From the President Symposium All the Demos, Meet with Friends, Shop at to Contribute to Help at the Symposium, Suggestions/ the Tradeshow, and Fit in Other Activities

A ASSOCIATIONNEWS NNEWS Editor’s Note You may have heard American Woodturner referred to as a • It is my privilege to feature Andi Sullivan on page 6 and tell the story of her remarkable journal rather than as a magazine. What’s the difference? journey. Andi is a consummate teacher, craftsperson, problem-solver, and ambassador Well, AW is primarily the publication of a non-profit associa- for woodturning—who happens to be blind. She will be at the symposium hosting a tion (the AAW), as opposed to one serving a subscribership. panel discussion, “Woodturning with Disabilities,” among other activities. As such, its contents reflect the activities and mission of the • Did you know there is a virtual AAW chapter called Women in Turning? Members of this organization and are not as driven by advertising dollars. chapter will host a panel discussion, “Women’s Perspectives,” at the symposium. See This issue’s contents stand as a perfect example: Many of the page 11 for a preview of a collaborative work by these women that will be auctioned articles and featured work could stand on their own, as in a during the symposium. magazine, but also serve as a preview of what you can expect to see at the AAW international symposium in Pittsburgh this June. • Have you ever seen one of Tim Yoder’s entertaining woodturning shows on television or on the Internet? David Heim’s profile of Tim on page 38 highlights this notable Here are a few examples: personality who will also be a demonstrator at the symposium. • Jacques Vesery, whose work is featured on the front cover and whose remarkable story is revealed in a profile on page 42 by Michael C. McMillan, has won the 2015 Profes- As I reflect on these and other elements of the journal’s content, I can’t help but think sional Outreach Program (POP) Merit Award—a uniquely AAW distinction—and will what an extraordinary organization the AAW is. Even under the purview of a single, exhibit his work at the symposium. education-based mission, its broadly varied initiatives result in a kind of unified diversity unparalleled anywhere in woodturning. • The spread on the inside front cover features a sampling of pieces in this year’s POP exhibition, “Creativity in Construction: A Collaboration of Materials.” All of these creative works will be on display and auctioned at the symposium in support of POP initiatives. • Steve Loar, whose recent piece Chloris & Flora II is featured on the back cover, is a prominent educator and creative force in woodturning. He, too, will exhibit his work at —Joshua Friend the symposium in a special exhibition, “Then and Now.”

From the President Symposium all the demos, meet with friends, shop at to contribute to help at the symposium, suggestions/ the tradeshow, and fit in other activities. we encourage you to let us know. reminders You will find helpful information and The AAW’s 29th links for all of these items and more at Honorary Lifetime Members annual international tiny.cc/symposium. Each year, your board of directors has the symposium is nearly Please consider bringing tools to opportunity to select an AAW member to upon us. The plan- donate to the Turners Without Borders be an Honorary Lifetime Member. The cri- ning and preparation program. Surplus or lightly used tools teria for selection and a list of past recipi- for the event will be contributed to this cause will help begin ents can be found at tiny.cc/honorary. over shortly and then it is execution time. woodturning programs in other coun- While recipients can be an artist or noted The local volunteer teams, along with tries. Bowls for the Empty Bowls and woodturner, they need not be, as there the national volunteers, the conference lidded boxes for the Beads of Courage are other programs that can confer this coordination team, and our staff will be programs are appreciated. Your contribu- kind of recognition. The honor of Lifetime on-site to make the Pittsburgh sympo- tions to these efforts are a wonderful way Member is meant to recognize individuals sium a safe and educational event. to give back to the community. Please for their remarkable and ongoing commit- Along with making travel plans for the don’t forget your turning contribution ment to the betterment of our organiza- symposium, I suggest creating a poten- to the Educational Opportunity Grant tion. Input from the AAW membership for tial itinerary in the convenience of your (EOG) auctions. Both the live and silent consideration of our annual selection is own home. The entire matrix for the EOG auctions fund our program each always welcome. I encourage you to bring event is online at AAW’s website, so you year. You or your chapter may have those whom you feel worthy of this recog- will be able to review the timeline and received a grant for supporting wood- nition to the attention of any of the board sketch out your plans. The site maps are turning education, or perhaps you will members. We take this responsibility very worth reviewing to get acquainted with in the future. We look forward to your seriously and consider many candidates the various eateries, coffee shops, and turning donations and participation in each year prior to final selection. event locations. The Guidebook app for the auction bidding to help make this See you in Pittsburgh. the symposium is available for down- program an ongoing success. load. Your smart phone, tablet, or note- Finally, we can always use additional Best, book computer can help you do much symposium volunteers. Please see page of your scheduling with ease. Time is 5 for details. If you have some time that always far too short at the event to see you or your significant other are willing Kurt

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New AAW Web Service Call for Consolidates Information Demonstrators AAW is excited to introduce “AAW The original need expressed by the Connects,” a new service related CRI was for a graphical display of all AAW Symposium to the 2014 recommendation our chapter locations, including brief 2016 report from the Chapter Relations information such as meeting times. Initiative (CRI) work group. This The platform selected uses an easy-to- AAW’s 30th international sym- simple, web-based tool offers easy navigate Google Maps application. The posium will be held in Atlanta, viewing of the following: map was released to a test audience in Georgia, June 9–12, 2016. To apply • General chapter information March 2015, and reactions were over- to be a demonstrator, visit wood- • Chapter events and whelmingly favorable. turner.org/Events/CallforEntry demonstration schedules Presenting a vast amount of data in between July 1 and September 15. one place elevates the need for accurate For additional information, call the • Regional and international source data, which feeds into the map. AAW office in Saint Paul, symposia information So for completeness and accuracy, we 877-595-9094 or 651-484-9094 or • Information on and locations of will need to rely on all chapters to keep email, [email protected]. woodturning schools their pertinent information updated. • Information on international You can access this new AAW product woodturning organizations at tiny.cc/ConnectsMap (case sensitive). Symposium Volunteers Needed! The success of every symposium is due to the many individuals who volunteer for a variety of tasks before, during, and after the event. If you are attending this year, please give a few hours to this vital effort. The greatest need is for demonstrator assistants, aid in the Youth Room, and help in the Instant Gallery. To volunteer, contact John Ellis at [email protected]. Volunteer early to have the best chance of The AAW Connects map helps you to search the globe for woodturning events and information. being assigned your preferred demonstrator and time slot. All volunteers receive a complimentary sym- Donate Tools to Turners Without Borders posium T-shirt. Many turners have donated tools to To help Turners Without the Turners Without Borders Tool Bank Borders continue implement- Correction since the AAW international sympo- ing global initiatives—and to On page 8 of the April 2015 issue of sium in Tampa. These tools have been support other AAW programs like American Woodturner (vol 30, no 2), put to good use by students in Haiti, in Woodturning Beyond Barriers our list of vendors in the “Woodturning a teaching project in the Dominican and Turning to the Future—please Tradeshow” section should have Republic, and more recently in our bring your lightly used tools to included Woodworker’s Emporium woodturning initiative in Puerto Rico, the Pittsburgh symposium. Bowl, (woodworkersemporium.com). The where twelve artisans were taught spindle, and roughing gouges are company will be represented at the woodturning and will be working with most needed, but all other tools Pittsburgh symposium tradeshow. Our Carmen De La Paz to establish AAW’s are welcome. Donations will be apologies for this omission. first chapter in Puerto Rico. accepted at the registration desk.

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CHATTER Andi Sullivan’s Growing Legacy

Andi Sullivan is perhaps the most LightHouse for the Blind and Visually unlikely woodturner you will ever Impaired to spread the word and meet. “I am not the best woodturner, encourage others to attend. but I really love it. By all accounts, I Inspired to share her joy of wood- shouldn’t even be here,” she says of the turning, Andi had also approached physical challenges she has endured. In LightHouse of Tampa with a plan to addition to a genetic condition called teach woodturning to the blind and cornea dystrophy, she has survived visually impaired. You can imagine three strokes—the last one rendering the apprehension this proposal must her blind—and lives with a heart condi- have caused—a blind woman teach- tion and lupus. “After the first stroke, I ing blind students how to turn wood. couldn’t walk and they told me I would With persistence, she won them over never walk again. But I went in the and so began a pilot program that pool every single day and rehabbed included a panel discussion for the until I could walk,” says Andi, who has blind and other challenged turners; been blind for fifteen years and found a symposium tour and touching a renewed sense of purpose in her life At the AAW symposium in Phoenix, 2014, event for LightHouse members; through the rewards of sharing with blind woodturner Andi Sullivan explains pen turning demonstrations by Andi and turning to Frank Vance, who is also blind. others what has made all the difference other panel members; a pen-turning Photo: Andi Wolfe for her—woodturning. session for the blind; and permission And share it she does, with incredible to begin a woodturning program as energy and a sense of determination that Although Kurt had never taught a part of the Tampa LightHouse. With can only be called inspiring. “My momma blind student, he agreed to give it a assistance from Chelsea Bridges, said ‘No’ was never an option,” she notes. try. Arrowmont had never had a blind Activities Director for the Tampa student in their woodturning program, LightHouse, Andi created the first History but Allen and Andi persisted and the woodturning program in the entire Andi’s life-changing entry into wood- school accepted Andi into its program. LightHouse organization. turning began in 2010, when she Andi’s first one-week woodturning With support from several woodturn- attended AAW’s international sympo- class was a success, and she has been ing vendors, the new Tampa LightHouse sium in Hartford, Connecticut, with her taking classes at Arrowmont every year woodturning program began with a husband Allen. As she and Allen passed since then. “The first year, everyone lathe, tools, mandrels, and supplies through the Instant Gallery, he described came by to see if I was going to leave for not only teaching the craft but also the various turnings to her verbally, as no with all my fingers,” she recalls. “Now producing salable items that could help touching of the items is allowed. Malcolm they see me as a woodturner and not support the program in the future. Andi, Zander, an experienced woodturner, hap- just as a blind person. And that is the Allen, and Andi’s father continue to pened to witness the two as they perused biggest compliment anyone could give teach at the Tampa LightHouse regu- the gallery. Malcolm decided verbal me—to allow me to become part of the larly, and they have trained Chelsea descriptions were not enough to convey woodwork, in a good way, and accept as an instructor, too. The program has an appreciation for the woodturned items me for something beyond my disabil- expanded and now has a second lathe to on display and approached with one of ity. Arrowmont has done that.” accommodate additional students. his own turnings for Andi to examine by touch. The experience left a lasting Success in Tampa An expanding legacy impression on Andi, who was inspired to With a newfound sense of purpose Andi decided the success of the Tampa learn woodturning herself. and confidence, Andi chaired a panel program could be applied elsewhere, Allen and Andi later contacted Kurt discussion in 2013 at the Tampa sym- and she developed a plan to establish a Hertzog and inquired about a class posium called Turners with Disabilities. self-sustaining woodturning program he would be teaching that year at Prior to the symposium, Malcolm for the blind in each AAW symposium Arrowmont School of Arts and Crafts. had worked with Andi and the local city. Her goal for each symposium is to

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host a panel discussion, hold the visits and turning events for the blind and visually impaired, and work with the local LightHouse or other organizations to add woodturning as a regular, ongoing offering. This model worked beautifully in 2014 at the Phoenix symposium. As a result of Andi’s leadership there, the Arizona Center for the Blind and Visually Impaired (ACBVI) has established a woodturning program that has grown Frank Vance turns a bottle opener handle. ACBVI instructor Tom Beatty (left) instructs exponentially. In just the first three Long after the AAW symposium in Phoenix, the Richard Cuprak, who suffers from macular woodturning program at the Arizona Center for degeneration. months of 2015, thirty students had the Blind and Visually Impaired will continue. Photo: ACBVI benefitted from the program, which had Photo: Sharon Wertz/ACBVI a four-month waitlist. Sharon Wertz, one of the lead woodturning instruc- tors at ACBVI, has taught others to teach woodturning and has successfully pub- licized the program through, among other venues, the online forum of the International Association of Penturners (penturners.org). To continue expanding her woodturning legacy, Andi begins planning for the following year during the Sharon Wertz (right) instructing Justine Williams Pens expertly made by Andi Sullivan. week after the current symposium, at the ACBVI, Phoenix. Photo: Kurt Hertzog Photo: ACBVI and her efforts to make it happen take place over the course of the year. Having succeeded in Tampa and the following year in Phoenix, Andi want to do everything myself. But I think, ‘Life is going to go on because I has made plans and preparations don’t give up hope. I just find another just made this pen.’ If I can help others for Pittsburgh. “The moment we way.” This cycle plays out in Andi’s to feel that way so they can have hope, get done setting up our program for woodturning, which presents a series then my purpose here will be com- the Pittsburgh symposium, I will be of challenges that, when met, lead to a plete,” Andi says. calling Atlanta,” she says. significant sense of empowerment. Andi admits determination is not “I’m so thankful every time I go to Supporting the cause easy to maintain. “There are times the Tampa school because there are Ongoing support from several wood- when I feel sad,” she explains. “When people there who feel the way I did turning manufacturers and vendors you are disabled, your life is so differ- when I turned my first pen. You go has been key to implementing a ent and you just want to be the same. home with something tangible that turning facility at each symposium Sometimes I feel mad because I want you made that you probably didn’t host city. Powermatic/JET, Penn State to get in my car and drive places. I think you could ever do. And you Industries, Crown Tools, Easy Wood Tools, Teknatool, Woodcraft, Arizona Silhouette, and many anonymous donors have generously supported Andi developed a plan to establish a self-sustaining Andi’s initiatives. Andi says her next woodturning program for the blind in each AAW goal is to attract a large corporate sponsor to further back the implementa- symposium city. tion of woodturning programs for the blind and visually impaired.

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CHATTER Andi’s husband, Allen, has also pro- require her to turn the lathe on vided tremendous support for Andi and off frequently. “I’ve blown out and spends long hours preparing pen a lot of switches because I do that blanks for use by the Tampa group. so much,” she says, laughing. Andi At the Pittsburgh symposium’s relies on pen bushings to indicate Instant Gallery, pens and other when she has reached the end of the items made by blind and visually workpiece. “I wear those down, too,” impaired woodturners in the Tampa she says. “When you feel the tool on and Phoenix programs will be on the bushing, you know to go back the display and for sale. Proceeds will go other way. And that is how we teach toward purchasing supplies for these blind people to turn. Plus, I keep my Despite serious physical challenges, Andi Sullivan (right) has flourished as a woodturner two chapters’ activities. Symposium lathe slower because I feel like I have and instructor, pictured here teaching Jan attendees can support Andi’s efforts better control.” Zander to turn her first pen. Andi works by buying one or more of these pens. “I’m always trying to push my own ambitiously to share woodturning as a means of providing hope for others. skills so I can continue teaching more Photo: Malcolm Zander Woodturning blind to my students,” Andi says. She is able Andi has become an accomplished to use gouges and other tools beyond woodturner, though her techniques those designed for scraping. In addi- to “see” with her hands in the Instant by necessity are different than those of tion to pens, Andi turns lidded boxes, Gallery—continues to inspire Andi. sighted turners. She has developed her jewelry, and other projects, some of Malcolm later gave the piece to her, and own technique that allows her to turn, which she has taught in the Tampa now she touches it every day in gratitude sand, and finish her work safely and LightHouse program. for their serendipitous meeting and his with wonderful results. As for materials, Andi has worked simple, kind gesture that day in Hartford. “I often use the Easy Wood tools with acrylics and wood, as well as her “Who would have thought that one because they are pretty forgiving,” own cast pen blanks. “I enjoy turning little touch of a piece of wood could have she explains. “These tools are kept flat any material, but I love the feel of started all this?” she muses. on the toolrest, so you automatically wood,” she confides. “I like the smell know that aspect of your orientation. of it and the different densities you can I put tape on either end of the toolrest sense while turning it.” —Joshua Friend so I’ll know how far I can go.”

Since Andi needs to feel her prog- The turned item that started it all—the Special thanks to Kurt Hertzog for his ress rather than see it, her methods one Malcolm Zander encouraged Andi valuable contributions to this article. Northern Illinois Woodturners Holds Turnathon

The Northern Illinois Woodturners President; Dave Alfredson, Freedom held its second annual Turnathon in Pen Coordinator; and John Basque, February 2015 at Auburn High School an Auburn faculty member and club in Rockford, Illinois. Chapter members member. The connection between the were joined by the Junior ROTC (Reserve chapter and the Auburn faculty has Officers’ Training Corps) detachment contributed to the addition of four from Auburn High School and several lathes to the high school woodshop. members of the local VietNow chapter. Members also provided instruction to VietNow is an organization devoted to the ROTC students, who created pens of helping U.S. veterans (vietnow.com). their own design. The Rockford chapter The group turned approximately 255 of VietNow had four members turning pens for military personnel serving in and assisting. various capacities around the world. Members of the Auburn High School ROTC Fourteen lathes were in action under learn woodturning while making pens for the direction of Terry Brown, Chapter —Terry Brown military personnel.

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Calendar of Events August issue deadline: June 15 Send information to [email protected]

Colorado Wood, Michael Hosaluk, and Michael Lancaster Marriott at Penn Square, Lancaster. September 18–20, 2015, 19th annual Cullen. For more, visit northhouse.org. Eight nationally renowned demonstrators, thirty-two demonstrations, instant gallery, Rocky Mountain Woodturning Symposium, Ongoing exhibit: “Touch This!” featuring award banquet, and raffle. For more, visit The Ranch Larimer County Events fascinating facts about wood and mawts.com. Center, Loveland. The event offers woodturning, as well as pieces you can forty-nine rotations; demonstrators touch. For more, visit galleryofwoodart.org. include Glenn Lucas, David Ellsworth, Tennessee Sam Angelo, Michael Roper, Doug Montana January 29, 30, 2016, Tennessee Association of Woodturners’ 28th Annual Woodturning Schneider, Vince Wilson, and more. September 26, 27, 2015, Great Falls Symposium, Marriott Hotel and Convention For the most recent demonstrator Woodturners Symposium, Great Falls College, Center, Franklin. Featured demonstrators to list and registration information, visit MSU, Great Falls. Featured demonstrator include Clay Foster, Rudolph Lopez, Glenn rmwoodturningsymposium.com. Rudolph Lopez will conduct demonstrations Lucas, and Bob Rosand. Event includes two of his extensive knowledge and creativity days of demonstrations, an instant gallery, Georgia in woodturning. For information, call Barry a large, well-stocked vendor area, and September 18–20, 2015, Turning Rockwell at 406-468-9857 or Sam Sampedro Saturday night banquet and auction. For Southern Style XXI, Georgia Association of at 406-761-4145, or visit gfturners.org. Woodturners, Northwest Georgia Trade and more, visit tnwoodturners.org/symposium. Convention Center, Dalton. Demonstrators October 17, 18, 2015, Yellowstone For vendor information, contact Grant will include Nick Agar, Benoît Averly, Jimmy Woodturners Symposium, Billings. Featured Hitt at [email protected]. For Clewes, Nick Cook, John Lucas, and Harvey demonstrator/teacher will be Alan Carter, symposium questions, contact Jeff Brockett Meyer. The event will include vendors, an who will demonstrate turning long-stem at [email protected] or instant gallery, a banquet, an auction, and goblets, suspended vessels, split-bowl 615-973-3336. a spouse/guest lounge. For information and vessels, and design so you can find registration, visit gawoodturner.org. your own creative voice. For more, visit Texas yellowstoneturners.org or call Ron Velin at August 21–23, 2015, Southwest Association Maryland 406-679-0902. of Turners (SWAT) 24th Symposium, Waco July 11–August 1, 2015, Quad State Convention Center, Waco. One of the largest Bodgers’ exhibit, “Artistry in Wood,” North Carolina woodturning symposiums in the U.S. Lead Allegany Arts Council’s Saville Gallery, November 6–8, 2015, North Carolina demonstrators: Joe Herrmann, Ed Kelle, Kurt Cumberland. Opening reception July 11, Biennial Symposium, Greensboro Hertzog, Malcolm Tibbetts, Derek Weidman, 2:00–3:30 p.m. For more, contact Dustin Coliseum, Greensboro. Featuring sixty- and Dick Gerard. The symposium will also Davis at [email protected]. three demonstration periods in nine feature six regional demonstrators and more rotations. Featured demonstrators include than forty vendors. On Sunday after lunch, Massachusetts Nick Agar, Jimmy Clewes, Don Derry, there will be a raffle for valuable door prizes. February 21–June 21, 2015, “Audacious: Ashley Harwood, Mike Jackofsky, Al For more, visit swaturners.org or contact Ken The Fine Art of Wood from the Montalto Stirt, and eight regional demonstrators. Mays, [email protected]. Bohlen Collection,” exhibit at the Peabody Large tradeshow, instant gallery, and Essex Museum (PEM), Salem. Showcasing banquet with live auction. For more, visit Virginia one of the world’s finest contemporary northcarolinawoodturning.com. November 5, 6, 2016, Virginia Woodturning wood art collections with more than 100 Symposium, presented by the Virginia pieces, the exhibit coincides with Bob Ohio Woodturners (a group of ten Virginia and Lillian Montalto Bohlen’s donation of October 9–11, Ohio Valley Woodturners clubs), EXPOland, Fishersville. Featuring forty-seven works to PEM. Opening day Guild’s Turning 2015 Symposium, Higher international and regional demonstrators. activities to include a special presentation Ground Conference Center, Cincinnati. For more, visit virginiawoodturners.com. and artist demonstrations by Binh Pho, Ron Featured demonstrators to include Mike Gerton, and Stuart Mortimer. For more, Jackofsky, Chris Ramsey, Neil Scobie, Mark Washington visit pem.org. St. Leger, Malcolm Tibbetts, and Derek July 25, 2015, Woodturners of Olympia’s Weidman. Event will feature a vendor area, “Creativity in Woodturning Symposium,” Minnesota auction, instant gallery, onsite lodging and Komachin Middle School, Lacey. The October 28–November 1, 2015, Fresh meals, and a spouse craft room. For more, event will feature Richard Raffan, whose Cut - Green Woodturning Symposium, visit ovwg.org. demonstrations will include Back to Basics, North House Folk School, Grand Marais. Bowls, Lidded Bowls, and Suction Fit Boxes. The symposium will include multi-day Pennsylvania Additional workshops with Richard will be coursework, demonstrations, speakers, September 24, 25, 2016, Mid Atlantic held July 26–29, and August 1, 2. For more, mini-courses, and community gatherings. Woodturning Symposium hosted by the visit woodturnersofolympia.org. Featured demonstrators to include Robin Mid Atlantic Woodturners Association, The

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CHATTER Book Review: Robin Wood’s CORES Recycled, Schiffer Publishing, The Center for Art in Wood, 2015, 136 pages Woodturner and author Robin Wood is As part of a collaboration with The known as the bloke keeping the ancient Center for Art in Wood, about 100 of craft of pole-lathe turning alive. Wood’s Wood’s cores were offered to artists foot-powered lathe and hooked tools around the world. Cores ranged in size adhere to traditions established at least from 2" × 2" (5cm × 5cm) to 3" × 4" (8cm as far back as the 9th century, and he × 10cm). Orphaned cores must have turns out pieces that both pay homage arrived in mailboxes looking more like to the sturdy treen that has served coprolitic cow flops than promising art Pictured on cover: humanity for centuries and are works projects. Max Krimmel’s near stream-of- Luc Deroo, Butterfly, 2012, Core, black of artistic merit in their own right. consciousness description of receiving his gesso, 3¼" × 3¼" × 3¼" (8cm × 8cm × 10cm) core and agonizing over creating an object Photos: Luc Deroo (top), Robin Wood (bottom) Waste material as d’art likely evokes the angst of many of project blank the artists in this project. (Krimmel’s solu- submitted before and after images of The center of a blank turned on a pole- tion? Make a stand for a photo of Rodin’s their cores and almost all included a lathe is waste material. Producing a bowl The Thinker.) Undaunted, forty-nine statement explaining their approach to on that contraption relies on pinning artists rose to the challenge and returned the piece. Some work is accompanied by the blank between the headstock and completed projects ranging in tone—as additional photos that provide insight tailstock. Hooked and curved tools are art does—from peculiar to inspired. The into the evolution of the completed used from the top of the form to hollow resulting pieces appeared in a 2012/2013 pieces. Each artist’s CORES contribu- down the walls, leaving a core that is then exhibition at The Center and sales of the tion appears with a page of images of broken out of the vessel after removal objects benefitted The Center’s programs. their work outside of this effort. Anyone from the lathe. With Wood’s prolific interested in wood art will recognize output, this process results in a burgeon- Well-documented contributions many of the contributors, and while not ing mountain of cast-off cores—and was Robin Wood’s CORES Recycled documents intended to be career-encompassing, the the genesis of the CORES art project. the projects—contributing artists additional images do offer broad context

Yoav Liberman, Artifact, 2012, Core, mahogany, canvas, steel, cardboard, 6½" × 5" × 3" (17cm × 13cm × 8cm) Photo: John Carlano Photo: Yoav Liberman Installation at The Center for Art in Wood showing Before and after. Neil Turner, Coral Core, 2012, Yoav Liberman’s witty interpretation of the core he the bowl cores that became the inspiration for this Core, 2⅝" × 4" (7cm × 10cm) was given: worthy of display as is. comparative art project. Photo: Suellen Turner

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for each contributor’s approach to the CORES project. Mid-Columbia Woodturners Holds There is a surprising amount of playful- Chapter Collaboration ness and humor in this work, even when an artist seized the opportunity to address The Mid-Columbia Woodturners, an complete liberty to use any process in the a serious topic. Each artist appears to have AAW chapter in Kennewick, Washington, embellishing step, including but not limited recognized and reacted to a slightly dif- held its second chapter collaboration in to carving, burning, staining, painting, and ferent joke embodied in each core. The 2014, titled, “Turners and Decorators.” application of any type of finish. humor is one trait that makes this book It was a blind collaboration in that each The final products were displayed at our easy to recommend. Many readers will team was not pre-selected. At the June chapter’s annual Christmas party. A total also be delighted with this reminder of meeting, the club distributed blocks of of twelve items were made for this col- the creativity that pervades the wood art maple to members who wanted to turn laboration, and they were displayed at the world, and surely many will find inspira- an item. Each item was required to have a Richland, Washington, public library. tion to head to the workshop and continue feature made with a lathe. The block could —Jerry Johnson their own explorations. It is impossible to be used “as is” for the turning or could be reach the end of this collection without cut up and reassembled for a single item or agreeing with Wood’s assessment: “The multiple items. The pieces had to be com- imagination, ingenuity, and spirit of the pleted by the September meeting. wood art world seem to be well and I am Each turned item was brought to the grateful to all of the artists for engaging September meeting in a paper bag. The with the project in such a thoughtful and turner put his/her name on a slip of paper generous manner.” We all owe a little debt and left it in the bag. The next step was for to these makers whose efforts enrich us. members to pick a bag, without knowing Items made as part of a “blind collaboration” by members of the Mid-Columbia Woodturners. whose work was in it, and then decorate Participants did not know the identity of their —Don McIvor the item(s) in the bag. Each decorator had collaborators until the work was done.

Women in Turning Chapter to Auction Eggs

Last year at the Phoenix symposium, a the Pittsburgh symposium. Half of the WIT members will meet at the Pittsburgh group of women met to discuss forming proceeds will be donated to the EOG symposium’s Special Interest Night (SIN) a virtual chapter of the AAW. We have program, and the other half will be dedi- to discuss future projects, leadership posi- done just that and the chapter is called cated to helping fund a future WIT sym- tions, and ideas for the chapter. Women in Turning (WIT). For our first posium at Arrowmont School of Arts and activity, we decided to collaborate on Crafts in Gatlinburg, Tennessee. —Betty Scarpino, WIT Representative a project for the Pittsburgh symposium’s Instant Gallery and Educational Opportunity Grant (EOG) auction: an egg crate full of eggs turned by members of WIT. What could be more fitting? Janet Collins from Vermont con- structed the crate after design consulta- tion with Dixie Biggs in Florida. The WIT egg crate is infinitely expandable by adding more stacks of crates, which Egg Crate, 2015, cherry, various woods for the can ultimately accommodate countless eggs, 13" × 14" × 10" (33cm × 36cm × 25cm) various-sized eggs. About ten women Members of the virtual chapter Women in Turning sent eggs ahead of the symposium, and turned and decorated eggs, which, housed in a their eggs are pictured with the crate. fitting stackable crate, will be up for auction during The crate and eggs together will be sold the AAW’s Pittsburgh symposium this year. at the EOG auction Friday night during Photos: Randy Batista

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CHATTER DVD Review: Mastering Woodturning; Sharpening Techniques, by Glenn Lucas Glenn Lucas, a professional woodturner titled, “Sharpening Systems” and the since 1995, operates a production second, “Bowl and Spindle Gouges.” bowl- and platter-turning enterprise in These are followed by four additional County Carlow, Ireland. He also offers chapters, each of which describes in woodturning classes at his facility, dem- detail how to use one of four sharpen- onstrates woodturning worldwide, and ing systems identified by Glenn. produces the Mastering Woodturning series of training videos, the latest of “Sharpening Systems” which is Sharpening Techniques. The first chapter summarizes the more Sharpening Techniques is the third promising sharpening options cur- video in this series. The first, Tools and rently available. Glenn begins with Techniques, is directed at helping new a discussion of the common bench turners acquire the tools and basic grinder and the modifications needed This chapter also introduces skills needed for woodturning. While to turn it into an efficient sharpening “Irish,” or side-grind bowl gouges and providing some basic guidance for new system for turning tools. He consid- describes their initial rough-shaping turners, the second video, Bowl Turning ers several choices of grinding-wheel and sharpening. Techniques, concentrates on the more types, including the relatively new specialized equipment, processes, CBN (cubic boron nitride) wheels. He Detailed instruction and techniques associated with pro- then discusses some commercially Each of the four final chapters offers duction bowl turning. In the present available, adjustable toolrests and detailed instruction on how to sharpen a video, Glenn returns his focus to the gouge-sharpening jigs used with a selected set of tools using each of the four needs of new and intermediate turners bench grinder. Glenn also demon- previously identified sharpening systems, and addresses the problem of how to strates and discusses the merits of the respectively. You will learn four differ- sharpen turning tools well and consis- Tormek water-cooled system and the ent methods of sharpening a side-grind tently. This video seems likely to have Sorby ProEdge belt sharpening system. bowl gouge, bowl-bottom gouge, spindle been motivated by the tool sharpening From all the options discussed in gouge, and negative-rake scraper. For each needs Glenn has encountered in his this chapter, Glenn identifies four tool and system discussed, Glenn covers woodturning classes. specific sharpening systems for all pertinent settings and parameters further demonstration later in the and demonstrates the actual sharpening What the DVD covers video. These include the Oneway operation. While these chapters are quite The video comprises six chapters, each Wolverine jig, the Woodcut Tru- repetitive, this presentation allows you to selectable from a menu. The first is Grind jig, the Tormek grinder and jig, focus on the sharpening system of inter- and the Sorby ProEdge system and est to you and find all the settings relative

Clean gouges Keep a small jar or can of water and W OOdturners Ch an old toothbrush near your sharp Safe storage for cutter bits ening station. Dip your gouge in I take the magnetic business cards, meant A tter the water and brush off the residue - to be put on my refrigerator (not going to that collects in the flute and along happen), and use them as a way to keep Securing a banjo the cutting edge from turning Moving the banjo around on the lathe jig. These four systems are used to that system in one place. my cutter bits from rubbing against one green wood. This will prevent bed can be frustrating; it sometimes another and becoming dull. The bits stay that gunk from transferring to the hangs up or seemingly sticks. This is even put and I can easily see the one I want. grinder wheel and interfering with more apparent on mini lathes. The cause —Paul M. Kaplowitz, South Carolina achieving a sharp edge. of this problem is that the flat plate used Dip and clean just before you put to pull the banjo tight against the ways is your gouges away to prevent the free-hanging when released, and in the residue from drying and getting hard. process of moving the banjo, it can swing That dry residue can interfere with and bind up. An easy way to prevent getting a clean cut next time you turn. binding is to place a piece of foam rubber, —Mike Peace, Georgia or any such flexible material that will regularly in his woodturning JOURNAL ARCHIVE retain its memory, between the flat plate and the underside of the banjo. This will cause the plate to always be pushed away Mastering Woodturning from the ways, preventing any hang-ups. The diameter of the foam piece should be equal to the space between the ways and the piece should be thick Tools and Techniques enough (about ½" to 1" [13 mm to A Glenn Lucas dVd 25 mm], depending on your lathe) to apply pressure on the plate when the classes, so Glenn has gained keen The production quality of this video Glenn Lucas, despite his 20-some banjo handle is in the free position. thing appearance, has been a profes Drill a hole to accommodate the bolt sional woodturner since 1995. He - that hangs down from the banjo. CONNECTION experienced woodturners will also find operates a production bowl- and - this video appealing and useful. Remove the plate, insert the foam platter-turning enterprise in County spacer, and reinstall the plate. Adjust the After brief discussions on the selec Carlow, Ireland. Recently he has nut, which holds the plate until the angle tion of a lathe and a grinding system, begun to diversify with the addition of the banjo-locking arm is to your liking. Glenn presents a detailed introduction- of woodturning classes at his facility —Roger Zimmermann, Wisconsin to each of the most common classes of and by undertaking several demon woodturning tools: spindle-roughing stration tours to the United States and of spindle and bowl gouges extends to gouges, parting tools, spindle gouges, include several forms of pull cut and insights into their optimal use. Europe. - continues the high standards set in Mastering Woodturning Tools skew chisels, bowl gouges, and scrapers. Dennis J. Gooding has reviewed and Techniques the back hollowing cut. My one quibble He treats each class of tool as a separate this diversification. is the latest aspect of would be that he does not address more lesson in which he shows how to shape fully the use of sharpening jigs for This video, the first of a series of and sharpen the tool, discusses the uses woodturning videos planned by gouges. Although he shows in detail of the tool, and demonstrates the various Glenn, is directed primarily at the how to sharpen spindle and bowl gouges cuts that can be made. Throughout these beginning woodturner and provides freehand, he merely points out that lessons, he emphasizes the use of proper a basic foundation for getting started jigs are available for those who prefer stance and the use of fluid body move correctly in woodturning. The contentChatter to use them. However, since several ment to maintain good tool control. is notWoodturners project oriented, but instead it other resources are available on the use Glenn’s presentation and the photog- is directed at helping the new turner of sharpening jigs, this is not a serious the earlier installments of the series. the first two videos in raphy provide a clear view of the action acquire the tools and the basic skills defect in an otherwise fine presentation. in all cases.- Each lesson is quite detailed, - needed for any woodturningwho previously project. had not responded The Glenn Lucas videos are available to other motivation, havegenerally demon treating several variants of youth aged 14–18 and to Despitemake it its look introductory orientation, from Woodworker's Emporium strated significant improvementthe tool and and showing a wider range of and feel more like a ‘comprehensive’ (woodworkersemporium.com), Craft They take the machines and earned their reward: attendancecuts than at in most introductory pre high school program.” Supplies USA (woodturnerscatalog.com), tools seriously. Woodturning Club onsentations. Friday. For example, his treatment Principal Lauren Roth spoke of - or directly from glennlucas.com. At the September SCOE Board Teaching guidelines and projects - the student enthusiasm and accom- of Education meeting, Nor-Cal can be downloaded from the AAW —Dennis J. Gooding plishments, such as teamwork, fol 16 Woodturners received a Community website at woodturner.org/Member/ lowing directions,14_Tips_DVDReview.indd and maintaining 16 Glenn’s video series in Service Award of Appreciation: “For TeachingGuide_a.pdf. Some projects good behavior. She quoted a faculty “Bowl and Spindle Gouges” Glenn’s presentation of information is your generous commitment of time, are available from WoodturningOnline American Woodturner October 2011 member saying this was the best support and inspiration to our LINKS at woodturningonline.com/Turning/ volunteer program ever conducted students. Thank you for the differ- Turning_projects.php. at the school. The woodturning club ence you have made.” Per the SCOE is being used as a reward to help website, “The LINKS model establishes —Ted Young, Community Outreach Chairman teachers affect student behavior a culture of continuous improvement and performance. Several students, 9/6/11 1:59 PM for each student. The goal is to normal- American Woodturner. ize the education delivery model for In this chapter, Glenn discusses the very good, and the videography pro- Mastering Woodturning by Glenn Lucas

Bowl Turning Techniquesof the green wood. Following his custom in the first video, he Glenn Lucas’s first video of this series describes how to use and maintain - covers basic woodturning tools and each new tool, in this case the chain - techniques and is directed primarily For his review of Tools saw and bandsaw, before demonstrat at the beginning woodturner. In the ing its use. second of the series, Glenn raises the - methods by which gouges are manu- - At this point, the rough turning vides a clear view of the action. bar and focuses on the more sophisti After about eight weeks of drying, of the bowls begins. Glenn shows cated equipment, processes, and tech the bowls are ready for finish turning. a novel time-efficient method for niques associated with production bowl- Glenn employs a novel method for - initial mounting of a bowl blank - turning. While much of this presenta remounting dried bowls that accommo between centers and then demon tion will be directly useful to beginners, dates any slight warping of the bowls. strates how to cut a chucking tenon other parts will be of value primarily - Using this mounting, he shapes, sands, and how to shape the outside of the to production turners. Almost every and oil finishes the outside of the bowl bowl rapidly. He then reverses the and Techniques, see vol one, however, will find it interesting. and recuts a proper chuck tenon for - bowl into a chuck and shows how The video is a storybook (set to music) addressing the inside. After turning, to core two smaller bowls from the showing the entire process of bowl pro sanding, and finishing the inside, he factured and the implications in terms parent bowl using some innovative The Glenn Lucas DVDs are duction starting with a log and ending uses a vacuum chuck to reverse the bowl techniques he devised. with bowls ready for market. Like its for the last step of turning off the tenon - Bowl Turning Techniques is - The green bowls need to dry before predecessor, and finishing the base. All of these oper the final turning operation. To speed a polished presentation with clear pho ations are explained in full detail. up this process, Glenn paints his rough- tography throughout. turned bowls with an endgrain sealer The bowl production process The Glenn Lucas videos are available- and kiln dries them. He describes this 26, no 5, page 16; and for begins with the conversion of either from Woodworker’s Emporium (wood process in detail, including his method green wood slabs or green logs into workersemporium.com), Craft Supplies of stacking the bowls in the kiln and his- round bowl blanks. Glenn first uses USA (woodturnerscatalog.com) or use of stickering to maintain air circula a chainsaw to cut the timber into directly from glennlucas.com. tion around the individual bowls. He of the resulting flute profiles. Much available from Craft Supplies USA, rectangular pieces and then uses a also describes the program of airflow bandsaw to trim the results into round —Dennis J. Gooding and temperature control that he uses to bowl blanks. As part of this, he shows minimize cracking. 15 how to make the most efficient use of Bowl Turning Techniques, timber while allowing for shrinkage 1/4/12 1:34 PM woodturner.org of this chapter is devoted to showing Woodworker’s Emporium, or online see vol 27, no 1, page 15. 14_GlennLucasVideo_NorCalWoodturners.indd 15 how these gouge profiles—parabolic, at glennlucaswoodturning.com. AAW members can access these and all past U-shaped, and V-shaped—affect the journal articles online at woodturner.org. sharpening approach. —Dennis J. Gooding

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Turners Without Borders Forms San Juan Chapter

When I am in the U.S. and tell people I a bowl, and jam chucks. am woodturner, most people have no A few even worked on clue what I am talking about. By contrast, natural-edge bowls, and our in most Spanish-speaking countries, the star student made a small response is immediate respect. In Puerto hollow form with a lid. Rico (PR), this feeling is especially evident Our teaching space was because one of its most iconic cultural in an acrylic-walled area symbols is the wooden mortar and in the main aisle of the pestle. Every home has at least one and festival, so huge numbers they are used every day. It is the souvenir were able to watch us teach- most often bought in PR by visitors, as it ing and turning. What we represents the island’s ancestors, food, heard most was, “I want With expert guidance and encouragement from TWB’s Carmen and artisans. Nonetheless, woodturning to learn!” By the end of De La Paz, a Puerto Rican man expands his woodturning skills. knowledge, tools, and equipment are twenty-four hours of dem- minimal in PR. A few years ago, I asked onstrations and instruc- artisans there what would help them to tion, 100 people had expressed interest in AAW resource books that includes Safety develop their work, and the answer was joining a club and fifty were interested in for Woodturners and Let’s Go for a Spin. I usually access to teachers and equipment. buying lathes, chucks, and tools. will work closely with the PR club so the Lee, Gil, and I hauled, swept, demon- AAW can continue to help. An opportunity to share strated, and danced our way through It was a very moving weekend. Grown When I received an invitation from the week. The Puerto Ricans fell in men were crying in gratitude. Lee, Gil, the Puerto Rican government to teach love with Lee and Gil, and I think Lee and I were overwhelmed by their desire woodturning at the largest art festival it and Gil fell in love with Puerto Rico. to learn. One man said, “I learned more sponsors in PR, I was sure the AAW was I believe the knowledge we gave the in the first day with you than I have in best positioned to help. I also thought, thirteen turners will continue to grow. forty-six years on my own.” I am sure our “If these artisans can’t get the lathes and work has only just begun. As a passion- knowledge, then we will bring the lathes AAW mobilizing resources ate Puerto Rican and woodturner, I am and teachers to them.” And we did! We donated six lathes, chucks, and sets honored and proud to help out—and we I joined forces with members of of tools directly to PRIDCO/Fomento, have a lot of turning and teaching to do. AAW’s Turners Without Borders (TWB), the government office that supports Our experience in PR was a success Dale Larson, and Phil McDonald. After artisans in PR. Those lathes went to thanks to Zulma Santiago, FerrinART many months of planning, we obtained three community centers, while the rest Festival Director; PRIDCO/Fomento; generous support from sponsors and of the equipment was placed in storage Dale Larson; and Phil McDonald. were able to ship ten lathes, chucks, for future TWB events and to be shared Special thanks also to Oneway Mfg., chisels, a grinding jig, abrasives, and with the new AAW chapter we launched Teknatool, 3M, D-Way Tools, and safety equipment to San Juan. earlier this year. This new AAW chapter Hurricane Turning Tools. On a November weekend in 2014, I has access to American Woodturner, was joined by fellow AAW members Lee Woodturning FUNdamentals, and a set of —Carmen De La Paz Sky from Florida and Gualberto (Gil) Malave from New Jersey at the San Juan Convention Center. We were to run an intensive woodturning workshop for twelve men and one woman, all with varying levels of skill. Most had used only scrapers, and none had worked with a chuck. By the end of the workshop, all had

learned the basic use of five tools, how to Gil Malave explains the use of the Lee Sky and Carmen De La Paz (at right) share create a foot/tenon, chuck usage, making roughing gouge. the all-important points of sharpening.

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CHATTER The San Diego Woodturners’ Remarkable Outreach Program

Five years ago, two members of the San San Diego). He worked hard to get the Diego Woodturners (SDWT) decided command staff at Camp Pendleton there was something we could do to help interested in doing a similar program, our returning wounded warriors recover and we were invited to give a demon- their sense of worth. Retired Navy nurse stration. We took our club trailer with Nan Bushley and Dr. Ken Roth, an ortho- eight midi-lathes to Pendleton and set pedic surgeon and former Navy officer, up under a picnic gazebo. Everyone understand how emotionally devastat- who came to see what the program was ing a life-changing injury can be. They about was able to turn a pen. thought teaching these deserving war- In a short time, we were doing regular Wounded veterans learn woodturning at the riors woodturning would start to heal teaching sessions at Camp Pendleton. It Naval Medical Center in San Diego as part of them in ways other than physical. became very time-consuming and phys- their recovery. ically difficult to haul the club trailer Naval Medical Center back and forth, so with generous dona- The Naval Medical Center (NMC) in tions we obtained eight more lathes, and San Diego is one of the primary hospi- the command staff at Camp Pendleton tals where badly wounded warriors are found us a space to store everything. The brought for treatment and rehabilita- lathe stands were also modified with tion. We started our program there with casters so moving them from storage to five lathes, which we stored on carts in the turning area is easy. The program a hallway. Each time we held a teaching there has become so popular, it is now session, we had to move the lathes to a conducted two days a week. courtyard to use them, which was no Pens turned by veterans in the San Diego easy task. After about a year of working Woodturners’ outreach program. A simple Aspire Care Center lathe project and some encouragement can in this manner, SDWT member Tom In early 2014, the U.S. Department of make a big difference for a wounded warrior. Lightner (Major General U.S. Army, Veterans Affairs established the Aspire retired) appealed to the commander of Care Center in San Diego, a residen- the NMC for suitable space where we tial program that provides special to allow working with only one hand could store our equipment and conduct treatment for veterans suffering from or arm. Two of the lathes were modified woodturning classes. Soon a small metal post-traumatic stress disorder and to allow for use while seated in a wheel- building was made available, convenient traumatic brain injury. Tom Lightner chair. The positive attitude of the veter- to the main hospital. presented a briefing on our program to ans has been inspiring: many are either NMC maintenance personnel the Center’s director and staff, which missing limbs or cannot use the ones installed a special ventilator fan, addi- resulted in our being asked to initiate they still have the way they did prior tional lighting, and power outlets in the a program there. We started with two to being wounded, but they smile and ceiling so we did not have cords on the lathes and soon had to add two more. work hard to master this new skill. floor, and they found us some heavy- We are now part of the Center’s cur- If your chapter can give back to those duty metal shelving for storing our tools riculum, teaching an average of twelve who have given so much, I encourage and supplies. We have sole access to the veterans once a week. you to do it. It is incredibly gratifying building, which we now proudly call to see someone who was hurt in the The Woodturning Center at NMC. Satisfying work service of our country create something We began teaching the veterans how on the lathe and smile with pride. On Camp Pendleton to turn pens, though many students one occasion, a new patient, upon fin- One of the veterans we taught at have moved on to bowls and other ishing his first pen, said, “I didn’t hurt NMC, who had become hooked on projects. We used a selection of tools, while I was turning.” woodturning, was transferred to including Easy Wood tools, traditional the Wounded Warrior Battalion at gouges, and several gouges that had Camp Pendleton (a Marine base in been modified with an armrest handle —Sally Ault

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Book Review: Getting Started in Woodturning, American Association of Woodturners, 2014, 224 pages

Most editors would concur they hope their past journal articles and have been conve- this for you, and selected content coincides with the interests niently compiled via AAW’s Journals-to- Getting Started of the majority of readers. We seek to under- Books series. The most recent installment derived from stand our readership, but the nature of is Getting Started in Woodturning—perhaps this sound busi- periodic publishing—along with the broad the ideal resource for basic information. ness strategy: comb the journal archives diversity of the AAW membership—makes While all past journal articles are avail- for on-topic booklets for sale to members, content selection a challenge. Luckily, able to AAW members in the online use funds from the booklet sales to further you don’t have to wait and blindly hope archives (with a searchable index), there refine the materials, then repurpose those the next issue of American Woodturner will has been no easy way for users to compile newly laid-out pages into appealing trade address your current areas of interest. They multiple articles on one topic. The paperbacks offered to the general public. probably have been addressed already in Journals-to-Books compilations have done Repackaging existing resources makes good business sense, especially when the material does not go out of date. In Memoriam: Gorst duPlessis, 1938 –2015 Getting Started in Woodturning is a rich, well-boiled slice of the journal’s past, with

The woodturning community lost an Photo: Andi Wolfe articles expertly chosen and prepared by extraordinary member when Gorst John Kelsey, a seasoned editor and wood- duPlessis died in his beloved New turner. The content is organized into four Orleans in April. Gorst was born in main sections: “Getting Started,” “Tools,” England, moved to South Africa during “Techniques,” and “Practical Projects.” WWII, then came to America and The best articles from American Woodturner became a highly skilled doctor. He was since 1986 fill these sections with concise, also an accomplished ornamental turner clear information. and all-around great human being. Beginning woodturners have impor- Gorst was a true supporter of the AAW Gorst duPlessis in his New Orleans tant questions: What kind of lathe should and The Center for Art in Wood. He workshop, 2013. I buy? What safety measures do I need started turning wood at age twelve in Tributes to take? How to control dust? How fast South Africa on a pole lathe. Many years should the wood be spinning? How do I “Gorst will be remembered for his generosity, later, he acquired a Holtzapffel ornamen- exuberance, and enthusiasm for life.” attach the wood to the lathe for the kind tal lathe (circa 1842), then two Armbruster —Betty Scarpino of project I want to do? What tools will I rose engine lathes. Gorst enjoyed making need, and how will I sharpen them? What “I have never met anyone with his passion and small, intricately textured and finely absorption with his art.” is the correct way to use a gouge/skew? detailed ornamental boxes. —Fred Armbruster How can I avoid a catch? What kind of His energy and warm spirit will be finish should I apply? Which projects are missed by those who knew him. “It was Gorst’s devotion to spreading of the art form, best for practicing my new skills? Getting coupled with his generosity and vibrant personality, —Dale Larson that compelled so many to take it up.” Started addresses these questions in one —David Lindow practical, eminently usable volume. Although my goal as editor is to offer “Above all, Gorst’s love of the art form and his zealous joy for spreading awareness for the esoteric niche something for everyone in each issue we know as ornamental turning are unparalleled. of the journal, I know the selection of His sharing and teaching have introduced countless turners to ornamental turning.” articles cannot satisfy everyone all the —Jon Magill time. But when you consider the many other resources available from the AAW, “He had a big, generous heart. His influence in our including the Journals-to-Books compi- world of ornamental turning was beyond measure.” Photo: Andi Wolfe —Bonnie Klein lations, I think you will find what you Ornamental turnings by Gorst duPlessis. are looking for. His work is in many collections around the “Gorst was a generous supporter of many AAW activities. world, including the Smithsonian. He gave me a piece to give to any person I thought was —Joshua Friend significant in China, and I publicly presented it to the principal of Wenzhou school as an important AAW gift.” woodturner.org —Terry Martin 15

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Cutting board Adjustable camera mount for the lathe mounting disk I recently needed to take a few action photos at the lathe. With both hands I had a woodturning project that occupied by the turning, this can be tricky. I built a camera mount that is involved turning both sides of a flat removable, tool-free, adjustable, steady, and inexpensive. Using the camera’s workpiece. Typically, I would mount timer function, I can shoot while turning (Photo 1). The mount is made using the work onto a disk of plywood or two, 3'- (1m-) long pieces of ¾" (19mm) conduit, a couple of hardwood blocks, recycled countertop using double- several ¼" (6mm) -20 thumbscrews, and a tripod ball mount. sided tape. But this method caused Cut a mounting block to fit between the bed ways of your lathe, just as the problems: when removing the tailstock is mounted (Photo 2). A second hardwood block connects the two pieces workpiece, the surface laminate of conduit, providing lateral and up/down adjustment (Photo 3). Using a 15 ⁄16" would pull away from the substrate (24mm) drill bit, bore holes in the mounting and adjustment blocks to accept the material, leaving a rough, uneven conduit. Drill holes and tap threads in surface (Photo 1). the blocks for the thumbscrews, then To solve this problem, I tried using harden the wood threads with a bit of a piece of heavy kitchen cutting thin cyanoacrylate (CA) glue. board attached to a faceplate. I drilled A turned piece of hardwood fit in one a hole in the center so I could mark end of the horizontal conduit provides the workpiece and help center it for a spot to mount the camera (Photo 4). A remounting to turn the opposite tripod ball mount makes switching the 1 side. The hole on the outer diameter camera from my regular tripod to this allows me to hang the disk on the wall mount a breeze. If you choose not to buy between uses (Photo 2). a mount (mine was $38, plus shipping), The double-sided tape holds well to a simpler mount can be fabricated to the cutting board but does not damage make use of the ¼"-20 threaded insert in it upon removal. the bottom of nearly every camera. —Jim Meizelis, Illinois —Pat Miller, Washington 2

3 1 2 Share your turning ideas! If we publish your tip, we’ll pay you $35. Email your tips along with relevant photos or illustrations to [email protected]. —Joshua Friend, Editor 4

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Quick indexing reference Like many lathes, mine has an index- positions equates to every third hole, the available combinations and the ing head that I find very useful. There etc. But the holes are numbered one actual marked number of each index is no easier way for me to mark or drill through forty-seven and it has proven point needed to locate the next hole. evenly spaced holes around the circum- difficult for me to quickly determine I taped the chart to a wall next to my ference of a piece. My Oneway 1640 which hole is next in the positioning lathe and haven’t mis-drilled a hole has forty-eight holes on the headstock sequence when using an even pattern since. The same could easily be done pulley, and I know that twenty-four of fewer than all the holes. for index heads with fewer or more evenly spaced positions equates to To make the process quicker and available points. every other hole; sixteen evenly spaced easier, I made up a chart showing all —Pat Miller, Washington

Marked number on index head 3 1 17 35 4 1 13 25 37 6 1 9 17 25 3 41 8 1 7 13 19 25 31 37 43 12 1 5 9 13 17 21 25 29 33 37 41 45 16 1 4 7 10 13 16 19 22 25 28 31 34 37 40 43 46

Number of holesNumber of 24 1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 39 41 43 45 47

Custom mobile base with cabinet Like many hobbyist woodworkers, The frame is made of 2" × 8" and I have a workshop that is less-than- 2" × 4" dimensional lumber. The ideal size. So when I wanted to top is 2" (5cm) of medium density branch out and get into woodturn- fiberboard (MDF). There are retract- ing, there was a serious question able casters on each leg. Everything as to how my moderate-sized lathe is glued and bolted together, and of (Nova DVR XP) was going to fit. I course the lathe is bolted to the top needed it to be mobile (as is all my (Photo 1). large shop equipment), but it also The base is enclosed on all four 1 had to be extremely stable. Rather sides, with a door attached on the than buying a heavy base, I decided front with a piano hinge. The door to make my own. opens to reveal a good-sized storage area, which houses my chucks, faceplates, and other accessories (Photo 2). The storage area has a false bottom under which there are several hundred pounds of sand for ballast. The back and left side of the table hold my turning tools and a large 2 length of wood that I use as a lever each time the wheels have to be raised or lowered (Photo 3). The right side of the table holds a variety of toolrests (Photo 4). The entire setup cost me less than a good cast iron base and I am not faced with the problem of trying to stabilize wheels on the ground when the lathe is in use. 3 4 —Ira Penn, Washington

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16_Tips.indd 17 5/6/15 9:02 AM WOODTURNERSCHATTER TIPS Laser bowl-depth gauge There are a number of ways to deter- slide the 2" × 4" against it. The indent mine how deep you have hollowed it makes indicates where to drill. a bowl and how thick the bottom is, Secure the threaded rod with nuts on but I wasn’t happy with any of them. either side of the upright. I decided to adapt a laser pointer for I used my McNaughton laser the job. I used the laser guide that I mounting assembly to mount the normally use with my McNaughton laser. Alternatively, you could make Center Saver coring system. your own system using conduit, The base is made from 4" × 4" pipe, or dowels. In any case, posi- dimensional lumber, long enough tion the laser pointer higher than to counterbalance the weight of the swing capacity of your lathe. the laser pointer (my base is 16", or To use the laser depth finder, first 41cm long). I used my router to make calibrate the laser’s position so its rabbets just narrow enough so the beam is aligned with the end of the base would register between the ways threaded rod. With these points of my lathe. vertically aligned, the laser will Attach a 2" × 4" upright drilled to automatically indicate the bowl’s accept a ⅜" (10mm) threaded rod. The depth on the outside of the bowl upright should be at least 2" (51mm) when the threaded rod is brought higher than your lathe’s spindle to up to touch the bowl’s bottom allow room to attach the support (with the lathe off). If you know bracket above the threaded rod, which how thick you want the bottom of should be at the height of your lathe’s your bowl to be, you could set the spindle. To find the correct height for laser pointer that thickness out drilling for the rod, put a revolving from the end of the rod. center in the headstock spindle and —Jim Andersen, Wisconsin

Removable handles for half-inch tools I normally use permanent handles for ½" (13mm) tools is to use a ½" the center hole to ½". Alternatively, for my tools but also like remov- flare tubing nut and double-ended you could drill the union at the able handles for traveling or teach- union, as shown in Photo 1. Chuck drill press. Mount one end of the ing. An easy way to make adapters the union in your lathe and drill union in a turned wood handle with epoxy and then make three equally spaced cuts in the union (Photo 2). With your tool inserted into the adapter, slide the flare nut over the tool and tighten onto the union to lock the tool in place (Photo 3). Simply loosen the flare nut to release the tool from the handle. For safety reasons, drill the ½" hole 1 2 in the wooden handle well beyond the union for extra support. This technique will also work for ⅜" (10mm) adapters. —Dave Mueller, 3 Texas

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Circle template rack Background change improves visibility I am somewhat visually challenged and sometimes have problems seeing the workpiece on the lathe clearly. It can be difficult to see a distinct outline of the piece, and additional lighting does not always help. Recently, I was turning a small a item and realized the workpiece was the same color as the plywood wall behind it—brown on brown (Photo a). I found a piece of white poster board and tacked it up behind the lathe. This made a huge difference: the outline of the workpiece became clear and distinct (Photo b). I have since made the change permanent. —Bill Wells, Washington b If you are like most woodturners who turn green (unseasoned) wood, you probably use circle templates to cut bowl blanks out Lever chuck aid of half-logs on the bandsaw. I I like my lever chucks, but sometimes the levers make me wish for a third hand have a big collection of circle tem- so I can tighten and loosen the chuck while holding onto the workpiece. It plates in diameters ranging from came to me that I could adapt an old-time woodworking aid called a “breast 3" to 19" (8cm to 48cm), made bib,” which is a piece of wood hung around the user’s neck like a necklace. The from various scraps of ¼" (6mm) wooden bib allows you to use your body to put pressure on a workpiece or brace plywood, hardboard, and panel- and bit without bruising your chest. ing. I used to keep them in a stack I adapted this idea using a block of wood with a stopped hole drilled in it. To lying on the floor but got tired of adjust the chuck “three-handed,” I put the bib around my neck, insert the first them sliding all over the place. lever into the chuck body and its handle into the hole in the bib, and And when I wanted one, I would lean forward to apply pressure. Then I can use the other lever to tighten the have to dig through the stack chuck, while holding the workpiece in the appropriate position against the to find the diameter I needed. chuck jaws. With the workpiece in place, it is a good idea to tighten the chuck My first solution was to use wire further without using the bib. When I'm hooks to hang the templates on loosening the chuck, the bib allows me to the wall. But it was difficult to get hold the workpiece so it won’t fall onto the them off the wire hooks and I had ways of the lathe or the floor. to remove a bunch of them to get —Michael Toivonen, California the size I needed. Finally, I arrived at the solution pictured here—an easily accessible rack. Now my circle templates are off the floor and mounted at eye level, so I can easily select the size I need. The hand awl I use to hold a template on the half-log is also stored on the rack, conveniently at hand. —Wes Jones, Georgia

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CHATTER RUTH AND DAVID WATERBURY AAW 2015 HONORARY LIFETIME MEMBERS Judy Chernoff and Jeff Bernstein

very year, the AAW awards for wood within the context of the distinction of Honorary craft and the greater art world. E Lifetime Member to someone Over the years, their extensive who has contributed significantly involvement in promoting wood to the field of woodturning. This has resulted in their recognition David and Ruth Waterbury Photo: Judy Chernoff year, that award goes to Ruth and as ambassadors and champions David Waterbury of Minneapolis, of the field. Minnesota. Long time supporters of the AAW and other wood-centered Accidental discovery organizations as well as the wood Ruth and David’s involvement with art movement in general, they have wood began in 1984, during a trip passionately collected, generously to Hawaii, when they unexpectedly donated, and tirelessly advocated happened upon a display of

This bowl was absolutely magic as we held it up to the light and could see the shadow of our hands through it. It was the first piece we bought—the outcome of a resort cocktail party we attended for the Ron Kent, Vessel, 1984, Norfolk Island pine, 4¾" × 16⅛" (12cm × 41cm) free mai tais. That party and meeting Ron and Myra Photo: Robert Fogt certainly changed our lives. Collection of Ruth and David Waterbury —David Waterbury

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CHATTER years, however, have been the organized a CWA forum in 2001 remarkable friendships devel- in conjunction with the exhibit, oped along the way. Ruth and “Woodturning in North America David have created wonderful ties Since 1930,” at the MIA. They also with artists, collectors, gallery helped organize a CWA gathering owners, and museum curators. in conjunction with the 2011 Christopher Monkhouse com- opening of their “Conversations mented in his catalog essay, “I with Wood” exhibit at the MIA. often feel that they care as much That year, they were also awarded about the makers of turned wood CWA’s Lifetime Achievement as they do about the wood objects Award. they have so enthusiastically col- The Waterburys have been AAW lected.” Ruth and David have also cheerleaders, having attended thoroughly enjoyed having artists most of the symposiums since visit their home, traveling to see 1993. They have frequently opened artists’ studios, taking in gallery their home to traveling turners— shows and wood exhibitions, par- both to visit their collection and to ticipating in AAW symposiums stay at their home. An investment and viewing works in the Instant advisor by profession, David has Gallery, and being involved in also done some woodturning events sponsored by the AAW, and was a founding member of The Center for Art in Wood, and the Minnesota Woodturners Collectors of Wood Art. Association. Ruth, a retired Ruth and David also have primary school teacher, has focused on sharing their love been very involved in the arts, of wood with others. They including being a docent at have worked tirelessly with the MIA. In addition to their curators and museum directors involvement in the wood world, to help get the word out about they have devoted a great deal contemporary wood art. Through of time and funding to other ongoing discussions concerning charitable and advocacy interests the importance of carrying both locally and nationally. or increasing the presence of Malcolm Martin and Gaynor contemporary wood objects in Ruth and David Waterbury Dowling, Vessel, 2000, Limewood, art galleries and museums, the have made extraordinary 24½" × 9¼" × 2¾" (62cm × 23cm × 7cm) Waterburys are building the future contributions to the AAW and to Photo: Robert Fogt for wood. Many institutions have the advancement of the world of Gifted to Honolulu Museum of Art benefitted from their generosity, wood. Their palpable passion for Provenance: The Waterbury Collection including the MIA, Yale University collecting; their generous support Art Gallery, The Art Museum of of artists and contributions to South Texas - Corpus Christi, and museums; their work as founding The Honolulu Museum of Art. members and working officers for Moreover, they have actively the Collectors of Wood Art; their participated in the Collectors outstanding contribution to the We found this in a gallery of Wood Art and were among wood field with the publication in Edinburgh, Scotland, the original members of the of Conversations with Wood; and and were very taken by the organization in 1997. David their central role in raising the sculptural qualities and and Ruth served as CWA’s first visibility of wood art make them co-treasurers, and both held well deserving of this year’s presence of the object. a variety of board positions AAW Honorary Lifetime —David Waterbury over the years. The Waterburys Member Award.

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woodturned vessels. They had gone to a cocktail party and ended JOURNAL ARCHIVE CONNECTION Conversations with Wood up seeing Ron Kent’s translucent See David M. Fry’s insightful review of Conversations with Wood: The Collection of Ruth and David Waterbury David M. Fry

ithin the past year, three catalogs featuring outstand- new these makers dominate the catalog W ing private woodturning pages, while David Ellsworth and Robyn collections have ended a decade-long Horn also enjoy considerable exposure lull after the publication of volumes among the color plates and essays. Other on the Wornick, Mason, and Bohlen Norfolk Island pine vessels, and the The Collection of Ruth and David Waterbury in the October 2011 artists prominently featured include collections. The new arrivals include Liam O’Neill, Craig Lossing, and Jack books on the Bresler ( On the cover, Robyn Horn, Geode, Slentz. All the major early figures— 1989, Fiddleback maple, 9¼" (23 cm) dia. and Lipton collections,AW but, vol the 25, spot- no 6) Geode Series, Stocksdale, Prestini, the Moulthrops, the RUTH AND DAVID light here falls on Conversations with Yale University, gift from the collection of Ruth Lindquists, Osolnik—put in an appear and David Waterbury in honor of Robyn Horn Wood , which went to press just in time ance, and it requires effort to think of for a companion museum show of - later well-known turners who do not. seventy-seven selected works from the The mean age of the makers is 63 (up issue of the journal (vol 26, no 5, page 56). AAW members can Minneapolis home of Ruth and David with native Norfolk Island pine, whose rest, as they say, is history. Ron’s from 50 in the groundbreaking Jacobson Waterbury. Happily, the timing of the translucence and spalting he learned to catalog of 1985). The works themselves exhibition at the Minneapolis Institute exploit to spectacular effect in his signa date from recent (2010) to relatively of Arts (MIA) and open house at the ture small-footed open vessels. Natural old (1977), with most having taken - Waterburys coincided with the 25th translucence also figures prominently shape between 1986 and 2006. The AAW symposium in nearby Saint Paul, in Gianfranco Angelino’s comments Waterburys made their first purchase, and many visitors took full advantage. on locally salvaged Italian timbers, from Ron Kent, in 1984. Despite its link to the MIA show and although he says surprisingly little about access this and all past journal articles online at woodturner.org. previous wood art books, Conversations Conversations makes it clear that the his marvelously stitched patchwork work captivated and mesmerized Waterburys greatly value their friend is not an exhibition catalog. Instead, bowls themselves. An abiding affection ships with the artists, as well as the it serves as a pictorial and narrative - for the raw material likewise pervades objects they make, which have become archive for a collection of 538 turnings the statements of Liam O’Neill (bog tangible, intimate reminders of long- and wood sculptures from 130 makers. oak, monkey puzzle), Derek Bencomo lasting relationships. Perhaps that is why Images of the works are accompanied by (milo, koa, pheasant wood), Dan Kvitka the Waterburys decided to include in the brief but pointed commentary from the (exotics), and Phil Brown (holly). In catalog most of the makers represented artists themselves rather than curators. short, this collection suggests that the in their collection and to give them their sensibilities. Not only did Five eloquent and informative essays, beauty, feel, and unpredictability of space to speak directly about their work. along with the Waterburys’ own engag wood remain the impetus for much As a result, readers can both ponder the ing story, introduce the catalog proper. contemporary woodturning despite - musings of individual turners about spe The absence of bios anywhere imparts growing interest in artistic expressive cific pieces and accumulate a collective an egalitarian flavor to the book. If there - ness and the larger world of ideas. sense of recurring themes among these - is any implied hierarchy, it resides in the leading wood artists. Another linkage to craft is the fre space devoted to individual makers in quent allusion to technique, such as As expected, the remarks of many - the introductory essays and the number that developed by Tex Isham to create turners reflect their roots in traditional of pieces represented by each in the col Inner Circle they end up buying a piece, but , a pair of scooped plates held craft by focusing largely and some lection. Because the Waterburys devel together by attached arcs. He reveals - times entirely on the medium itself—a oped strong ties to Ron Kent and Michael - how he scrambled the normal turning - favorite species, a memorable tree, a Mode early on, it is not surprising that process by spinning the cutting tool (a challenging log. Hawaiian Ron Kent, for router) outboard and rotating the wood WATERBURY example, traces his enduring association by hand. John Jordan is equally forth coming about the removal and clever - this was the beginning of what 56 56_CatalogReview.indd 56 American Woodturner October 2011

would grow into a significant and 9/2/11 2:12 PM AAW 2015 HONORARY long-lasting friendship with Ron and his wife, Myra. That first purchase was the birth of an “all-con- LIFETIME MEMBERS suming passion,” which has fasci- David Ellsworth, Atlantic Pot, 1996, nated the Waterburys to this day. Spalted elm with spalted sugar maple inlays, Over the past thirty-one years, 9½" × 8¼" (24cm × 21cm) Ruth and David have amassed Photo: Robert Fogt an extensive, world-class, Gifted to Carnegie Museum of Art, Pittsburgh museum-quality collection of Provenance: The Waterbury Collection wood art objects and sculptures. Their collecting journey culmi- nated in an exhibition and accom- panying book, Conversations with This is a great example of David’s magic, Wood: The Collection of Ruth and David Waterbury. Debuting at inserting a piece to fill a void so skillfully that the Minneapolis Institute of Art it seems just a part of the spalting. (MIA) in July 2011, the exhibi- —David Waterbury tion has since traveled to several other venues. The catalog features superb photography of 552 outstanding works by 132 artists, as well as engaging essays by Glenn Adamson, Patricia Kane, Albert LeCoff, Christopher Monkhouse, Jennifer Komar Olivarez, and Ruth and David Waterbury. These There was magic in essays add important scholarship the way Michelle was to a field in need of more histori- able to make the two cal perspective, commentary, and critique. In addition, artists in the parts of this object Waterbury collection were invited sing to each other, to give their personal perspectives a real duet. and memories about their pieces. —David Waterbury Together, the scholarly essays and artists’ writings add important contributions to the expanding lexicon of the wood art movement. Michelle Holzapfel, Duet Vase, 2001, Cherry burl, 13" × 13" × 7" (33cm × 13cm × 18cm) Photo: MIA Visual Resources Contributions to the field Gifted to Minneapolis Institute of Arts Perhaps even more important Provenance: The Waterbury Collection than the works acquired over the

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