at [the As a modernist architect, Ed join him as a third-generation wood AAW Symposium].” Moulthrop adapted classic shapes of artist. In 2011, the family was featured Roman and Greek vessels to high- on the PBS television series Craft in For more, visit moulthropstudios.com. light the beautiful grain patterns in America: Family. The episode can be southeastern American hardwoods. viewed at tiny.cc/Moulthrop. —Dave Long

Philip Moulthrop, Loblolly Streaked Pine Sphere, Matt Moulthrop, Spanish Oak Globe, 2012, Philip Moulthrop, Mixed Mosaic Bowl, 2013, 2013, Loblolly pine, 11½" × 12½" (29cm × 32cm) Spanish oak, 8¾" × 12¾" (22cm × 32cm) Various woods, 8½" × 13½" (22cm × 34cm) Photo: Bentley Gallery Photo: Moulthrop Studios Photo: Moulthrop Studios

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05_Moulthrops.indd 5 5/3/16 2:22 PM A ASSOCIATIONNEWS NNEWS Reflections on AAW’s 30th Anniversary David Ellsworth AAW’s origins Mark My best recollection is that there Lindquist, were ten of us in the room, nine Bowl, 1982, newly elected board members and Sugar maple an administrator. It was April 1986. burl, 5" × 10½" (13cm × 27cm) The room was at the Renwick Gallery of the Smithsonian in Washington, D.C., and the event was the first sit- down meeting of the AAW’s board of directors, following the “Vision and Concept” conference at Arrowmont the previous October. All of us were woodturners, most of us educators, and this would be the day we plotted the course of the organization we have today. Beyond our a handle on these questions, we were of diddlers and do-dadlers. Ask-don’t- own ideas, we hoped we really knew simply going to have to jump into the tell meant constantly seeking input what woodturners needed and wanted. ring and see where it led us. from our members (asking) so we were But what could we offer them? How sure to address their needs, rather than could we connect with them and stay An inclusive philosophy telling them what we thought those in touch? And, of course, how would We established a working philoso- needs were. No easy task in that pre- we pay for it? phy for the organization that would Internet era. Another factor was that we really become the foundation for all future Yes, the AAW has strayed a bit over had no idea how many woodturners endeavors. This philosophy can best the years. Every non-profit group seems were out there. Several of us had been be described as an inclusive, ask-don’t- to be guilty of that. But we have always to conferences in other countries, and tell approach. In effect, we would make rebounded stronger than before, which there had been a number of similar every effort to give equal weight and is all part of the checks and balances events in the United States over the attention to spindles, boxes, bowls, that do actually work when organiza- previous decade. But we knew this platters, vessels, artists, craftspeople, tions remain on track and conscious wasn’t the full picture. In order to get hobbyists, professionals, and all forms of their core values. Of all the other craft media organizations—ceramics, glass, jewelry (metals), basketry, ironwork—most of which are quite a bit older than the AAW, none provides as many opportunities to advance member learning skills on all levels or to gain public exposure for artwork than the AAW. Think thirty years of scholarships and grants, regional Bob Stocksdale, Bowl, 1979, Celon ebony, 3" × 5½" (8cm × 14cm) and national conferences with active youth programs, juried William Moore, Inverness, 2000, Oak burl, and invitational exhi- spun bronze, 10" × 10" × 5" (25cm × 25cm × 13cm) bitions, thousands of Photo: Harold Wood demonstrations on turning

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techniques, lectures on professional- foundation of good design, but we now ism through the Professional Outreach have new interpretations of what that Program (POP). And, of course, the term means. Color and texture have instant gallery at AAW’s Annual become the norm, multimedia work Symposia is the largest non-juried is commonplace, and turned bowls woodturning exhibition in existence. are being used to cast glass and bronze Add to that American Woodturner—the forms. Collectively, people continue to most dynamic membership-supported explore, expand, and challenge both woodturning publication available— the material of wood and our under- nearly 375 local chapters covering the standing of the term beauty—and all to breadth of North America, plus an a very approving audience. extraordinarily comprehensive website, So it is with some confidence that we and it’s easy to appreciate the impact look down the road, although always the AAW has had in supporting the with one foot on the gas, one on the field of woodturning. brake, and a sharp eye on the rearview Clay Foster, Rattle Pot, 1994, Pecan, raffia, deer mirror. I offer this element of caution antler, 6¼" × 6" (16cm × 15cm) A mission to grow on only because survival in the crafted arts, Short of sounding like I’m preaching, either as an individual or an organiza- recall AAW’s original motto: Dedicated tion, depends on maintaining a strong Binh Pho, Between Blue, 2015, to Providing Education, Information, balance between one’s creative eupho- Cast glass, 14" × 8½" (36cm × 22cm) and Organization for Those Interested ria, self-discipline, and bare- in Woodturning. We have done that bones practicality. Collectively, and continue to do so. But one area in these elements help us maintain which the AAW has consistently come perspective and a measure of up short is its projected goals in mem- flexibility as we each pursue our bership. After thirty years, we should respective goals. have 30,000 members and we are cur- Ultimately, it is the energy rently just over half that. This is the that each of us brings into case for lots of reasons: many people our lives—how we add to simply are not “joiners”; around half that energy through our own of those attending local chapter meet- initiative and then push it ings are not AAW members; and the through our work and pass it economy is always a factor. The cost on to others—that becomes of membership is directly related to the future of any art form. That the perceived value of the services individual effort is also the provided. If people don’t perceive edu- future of the AAW. cation, information, and organization as something of value to them person- ally, they obviously won’t join. Part of the value I speak of relates to Craig Lofton, Bowl, 2015, Cast the breadth and dimension the field bronze, 6" × 8" (15cm × 20cm) of woodturning has evolved into. And if it weren’t for this continuous growth, both administratively and in the artwork produced, organizations like the AAW could not survive. Thirty years ago, about the most outrageous thing to appear on the scene was Mark Lindquist’s chainsaw surfaces on his bowls. Today, the pure forms of Prestini and Stocksdale remain as the

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06_Ellsworth.indd 7 5/3/16 2:23 PM A ASSOCIATIONNEWS NNEWS JOE RUMINSKI AAW 2016 HONORARY

LIFETIME MEMBER Larry Miller

Every year, the AAW awards the dis- was his best friend. He turned wood a tinction of Honorary Lifetime Member lot until, as he says, “girls, work, and to someone who has contributed college took most of my time—and significantly to the field of woodturn- probably in that order.” ing. This year, that award goes to Joe Ruminski of Fairview, North Carolina. From educator to turner Joe started his woodturning journey Joe graduated from Warren Wilson at the young age of thirteen. His father College with a bachelor’s degree in Joe Ruminski, AAW’s 2016 Honorary Lifetime Member had an auto-body shop in which he education and became an elemen- had a big green Powermatic lathe tary school teacher, primarily acquired from a school auction in because, as he puts it, “I wanted most 1963. Although Joe had no instruc- of the kids shorter than me.” After tion in woodturning, his dad knew going back to school at Western Woodturners (CMW), where several turners were using old files to make Carolina University for evening members mentored him in safe and scrapers for turning wood, so that’s classes, he obtained advanced proper tool technique. what he used. One of his first real degrees in education and administra- Joe developed his woodturning projects was making a spinning wheel, tion. He worked in the same school skills by attending more than seventy during which he says 80-grit abrasive system as a principal for the next seminars and studying with crafts- twenty years, and after thirty years men such as Ray Key, Mike Mahoney, in the system was able to retire. Gary Sanders, Nick Cook, and Bobby While anticipating and prepar- Clemons. In addition to the formal ing for retirement, Joe took a training, he honed his skills by woodturning class at John C. producing more than 800 natural- Campbell Folk School with edge bowls, utilitarian bowls, vases, Bobby Clemons as the instruc- Christmas ornaments, and other art tor and Nick Cook as his pieces. His work appears in several assistant. One class was all it prestigious places, including the took to hook him again into Biltmore Estate and numerous galleries spinning wood for fun. He in Western North Carolina. was particularly impressed with the improvement in tools From turner to teacher since his days of using old files In 2003, Joe had an opportunity for scrapers. His next big step to teach a weekend class at the along the journey of becoming Arrowmont School of Arts and Crafts the expert turner he is today as a fill-in instructor, which he found occurred in 2000, when he to be the perfect match for his inter- joined the Carolina Mountain ests—turning and teaching. Later

Spinning, 2011, Maple, manzanita root, 6" × 4½" (15cm × 11cm)

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that same year, he was accepted into natural beauty of the wood in a way The Southern Highland Craft Guild. that makes them both practical and His first big commercial turning job artful. The goal in all of Joe’s pieces is was to make more than 750 pieces for to keep the lines simple so they the Biltmore Estate Company. This accent the natural beauty of single job taught him three important the wood. things: 1) how to make really clean cuts, 2) how to develop a production An active contributor mode of turning, and 3) the knowledge Joe Ruminski has always been a that he didn’t want to do that kind of doer, and woodturning organizations work again. have benefited from his propensity Balance, 2009, Maple, Joe is now a regular instructor at to do whatever needs to be done. He ebony, 9" × 5½" John C. Campbell and Arrowmont was a board member for the Carolina (23cm × 14cm) School of Arts and Crafts. He has Mountain Woodturners for two years, opened a classroom area in his own starting the year he joined, followed studio, with classes available for by stints as secretary, vice president private and semiprivate instruction. for two years, and then two separate His students quickly gain skill sets that duties as president of the club in 2007 would otherwise take years to acquire, and 2015. and he always receives stellar reviews. Joe became an AAW member in As an instructor, Joe says the biggest 2001. He started working with the reward comes from seeing people he AAW Youth Program in 2008 by teach- the EOG auction for the past eight has taught doing things beyond any- ing a couple of classes in Richmond, years, serving one year on the AAW thing he has ever done. He has taught Virginia, after which he became a board nominating committee, and all around the United States. member of the Youth Program com- helping get the Light House for the Joe describes his current work in mittee under the leadership of Bonnie Blind and the Veteran turning sessions woodturning to be about the technical Klein. After teaching youth classes started at the annual AAW Symposia. aspect of how to turn well and safely. for a couple of years, Bonnie stepped In his sculptural pieces, his goal is to down from the chair position and Testimonials use line and form in a way that allows Joe stepped in to fill that role until Joe has made a lot of friends and sup- the viewer to use his or her imagina- 2015. Other duties with the AAW have porters during his time in woodturn- tion to create a description of the art, included: turning the special awards ing, and a recognition article wouldn’t while his utilitarian pieces show the for the past seven years, working with be complete without some input from

Joe Ruminski in his element: teaching youth at an AAW Symposium. Joe with a blind woodturner at a Lighthouse for the Blind AAW Photo: Andi Wolfe Symposium session. Photo: Andi Wolfe

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08_Ruminski.indd 9 5/3/16 2:24 PM A ASSOCIATIONNEWS NNEWS them. Greg Schramek, President of the Thinking he checked it off without AAW’s board of directors, has known actually putting it in, he got another Joe for about ten years. Greg states one. Then he noticed some wood that not only is Joe a true professional, pieces were also missing from the taking pride in what he does to achieve box and he couldn’t remember where the highest quality, but he is also one he’d put them. Carol discovered the of the hardest workers Greg knows— problem—and brought the glue bottle yet is reluctant to take his share of and slightly chewed wood back into recognition. Greg further reports that the house and asked Joe if these were Joe wasn’t born with a silver spoon and what he was looking for. Carson, will find a cheaper way to make a tool, not wanting Joe to leave, was remov- rather than buy one. Not only will he ing things from the box as fast as he make a tool himself when possible, could and taking them outside when but, more importantly, he will also Joe wasn’t looking. They report that pass the knowledge on to others. Carson still doesn’t get to go on Joe’s Another long-term woodturning trips, but he appears to be more accept- friend, John Hill, emphasizes the “get ing of Joe’s absences. Either that or Joe ’er done” attitude Joe possesses by has gotten more vigilant. relating the CMW objective of creating In Joe’s own words, “None of [my a woodturning learning center back in woodturning experiences] would have Tear Drops, 2008, Dyed ash, each about 5" × 3" 2005. The center consisted of eleven been possible if it had not been for a (13cm × 8cm) mini lathes with all the accessories, very supportive wife and family.” Carol along with a utility trailer to travel and is a very talented quilter and a fantas- teach woodturning classes at schools, tic cookie maker. They are celebrating retirement homes, other woodworking their 45th wedding anniversary this clubs, the state fair, and other venues. year, and Joe states, “It’s hard for me to John says Joe was instrumental in believe she has put up with me all this making this chapter effort a success. time,” noting an instance when he and I have worked on the AAW Carson tracked wood shavings all over Symposium Youth Program with Joe the recently cleaned house Carol had for all the years he has been involved prepared for evening guests. and can cite many instances where his Joe and Carol have two grown sons, support was instrumental in solving of whom they are very proud. Their problems and making the program older, Chris, is a glass artist and their a success. Along with his get-it-done younger, Jeff, is a commercial graphic personality, Joe never lets his ego get in artist. Joe and Carol have three wonder- the way. He’ll do whatever is needed— ful grandchildren, Jerica, Katie, and Eli. recruiting and organizing the youth Greg Schramek’s words provide a instructors, teaching multiple sessions, fitting final statement: “If AAW had a or doing the grunt work to help the pedestal, I believe Joe should be placed annual program run smoothly. on it. After all, he’s only five foot, four Although Joe’s best friend, his dog inches, but based on his contribu- Carson, can’t talk, he has expressed tion to woodturning and the AAW, his admiration for Joe by his actions. he stands high above most of us.” Joe’s wife Carol told me Carson doesn’t Congratulations to Joe Ruminski on like for Joe to leave him behind. Before this well-deserved recognition award. one of Joe’s trips for a woodturning demonstration, he was packing what Larry Miller is a member of the Woodturners he needed and checking things off of Olympia in Washington. He has been Formal Ball, 2012, Maple, cherry, his list. As he put an item in the box, active in the AAW Symposium Youth Program 14" × 4" (36cm × 10cm) he noticed a glue bottle was missing. since 2007 as an instructor and coordinator.

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SWAT Turns 25 Everything begins Canyon Lake. A ferocious rainstorm Clay Foster and Mark with an idea swamped the event in 2000, with Potter at the The largest regional woodturning cold rain blowing into the tents. The firstA Texas symposium, now known as SWAT (the storm put a damper on that event, but Turn or Two symposium, SouthWest Association of Turners), has enthusiasm persisted and the event 1992, which a rich and evolving heritage. It began was reorganized as SWAT and moved would evolve into SWAT. 25 years ago, when a small group of Texas to Wichita Falls. Both the name and Photo: Tracy Marshall turners had the idea to get together under location change were undertaken to large live oak trees near the Colorado market the event to woodturners from River in Columbus, Texas, with the neighboring states—not to mention goal of providing a live, local forum for we would be meeting in a climate- the education and skill development of controlled location. anyone interested in woodturning. The first symposium, on Columbus SWAT today and field trips; and a slew of vendors Day 1992, was called A Texas Turn or The annual symposium is now held at displaying the latest in tools, technol- Two. The event was conceived and the convention center in Waco, Texas, ogy, and wood. An always-popular organized by turning enthusiasts, with about 1,000 participants, repre- feature is our two-for-one raffle, which including Gary Roberts, Clay Foster, senting twenty-seven clubs from Texas, offers the chance to win in two draw- Mark Potter, Larry Roberts, and James Oklahoma, New Mexico, Arkansas, and ings, one for woodturning tools and Johnson. Mark Potter agreed to host Louisiana. In 2015, SWAT hosted attend- one for gallery-quality works donated the gathering at his cabinet shop. The ees from twenty-nine states. SWAT is the by invited turners. In the tool drawing, demonstrators worked for free, and the second-largest gathering of its kind, after more than $5,000 worth of tools is founders figured if they could attract the AAW International Symposium. given away, plus grand prizes of midi- fifty attendees, they would break even. This year’s event, the 25th lathes and three full-sized lathes. Folks began to wind their way down Anniversary of SWAT, will be held Join us this August—the Silver the dirt road a couple miles toward the August 26–28. The symposium Anniversary of SWAT promises to Colorado River. Soon there were motor will feature nineteen demonstra- be legendary! homes, trailers, pop-ups, and tents scat- tors, including nationally renowned tered under the massive oak trees—a turners Dick Sing, Mike Mahoney, For more, visit swaturners.org. Woodstock for woodturners! The John Jordan, Stuart Batty, John Beaver, —Stormy Boudreaux and Dave Marshall founding fathers (as we now call them) Mary Lacer, Cindy Drozda, Clay Foster, more than broke even, with about plus eleven regional demonstrators. eighty attendees. The event returned Many things make SWAT attractive Symposium to Columbus the next year, with to attendees. Along with world-class Volunteers Needed! Tennessee-based, award-winning John demonstrators, it has some of the The success of every AAW Symposium Jordan as the first invited demonstrator. lowest registration fees (which include is due to the many individuals who From 1994 through 2000, the sym- lunches); an improved spouse program volunteer for a variety of tasks before, posia were held at an RV park near with numerous classes, workshops, during, and after the event. If you are attending this year, please give a few Donate Used Tools hours to this vital effort. The greatest Many turners have donated tools to the Turners Without Borders (TWB) Tool Bank. need is for demonstrator assistants, These tools have been put to good use in several TWB initiatives. To help TWB aid in the Youth Room, and help in the continue implementing global initiatives—and to support other AAW programs like instant gallery. Woodturning Beyond Barriers and Turning to the Future—please bring your lightly To volunteer, contact John Ellis at used tools to the Atlanta Symposium. Bowl, spindle, and roughing gouges are most [email protected]. Volunteer needed, but all other tools are welcome. Donations will be accepted at the registration early to have the best chance of being desk. The tools will be put to good use in a new initiative in Honduras, which will assigned your preferred demonstrator be carried out in partnership with GreenWood, an organization that helps artisans and time slot. All volunteers receive a develop sustainable businesses using forestry resources. Visit greenwoodglobal.org. complimentary Symposium T-shirt.

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CHATTER Woodturning Cohort Embraces Spirit of Exploration The Mid Minnesota Association of Woodturners (MMAW), an AAW chapter, meets at the Paramount Visual Arts Center in St. Cloud, Minnesota. In exchange for meeting, classroom, and storage space, the MMAW provides instructors for community classes at the facility. When the Paramount sought input from MMAW members on what classes to offer, one suggestion was for a learning experience that mirrors successful instruction in other art mediums: a cohort. A cohort is loosely defined as a study group where the members Woodturning cohort members (from left) Denny Myers, Gary Mrozek, and John Caye consult choose a common goal to pursue. The with Tib Shaw, curator of AAW’s Gallery of Wood Art, Saint Paul, Minnesota. A touch tour of concept is to learn from each other, AAW exhibition pieces helped the cohort decide which piece to emulate. Cohort member not pictured: Guy Schafer. rather than from a single instructor Photo: Linda Ferber teaching the group. One benefit of a cohort experience is that the group gets multiple perspectives on what works and what challenges are experi- exploring concepts beyond basic skills. collectors David and Ruth Waterbury. enced. The cohort is a support system The proposal included a field trip on The goal of the field trip was to find that encourages learning. the first scheduled meeting day to the inspiration from all the pieces we saw Minneapolis/Saint Paul area to visit and, as a group, decide on one aspect of Field trip the AAW’s Gallery of Wood Art, the a mutually inspiring piece to emulate. Our cohort class was designed for expe- studio of woodturning professional Jim The group spent about two hours at rienced woodturners, as we would be Sannerud, and the home of wood art the Gallery of Wood Art and enjoyed

Inspiration from the Permanent Collection The cohort chose an AAW permanent collection piece as inspiration. Leon LeCoursiere’s turned, carved, and painted bowl would serve as a model for the group’s exploration of form and technique. LeCoursiere’s piece was one of many donated to the AAW in 2009 by Lois Laycraft, whose life partner Frank Sudol traded or obtained works from students and friends, among them some of the top names in woodturning. “Whatever profession you’re in, it is a continuous learning process. It would Leon LeCoursiere, Untitled (carved polychrome be a dark cloudy day when you think you know it all. You might as well put bowl), 1997, Curly birch, paint, 3" × 6" (8cm × 15cm) away tools because you’re no good to yourself or to others. And don’t give AAW Permanent Collection up when things go wrong. When a piece turns out to be not so good or a Donated by Lois Laycraft in memory of Frank Sudol failure, it’s not a total loss. You learn from it. You need failure to learn.” —Leon LeCoursiere

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a touch tour led by Tib Shaw, the spray adhesive. Also brought to Gallery’s curator. “I pulled several the table was a shopmade profile- pieces from our collection that I OUR GOAL WAS NOT sanding block for specific profiles. thought would be good sparks,” TO MAKE A PERFECT We shared our supply sources for noted Tib, who also added that the various tools, including what a touch tour can be arranged for PIECE, BUT RATHER was available at local hardware and any AAW members (with advance TO EXPERIMENT home-improvement stores. reservations). We agreed that spraying a coat of The cohort decided on an AAW AND LEARN. lacquer on the bare wood would help permanent collection piece by Leon prime the wood and prevent bleeding LeCoursiere. This piece inspired when paint was applied. We all gained each of us in different ways. Our a new respect for those with a steady carving and painting skill levels meaningful and informative, as we hand with a paintbrush. were mixed, making the inspiration developed trust and were allowed the It wasn’t a competitive atmosphere; piece a good choice to stretch our freedom to experiment. in fact, we laughed at our own mis- comfort levels. We were all bowl turners, but our takes while delivering compliments embellishment skills varied greatly. to each other and dismissing each Back in the shop We each had different tools and other’s perceived shortcomings. Our With the visual experience of our field techniques. Rotary carving tools goal was not to make a perfect piece, trip, the cohort returned home to work were used (both hand-held and but rather to experiment and learn. on emulating the chosen feature based flex-shaft) as well as reciprocat- These classroom sessions created on how the experience moved us and ing carvers and traditional carving a pleasant and welcoming self- making it our own. Over the next tools. We tried each other’s tools teaching atmosphere. The experi- week, we experimented in our own and learned from each other’s ence of the woodturning cohort was shops and tried to take our varying methods. There were different, cre- well received, and future offerings degrees of woodturning skills to a ative ways of detail sanding, too. have been scheduled through the more artistic level. Using a sanding sleeve from an Paramount Visual Arts Center. Each of us came to the first class- oscillating drum sander worked well room gathering with a prototype, on concave surfaces. A less-expen- sketches, or narrative description of sive method was applying abrasive our work plan. The discussions became to a piece of electrical conduit with —Gary Mrozek

(Clockwise from top right) Denny Myers, Untitled, 2015, Box elder, 2½" × 5" (6cm × 13cm) John Caye, Moonglow, 2015, Basswood, 3¼" × 7½" (8cm × 19cm) Gary Mrozek, Calhoun, 2015, Cherry, 2½" × 8" (6cm × 20cm) Guy Schafer, The Swirl, 2015, Cherry, 2½" × 5" (6cm × 13cm)

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CHATTER Greenville Woodworkers Guild Teaches Turning Kids love woodworking and woodturn- GWG also provides general ing. The Greenville Woodworkers Guild woodworking classes for youth, (GWG), located in Mauldin, South emphasizing hand-tool use. Carolina, is now conducting woodturning Students in this class have con- instruction through its Youth Program. In structed benches for the Myers this class, students 12 to 18 years old learn Center for Special Children, to turn a variety of projects, including several benches for the local bowls, pens, ornaments, and more. The Veteran’s Administration facil- An appreciative 12-year-old girl turns her first bowl. GWG purchased and dedicated equip- ity, and a variety of personal ment specifically for this program, includ- projects, such as a lathe bench, A proud student shows off his ing midi-lathes and all the associated a chess table, and a hand-coo- first bowl, turned in the GWG’s Youth Program. turning tools, chucks, and accessories. pered bucket. The woodturning classes are held The GWG’s Youth Program teaches weekly, with most attendees being manual-arts skills that were once programs. A formal syllabus has been home-schoolers who are available more widely taught in middle schools developed so students can earn aca- during daytime hours. Special classes and high schools. It provides the demic credits. are sometimes scheduled for scout opportunity for the practical applica- groups, high school students, and, in tion of skills and knowledge associ- For more, visit greenvillewoodworkers.com. one case, a college class that took the ated with STEM (science, technol- course for academic credit. ogy, engineering, and mathematics) —Wells Doty OVWG Opens Learning Center In September 2015, the Ohio Valley Heights Cultural Center (KHCC), which members and for the general commu- Woodturners Guild (OVWG) celebrated also houses eight artist studios and a nity. It will also allow us to comfort- the grand opening of its long-awaited 3,000-square-foot multipurpose space. ably host one-day hands-on sessions woodturning Learning Center in The OVWG Learning Center is with professional demonstrators. Cincinnati. Since its inception more equipped with eight midi-lathes, four Special-interest groups, such as our than twenty-five years ago, the OVWG mini-lathes, three full-sized lathes, active pyrography enthusiasts, will has met in various places, transporting plus other equipment including a also use the Learning Center for dem- its equipment in a trailer to set up for table saw, bandsaw, cut-off saw, disc onstrations and meetings. monthly meetings, attended by 100 sander, and buffer. Each midi-lathe We currently have 260 members. Some members or more. Now the OVWG is mounted on its own custom-built have been turning for twenty years or has signed a three-year lease for a mobile workbench that includes a more, but many have four years or less 1,500-square-foot studio in the Kennedy built-in dust collector and tool drawer. experience in turning. It is difficult to We will hold our monthly meetings meet everyone’s needs and interests in the KHCC’s large multipurpose space, with one big monthly demonstration, simply moving our demo lathe and audio/ so we will also offer more tailored and visual equipment down a hallway to the focused demonstrations at the Learning meeting room. This dramatically simpli- Center for small groups, in between our fies preparing for and cleaning up after normal monthly meetings. This will help each meeting. The KHCC’s multipurpose us better fulfill our mission to expand space will eventually have built-in audio/ awareness of woodturning and help visual capabilities, which will make it members and those in the community even easier to conduct our meetings. build their skills in this craft. The Ohio Valley Woodturners Guild’s new Learning Center, located in the Kennedy Fulfilling a mission For more, visit ovwg.org. Heights Cultural Center, Cincinnati, will allow the OVWG to better serve its members and The OVWG’s Learning Center will the surrounding community. be used for classes for both OVWG —KD Kendall

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Inexpensive lathe frame Like many woodturning clubs, my chapter, Inland Northwest Woodturners, operated Tips for years with inadequate protection for the viewing audience during demonstrations. Sitting in front of a poorly protected lathe to see Replacement and hear better has its risks. We wanted to build respirator hose a suitable frame with a protective shield. The When the hose on my Triton frame described by Deryl Duer in the June 2012 powered respirator needed to be issue of American Woodturner (vol 27, no 3, page replaced, I used a length of central 18), with extruded aluminum, would be ideal vac hose (mine is Vacuflo brand). I but was well beyond our budget. We accom- used the connector from the original plished a simpler, less expensive build using hose and a hose clamp to attach the readily available fence components. replacement. If the fit is a little loose, The frame is made of black-coated anodized wrap a few turns of electrical tape 1⅜" (35mm) chain-link fence top rail poles around the adapter end before insert- and matching “T” connectors. We used a ⅜"- ing it into the hose. I have found the (10mm-) thick polycarbonate pane 3' × 4' (1m central vac hose to be more durable × 1.2m) for a shield, which was attached to the than the original. frame with 1" (25mm) right-angle aluminum. —James Andersen, Wisconsin We chose to build a tall frame, based on our available 12'- (3.7m-) high ceiling, though 7' to 8' (2m to 2.4m) total height would be sufficient. The entire cage can be built and torn down as needed to move to other venues. The frame itself, when completely assembled, is light enough to move forward or back, and side to side, around any lathe but is stout enough to stay in place and provide a steady mount for camcorders without vibration. The total cost for the entire frame/shield build was just under $500. —Carl J. Bodenstein, Spokane, Washington

Dust hood mount I finally came up with a satisfactory bracket. A bolt with a custom-turned opposite corner of the block. A wooden dust hood mount for my Powermatic knob holds the spindle in whatever bracket fastened to my dust hood slides lathe. Having gone through many position needed. The other end of along this dowel and can be locked in variations, I like this design because the mounting spindle is glued into a place with a threaded rod with a knob. it stays where I want it and it’s easy hole in the corner of a 2"- (5cm-) thick The assembly can be positioned just to adjust. Although I made it for my block measuring 3" × 4" (8cm × 10cm). about any place near the piece being Powermatic, you may be able to apply This block needs to be beefy enough turned by rotating the spindle in the the general idea to your lathe. to support the weight of a long dowel, lathe-guard bracket, by rotating the The unit is mounted to the lathe dust hood, and hose. Another, longer, hood around the dowel, and moving by way of a turned, snugly fitting dowel, 1½" (38mm) in diameter by 14" the hood along the dowel. spindle, or dowel, in the lathe-guard (36cm) long, is glued into a hole in the —Jim Brinkman, Texas Share your turning ideas! If we publish your tip, we’ll pay you $35. Email your tips along with relevant photos or illustrations to [email protected]. —Joshua Friend, Editor

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CALENDAR John Mascoll and Avelino Samuel. For more, visit CCalendar of Events ganttcenter.org. August issue deadline: June 15 Pennsylvania September 24, 25, 2016, Mid Atlantic Send information to [email protected]. For a more complete listing, Woodturning Symposium, Lancaster Marriott/ Convention Center, Lancaster. Demonstrations see the AAW’s Woodturning Calendar online at tiny.cc/AAWCalendar. by Mike Mahoney, Al Stirt, Binh Pho, Cindy Drozda, Eric Lofstrom, Mark Sfirri, Dennis Fuge, and Kurt Hertzog. Vendor tradeshow, banquet, Canada Event to include top-notch demonstrators, a auction, and instant gallery. Visit mawts.com. July 22–24, 2016, Saskatchewan Woodturning large group of vendors, and a great facility. For Vendors contact [email protected] or Symposium, Regina Trades and Skills Centre, more, visit gawoodturner.org. call 717- 478-1845. Regina. Hosted by South Saskatchewan Woodturning Guild, featured demonstrators to Illinois Tennessee include David Ellsworth, J. Paul Fennell, Jacques July 22–24, 2016, Turn-On! Chicago 2016 January 27, 28, 2017, Tennessee Association Vesery, Cam Merkle, Bernie Bober, and others. Symposium, The Conference Center at the of Woodturners’ 29th Annual Woodturning Vendors, auction, and instant gallery. For more, University of Saint Mary of the Lake, Mundelein. Symposium, Marriott Hotel, Franklin. visit southsaskwoodturners.ca. Demonstrators to include Nick Agar, Rex Demonstrators to include Nick Agar, Cynthia Burningham, Robin Costelle, Steven Hatcher, Carden Gibson, Stephen Hatcher, and Frank New Zealand Clay Foster, and others. Hands-on penturning, Penta. Tradeshow, instant gallery, banquet, September 29–October 2, 2016, Woodturning New tradeshow, meals, banquet, auction. For more, and auction. For more, visit tnwoodturners.org. Zealand International Symposium, Kings College, visit turnonchicago.com. For vendor booth information, contact Otahuhu, Auckland. Demonstrators to include [email protected]. John Beaver, Troy Grimwood, Chris Hooton, Steven Maine Kennard, Guilio Marcolongo, Hugh Mill, Chris September 17, 2016, Maine Wood Carvers Show, Texas Pytlik, Pat and Karen Miller, Brendon Stemp, Curt Buker Community Center, Augusta. Includes a August 26–28, 2016, 25th Anniversary of the Theobald, John Van Der Kolk, John Wessels, and carving competition, vendor booths, tool and Southwest Association of Turners (SWAT) Andi Wolfe. For more, visit sawg.org.nz or email wood sales, and raffles. For more, contact Justina Symposium, Waco Convention Center, Waco. [email protected]. Hatch at [email protected]. Demonstrators to include Cindy Drozda, Mike Mahoney, Clay Foster, Stuart Batty, Mary Lacer, Colorado Massachusetts John Beaver, John Jordan, and Dick Sing. Also September 16–18, 2016, Rocky Mountain March 12–June 12, 2016, Visions from the Lathe: regional demonstrators, vendors, art gallery, Woodturning Symposium, The Ranch Larimer Selections from the Massachusetts South Shore hands-on area, lunches, banquet, and raffles. County Fairgrounds, Loveland. Forty-eight Woodturners (SSW), Fuller Craft Museum, For more, visit swaturners.org. demonstrations. Presenters to include Nick Cook, Brockton. More than thirty-five works from SSW. Michael Andersen, Ron Ainge, Les Brandt, David Workshops, demos, and events in conjunction Virginia Ellsworth, Jay Shepard, Larry Fox, Milo Scott, with the exhibition. For more, visit fullercraft.org. November 5, 6, 2016, Virginia Woodturning and Keith Gotschall. Large vendor tradeshow, art October 27–30, 2016, 5th Segmenting Symposium, presented by the Virginia auction, hands-on rotations, and instant gallery. Symposium, Boston Marriott Quincy, Quincy. Woodturners (a group of ten Virginia clubs), For more, visit rmwoodturningsymposium.com. Demonstrators to include John Beaver, Bob Benke, EXPOland, Fishersville. Featuring international and regional demonstrators. For more, visit th Jerry Bennett, Bruce Berger, Andy Chen, Robin September 22–25, 2016, 14 Biennial Ornamental virginiawoodturners.com. Turners International Symposium, DoubleTree Costelle, Jim Rodgers, Malcolm Tibbetts, and by Hilton Denver-Stapleton North, Denver. others. Instant gallery, banquet, raffle, turning exchange, vendor area, and activities for partners. Washington Ornamental turning topics to include rose engine, July 23–27, 2016, 9th Annual Symposium & For more, visit segmentedwoodturners.org. fixed tool, and guilloché. Demonstrations on Workshops, the Woodturners of Olympia, modern and antique OT machines. Demonstrators Olympia High School, Olympia. All-day to include Jean-Claude Charpignon, Fred Minnesota Ongoing exhibit: Touch This! At the AAW’s symposium with door prizes, lunch, and drawings, Armbruster, Bill Ooms, David Lindow, Phil Poirier, followed by four days of workshops with Michael David Wood-Heath, Peter Gerstal, and Jon Magill. Gallery of Wood Art, Saint Paul. Featuring fascinating facts about wood and woodturning, Hosaluk and Bob Espen. For more, visit For more, contact Brad Davis, [email protected] woodturnersofolympia.org/symposium-2016.html. or visit ornamentalturners.org. as well as pieces you can touch. For more, visit galleryofwoodart.org. Georgia May 14–August 7, 2016, Turned and Sculpted: Wood Montana Call for Demonstrators Art from the Collection of Arthur and Jane Mason, October 8, 9, 2016, Yellowstone Woodturners Georgia Museum of Art, Athens. Exhibition to Symposium, Roaring 20’s Auto Club, Billings. AAW Symposium 2017 include work by Ed, Phillip, and Matt Moulthrop, Featured demonstrator/instructor will be Keith David Ellsworth, Mark and Mel Lindquist, Bob Gotschall, demonstrating off-center platters, The AAW’s 31st-Annual International Stocksdale, and others. The Collectors of Wood hollow forms, lidded boxes, and winged boxes. Symposium will be held in Kansas City, Art will host discussion forums in conjunction with For more, visit yellowstoneturners.org or call Missouri, June 22–25, 2017. To apply to be the exhibition June 7–9 in Athens and Atlanta. Ron Velin at 406-679-0902. a demonstrator, visit tiny.cc/CallsforEntry For full details, visit georgiamuseum.org or (case sensitive) between May 1 and collectorsofwoodart.org. North Carolina August 1, 2016. For more information, call July 16, 2016–January 16, 2017, Shaping the the AAW office in Saint Paul, 877-595-9094 September 15–17, 2017, Turning Southern Style Vessel: Mascoll + Samuel, The Harvey B. Gantt or 651-484-9094, or email Symposium, hosted by the Georgia Association of Center for African-American Arts + Culture, [email protected]. Woodturners, Dalton Convention Center, Dalton. Charlotte. An exhibition of turned work by

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