April 2006 Volume 17 No. 4 Doors Carving Furniture  6 *- % & ( 0' 5) 8 *3& 00 4) % 1 8 0 . 3

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Founded 1990 www.gnhw.org design objectives • at the lathe • nh furniture masters barred owl • table maintenance • hand • guide

Ebonizing desk and photo by Terry Moore Apr 1 BIG Apr 15 Guild Meeting Note – Meeting moved to Apr 15 … Brass Hardware – p3 … at Pinkerton Academy May 6 Period Furniture May 12-13 Turning Symposium … at Pinkerton Academy – p3

Jun 3 BIG vases and photo by Jacques Vesery Jun 17 Summer Trip … Starrett/Nichols & Stone – p31 Jun 24-25 Canterbury May 12-13, 2006 July 22 GSWT Aug 5-13 Sunapee Fair Turning Symposium president’s message by Roger Myers  Challenges ow do you measure success? It’s significant growth in recent years. The head-on. The Han interesting question to think large membership is really due to two new members about, and the answers you come up factors – we are attracting (without are the future of with may be surprising. Success in your actively soliciting) many new members, the Guild, and personal life and your business or career and our membership renewal rate is the diversity of generally has a direct relationship to the stronger than ever. Both of these are interests makes for a healthy energetic goals you have established. Sometimes strong indicators of success and are community. these goals, and the resulting measures due to a number of factors including I appreciate the advice and support of success are obvious and we take them the quality of our meetings and events, that all members have given the officers, for granted… “I want my family to be our publication The Old Saw, and our steering committee, appointed positions, safe and secure, to be happy and to be member benefits. and volunteers of the Guild. We are not able to enjoy life.” And other times we It also results in many challenges that just growing in membership numbers, make more of an effort to define them… we must address. Meetings are larger we are growing as an organization, “I want to have sales of xx dollars per and require larger shops – even our bringing more to our members and our year and be profitable in year three of “specialty sub-groups” find themselves community each and every day! my business.” You can then look at how with large meeting attendance. A larger things are going and relate to that some membership is also more diverse in degree of success, or look at the results interests and experience, and we find and try to address the obstacles that it more challenging to have topics are preventing you from being more that are a “hit” with every member. successful. Our geographic spread continues to Ken Keoughan The Guild faces many of these same grow, also presenting challenges in questions and I often mention looking at organization. our mission statement to help us When faced with these challenges, our success as an organization. When we could retreat from our own success it becomes really interesting is when and try to moderate or even scale back success brings about new challenges. As our growth, but then we would be failing in many businesses, managing growth at our fundamental mission. Instead, can be a major issue. blessed with an enthusiastic and engaged The Guild is now well over membership, we have worked hard 400 members, having experienced to find ways to meet these challenges Symposium Turning England New

 6 *- % & ( 0' 5) 8 *3& 00 4) % Steering Committee 1 8 0 . 3

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President Roger Myers 603-773-9634 [email protected] )  &

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Vice President Dave Anderson 603-887-6267 [email protected] /

t t Secretary Ed Jones 603-746-5792 [email protected] Scholarship Committee Treasurer Peter James 603-435-8133 [email protected] Selection Committee John McAlevey 207-372-6455 [email protected] At Large Peter Breu 603-647-2327 [email protected] Selection Committee Peter Breu 603-647-2327 [email protected] At Large Greg Benulis 978-314-5815 [email protected] Selection Committee Jack Grube 603-432-4060 [email protected] At Large Jack Grube 603-432-4060 [email protected] Member Peter Bloch 603-526-6152 [email protected] At Large Brian Sargent 603-483-1330 [email protected] Member Bob Jarrett 978-456-3928 [email protected] At Large George Saridakis 978 549-1807 [email protected] — Please send all applications to John McAlevey, Selection Committee Chair At Large Bob LaCivita 603-942-1240 [email protected] At Large Andy Young 603-672-9558 [email protected] Volunteer Positions At Large Dave Emerson 603-783-4403 [email protected] Books Tony Immorlica 603-673-9629 [email protected] GSWT President Jon Siegel 603-768-5882 [email protected] Membership DJ Delorie 603-463-5996 [email protected] Old Saw Editor Jim Seroskie 603-673-2123 [email protected] Old Saw Mailing Syd Lorandeau 603-542-5295 slorandeau@verizon. net Programs David Frechette 802-633-2561 [email protected] Shirts/Hats Peter James 603-435-8133 [email protected] Small Meetings Brian Sargent 603-483-1330 blsdesigns126@earthlink .net SubGroups Sunapee Fair Dave Emerson 603-783-4403 [email protected] BIG Bob LaCivita 603-942-1240 [email protected] Video Librarian Bob Trahan 603-444-5284 [email protected] GS Woodturners Jon Siegel 603-768-5882 [email protected] Video Recording Peter Bloch 603-526-6152 [email protected] Period Furniture John Whiteside 603-679-5443 [email protected] Web Master DJ Delorie 603-463-5996 [email protected]

The Guild of New Hampshire Woodworkers – Bringing together the diverse interests of the New Hampshire community. The Old Saw is published five times per year. To join the Guild, go towww.gnhw.org and click on “Membership “ to download an application form. announcements 

April 15th, 2006 See details on pages 24, 25 Horton Brasses th May 12th – 13th, 2006 – Pinkerton Academy Guild Meeting at Pinkerton Academy 5 New England Turning Symposium e will have as our guest presenter, t is the biggest woodworking event in WBarbara Rockwell Horton, the New England. It only happens once President of Horton Brasses of Cromwell, Ievery three years and is organized jointly CT. Barbara is the third generation by the Guild of NH Woodworkers owner of the company started in the and the Granite State Woodturners. early 1930s by her grandfather Frank Although the target audience is turners, A. Horton. Frank Horton was a tool there is something here for every and die maker whose wife Angelina, an woodworker. Not only will you get to Charles Faucher antique dealer, had a need for authentic choose from 28 demonstrations on period brass hardware. Before long they every aspect of turning, there is also a were selling his efforts to antique dealers Trade Show with fourteen vendors from This event has been sponsored by a all along the east coast. The business as far away as Canada and Kentucky, an generous grant from the American continued until 1946 when Barbara’s “Instant Gallery” with something like Association of Woodturners so it will be father James Horton joined the company 500 turned objects, a raffle and even a free to middle school, high school, college along with his wife Barbara Horton. free lunch for those who register. and home schooled students. Presenters The product line is extensive Some aspects of the event (four of the will be Beth Ireland from MA, Al Lacer including the William & Mary, Queen demos, the Trade Show and the Instant from MN, Bob Rosand from PA and Anne, Chippendale, Sheraton, Empire Gallery) are open for free to the public. Dustin Coates from NH. Contact Jack and Heppelwhite period brasses for But if you want the full experience, you Grube [email protected] to receive which they are well known. They also do need to register. The cost is $50 for additional information. make a complete line of forged iron the whole day. And you need to sign up Find out much more at www.gnhw.org hardware, kitchen cabinet hardware, soon since there is a strict limit for the where you can download a registration trunk hardware, and provide products in number of a registrations that we accept. form, see descriptions of every the Art Deco, Arts & Crafts, Victorian, So come learn something new and be demonstration, photos of demonstrator’s Eastlake, and MacIntosh styles. Their part of a huge woodworker’s party. work and the list of vendors in the Trade catalog is currently about 75 pages and Youth Symposium – In addition to Show. Directions to Pinkerton can be has a wide breadth of choices for almost Saturday’s main event, there is also a found at www.pinkertonacademy.net. any furniture maker. Youth Turning Symposium on Friday. See you there! – Peter Bloch, Coordinator Barbara will speak on various methods of manufacturing cabinet and Youth Turning Symposium – Friday, May 12, 2006 furniture hardware. She will explain 8:15 - 9:15 9:30 - 10:30 10:45 - 11:45 12:30 - 1:30 1:45 - 2:45 Ireland Ireland Ireland Ireland Ireland what the manufacturing process means Jewelry Jewelry Q&A Boxes Boxes when it comes time to make your Coates Coates Coates Coates Coates choices. While Horton Brasses does Lidded Containers Lidded Containers Small Forms Q&A Small Forms its own foundry and casting work, cast Rosand Rosand Rosand Rosand Rosand Scrapwood Projects 1 Scrapwood Projects 2 Christmas Ornaments Christmas Ornaments Scrapwood Projects 1 hardware is not always the best choice Lacer Lacer Lacer Lacer Lacer for a specific piece of furniture. She will Tops Tops Handles Handles Handles show you the finishes and other options available and how they could possibly New England Turning Symposium – Saturday, May 13, 2006 impact your final finished result. 9:15 - 10:30 10:45 - 12:00 1:00 - 2:30 3:00 - 4:30 There will be samples on display and Sheaff Oakes Siegel Wilson a limited number of the Horton Brass Multi-Axis Turning One Tool Wonder Basics Turning Small Bowls Catalogs available. There will also be a Lacer Lancaster Lacer Ireland sign up to get on their mailing list. If Befriending the Skew Once-Turned Bowls End-Grain w/Hook Tools Turning Outside the Box Kephart Gleasner Martel Stirt time allows, Barbara will also talk about Duplicating Spindles Bowl from Board Turning End Grain Carved Painted Bowl installation of hardware and answer Coates Angus Vietje Coleman questions from the audience. Miniature Goblets Cross-Grain Bowl Intro to Hollow Forms Hollow Ornament Brown VanGehuchten Saridakis Strassner The meeting is from 10 am – 3 pm Inlayed Ornament Natural Edge Angels Lidded Bowl Natural Edge Bowl with the lecture beginning at 1 pm. Rosand Bloch Vesery Faucher Pinkerton Academy is located in Intro to Sharpening Making a Living as a Turner Concepts in Design Segmented Turnings Derry, NH. Directions can be found at Motter Keoughan Batchelder Fonner Natural Edge Goblet Tall Vessel Form Architectural Elements Design of Spindles www.pinkertonacademy.net. Write to [email protected] with your questions 

Saw Blades —When buying Cross cut blades are the preferred blade variation in the dovetail layout. The only Q a blade, what is the on a chop saw or a production table saw sense of consistency was mostly confined best number of teeth to buy? Is more that is set up for only cross cutting. It is within the individual community where better? – Kenneth Chase generally a mistake to install one as the traditions could be passed on from one only blade on a tablesaw that is used for to another. Steve Olesin replies: For a short answer, a variety of work. There are several great books that my personal choice is fewer teeth on A combination blade is just that – a cover this subject. Two are by Tim a really high quality blade that is kept combination of both profiles. Not great Reiman and Jean Burks. sharp. for either job but when sharp, we don’t For a better answer, maybe we can tend to notice. Here the choice of tooth Dave Emerson replies: Shakers did recast the question to read - “What are count comes back to the types of wood use nailed construction for drawers in the tradeoffs in selecting blades for the being worked. Thick do built-in cabinets and would have for table saw.” better with a lower tooth count. Thin basic utility pieces if the worker didn’t First, the table saw throat plate must hardwoods and most or know how to dovetail. Dovetailing was be replaced with a zero clearance plate composite materials cut cleaner with used in furniture and would always be to allow for greater surface support a higher tooth count. This is because appropriate, glued, of course. of the wood being cut. This reduces the chips being taken out of the wood I have never seen a Shaker drawer underside chipping. Next, the structure are smaller. with a , which would only have must to aligned parallel to the to blade. If we vary the feed rate, we can get been used for work that wasn’t expected Finally to cut cleanly, a blade must have the best of all worlds by using a low to have a long life. Their seed boxes minimal runout (wobble) plus all the tooth count blade. It allows the fastest had box joints, but I don’t know if they teeth must be sharp and of the correct feed rate but when cutting soft, thin made them themselves or bought them. geometry. stock, reduced feed rate increases the I suspect the latter. Given an identical feed rate, the cuts per inch and effectively make the following is true. A greater number of blade cut like it has more teeth. Al Breed replies: Although I am not teeth will take smaller cuts per tooth very familiar with Shaker pieces, I find which could improve the finished Shaker Joints — By what that in early work, dovetails are glued surface. A greater number of teeth Q methods did the shakers the great majority of the time. The nails will reduce the maximum feed rate by fasten drawers together. If a box joint present are usually evidence of later reducing the chip carrying capacity or dovetail was used, would they glue repairs when the drawer became loose. of the gullets. Plus, increased tooth it or nail it or what other method did Shakers did good work in general, count increases friction and heat they use to secure the drawer parts? so I suspect that they glued the drawers, generation. Thick wood also increases I have glued several of mine and now even though a good dovetail will hold the temperature of the cut surfaces. The am wondering if they are authentic. together without glue for quite a long density of the being cut effects – R. Bradley time. Glue definitely extends the life of the amount of distortion around the joints. cut, which translates into the fuzziness David Lamb replies: There were Modern cabinetmakers who tell of the cut surface. Softer woods benefit nineteen Shaker communities you that the old workers didn’t use from a higher tooth count because each throughout eastern America. Within glue or nails are generally unfamilliar tooth takes a smaller bite. This distorts those communities, there were three or with period work. I have seen big nails the wood less thus leaving a smoother four “families” or groups of buildings hammered into blocks of chairs cut surface. Cutting cherry with a high and inhabitants. Each family had a to hold them onto the legs and rails of tooth count blade may result in enough wood shop or mill or several. Within period chairs, and these were definitely heat build-up to discolor the wood. those groups were several people capable done by the original maker. I suspect that Rip cutting tooth profiles are of producing furniture. By this nature, sometimes the nails were used to hold to the blade to create the effect of many there are several ways that the Shakers the piece on until the glue set up as well taking small chips out of the built drawers. as being a good physical attachment. wood. Rip blades cut cleanest when The most common was half-blind One should also keep in mind cutting along the grain. dovetails in the front and through that their wood was air dried, or even A cross cut tooth has alternate dovetails at the back, and glued. It is not green, and would not be as likely to split pointed edges to allow it to slice across uncommon to see rabbetted, glued and as the cooked material we use today. the wood grain versus chopping it. nailed construction. There was alot of tips & techniques by Terry Moore Photos by Terry Moore  Ebonizing Wood

here are many different ways to the tent along with a pan of strong the grain. Finally, Tebonize wood, and I will elaborate ammonia. Protective glasses are a must using the same on the three that I am familiar with. along with rubber gloves and a chemical brand of dye, but respirator. in the brown Vinegar and Steel Wool Leave the wood or finished piece of color, Begin by soaking a pad of steel wool furniture in the tent until it reaches the wipe the entire in a jar of vinegar until most of the steel desired shade. Again this only works piece with this dye. The results are not by wool has been dissolved by the vinegar. with wood containing a high content any means perfect, but if you are dying The liquid must then be strained of tannic acid. This is a very dangerous some small pieces of solid to match through a fine filter to remove as much method and will kill all the bugs in your some Madagascar veneer, the results are of the steel wool residue as possible. This shop! Always be sure of the location of quite convincing. This is my secret, so mixture is now ready to be brushed on the family cat. don’t spread it around too much. the wood to be ebonized. Woods with tannic acid such as and cherry will Aniline Dye darken and keep darkening by repeated This is by far the easiest method of applications. The dissolved steel wool ebonizing wood. It does not rely on TidBits by Bob Oswald chemically reacts with the tannic acid tannic acid content so you can achieve content and darkens the wood. good results with any wood species. Checking a Press Table – Most Unfortunately, tiny particles of the There are a number of dyes from drill press tables don’t have an accurate steel wool make it through the filters which to choose and all produce good means of squaring them to the spindle. and can be a problem when finishing. results. You can buy dye that is soluble Using a square is prone to error because This solution does not work very well on in either alcohol, or water. The best of the short length of drill and the woods without tannic acid. tends black that I have used comes geometry of the chuck. to turn blue and looks nothing like any from Constantine and is sold pre-mixed Here’s a technique made from a ebony I’ve ever seen. as part of their “non-grain raising stain” simple jig – a piece of 1/4˝ scrap about line. four inches long. Drill a hole through Ammonia Fuming Whichever you choose, whether the face near each end and attach a A similar chemical reaction can be powder or premix, be sure it is “Ebony 2˝ machine screw through each hole, achieved by placing the wood (either a Black”, this will be true black. Avoid pointing in opposite directions. Secure small part such as a leg, or a completely “Nigrosine Black”. This tends to be a them with nuts so they are roughly finished piece) in a clear plastic tent. shade of blue/black. parallel. To set the table, tighten one of This tent can be constructed from the screws in the chuck. Then raise the furring strips with construction grade Matching Madagascar Ebony drill press table until the screw sticking poly sheet stapled and duct taped to the The two most popular species of down from the jig just touches the table strips. The wood is then placed inside ebony are Gaboon, which is dead black, surface near the front. Rotate the chuck and Madagascar, which has a variegated by hand to the side and adjust the table pattern of chocolate brown with black angle. For best results, test several points streaks. To “grain” or “ebonize” this kind on the table. of ebony is a simple process. First, the background wood needs to be walnut. Then using the same black ebony dye from Constantine

and a cheap Drawing by Bob Oswald brush with 1/4˝x1˝x4˝ ARM the bristles cut 2˝ LONG MACHINE SCREW into a zigzag pattern, make random black streaks with Constantine’s dye with the zigzag brush, a piece ADJUST TABLE ANGLE SO END OF MACHINE of walnut and some madagascar ebony veneer Same shot with the walnut “grained” SCREW TOUCHES SURFACE AT SEVERAL POINTS at the lathe by Jon Siegel 

Things I Wish Somone Had Told Me

fter more than While I will jump around Afour decades to many different topics, these of , it represent some of the high is difficult for me points in my odyssey of discovery. to remember how I first learned. I do Cutting vs Scraping – I wish my seventh grade remember seventh 1 shop teacher had said to me, “I’m teaching you grade shop classes the scraping method because you’re a beginner, but and also my father someday when you get serious about woodturning showing me the little you’ll learn the cutting method.” If he had done so, I bit he knew. Mainly, would have realized from the start that he was sending learning was by trial me down the wrong path. and error. As years Twenty years later, I found myself teaching shop, went by, I got better and I quickly discovered that you never learn something at it, partly because I so well as when you must teach it. I developed this was exposed to some educational philosophy – don’t teach beginners the good books such as wrong way just because you think it might be easier for the classic by Frank them to grasp. This does the students a great disservice Pain, The Practical and insults their intelligence. Show students the right Woodturner, but it way from the beginning, and be honest about the became clear to me commitment required. Rosette table in mahogany & glass — Photo by Bill Truslow by Rosette table in mahogany & glass — Photo that woodturning It’s easy to criticize my shop teacher now, but I was an obscure specialty. Many of the tools I saw in old books were don’t think he was purposely keeping anything from not available. me. Rather I suspect he was not in possession of that Today woodturning is no longer obscure. The woodturning information. In those days, industrial arts textbooks renaissance has had 30 years to mature – we have the American described mostly the use of scrapers. Gouges were Association of Woodturners and hundreds of books and instructional used only for roughing out spindles. Many of these videos. As a result, no one has to learn by trial and error in isolation as textbooks were written by authors whose expertise I did when I was a kid starting out in 1960. Nonetheless, in this article, was mainly in metalwork and pattern making. I will attempt to help beginners not by giving simply a set of “tips”, but a list of items which fall into one or more of the following categories: a lathe is not a – I once read in what I 2 thought was a reputable magazine that the wood • Things I did incorrectly at first, and later had to “unlearn.” should be placed between centers and the tailstock • Things I should have learned sooner rather than later. tightened as hard as possible! Yikes! Excessive force • Things I had to figure out on my own, because they were not in from the tailstock causes a multitude of problems – any books I had seen. premature wear on the headstock bearings, premature wear on the tailstock center bearings, and most Geometry of a Cutting Tool Geometry of a Scraper important, vibration of the workpiece. It Negative Rake Angle took me a long time to Positive Rake Angle realize that excessive force between centers Clearance Angle = 0° was a major contributor to workpiece vibration of long thin spindles. A Clearance Angle well tuned drive center with sharp spurs (as sharp as a ) and a center point that is Application of cutting tool results in high positive rake Application of scraper results in negative rake just the right length Drawings & photos by Jon Siegel  (or on a spring) will allow turning with sharp tools plus good minimum force from the tailstock. 6 technique equals less sanding – In my early years, I thought that it the woodturner’s best friend didn’t matter much how you got the 3 – Paraffin wax, sold at grocery shape, because in the end you could stores for canning, makes an excellent sand the work into submission. The lubricant for your tool rest. Break each lesson, which came gradually, is that bar up into small pieces so you have less sanding is better for many reasons one within easy reach around your lathe. – sanding is boring, sanding dust is Use paraffin on the tool rest every five horrific and cost money. But or ten minutes. Use it on the lathe bed most important, the work looks better The (grind) of a cutting tool should be flat too. Everything will go better. Paraffin with a minimum of sanding because is much more convenient than paste the surfaces are true and the details are wax from a can. crisp.

you don’t need many chisels – I Your lathe needs speed control 4 wasted a lot of time and money 7 – Years ago, most lathes had step buying chisels I didn’t need. As time pulleys with four speeds – fast, faster went on, I realized that there are only and two more even higher speeds which about five chisels for spindle turning, were so ridiculously fast that no one ever and another five (bowl gouges and used them. So essentially we had two- scrapers) for cross-grain work, that I speed lathes and used the low speed for really need. The chisels I no longer use bowls and the second speed for spindles. Blount lathe was made in Milford, NH are mainly the large ones. Refer to my Today, lathes with step pulleys have five article in the June, 2005 issue of The or six speeds, but the problem has not amazed me. If you attended the lecture Old Saw for suggestions on the essential changed. The lowest speed is not low by Michael Dunbar last September, you chisels. enough and the high speeds are still may remember he said the same thing ridiculous. In general, all these lathes about draw knives, scorps, etc. Any tool you won’t get far without a would be better if the speeds were cut which is guided by riding the bevel 5 steady rest – Frank Pain’s book in half. Variable speed mechanisms are should not be hollow ground. introduced me to the technique of using a great improvement, but variable speed my hand to steady the work and reduce motors with two or three speed ranges the joy of woodturning is vibration. As an unexpected benefit, I are ideal. 9 directly proportional to the also learned that touching the work mass of your lathe – This is not to say with my fingers can tell me things about flat grind – One day I discovered that I don’t like mini-lathes, I do. Any the quality of the surface which my eyes 8 that chisels ground with a flat lathe that is built with all its parts in alone could not detect. But for a long bevel work better than those that are proportion with each other will function time, the flexibility of spindles was a hollow ground. I quickly re-ground well on work pieces that are also in limiting factor in my furniture designs. all my cutting tools to the new flat proportion to its size. While I consider use of the hand to grind, and I have never looked back. Back in the 70’s, I was fortunate steady the work an essential skill, it It’s hard to describe the feeling of that to get a used Blount lathe (made in will only go so far. Once I got a good day. Without buying anything new or Milford, NH) which weighs about 500 mechanical steady rest, I could cut as investing additional years of practice, I pounds. My experience with that lathe deeply as I wanted, and my turnings had suddenly made great progress in resulted in a great leap forward. In instantly improved. my ability, and I was seeing results that particular I think having a well designed tool rest on a 300 pound cast iron bed made me realize how turning should feel. Now I have three lathes at 50, 500, and 5,000 pounds, and the Blount holds the middle ground.

Whether you are learning from books, magazines (like this one), videos, classes, or symposium demonstrations, be thankful that today there are so many resources and such a tremendous body of knowledge on woodturning to carry you on your own personal odyssey of Using the hand to steady vibration A mechanical steady rest in use discovery. some thoughts on… by Paul Miller 

the investment for other reasons however, I can testify that this is Carving Furniture an effective way of getting the design you need. If you are unable to use this technique, you could hire or ask someone who can. Otherwise, about all I can suggest is to make multiple enlargements on a copier or to get out a magnifying glass and make a drawing by hand. For many designs, especially those with simple details, drawing by hand is certainly viable. Lastly, full-sized three-dimensional carving patterns are available for purchase. These are not geared to a specific furniture design but are useful in more general applications, especially e can, of course, get designs of us the only practical resource. I make architectural. One source would be from anywhere. We can two categories for these resources; those the many moldings and carvings from create new designs from that are meant for the furniture maker sources such as Rockler or even Home our own imagination or and those that are intended as historical Depot. Some of these are cast from by observing the world around us. For records such as books representing a various resins while others are actually period furniture, we will likely use museum’s collection. If you have one of carved or pressed in wood. While these the furniture of the past to guide us; the former, you may be given the design are not likely of good enough quality to viewing it up close, if possible, either patterns and you are all set assuming the use directly for furniture, they may give from private collections we may have quality and authenticity of the design is some inspiration to adapt for your carving. access to, or by going to museums. sufficient. Note that many are not. If One source that I have found helpful is The exhibition of the work of John you have the latter, you still have some the European trained woodcarver Nora and Thomas Seymour at the Peabody work to do. Hall (www.norahall.com) who sells Essex Museum that many of us in the Fortunately, these days, technology plaster-like casts of some of her work Guild saw last year was a wonderful is on our side. With a computer, flatbed as well as drawn patterns. There are chance to view work of the Federal scanner, a printer and some photo also many carving books available that period. We have viewed earlier work at processing software such as Adobe include designs. the Wadsworth Atheneum, Woodman Photoshop, we can copy pictures and Types of Carving – There are several Institute, Shelburne Museum and scale portions of them up to actual basic types or styles of carving. Chip Historic Deerfield. I have also been to size to use as patterns. With scaling, carving is one of the oldest and simplest Winterthur and Colonial Williamsburg noise reduction and which have wonderful collections. There sharpening functions Nora Hall castings are local museums such as the Currier in the software, we Museum of Art which have smaller can make even small collections but often have unique pieces halftone prints available. from a book legible The problem this presents, however, enough to use as is how to translate what we have full-size patterns. observed to our own work. We most The investment in often are not able to take pictures dollars and time or measurements at the museums as spent learning how they jealously guard their collections, to be effective in although we in the Guild have had using the software exceptional access on occasion. Thus is non-trivial. If you books and magazine articles are for most have already made Photos by Paul Miller

forms and requires only one knife for almost everything you will want to do. It often is very geometric in nature. Complex patterns are made by removing dozens of triangular chips from the surface of the wood. It does not have to be geometric, however, as shown by the carving on a quilt rack I made some years ago. The idea was from a Rick Butz carving book and represents a sheaf of wheat. Incised carving is similar, where the design is carved into the surface of the wood without significant modeling in the third dimension. The carving is essentially flat, sort of like carving the outline of the design into the wood. is where the raised from it, such as a butter mold as I am carving. It is important, as well, background is lowered below the surface would require. to move the lighting as you carve to so the design appears raised. The relief Sculpture is where the item carved see how light from different directions may be shallow “low relief ”, or deeper is complete in all three dimensions. affects what you can see. Whenever I am “high relief ” for increased depth of the Examples in furniture are finials at the carving small details, I use a magnifying design features, sometimes approaching top of clocks or highboys, or drops visor so I can see well. a sculptural quality. hanging down from the aprons of tables In my view, it is very important that A relief carving may be carved into or lowboys. the work be clamped securely, both for the surface of the furniture (example, a The Carving Environment – A safe, safety and for carving efficiently. I have knee design on a cabriole leg) or could comfortable, well-lit work environment watched both novice and experienced be carved into a separate piece that is is essential for doing your best work. professional carvers hold down a carving glued onto the surface. This makes sense The bench area needs to be kept in one hand while they carve with the when the carving is a small proportion uncluttered so the carving tools are other. This is obviously dangerous as of the overall piece and too much of not dulled by striking each other or eventually you will cut yourself when the background would otherwise need other woodworking tools. The carving the gouge slips in the work. This is the to be removed. Shells applied to a table tools should be laid out systematically first and maybe most important thing I or highboy apron would fit in this in order of the tools sweep and width teach students. You should almost never category. and within easy reach. As you finish have the cutting edge of the tool aimed Other types of carving include a using one tool, put it back in its proper at your body, especially using only one below surface carving called sunken location so you can find it quickly the hand which prevents good control. It relief (example, an inverse or concave next time you need it. Arrange the tools is also inefficient because you cannot shell) and intaglio carving where the with the sharp end toward you so you provide the full force and leverage to form is sunk into the wood rather than can see the shape and size of the tool the work unless it is well clamped. You easily. should use both hands on the tool, the G o o d upper hand to provide the force and the lighting is lower hand to place the tool and provide absolutely direction, stability and restraint. essential. In Carving takes a long time and it addition to is easy to strain your back if you are o v e r h e a d bending over a low bench. The height of l i g h t i n g , most woodworking benches is too low I use a for carving so some means of raising the gooseneck work to a comfortable height is necessary. lamp to give I have built a carving bench that raises a glancing the work to near elbow height and light across provides a flexible means of clamping the work the work. It is held with bench dogs which helps on the surface of my work bench when greatly to needed. The top of the carving bench show the has an array of holes that accepts the s h a d o w s Veritas bench pups and Wonder Pup for and facets clamping the work. Examples of (left) and low relief carving (right) in the work Continued on Page 10 Carving Furniture – continued 10 The Tools – It is said in many carving woodworking tools such as bench chisels over. It is important also to hone with a books that one should not buy sets of and blades, a sharpening angle of firm material to prevent rounding. carving tools, but instead, should buy 25-30 degrees is preferred. This is not This is especially true with buffing individual tools as each job requires. I the only criteria however. The position wheels. A soft buffing wheel should not disagree to some extent as you can of the tool relative to the work is also be used on a carving gouge as it is certain definitely save money in buying a of importance and in carving this is a to round over the edge and spoil the set. As long as you pick the set wisely, primary consideration. In most cases, tool’s use. I use a hard felt buffing wheel knowing the type and size work that 25-30 degrees is too large an angle for that I keep shaped as flat as possible for you are likely to do, you will need all carving, as the tool would be tilted too all straight tools. For carving gouges I the tools in a typical set and many vertical. For better tool presentation, the use a medium felt wheel which, over more. Experienced professional carvers force when carving should be more in- time, has become shaped with a concave will eventually acquire hundreds of line with the direction the tool will take surface in the center for the outside tools, with each size and shape made through the wood. bevel of gouges. The edges are slightly to efficiently accomplish a specific task. Leonard Lee, in his book on rounded over as I use it to hone the I started with a set of twelve tools and sharpening, recommends 15 degrees, inside of the flute of shallow gouges. now have more than thirty, and wish I with a 10 degree bevel on the inside of Sharpening and honing the inside had more. Although certain tools are the tool’s flute. This makes the edge more of the flute can be a difficult problem much more heavily used than others, I durable while providing a low angle of for tools with a small flute. Carving don’t know of any that I have slipstones can help to shape not used or would want to part the inside of many tools. I have with. both waterstones and oilstones As far as brands go, you and find both effective. The generally get what you pay for. waterstones cut quicker and are Most of my tools are the Pfeil of fine grit but they are soft and brand of Swiss carving tools it is easy to damage their shape. from Woodcraft, with the rest I mostly use the oilstones even being Dastra, which Nora Hall though I don’t have any really uses. Nora also used Stubai good ones. After sharpening tools in the class I took and with the stone, I hone the I think they are also of fine inside using various techniques quality. I don’t have experience depending on the shape and with other brands but I am sure size of the tool. there are many others that are For shallow larger gouges, I also quality tools. Obviously usually use the buffing wheel the quality of steel is of primary mentioned above. I have importance here but the fineness of the tool to the wood. It also allows a geared down the speed with pulleys so the shape. To some extent, the surface good presentation when the tool is used the speed is about 1750 rpm. I think treatment is also of interest although “upside-down” as when rounding over this helps avoid overheating the tool. you will generally be providing your own a convex area. I do not often measure For small gouges and those with surface at the cutting edge as you shape the sharpening angle but concentrate steep curves, one of the really effective and sharpen the tools for your own on sharpening at low enough angles on techniques is to use the tool to make a needs. I like tools with hex or octagonal both the outside and inside of the tool wood honing guide. Cut the tools shape handles as opposed to round handles as to make it effective for use. As you gain into a piece of wood with the flute down, they stay in position on the bench better experience with carving, you will learn rub a honing compound onto the wood, without rolling around. instinctively what angles your tools the wood down or hold it in a For a , I like the brass mallet should have. vise, and hone the tool by stropping that sits in the palm of your hand better It is important, when honing, to it on the wood pulling it along at the than the traditional round wood carver’s recognize what you are trying to proper angle over the pattern. Only a mallet. I got mine from Lee Valley at a accomplish. If you are trying to just hone few strokes are needed to hone the tool good price. I find it to be a very natural the cutting edge, you are likely to raise really well. This is very effective for V- way to strike the gouge and easy to the angle too much. Over progressive tools which are really hard to sharpen at control since the heavy part is close to honing sessions, this will build up until the inside point with slipstones. your hand rather than at the end of a the angle will become too great and The bevel of a carving gouge should handle. the tool will need reshaping again to not be hollow ground as shaped by a Sharpening – Sharpening is a restore its effectiveness. Instead, try to round wheel grinder but should rather compromise between sharpness think of moving the whole bevel back. I be convex in profile. It is more akin through an acute sharpening angle try to hone as close as possible without to the shape of an in profile than and durability of the edge from a more touching the edge. You will get the edge a bench chisel. This allows the cutting obtuse sharpening angle. For many anyway with less chance of rounding it edge to be supported directly by the 11 bevel as it scoops out material from a usually draw the details freehand since grounding with a small router (laminate concave surface and, because the bevel is it is more difficult to hold the pattern trimmer) with a small diameter bit rounded, there are no hard edges to mar on the wood. On flat work, I hold the where needed. I always follow that the cut surface. I also polish the bevel to pattern at one end of the work with with hand tools, however, so the entire a mirror finish with the buffing wheel to masking tape, forming a hinge so I can surface is hand carved and smooth. make it absolutely smooth and friction lift and replace the pattern to see where Where the previous efforts are free. Besides, they look nice that way. I have missed any of the tracing. somewhat mechanical, modeling is the The shaft of the tool should also have all The Carving Process – The sequence fun part of the carving. This is where the sharp edges eased to make it easier on usually followed in carving is outlining, creativity and skill of the carver affects your hands over a long carving session. setting in, grounding, and modeling. the final outcome. The overall form of Just be careful not to destroy the tools To outline the pattern, use a V-tool the surface should be carved first with shape for use when the tool has become and trace outside the lines staying a the relative heights of the high and shorter. short distance away from the line. One low areas created. Lines and surfaces Carving gouges and V-tools should side of the V-tool will be cutting in the should be flowing, smooth and clean, generally be sharpened straight across correct grain direction and the other side without any torn grain. Any texture in so the outside of the cutting edge cuts will be cutting against the grain. Make the design should be consistent. Edges the surface of the work before the center sure that the correct grain direction is are rounded over where desired and any of the tool exits. This prevents tearing followed on the side that is closest to undercutting can be done. Lastly, the out the surface since it is cut cleanly the pattern so the part of the carving final details can be carved. before material in the center is removed. that remains will not have any torn grain. If you have done all of this well, no If the gouge were fingernail shaped like The depth of the outline should be just sanding or scraping will be needed to a spindle gouge used for woodturning, shy of the depth of the final background clean up the carving. the center of the tool would be lifting and must be uniform. Quality – It is sometimes said that out the wood, tearing up the surface. When setting in, choose the largest with hand crafted work, one should When cutting, as always, we must think tools that match the contours of the not hide the mark of the hand; that, for of cutting downhill with the grain. pattern and remove the remaining example, the tool marks should show in Laying Out the Work – One of the first material accurately from the pattern the work and not be sanded away. I do criteria for laying out the pattern on the lines up to the V-cut outline. This believe in texture where it is meant to wood is to determine which direction makes for a smoother outline and is be a feature of the design and I certainly the grain should go. If there were no also more efficient than using a small am not in favor of wiping out fine detail other issues, we would normally look at tool to repetitively nip along the outline. by turning it into mush with sandpaper. the pattern and align the grain with the The tools are held fairly vertical, taking I am not advocating that all surfaces longest and thinnest parts of the design. account of the bevel for concave areas must be absolutely smooth and blemish This makes the carving more durable as and the inside of the flute for convex free. However, I do think that much of there will be less possibility of chipout areas. You can tap lightly with the mallet this “hand-crafted” attitude is a cop out from small short-grain features. Another as needed or apply hand pressure, again for not doing the best work. important criterion however, for applied making the depth uniform. I have examined pieces of the finest carvings, is that the grain should be If you try to set in without outlining work in museums, as close up as I have aligned with the grain direction of the first, the tool will act as a wedge, been allowed, and much of that work is backing piece to which it will be glued. potentially splitting away thinner parts flawless. You would be hard pressed to Fortunately, in many cases the design of the design. This is known as “stop cuts” tell whether the work was done by hand features will already align with the and is to be avoided if one wants to avoid or by a magical laser-guided carving background. A long design will likely the wrath of Nora Hall. By outlining machine. I do not believe that in the be placed along the length rather than first with the V-tool, the thinnest and seventeenth and eighteenth centuries, the width of a background. Examples weakest parts of the material will be split when this work was created for the would be a pattern placed horizontally away between the tool and the outlined richest and most demanding patrons, across a table apron or vertically up a V- and not toward the part of the they were at all interested in seeing tool leg or stile. When it does not, you will design that is to remain. marks or in having it be obvious that have to make your own decision, taking Grounding removes all the material the piece was made by hand. I find it account of both issues. of the background. Again, use the interesting that the front of a piece that To transfer the design to the wood, I largest tool that will fit on the work shows could be essentially perfect and usually trace a copy of the design with and be careful of the grain direction of yet the back boards of a cabinet could carbon paper. Only the major outlines the surface. I usually use #3 gouges for be rough-sawn or at most roughly of the design need to be drawn at first. most of the grounding. In small areas, I planed. These furnituremakers were It is not necessary to draw the details use bent tools, or fishtail shaped gouges. businessmen and would do what is on parts of the design that are below Blend all of the background together so needed to satisfy their customers, while the surface since those details will be the depth is consistent and the surface is being efficient and cost effective at the removed in the modeling process before smooth and clean. To save time on flat same time. the details are carved. At that point, I work, I will sometimes do much of the shavings and by Greg Benulis 12 making Frame & Panel Doors

the top or mid rail for esthetic about an inch reasons. If the door is wide, it oversized to will also have a vertical central provide for the member called a mid stile. These horns. The horns provide added strength all work together to keep the when we cut our mortises and prevent door rigid and square and keep the mortises from blowing out the end the width of the panels to a of the stock. The horns are trimmed off manageable size. Large doors after the frame is glued up. make use of various combinations When sizing your stock, it is helpful of all of these components to to make the door about 1/16˝ bigger in make the door both visually height and width than the opening to appealing and strong. allow you to trim for a precision fit. This style of solid wood door If you were using traditional mortise construction evolved because of and tenon construction, you would also the dimensional changes of wood include the tenon length when cutting with the rise and fall of humidity the rails to length. The rails and stiles in the surrounding environment. should be marked and labeled so that The largest change in the size of we can maintain the proper orientation a board occurs cross grain in the in later assembly. width. The wider the board the larger the dimensional change. It can be significant. The widest boards are the panels and they between the rails and stiles allowing for expansion and contraction. The total width of the door is dictated by the much smaller change in the width of the narrower stiles. There are many ways to capture a panel within the door Recently, Bob LaCivita completed a two frame. Nine of the most common of part tutorial on making a simple cope and these methods along with different stick frame and panel door. In this article, panel styles are illustrated in Fig 2. Greg describes Bob’s methods… Select your hardware before starting your project. The size of the door and rame and panel doors are how it fits in the opening is dictated used extensively in furniture by the type of hardware you select in and also in building addition to the style of door. construction, cabinets and built-ins. This is a traditional construction Step 1 – Frame Stock Prep technique designed to accommodate The type of construction I will detail wood movement. here is called cope and stick. For added The essential parts of the frame and strength in our door frame, we will panel door are illustrated in Fig 1. The use loose or floating tenons to join the frame is made from vertical members rails and stiles. The wood for our door called stiles – the horizontal members should be face and edge jointed, planed are called rails. If the door is tall, there to thickness and ripped to width on the will sometimes be a central horizontal table saw. member called the mid or lock rail. The Cut the stock to the proper length. bottom rail is usually a little wider than However, cut the left and right stiles Fig 1 – Essential parts of a frame & panel door Drawings by Bob LaCivita, Photos by Jim Seroskie

Step 2 – Mortises with a horizontal borer or with a jig and Now that our stock is square and cut router. to length, it is time to cut the mortises. As we are using loose tenons, we will There are several ways to make them cut the mortises with the horizontal – by hand with mallet and mortise borer. The first step is to bore both of chisel, with a hollow chisel mortiser, the ends of the mortise to full depth. by drilling and paring the sides square, These are connected with a series of holes also bored to full depth. The stock is then moved back and forth to clear the mortise – Fig 3. If we were using a router and jig, we would start the same way. Then the mortise is cleared by routing back and forth increasing the depth on each pass in increments no more than the diameter of the router bit until the max Fig 3 – Using a horizontal boring machine to depth is reached. make mortises

Step 3 – Loose Tenon Stock saw along the length on each side. The The loose tenons are made with the grooves allow excess glue and air to same type of wood as the rails and stiles. escape from the joint when assembling This is for stability – Fig4 . while maintaining a good fit. The edges Cut strips of 3/8˝ stock followed by a can be rounded to match the mortise pair of shallow grooves cut on a table with a router or shaper or can be pared to round after they are cut to length. Continued on Page 14

Fig 4 – Cope and stick rails and stiles with loose tenons added for strength

Traditional tenons with rounded edges and Fig 2 – Assorted door styles a simple panel groove Step 5 – Cut Tenon Stock to Length Any glue Cut the tenon stock to length. squee z e- Measure for the required tenon length out can be from the mortise bottom to the low wiped up point on the stile, and from the mortise with a wet bottom to the high point on the rail. rag. Glue left on the Step 6 – Panels s u r f ac e s Preparing the panels depends on the will wreak wood you are using. Wood movement is h a v o c not an issue if the panels are . with your Fig 5 – Use a sled with backup when You just cut it to size. With solid f i n i s h cutting the end of a rail on a shaper wood panels, you need to shorten each later. dimension 1/8˝ to allow for seasonal M a k e Step 4 – Cope and Stick wood movement. sure the panel is centered in the opening. Next, we create the cope and stick; Raising a panel can be done by hand If it needs adjusting, you can move the that is, shape the edges of the rails and using a panel plane. Or you can make panel with a block of wood and some stiles plus the mating ends of the rails. a bevel cut on the table saw with the light taps with a hammer. We also provide grooves for the panel at panel held vertical against the fence and Now is the time to check the the same time. There are three methods the blade set to the desired angle. Or assembly for square. You can do this by – plow and planes, a router table you can use panel raising cutters on the measuring the length of the diagonals or a shaper. shaper or the router table. from corner to corner. Or you can On the shaper, use a power feeder A simple approach is to use the table simply use a square on the inside edges for safety. There are cutters that use a saw with a dado blade to cut a above the panels – Fig 6. bearing and others that use a blade for on all four edges. Then bring the rabbet Adjustments are made by positioning all the surfaces. The type without the to size with a rabbet plane. Sometimes the clamps and by tweaking the bearing gives a final chance to square up a is cut on the vertical edge along clamping pressure. Occasionally you will your edge. side the rabbet to keep your eye from have to smack the side of a rail on the Do the stiles and inside edges of the noticing the changing width of the outside edge. You should make sure the rails first. Start by making a very light rabbet with wood movement. It is a frame is flat on the clamps to prevent climb cut against the grain to make good idea to sand and finish the panel any warping of the door. If you are not sure you have clean crisp edges. The at this point. If you do, you won’t have a using parallel clamps, you have to be rest of the cut is made with the grain line of unfinished wood appearing with extra careful to keep the frame flat. to the required depth. Be careful in seasonal changes. your setup to make sure the groove is Step 8 – Final Touchup properly located to capture the panel at Step 7 – Glue-up After the glue has dried and set, we the proper depth. Before assembling and gluing the need to trim the horns off of the ends of To set the cutter up for the end grain door, it is a good idea to sand all the the stiles. This gives us one last chance to cut on the rails, use a piece of the stile shaped edges on the rails and stiles. get the door frame square. Use a paring stock you just shaped to ensure they will Spread the glue evenly on the inside chisel to clean up any visible glue lines. mate in the same plane. Make a sled edges of all the mortises. Do the same Our door example needs a light to maintain precise alignment when for the slip tenons keeping the glue layer touch with a portable with a making this cut – Fig 5. as thin as possible to minimize squeeze 120 grit belt to even out the door. If you out. You also want to spread a have a wide drum sander, you could just thin layer of glue on the edges of run the door through. You would then the coped moldings where the have to hand sand the marks from cross rails and stiles come together. grain sanding on the rails. You can also Be sure to keep the glue back flatten the frame with a hand plane. Be from the area where the panel careful of grain direction. Either way groove is. You want the panel to you have to do both sides (inside and float freely in the grooves. out). Make sure there is no bowing on When you assemble the the edges of the stiles. If there is, you door, be very careful not get any will have to plane this out either on the glue on the panel or surfaces of or with a hand plane. the rails and stiles. The door is Well that’s it, your door is done and clamped across each rail making it’s ready for final fitting and hanging. Fig 6 – Squaring up sure the assembly remains flat. mike’s corner by Mike Dunbar 15 Design: The Four Objectives

hen you design a piece of different pieces vary and are linked to as a decorative Wfurniture, you have four primary their particular functions. Adirondack object that not objectives. You may not be consciously chairs and picnic tables that are left only incorporates aware of them, but they are part of outdoors are not expected to last as long the first three your decision-making process. The four as a chest of drawers or a lamp stand objectives of goals are function, comfort, durability – pieces that you expect to leave to your function, comfort, and durability, but is and appearance. Although these great-grandchildren. also able to transcend time and culture. are somewhat obvious and all very Durability is often confused with Imagine entering a museum and fundamental to woodworking, they quality, but in reality quality requires coming upon a Ming vase. You are deserve to be explored from time to successful accomplishment of all struck by the vase and drawn to examine time. design objectives, including the next it. You first observe it in its entirety, one, aesthetics. A strong but ugly or standing back several paces to take in Function uncomfortable chair is not good quality. the overall statement. Next, you move The first objective is axiomatic. The in closer to examine the vase in greater piece of furniture you are making detail, to appreciate the finer points and has to do its intended job. Function to observe evidence of the craftsman’s implies a generally accepted definition technique. The vase was made centuries of purpose. For example, a chair is a before you were born and by someone piece of furniture designed to be sat on living in a completely different culture. and on which a person can sit. Therefore, Yet it speaks to you, a viewer removed if you are making a chair, it has to hold from the maker by all that time and your backside off the ground. If it’s space. It is a masterpiece. a table, you have to be able to sit at it. We all want people to notice And if it’s a bed, you have to be our woodworking and to able to lie in it. A lot of ink has appreciate the effort we invested been spilled in the art furniture in making it attractive. And we debate – for example, is a chair know intuitively that the things we that you can’t sit in truly a chair? make will survive us and be used by For most of us who accept function future generations. We want them to as an extension of purpose and definition, appreciate our work as well. the point is moot. Calling something It is a common mistake to confuse you cannot sit on a chair does not make the masterpiece with the fashionable. it a chair. Both the fashionable piece and the masterpiece are appreciated in the Comfort maker’s own time and culture. The This objective is a corollary to the first. appeal of the fashionable piece, A piece of furniture not only has to do however, is transitory. Trendy its intended job, it has to be comfortable furniture soon looks dated. and commodious. A rock will keep your The masterpiece’s transcendence backside off the ground, but a rock is is frequently not detectable to someone not a chair because it is not comfortable Appearance living in the time and place where it was or convenient. You must be able to sleep In the days of the craftshop, this made. This quality only emerges as the all night long in a bed, and a table must objective is the one that separated winds of time winnow out the merely be the proper height and dimensions for the journeyman from the master. By fashionable. To observe this, look at its job. A coffee table’s height makes it virtue of his training, the journeyman some early issues of Fine Woodworking ideal for serving tea and coffee to guests, knew how to accomplish the first three and notice the stack lamination and post but makes it uncomfortable to use if you objectives. He knew how to make a modern furniture that was being made try to dine on it. piece of furniture that did its job, that 25 years ago by some of the country’s was comfortable to use and sturdy best known and most highly regarded Durability enough to last. woodworkers. Although the height of A piece of furniture has to be made However, only the master understood fashion then, today much of it looks well enough that it will hold up under form well enough to produce the dated. However, a Queen Anne highboy its intended use. The life expectancies of masterpiece. I define a masterpiece Continued on Page 27 around new hampshire by Caleb Dietrich 16 a look at the New Hampshire furniture makers New Hampshire were involved with the League. A fraternity began Furniture Masters to form among them. And it was common for one to stop by another’s shop with questions about technique and design. It wasn’t long before there was talk about starting a guild in which to share information. In 1990, David Lamb, Jon Siegel, Jere Osgood and a number of other New Hampshire woodworkers gathered at John McAlevy’s shop. They and others such as Roy Noyes and Dave Emerson laid a foundation for the Guild of New Hampshire Woodworkers.

The Guild filled a need for New Hampshire’s furniture makers. They were able to learn from each other’s experiences, and feed Console Table –— Fiddleback, mahogany, ebony –— Fiddleback, mahogany, Console Table off each other’s enthusiasm. The League was also filling a need by giving the craftsmen exposure at fairs and in the galleries. But the League was not well suited to promote the high end, often Friday night then Diz and costly, art furniture New Hampshire Bird on Saturday night. And craftsmen were capable of producing. maybe a young Miles Davis In 1993 Tony Hartigan, Vice would stop through to blow a President of Merril Lynch, Concord, few tunes, if he was in the area. approached the President of the League The bebop scene was deep with at the annual fair. When he told her about innovators, musicians that fed his vision to promote New Hampshire’s off each other and always kept high end furniture, she introduced him Terry Moore things moving forward. to the state’s top producers. David Lamb was one of the first to When Terry Moore applied for talk with Hartigan. “When someone he evening clouds are spitting acceptance into The League of New talks about business and potential for enough that I have to clear my Hampshire Craftsmen, he was required growth and money making, craftsmen windshield periodically. I’m to present three pieces of his work are going to listen,” he told me, thinking listening to Thelonious Monk before a jury. The jury interviewed him, back on their first conversation. Tony’s work softly, up and down, through the and then asked that he leave the room big ideas and enthusiasm also caught simple melody that frames Misterioso. while they examined his work. “It’s like the attention of five others. Terry I’m thinking it was certainly worth standing naked before a doctor,” he told Moore, Brian Braskie, Lenore Howe, making the trip from Portsmouth to talk me. “I failed my first jury.” He started to Bill Thomas, and Jere Osgood were also with Terry Moore in person. The melody laugh. “They said I was a schizophrenic aboard. quiets into the background and Johnny woodworker.” With each of his pieces Griffin blows soul through his tenor crafted in different styles, Terry used the The group met monthly in order to develop sax. He flies in and out of recognizable next year to develop his sense of design. their new organization. They chose tunes. Monk seamlessly takes the lead, On his second attempt, he was accepted the name New Hampshire Furniture and then draws the quartet back into into the League. His piece was put into Masters Association. However, they the synchronized tune. It’s one of my the fair. It sold on the first day. At a hesitated over the initial idea to open favorite tunes. In New York City in the following fair he won best in show. a gallery. Costs and the business of 50s, a person might catch Monk on a Like Terry, a number of other running the gallery led some to think Photos Bill Truslow 17

it would be too much to take on. At a Journal featured an article meeting in April of 1994, Tony offered on the auction and the a creative solution. He proposed an makers. annual auction, a black tie event, similar to those that sell the most sought after The Masters continued to look antiques. “It was a ground breaking for new avenues of growth. decision and idea,” Terry told me. “We In 2000, a conversation were nervous about it. There had never between Tony Hartigan been an exhibit [of contemporary crafts] and Judge Kathleen that was on display, and then all sold in McGuire revealed a one night.” need for woodworking Tony helped turn the craftsmen’s education at the Concord nervousness into excitement by putting state prison. When Tony the right people in place to facilitate brought it to the groups the event. One of the first and most attention, Terry Moore Jon Siegel Rosette Table — Mahogany, glass — Mahogany, Rosette Table significant was John Frisbie of the New and Tom McLaughlin Hampshire Historical Society. John embraced the opportunity. They began history of the Currier. In October, they played an integral role in planning to develop the Prison Outreach Program. held their auction at the Wentworth and publicizing the first auction. Terry For the past six years, along with guest by the Sea Hotel. The organization’s admits, “He was really the brains behind presenters, they have given monthly chairman, Garrett Hack, reminisces in the first-class exhibition.” demonstrations in Concord. They have his opening of the auction’s catalogue. “If On June 29, 1996, after two years also expanded to teach at the new we have learned anything after ten years, of organizing, the New Hampshire prison in Berlin, NH. The fruits of their it’s how to put on a party, with amazing Furniture Masters had their first annual labor are tangible in the pieces inmates food, good conversation, and a silent auction. 13 members sold 26 pieces for Eric Grant, Tim Eldridge, and others auction of smaller and less expensive a total of $188,000. The Wall Street have produced. Select pieces have been pieces that is nearly as much fun as the donated to the State House in Concord. main event.” The main event featured Others have gone to auction and raised pieces by 19 masters, and three others money for charity. from the Prison Outreach Program. Other opportunities also followed. Over six hundred people attended. A The high quality work of the Furniture handful left with timeless pieces of art Masters generated requests for an furniture. apprenticeship. They developed a unique As Misterioso winds down, Monk program that focused on giving the and his group play through the student intensive one-on-one training progression a final time. My recording with the Masters. It was decided that is live from the Five Spot in New York the most effective way to achieve their City, 1958. So when the group has goal was to bring the student into stopped, I can hear the people in the the Master’s world. They named their club. Some whistle, and some clap. They concept the Studio Based Learning caught the original show. Program. In 2004, Sean Connin from In New Hampshire, 2006, we the Saranac Lake region of New York, have David Lamb quietly creating became the first student. He has since his masterpieces in his Canterbury worked alongside Jon Brooks, David woodshop. If you would like to catch Lamb and Jere Osgood. Andrea the show, his work, and the work of the Young, the program’s second student, other Masters, they will be displayed is beginning her studies in Jon Brooks’ at the New Hampshire Historical studio. “Andy” lives in Amherst, NH Society’s Tuck library from July 13th and is a member of the Guild. through the 26th, and at the New Hampshire Institute of Art, Amherst Last summer, the Furniture Masters celebrated Street Gallery from July 28th through their tenth year with an exhibit at the August 26th. The 2006 auction will Currier Museum of Art in Manchester again be held at the Wentworth by the which included retrospective pieces as Sea Hotel on October 22nd. For tickets, well as new works. The opening drew catalogs, and information about the Jon Brooks 600 visitors, which was the largest one- Masters and their organization, visit Dancing with Yellow Chair — Maple, acrylic, color pencil, lacquer, Chair — Maple, acrylic, color pencil, lacquer, Dancing with Yellow night attendance at an opening in the www.furnituremasters.org. current work by Bill Schnute

Bill Schnute is a long time woodcarver specializing Barred Owl in free standing and wall mounted sculpture, doors, entry ways, gates, room dividers, mantles and signs. He operates Oak Leaves Studio in Wilton, NH just across the road from Frye’s Measure Mill.

Bill describes how he developed the last project he undertook before closing his 1,000 SF open (walk-in) studio in Carmel Valley, CA. He was located 12 miles inland from Carmel By The Sea. Coastal fog regularly soaks this area with moisture producing a unique bio-environment. However, his studio was located just back of the fog line in a consistently semi-arid place – 2˝ of rain per year – ideal for carving delicate features for his many customers.

This project was developed for a first time walk-in client from PA. The commissioned piece took four weeks of preparation and three to four more to carve and finish. His subject is a barred owl which is of the same species as the horned owl. Its habitat is to nest in a hollow tree trunk. Bill notes that it is not as noisy as the horned owl [ed].

barred owl sitting on a broken white oak tree was commissioned by an out of state customer just before closing my shop in California. It was a large piece at 85 lbs. – 54˝ tall, 36˝ at the widest points and 81/2˝ thick. Cherry wood was chosen because it would show nicely against the fireplace stone wall and the available overhead lighting would provide a suitable shadow line to highlight the carving. Walnut was considered but would not show well with the available light. White oak, although fitting for the theme, has a delicate ring porous structure and a pattern which can obscure carved details. I like wood best with no finish, however, longevity precludes this option. I use a water thin two part epoxy for the first coat, using a heat gun to soak it into the wood. To avoid a built up plastic look, the next three coats are thin sprayed coats of satin polyurethane. Because carved wood is not sandable, the temperature and relative humidity 1 must be carefully monitored and the difference between set time and cure time of the finishes can be played with 2 to avoid intercoat separation.

3 Photos by Bill Schnute 19 6

When patterns are used for 1 commissioned or “stock and trade work”, a simple line drawing is made. Depending upon the thickness of the stock wood being used – two inches in this case – a topographical map of each layer is drawn. These layers can be plus or minus from the base layer. This pattern is a plus five. Stable blocks of wood can be glued up for high relief to full in-the- clamps is highly recommended. I found round carving in this manner. it to be more effective to use as many Woodcarving is rarely considered art, clamps as possible with enough pressure presumably because you need to know to hold a well machined edge together where you will end up before you start. rather than a few clamps and a heavy Mental activity has no visible motion, hand. The glue is spread on both sides which helps explain why I am constantly of large areas with notched trowels or asked what I do with my time. Deciding rollers. on the theme, mentally organizing how the piece will look and be made is all This is the beginning of the end. A done before a pencil is picked up. I often 4 125 pound block of cherry wood say at the start of a pattern that “it is all Face glue-up also involves joining worth $1,500 is ready to carve. over but the doing”. 3 18˝ sections of layers at the same I use heavy gouges to split off time. The number of layers to be larger sections of wood and a series of The layout and edge gluing of each clamped at one time is limited to the pneumatic rotary hand tools to define 2 layer allows precutting the shapes size of the project and the set time of the shape and form I want to achieve. derived from the topo maps. Small the adhesive. Spreading this adhesive Carvers often assume that mallet and ledges are left on rounded edges to on the edge and faces of a number gouges are the only acceptable tools allow for clamping. To facilitate surface of boards creates a highly lubricated for carving. Traditionally though, planning before face glue-up, sections mass of wood moving in all directions preparation and rough-out was done are limited to 18˝ by the size of my when pressure is applied. A dry run by unpaid labor. I call power tools my planer. to establish alignment and preset the apprentices. Continued on Page 20 4 5 tips & techniques by Steve Olesin 20 table saw maintenance

of Butcher’s Wax is always around in my shop for doing final buffing of my hand-rubbed finishes and it works extremely well to reduce friction on all sorts of machinery and handtool surfaces. But come the change of season, it is employed to coat and protect my investments. The tablesaw top is the first to be treated by applying the paste wax with an pad like ScotchBright or 240 sandpaper. The abrasive removes any surface rust that may be present and the wax creates an adequate barrier to air-born moisture. Rub it on thoroughly trying to coat every visible surface, then rub it off again with a clean dry rag or paper towel. Doing the same to the interior of the machinery would be great, however there a limit to my ambition. Nonetheless, I do clear out all traces of sawdust I can get at inside the tablesaw and check that the gears are clear of caked grease Photo by Steve Olesin and sawdust. That sawdust is still wood – it inhales moisture which could be the catalyst to a rust spot. Removing the blade he season is changing and so are the humidity and and lowering the arbor gives pretty good access to most of the temperature levels. If you have a shop that is in an interior. Reapply lubricant to the gears that raise and tilt the Tunheated or marginally heated area like an unfinished blade and the pinion track the arbor rides on. Dry lubricants basement, garage or outbuilding, it is time to do a little attract less sawdust but may be rubbed off more quickly. preventative maintenance. This bit of maintenance can consume an hour or two of The shiny iron and steel surfaces of your tablesaw, jointer, your shop time if you have several stationary tools but you will planer and are susceptible to rust as the temperature find that they all seem to work more smoothly and cut more and relative humidity changes in spring and fall. A cold casting cleanly once this attention is given. in a basement that varies in temperature with your arrival may Don’t stop at the big stuff. Look over all the handtools to feel the ill effects of your presence. Being a body made up of a detect emerging rust. Give them all a wax buff for protection. large percentage water, you add humidity to the room. When Giving your chisels and planes a shiny smooth nearly-mirror the air is warm, this humidity is carried suspended in air but finish while sharpening will also reduce the risk of rust. when that air comes in contact with your cold equipment, dew Moisture can penetrate into scratches and rough spots on the may form on the rust-able surface. tool surface. The smoother the surface, the fewer places for There are plenty of products to protect your machinery, this to occur and then occasional use is all that is needed to like T-9 or light machine oil, but I prefer paste wax. A can keep rust from forming.

Barred Owl – continued The time and effort to glue up and After six weeks of carving, this I finish with traditional gouges 5 precut each layer is recouped. Using 6 piece is ready for finishing. All of struck with round brass headed . air tools and occasionally a , a my work is original and unique. Most I have used in the past, but few hours of work defines the shape and is site specific. The lighting available or found this was hard on my wrists. The form of the finished piece. Most of the specified is duplicated in the studio so brass will crack the gouge handles after excess wood is on the floor. I layout and that the shadow line necessary to give a while, but I keep sage orange squares draw the pattern on the wood as I carve. depth and detail to the work can be seen. on hand, and in a few minutes can make I’ve learned to listen to the unconscious I design the installation hardware to set a new gouge handle to replace the old. voice warning to stop removing material a piece such as this one away from the And I save the wear and tear on my from an area because later this may be wall so it is self shadowed and appears wrists. where the eyes are located. framed. tools of the trade by Dave Anderson 21 Hand Saws Sawmakers and Sellers n my last column I gave you a bit being unsafe. For www.norsewoodsmith.com – Leif Hansen of insight into the wide variety of joinery use a sells a limited number of excellent dovetail saws Ichoices of hand planes available to pencil or marking and has a great tutorial on how to make one the woodworker of today. I’d like to knife to mark out yourself. continue on the topic of tool availability the joinery lines, www.wenzloffandsons.com/saws – Mike and choice by talking about hand saws pick a dovetail, and his sons make dovetail, carcass, and tenon this time. What? You say you don’t use carcass, or tenon saws of incomparable beauty and function. hand saws? If this is the case, you are saw to cut to the They do custom work at very reasonable prices probably avoiding them because of a line, and then and allow you to choose the TPI, set, and tooth bad experience with either a poor quality trim if necessary pattern at no additional charge. Kits for making modern saw that had an uncomfortable with a . It’s faster, safer, saws are also available. handle, or one which wouldn’t cut well or and doesn’t require making test pieces www.toolsforworkingwood.com – Click cleanly because it was poorly sharpened to check the setup. on saws and see the wide variety of Adria, Pax, at the factory. Ok, I’ll grant you that the Ok, let’s assume I’ve convinced you Gramercy and other saws. Joel is a woodworker offerings from Home Depot and many that you would like to start using hand and an email or phone call will get you honest of the normal outlets are lousy and that saws, so where do you begin? A nice and excellent advice. using any takes practice, but versatile starting set would include a www.adriatools.com – Get the full story and your woodworking horizons will open dovetail saw (filed rip since you are information on Eddie Sirotich’s line of . greatly if you spend the time to research cutting with the grain), a tenon saw Great quality, good pricing, and his saws are and look for good saws. Since my (filed rip to cut the cheeks), a carcass especially good for woodworkers with larger familiarity is with western style push saw (crosscut), a 26˝ to 28˝ sized hands. cutting saws, I won’t cover the Japanese of 8-10 teeth per inch (tpi), and a 26˝ to style saws. Someone else better qualified 28˝ of 4-6 tpi. These five saws www.lie-nielsen.com – The Independence line of backsaws L-N makes and sells started the will have to write about them for you. will be more than adequate to get you renaissance in high quality modern backsaws. Like hand planes, we have a greater started and you can fill in the holes with Rumors persist that Tom will some day offer a variety of choices now than we have additional saws later. Now comes the line that includes regular crosscut and rip saws. had in over 40 years, and some of the time for education. Two web sites offer Stay tuned. modern makers are excellent. There are great insight on saw history, choosing also a large number of old handsaws saws, sharpening saws, and saw anatomy www.flinn-garlick-saws.co.uk – The factory from 40-130 years old that you can buy – The Disstonian Institute and Vintage website of the largest hand saw maker still producing quality saws. The new Pax 1776 line inexpensively for $15 to $50 though Saws. Both are listed in the references is top quality. they will need cleaning and sharpening. to the right and can offer far more detail The question then becomes, “Why than I can cover in this short article. OTHER SOURCES would I use a hand saw when I have For sources of great saws, we’ll split www.disstonianinstitute.com – Eric Von a bandsaw, , jig saw, and a things into two categories- backsaws Sneidern’s website with all of the information table saw?” I could go on forever about (joinery saws), and stock preparation on Disston saws you would ever want. this, but I’ll spare you the full sermon. handsaws. All of the makers of old saws Great information about old saw quality, Let’s keep it simple and say that in – Disston, Atkins, Wilkinson, Harvey manufacturing, saw identification, and use. many cases you can make a crosscut on Peace, etc – made backsaws and some – Pete Taran’s a piece of stock with a hand saw before are still available on the used market www.vintagesaws.com website on saw use, sharpening, and saw history. you could even make the setup on your today at pretty decent prices. Excellent A reliable seller of used handsaws and saw tablesaw and that saves you both steps modern backsaws are available from sharpening supplies. and time. On making dovetails, I’m not Lie-Nielsen and Adria Tools. Less well particularly fast, but I can complete a known are the fantastic custom makers www.mjdtools.com – Martin Donnelly is dovetailed drawer by hand before I can Leif Hansen and Mike Wenzloff. Both the largest tool auctioneer in the US. Three NH even review the directions, let alone set are quite price competitive. From the auctions each year – April, July, September. Large outdoor flea market for old tools up, a router dovetail jig, and a is UK you can get the outstanding new accompanies each two day auction. considerably less expensive than the jig PAX 1776 backsaws, though their and the special router bits. There is also other Flinn, Pax, and Garlick saws are Cooke’s Sharpening and Grinding – Specify the consideration of cutting complex of lesser quality and a bit clunky. Tools to Steve that you want your saws hand joinery. With power tools, some setups for Working Wood in NYC also has sharpened, not done by machine. It makes a require making complicated jigs a number of private label saws made big difference in how they perform –York, PA and/or setups and can still border on Continued on Page 23 717-793-9527. jigs & fixturesby Dave Miller

the ultimate Router Dado Guide Use the jig just as you would any parallel bar dado jig. The biggest difference is it works. Every time. The dado is fit to the exact thickness of the material used to set the jig up…no test cuts, no tape shims, no rulers needed. No matter what the router make or model, no matter what the material being used, this jig accommodates them all.

Guide Parts Cross Tie The dado guide consists of three main parts T Bolt Track – base frame (1), width guide assembly (2), and reference bar (3). The base frame (1) modeled 4-Stop Block here using scrap materials has one T-bolt track running along the left guide bar, and two T Bolt Track shorter tracks inset into the upper and lower 3-Reference Bar arms. The width guide assembly (2) is two parallel bars secured together with cross ties. In the 2-Width Guide Assembly gap between the two parallel bars, a reference Cross Tie bar (3) can be positioned independently of the width guide assembly. An optional stop block assembly (4) was 1-Base Frame T Bolt Track added for this jig to allow duplicating stopped dados for specialty designs and applications. It is useful for recessed shelves, or any application where stopped dados may be used.

Set Guide to Initial Position The dado guide will accommodate any size router base. Place the left side of the router base plate snug against the base frame guide bar (1). Adjust the width guide assembly (2) snug against the right side of the router base plate and tighten the T-bolt handle. Move the router to the far end of the base frame and do the same thing. At this point, double check to make sure the router is snug at both ends again.

1/2˝ Straight Bit

Adjust Width Guide to Router Base Width

Set Reference Bar Use the router bit to set the width reference bar (3). Use a bit smaller than the dado you need to cut – in this case, a 1/2˝ straight cutting bit for a 3/4˝ dado. Adjust both ends of the reference bar and tighten the T-bolt handles. The jig is now calibrated to the Adjust Reference Bar to Width of Bit router and the cutting bit. Photos by Dave Miller23

Set Guide Assembly for Dado Width Once calibrated, simply take an off-cut from the stock that will be inserted into the dados. In this example, I had about an inch Sample of Material to Fill Dado of sheet stock from the end of the plywood sheet I was using for shelving. Loosen the T-bolt handles on the width guide assembly (2) and move it to the right. This allows the sample material to slide between the reference bar (3) and the right bar of the width guide assembly (2). Move the width guide assembly (2) snug against the sample piece as shown, and tighten the T-bolt handles. The dado guide is now set to cut a dado the exact width needed for the material being used. Adjust Width Guide Assembly Bar Snug Against Sample

Use bar clamp to secure guide

Clamp Guide to Work Piece Well, I thought about putting a couple toggle clamps on the bottom front frame but never got around to spending the money on them. Instead, I keep reaching for the nearest bar clamp and it seems to work pretty well. Dave is a contributing member of the Guild of Oregon Woodworkers. He resides in Amity, OR

Hand Saws – continued more comfortable for your hand. If like buying used saws is to seek advice from under their Gramercy brand. I would me, you want a really top of the line someone knowledgeable about old tools personally stay away from the Crown crosscut or rip saw, you will have to buy before spending a single cent. and some of the cheap German saws. used and refurbish the saw by derusting I urge you to advance your They are incorrectly filed crosscut and it and either sharpening it yourself, or woodworking skills by including usually have too much set to the teeth. sending it out to be done. This is really hand saws in your arsenal of tools. A Unfortunately, you still only get what not as hard or bad as it sounds. Saw properly sharpened saw will open new you pay for. expert Tom Law has produced an horizons and is often the faster and a For stock preparation like general excellent video on jointing, setting, and more accurate alternative to electrically crosscutting and ripping, there is not sharpening a saw. The tools are available powered saws. Learn the skills, practice, yet the breadth of quality and choice from some of the web sites listed in and enjoy. that is offered in backsaws since the the references. The easy alternative is introduction of the electric circular saw to send the saws out to Steve Cooke killed the market for hand saws. The and have him do the job for you. If you realistic choices are still limited to good spent $40 for a saw and an hour or two used saws, and the offerings from Flinn, cleaning it up, the $15-$25 for shipping Garlick, and Pax. Just understand that and sharpening gives you a saw of better the handles on these new saws might quality than you can buy new and you require bit of reshaping to make them still save money. My only caveat on Turning Symposium Demonstrators for 2006 Go to www.gnhw.org/turning2006 for biographies and photos of each demonstrator

Richard Angus – Moosup, CT making goblets and other forms that are less glues the rings Cross-Grain Bowl Turning than 1 inch long. He will be offering solutions back together Melding Basic Principals with Creativity to issues related of chucking, tools, and shaping. in a bowl shape. In this demonstration, a series of proven steps Cameras will be used to project his amazing This technique for making a bowl from a log will be presented. workmanship onto a large screen, so that you also maintains Log preparation will be discussed, the grain can clearly see what he is doing. continuity of color, pattern in the planned bowl will be visualized Bob Coleman – Hollis, NH density and pattern and the blank will be mounted. A bowl will be Hollow Wooden Ornaments throughout the piece. Too good to turned in four steps: outside, rim, inside and To begin, Bob will shape the globe and hollow foot. Jam and compression chucking, with be true? Come and it out. He will verbally explain sanding and find out how easy emphasis on maintaining the same axis after finishing the globe and then will drill the globe it is. Gleasner Stephen remounts will be included. The cutting action off the stem as a final step in creating the globe. of gouges and shear scrapers will be analyzed The icicle and finial will be spindle-turned from Beth Ireland – Roslindale, MA and put to use. Questions are encouraged and rough blanks to final shapes, with attention to Turning Outside the Box will somewhat direct the flow of the action. layout, sanding and finishing. To end, he will This demonstration introduces the bandsaw as Dick Batchelder – Bristol, NH part these pieces off the lathe and assemble a a complimentary tool to the lathe. Beth will go Reproducing Architectural Elements finished ornament. through the process of making a bandsaw box This demonstration will show the process Charles Faucher – New Ipswich, NH that will be mounted and turned on the lathe. to replicate turned elements in historical A Fresh Look at Segmented Turnings This is a good demo for turners of all skill levels who want to juice up there creativity, and learn restoration projects. The same technique can Charles Faucher combines machine lathe also be applied to repair and restore furniture new methods of mounting irregular shaped accuracy with traditional wood lathe pieces on the lathe. that has turned elements in its construction. techniques to produce segmented forms that Participants will learn how to take an old develop horizontally rather than vertically. Ken Keoughan – Friendship, ME turning that is rotted, broken or missing Faucher will explain various jigs and procedures Tall, Elegant Vessel Forms: Vision to Reality original detail and create a working drawing that go into his unusual work. He will turn an Ken will demonstrate how to create tall, and a prototype turning. This demonstration assembled form into a finished piece. If asked, elegant vessels from “napkin sketches” to provides hands on advice about choosing he will probably offer his reflections on turning pieces of art displayed in galleries. Involved appropriate materials, pricing and production as a livelihood. in the creation are thin hollowing techniques, techniques. Mike Fonner – Weare, NH lathe-turned joints, floating Peter Bloch – New London, NH Spindle Design Basics rings, ebonizing processes, and bondo. He Making a Living as a Woodturner works to close tolerances with precise planning. This presentation will explore the concepts of This is going to be a very personal version of The resulting pieces seem to sell easily for very making the transition from a square blank into respectable prices. what has worked for Peter, with full awareness a round design appear sculptural. Why does a that everyone’s path would be different. Peter round vase in a square piece of stock draw our Jim Kephart – Manchester, CT will provide a laundry list of strategies, theories eye? Where does good design differ from bad? Duplicating Spindle Turnings by Hand and tips that has helped him make the vocation Are modern designers better than designers Jim Kephart will show how to duplicate and obsession with turning work for him. You from the past? How do you design a table leg to spindle turnings by hand. The demo will show will hear ideas that range from grandiose and fit other pieces of furniture? Should my design the processes required including the use of philosophical to esoteric and detailed. With be planned on paper or should I wing it and storyboards, calipers, and pommel cuts. While luck, some of it might be useful to aspiring design while I’m turning? What size pommel duplicating several types of turnings, Jim will professionals. do I use when transitioning from square to show how to cut basic shapes with emphasis Jack Brown – Valencia, PA round? How do I design for the aprons that will on how to obtain control. Inlayed Christmas Ornament tie the legs together? What turning will make Alan Lacer – River Falls, WI During his demonstration, Jack will make an this piece pop? If you’ve ever asked some of #1: Befriending the Skew Chisel these questions, come join the discussion. inlayed ornament, explaining how he made Alan will cover the shaping, sharpening and the router jig and how it is used to make the Stephen Gleasner – Appleton, ME honing of this sometimes fickle tool. Following necessary cuts for the inlays. He will also show Making a Bowl from a Thin Board that he will explore at least 8 different cuts an easy way to make an indexing wheel to Stephen will show how to use a thin piece including pommels, rolling, planing and facing evenly space the inlays. of stock to quickly and easily make a bowl off with the skew. Dustin Coates – Etna, NH of volume using very little material. He cuts #2: End-Grain Hollowing with Hook Type Tools Miniature Goblets concentric rings from a thin, dry plank of wood using a modified parting tool and then Alan will describe the problems in hollowing Dustin will be working in a very small scale, end-grain projects (such as boxes, goblets, Turning Symposium Demonstrators for 2006

vessels, and end-grain bowls). Next he will small round skew. Each tool will be sharpened focusing on how to deal with greenwood, show why a hook tool serves as one solution to and it’s use will be demonstrated. Bob will avoiding cracks, keeping crisp edges, and such problems -- and why it has arisen around then demonstrate sharpening other tools finishing issues. the world and over time as a common solution. (spindle gouge, roughing gouge, small bowl Linda VanGehucthen – Sarver, PA He will also have a variety of commercial gouge, etc.), primarily using the Wolverine jig. Natural Edge Angels variations followed by a demonstration of If time allows, Bob will sharpen a few tools that making a basic hook tool. come “straight from the manufacturer” and we She will be turning one of her beautiful natural edge Angels. To turn an Angel – put together David Lancaster – Weeks Mills, ME may be able to do a little “hands on” work with beginners. a bowl, a spindle turning and a little carving Once-Turned Bowls – presto! Based on his participation in other NE Turning George Saridakis – Groton, MA Turning and Sculpting a Lidded Box Jacques Vesery – Damariscotta, ME Symposia, you can expect standing-room-only Concepts in Design for David’s demonstration. He will turn a bowl In the first part of his presentation, George from a green piece of wood to a finished bowl. will discuss all the turning and sculpting This in-depth slide lecture compares design David will discuss the design process he uses tools, as well as chucking mechanisms he components before and after turning, including to create his beautiful bowls. He will show you uses, including commentary on how this form, balance, and proportions. Through a how to mount the bowl blank and efficiently has evolved over the years. Secondly he presentation of several artists’ work, in some rough it out. Proper use of the vacuum will demonstrate and discuss key turning cases in retrospect, Jacques will show how chuck and the Oneway Easycore tool will be techniques and address lid fit issues including variations and growth help a body of work demonstrated. Learn how to make a finish cut the tables used to measure fit requirements. evolve. This is a great learning tool for anyone, that is done in one continuous flowing motion. Thirdly, he will briefly discuss using a vector working in any medium. It is also an ever Sanding and drying will also be discussed. graphics program to create designs, and then changing presentation as new artists’ work is added to the mix each year. Andre Martel – St. Cesaire, Quebec demonstrate the basic cutting approach used, Turning End Grain and how ornament creation can be used to Brad Vietje – South Ryegate, VT practice these techniques. Participants will be Introduction to Hollow Forms Andre will be focusing on the basic principles invited to try scrollsawing an ornament. Lastly This session will explore the basics of design of woodturning in relationship to grain. He he will discuss finishing techniques. will be showing: bevel and shearing cuts; and form, and concentrate on the actual roughing out with a side-ground bowl gouge Charlie Sheaff North – Swanzey, NH turning of thin-walled hollow forms with hand- (SGBG); and cutting into end grain using the Multi-Axis Turning held tools. Information about laser guided SGBG. Then Andre will proceed to the use of Traditional woodturnings are done with the boring bar systems will also be discussed. ring tools and standard hook tools – their object mounted on the lathe, along a single Wendy Wilson – Putney, VT configuration, possibilities and limits. Finally axis. This session will explore some of the Turning Small Bowls he will demonstrate the unique Martel Hook possibilities which occur by turning on multiple Wendy will demonstrate the process of turning tool and the “skew bowl gouge.” . Topics will include practical applications, small bowls on a mini/midi lathe. She will start Andy Motter – East Sullivan, NH such as furniture legs, as well as several fun with the bowl blank between centers to shape Natural Edge Goblet and whimsical creations. the outside of the bowl and end with a jam Andy’s demonstration at the symposium will Jon Siegel – Wilmot, NH chucking system to finish the last detail of the focus on the safe and efficient use of basic Spindle Turning Basics bowl, the bottom. There will also be discussion spindle turning tools to produce a natural Learn the tools and techniques necessary for and demonstration of tools, sharpening, edged goblet. Techniques to be discussed spindle turning between centers. What chisels sanding and finishing. will include end grain hollowing and the “old do you need? How do you sharpen them? How turner’s trick”, the Captured Ring. do you build skill and confidence? All the basic Graham Oakes – Derry, NH processes will be demonstrated and clearly One Tool Wonder explained. Using an Ellsworth-grind bowl gouge, Graham Al Stirt – Enosburg Falls, VT will be demonstrating multiple tasks in its use. Turned, Textured and Carved Bowl By focusing on 14 simple cuts he will cover After a brief slide show of some of his carved and everything from thin-walled natural edge textured pieces, he’ll show the steps involved bowls to turned spindles. Remarkably, all in turning a bowl with carved and textured aspects of turning will be covered using this and colored elements. He will also show some one tool. carving techniques using a reciprocal carver as Bob Rosand – Bloomsburg, PA well as a rotary carver. Intro to Sharpening Chris Strassner – Biddeford, ME This session will begin with Bob making two Natural Edges from Green Wood

tools: a bent angle tool for hollowing and a This will be a how-to on natural edge turning, Bloch Peter U I L D E G OF scholarship by John McAlevey TH W 26 IRE OO SH D P W O M R

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Center for Furniture Craftsmanship W E S

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• • Bowl Turning with Al Stirt Scholarship what I can best describe as an adjustable results that he attained were a tribute to screw chuck that he made either to be his skill and artistic vision. mounted on a dedicated faceplate or I experimented using some of the held in a scroll chuck. power carving tools but felt more Al has the ability with this chuck to comfortable using traditional carving adjust the blank and better balance the gouges. I also painted a couple of grain that will be revealed when the bowl bowls using milk . Without the is turned. It is easy to say that I have distraction of wood grain, a painted been meaning to make one of these for bowl allows you to concentrate on the my own use. Having been a bowl turner form of the bowl.

Al Stirt turning a platter for many years, Al of course makes it all I was not sure at the end of the look very easy. By Monday afternoon workshop how I would apply what I had hen I heard that Al Stirt would be we were all turning away. I found out learned to my own work, but as it turns teaching a workshop at the Center that turning wood in a school set up out I recently started turning some black WFor Furniture Craftsmanship (CFC), I is a lot different than turning in your and white painted and carved bowls for immediately decided that I would like own workshop. I was aware of everyone an upcoming exhibit at the League of to attend. I had seen Al demonstrate around me and it actually took a few New Hampshire Gallery in Concord. a few years ago at the guild’s turning days until I felt comfortable. I suspect Al was assisted in the workshop by symposium at Pinkerton Academy and I that the others were all workshop Maine wood turner and furniture maker regarded Al and his classic shapes as one veterans and were in their element. Mac Ray. Mac is one of those hidden of the inheritors of the pioneering bowl Monday evenings at CFC, the treasures that we all occasionally come turner Bob Stocksdale. I was interested visiting faculty usually show slides of upon. He is quiet and unassuming, a in learning more about his approach to their work after the traditional ice cream master craftsman and a very patient and form and seeing the techniques Al uses and cookies desert. Al showed his slides good teacher. Mac was extremely helpful to carve, decorate and work the surfaces and gave us an autobiographical look at and generously shared his knowledge of the bowls and platters he turns. his career. He does not consider himself and tools with the class. My own adventures and exploration a woodworker and feels more akin to a If you have any interest in spending of bowl turning began a few years pottery making tradition. Along with a week with a wood turning master ago when I picked up a copy of the his own work, he showed slides of and learning about turning open bowls exhibition catalogue 88 Bowls by Bob historical Chinese and Japanese pottery and platters, I recommend taking a Stocksdale. I spent the winter of 2001 - and I could see how the shapes of these workshop with Al Stirt. Again I thank 2003 studying the bowls pictured in the classic pieces had influenced him. the Guild scholarship program. book enough so that in March of 2002 He also showed slides of the kayak Along the way though, a funny I decided to buy a lathe. That winter as trips he has taken for many years with thing happened to me. When I applied I explored bowl turning, I discovered his wife and a group of friends to the for my grant I became interested in a number of “new” developments that northern reaches of our hemisphere. the workings of the Guild scholarship had taken place in wood turning. One He showed dramatic photos of the program. Jack Grube invited me to be was sharpening jigs and the other that landscapes where he canoes in Labrador a member of the committee and now I I heard about was turning wood green and Hudson’s Bay. And he considers find myself as the committee chair. Now and wet. these journeys to be a major influence how did that happen? Thanks to a Guild scholarship, I was on his work. When you spend a able to enroll in Al’s class. I found Al’s week taking a class with Al, you teaching to be a memorable experience. know it’s true. Al Stirt is a very good natured and Al demonstrated a number interesting person with a wide range of electric powered carving tools of interests and knowledge. This shows with which he has become quite through in his teaching and in his work. skilled. He was very adept and Our week long class started on comfortable with the wide variety a Monday and after the initial CFC of power carving tools and I got school rules talk, Al began his lecture by the impression that he had at one chain sawing a blank from a log of green time or another tried them all. wood. He explained how he centers the His ability to work confidently blank on the lathe and he showed us a with these tools and the dramatic John McAlevey by Photos meetings and events 27

hopsmith &OR3ALE Feb 4th, 2006 S … by Greg Benulis Mark V – Great multipurpose woodworking tool in excellent condition. Beginner & Intermediate Group Check it out at www.shopsmith.com – $950. Photos by Jim Seroskie Tony Immorlica: 603-673-9629 evenings he February meeting of the BIG 8˝ Jointer … Twas the final session of the door Powermatic Model 60 – 65˝ bed. Leeson 1.5 construction series which began at last HP - 220V motor. Sturdy shop built stand. 25 December’s meeting. yrs old in good condition. US made – $500. Bob started by making a panel for the Jim Seroskie: cope and stick frame made previously. 603-673-2123 or [email protected] The panel was made by cutting a rabbet on all four edges on the table saw. He Veneer Press Frames … then cleaned up the cuts with a shoulder Two large veneer press frames – 52˝ H x plane. Bob recommended finishing the 64˝ W. Cast iron and steel. 2˝ acme threaded panel before assembly to eliminate the press screws with about 16˝ of vertical travel. Come and pick them up and they are yours – Free. Howard Hatch, Conway,NH: 603-447-8486 possibility of having an unfinished line … appearing on the edge with seasonal wood movement. Variable speed, 1.5 HP, 3 spindles, one for router Next came glue up and clamping, bits. Includes Shop Fox mobile base – $350 there were lots of tips on how to keep Jack Geerer: 802-484-5955 the frame square with the panel centered. or [email protected] He was very detailed about how to clean up the panel for final finishing and loves to use on his cabinets plus several fitting the door to the opening. styles of European type hinges. The rest of the meeting centered on Bob suggested getting a Blum hardware. The door we made was hung catalog for details on their fine Euro using butt hinges mortised into the hinges which he seemed to favor for edge of the door and frame. He showed their wide range of adjustability. He also us how to make the hinge mortises both showed us some quite serviceable Euro with hand tools and a jig and router. We hinges available at home centers that are then went though the other types of less expensive than Blum. Bob finished hinge options available. This included by demonstrating the installation and the knife hinges that James Krenov adjustment of the Blum Euro hinges.

Design: Four Objectives – continued my students how to make a Windsor and western Europe starting about 1815. is as fashionable now as it has been for a chair seat. I explain that the broad The Klismos is a chair developed in couple of centuries. solid surface which supports the sitter’s classical Greece and often illustrated on Some modern furniture has generated backside satisfies function. However, the Grecian urns. Although very fashionable enough universal acclaim for enough seat has to be nearly two inches thick and beautiful, the Klismos chair was not time to suggest transcendence. Sam so it can be deeply saddled to make it a good piece of furniture. Stretchers Maloof ’s chairs are good candidates for comfortable. The thickness also allows were not used because they did not look masterpiece status. for deep, strong joints. However, the good when combined with graceful mass of a thick seat is in conflict with saber legs. However, the legs were too Constant Tension the chair’s graceful lines. Therefore, the thin to create strong joints. The result is The four objectives are in constant maker has to carve the edges and upper that few Klismos chairs lasted very long tension and even competition one with surface of the seat in such a way as to without breaking. After a decade or another. However, you cannot make create the illusion of the seat being two of bad experience, furniture makers good furniture by emphasizing one thinner than it really is. began to add stretchers to their Klismos or more objectives at the expense of Another good example is the Klismos chairs to strengthen a beautiful, but another. I point this out when showing chair, popular in the young United States weak design. meetings and events 28

Jan 28th, 2006 by Ken Kuster Granite State Woodturners Turning chucks were the focus at Peter Bloch’s shop in New London, NH Photos by Syd Lorandeau

he January meeting at Peter tight fit around the stock as the drawbar Bloch’s shop opened with the is tightened. Tintroduction of eight turners who As discussion progresses around the had not previously attended a GSWT shop, a Napkin ring chuck made from meeting. This meeting focused on the a wooden rod with two use of the multiple varieties and uses of perpendicular bandsaw turning chucks. Interim President Jon cuts into one end was Siegel quickly surveyed the attendees presented. As the tailstock and identified twenty different chuck is tightened into the classifications. The chucks varied from intersecting cuts, the rod friction but can also machined products costing several expands to provide a tight use “Duct Tape”, hundred dollars to simple scrap wood fit. wrapping tape, hot chucks. Multiple members have melt glue, shoe glue When turning chucks are mentioned, built Longworth chucks or rubber cement for scroll chucks are likely to be visualized. that are classified as scroll increased holding Scroll chucks were first used on metal chucks also. Plans for construction are strength especially during rough turning. lathes in the 1800s. They are defined as readily available on multiple web sites. The fit can also be adjusted by applying “an adjustable chuck, applicable to a lathe Conversations were held on the subtle moisture to the seated surfaces with a spindle, for centering and holding work, in variations. paper towel or spray bottle. which the jaws are adjusted and tightened For holding small stock without On the commercial side, the simultaneously by turning a disk having tailstock use, collet chucks are available. Nova chuck that can be used in both in its face a spiral groove which is entered Manufactured collet chucks are available compression and expansion modes was by teeth on the backs of the jaws.” Prior to that are well adapted for turning bottle described as the first self centering four the centering feature development, the stoppers and similar objects that jaw chuck designed for wood workers work piece had to be manually centered range from 1/8˝ to 3/4˝ diameters in1/8˝ with over a million units sold. Other by adjusting the chuck jaws. increments. manufacturers such as Grizzly, Penn The meeting progressed by members Vacuum chucks are now commonly State and Vicmarc now produce Nova describing the multiple chuck types used and are ideal for holding larger imitations with varying prices, qualities with comments and shared knowledge objects since the holding force is and features. Clamping ease, stock size, from other members. dependent on the surface area multiplied spindle size, and cost were discussed for Dustin Coates displayed a by the difference between atmospheric several manufacturers. compression chuck and discussed the pressure and the vacuum pressure. For Jon indicated a preference to use use of rigid foam to increase the gripping a 6˝ radius object with a 75% vacuum, Jam Chucks for repetitive bowl or plate strength. In the spirit of yankee frugality a perfect seal, and no air loss through turning. He starts by turning the bowl and curb side procurement skills, the the porous object walls, an ideal bottoms to the same diameter and then foam used on exercise machines was holding force of 1200 pounds can be turns the jam chuck for a tight fit after identified as a material that is suitable obtained. George Saradakis displayed the bowl if flipped. If multiple bowls for shaping and compression. a homemade vacuum chuck that uses a are being turned, the bottoms are sized Next described was a chuck that uses short section of PVC pipe with O-rings smallest to largest to adjust for wear as the headstock drawbar to pull a collet for a tight seal to turn his signature each bowl interior is completed. into the headstock Morse Taper (MT). lidded boxes. Comments were made that For additional details, a “Guide to The collet is used to provide a secure, vacuum chucks are not suited for porous Work Holding in the Lathe” by Fred woods such a red oak or thin wood Holder was mentioned and can be turnings. Caution should be issued that obtained from Linden Publishing. Fred an excessive high vacuum can generate also publishes a newsletter called “More enough pressure to cause the turning to Woodturning”. Details can be found at implode with the scattering of debris. www.fholder.com. One general type of chuck is As expected, this month’s forum was the “Jam Chuck” that can be used for both interesting and educational from both tailstock and open access. Jam the shared skills and expertise of the 40 Chucks provide gripping power from attendees. meetings and events Photos by Jim Seroskie 29

Feb 18th, 2006 by Caleb Dietrich Homestead Meeting Routers: Things you did not know you could do with them!

n February 18th, more than 60 of contacted Marty Milkovitz. For a few the guilds 402 members found seconds the shop was a little quiet, a Orefuge from the blustery winter winds at little stunned. And Roger announced the Homestead Woodworking School. that Fine Woodworking is interested in Inside, heavy coats hung from cabinet pursuing an article on Marty’s American doors, while sturdy workbenches Style Hutch, having seen it featured on displayed Dave Anderson’s finely made the cover of the November 2005 issue Bob LaCivita Alan Mitchell hand tools, the Guild’s impressive DVD of The Old Saw. Members in the room library, and Practical Technologies’ applauded Marty’s accomplishment a a router and a flush trimming bit to Multi-Function Base Plate and Circle little bit like a family might clap for one both make and follow patterns. Bob Jig. of its members at college graduation. displayed a mold he had used to bend Louis Duplessis, founder of Many were proud and just sincerely graceful waves into a piece of maple. Practical Technologies LLC, began happy for Marty. Once a single plywood pattern had been the meeting with a demonstration of The meeting’s presentation, entitled established, it was easily copied using his router accessories. The base plate Routers: Things you did not know you the flush trimming or pattern making he has developed is made to easily could do with them, was given by Alan bit. attach to all common routers, and work Mitchell, founder and director of the In a router table, the pattern making with common Porter Cable styled Homestead School, and Bob LaCivita, bit can be just as useful. The legs of a template bushings. Louis’s innovation a professional woodworker and quest Shaker pedestal table were formed using is in the simple pieces that complete instructor at the school. The two worked a double sided jig, which first guided the the kit, taking the place of numerous well together, with one at center stage bit along the curved top edge and then, other costly and inefficient jigs on the and the other always in the background once the piece had been moved to the market. The Practical Technologies preparing for the next demonstration. opposite side, along the bottom. Base Plate is machined to accept an Bob began. Using a shop made jig, As the presentation progressed, adjustable dovetailed slide that will a plunge router and a spiral up-cut bit, the list of creative jigs lengthened to anchor the router into a 3/16˝ hole, he cut the mortises for a loose tenon in include Bob’s shop-made circle jig, and creating a circle jig with a range from the mock rail and stile of a cabinet door. his fixtures for creating a tapered sliding 2˝ to nearly 18 1/2˝. A simple aluminum He then used a set of matched bits in a . Alan presented the cradle fence can also be attached to the slide router table to cut the mating profiles used to router dovetailed slots in the and adjusted out over 8˝. In addition to and a dado to receive the panel. shaft of a Shaker pedestal table. He also the three pieces, Louis has developed After some discussion of the various quickly cut a well fitted box joint using a longer compatible slide capable of panel raising bits on the market, Alan an Incra Positioner System. cutting larger circles. His business is used a vertical bit to the edges When the demonstration ended, based out of Raymond, NH, and more of a door panel. Push blocks were used Bob and Allen answered the questions information about his products can be to safely send the piece through on of members who went up to take a found at www.practical-technologies.com. edge. The final profile was achieved in closer look at the various jigs. Louis The meeting was given a considerable three sets of passes at increasing depths. Duplessis did the same from behind the spark when President Roger Myers Each time Alan was sure to make the displaying his products. mentioned that Taunton Press had cuts across the end grain first in order to avoid tear out. His final Safety Notes set of passes took only a • Wear eye and ear protection. light cut from the panel, • Make good use of push blocks and push decreasing the severity of sticks. chatter marks. • Be sure router is off before plugging it in. The first demonstrations • Be sure to operate all router bits at gave clear examples of recommended speed. how routers can be used • Be sure collets are clean a well tightened. to construct a raised panel • Make multiple light cuts when removing door. A number of the a significant amount of material. other demonstrations can be linked by the use of • Use extreme care when climb cutting meetings and events 30

March 11th, 2006 by John Whiteside Period Furniture Group

describe themselves as experienced, 15% Photos Jim Seroskie as professional and 15% as beginners. Despite this high level of experience, there is a general feeling that new members are welcome. The problem arises in that we now have more attendees than can be accommodated by members who have smaller shops. We discussed possible solutions to this dilemma. One piece of good news is that there are about six member’s shops where 25 or more people can be the level of your elbows. Always clamp accommodated. However, it may be your work. Never place a hand in front necessary from time to time, to limit of where your tool is cutting or you will attendance to those who respond first surely stab yourself. Stand in a compact he March meeting of the Period to the meeting announcement. This will manner, arms and elbows close to your Furniture Group met at Paul only be done as a last resort. Another body. TMiller’s shop in Chester, NH. As has idea we will try is, when a member’s Sharpening carving tools can be a the Guild as a whole, the group has shop is too small for everyone to see the challenge. Here is an invaluable trick grown this past year. We consistently demonstration clearly, we will split the for curved gouges. Use the gouge to have over twenty attendees now and so meeting in two so that half will discuss create its own shape, both the convex we took some time to discuss the nature and socialize in the living room while and the concave side, along the length of our group and how to accommodate the other half sees the shop demo, and of a piece of wood. Then coat the wood all of us in the smaller shops in which then rotate. A third idea is to meet in with a honing compound. The tool we typically meet. a venue other than a member’s shop. can then be slid along the compound- We agreed that, strictly speaking, For example, we plan to have a meeting coated, perfectly shaped wooden strop period furniture means pre-industiral next year in Old South Church in for sharpening. revolution, that is, furniture built before Newburyport, MA, built in 1756 and about 1820, culminating with what is the largest wooden structure in the 13 Lathe & Wood … &OR3ALE loosely known as Empire style. In terms colonies. It is likely that we will have Hegner Lathe – HDB200 of member’s preferences, Queen Anne steeple tours to view the early structural 3/4 hp 36˝ between centers, is the favorite. There is also interest in techniques. four jaw chuck, live tail Georgian, Federal, Windsor, William Besides organizational issues, our center, drive spur & face plate – $400 and Mary, and Chippendale. There is meeting featured, as always, a safety also some interest in what are known topic. According to members who have Copy Attachment – Heavy duty for lathe – $200.00 as vernacular or reason to know, it is likely country styles, that at some point, your Mini Lathe – Teknatool Nova Comet – $150 such as Shaker. table saw blade or shaper Mobile Base – HTC/JET Model JMB-JTAS In terms of bit will throw off a tooth 50ST 24 7/8˝ x 53˝ w/ 36˝ T extension – $100. skill level, 70% at high speed. Your only Wide Pine board 32˝x7´ S2S. This is one of the members protection then, besides board, not one that has been glued-up. It pure luck, will be if you has only one small tight black knot – $225. have remembered to Wide Pine clear & selects S2S 20˝x12´ stand out of the line of – $6.00 bdf fire, have a guard in place, and have remembered to wear safety 4/4 S2S – $2.00 bdf glasses or a face shield. Cherry 4/4 RGH #2 common – $2.00 bdf Our host, Paul Miller, is Walnut RGH 4/4, 5/4, 6/4 – $3.00 bdf known for his beautiful Windsor Aromatic Cedar RGH – $1.00 bdf chairs. However, at this meeting, he gave us a presentation on Marty Milkovits in Mason, NH: carving. Don’t carve bending [email protected] over! Arrange a carving bench at 603-878-3591 or 603-345-5058 bulletin board 31

Upcoming Guild Meetings January, March, and May, from 9am to LaCivita’s shop at • April 15 – Hardware: Selection & noon. Announcements and directions 365 Stage Road (Rt Installation with Barbara Rockwell are e-mailed to members a week to ten 152) Nottingham, from Horton Brasses at Pinkerton days before each meeting. NH from 9:30am to Academy in Derry, NH. 10 am - 3 The next meeting is on May 6 (first 12:00 noon. Please e-mail or telephone pm. Please note – this meeting has been Saturday) so as not to conflict with the (before 9 pm) if you plan to attend. moved forward one week to April 15. Guild turning symposium. We will meet Bob LaCivita • May 12-13 – Turning Symposium at Les Huckins’ shop in Weare, NH. 603-942-1240 or [email protected] at Pinkerton Academy in Derry, Les has a large shop – space will not be NH. a problem. To be placed on the e-mail Granite State Woodturners • June 17 – Summer Trip to Nichols (or telephone) notification list for this Meetings are 9:00am to 1:00pm on & Stone (furniture maker) in and future meetings, contact … the fourth Saturday of the odd numbered Gardner, MA plus Starrett (tool John Whiteside months. The Turning Symposium will maker) in Athol, MA. 603-679-5443 or [email protected] take precedence over our regular May meeting and so the next meeting will Period Furniture Beginner & Intermediate Group be July 22. The meeting place changes The Period Furniture Group meets The next BIG meeting will cover each time. Contact Jon Siegel to be five times a year, usually on the second making and installing crown mouldings. added to the e-mail notification list. Saturday of September, November, The next meeting is April 1 at Bob Jon Siegel – [email protected]

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Personal Notes

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