Donna Zils Banfield

www.capwoodturners.org March 2019 Capital Area Woodturners

March– Donna Zils Banfield President’s Message March Donna Zils Banfield has We have had extensive deliberations with been creating works of the Woodworking Show coming to the Dulles Expo art in wood since she Center in Chantilly, VA on March 22, 23 and 24. received her first lathe They are providing a booth for us to demonstrate as a surprise Christmas gift from her husband woodturning. The difference this year, is that the in 2001. Donna’s skills show will be selling pen kits to be turned by the on the lathe were self- purchaser in the Woodworking Show’s booth with taught, but honed the help of volunteer/instructors. through workshops taught by gifted and skilled artists and turners who shared their knowledge. Her After much research, discussions and delib- carving techniques and designs evolved after studying un- erations it was determined that the CAW Liability der several internationally recognized fine art and craft Insurance will not cover the instructor or the stu- masters. dent. Therefore, CAW will not be providing instruc- A teacher of woodturning since 2007 at Rockler tors for their booth. Instead we will turn tops and Woodworking and Woodcraft, she now offers private one- on-one instruction in her studio, in Derry, NH. She has other small projects in the CAW booth. Projects shared her knowledge and techniques with woodturning should be completed in 30 minutes or less. You clubs throughout New England and beyond, and has need to bring your own tools and finishing supplies. demonstrated for regional Symposiums in the New England Please keep sanding to a minimum. You get to take area since 2008. In 2018 she demonstrated for the AAW your completed project home, or if so inclined, give International Symposium, Totally Turning in Saratoga Springs, NY and was a featured demonstrator for the Virgin- it someone in your audience. ia Woodturning Symposium in November 2018.Her work can be found in private collections in Australia, India, Tai- CAW will provide wood and sharpies for wan and across the U.S turning and coloring tops that will be given to chil- Donna’s work is a reflection of her life– a life less ordinary. She likes to use wood from fallen or damaged dren in the audience. We will not turn and give trees to give them a new life. Her work shows great atten- away pens as we have done in past years as this tion to classic form as well as “ less ordinary “ ways of em- would conflict with the Show’s pen program. We bellishing with carving, pyrography, and paints. will be prepared to turn pens if the Show organizers Join us for our Saturday meeting where Donna will request us to do so. We need volunteers to man show us how she develops her forms and uses other tech- our booth, both for turning and being out front. niques to make them distinctive. Saturday will be a full day; sandwiches and drinks will be available. Come early, bring a The front person keeps an eye on our show and tell piece of your own to share, and get ready for a stimulating table, answers questions and hands out brochures. presentation by an artist with a fresh perspective. We need your help.

In this issue: From the Program Director 5

Presidents Message 1 Triumph of the Spirit– Tom Day 6 Monthly Meeting 1 Video of the Month 10 2019 Program– SEW, Meetings, and 3 Trees we Turn- Carob 11 Workshop dates Words from WIT 5 Instant Gallery 13 Advertisements 16 [ Page 1 ]

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To register for professional workshops contact Tom Huber at [email protected] You can sign up to volunteer for a shift at our To register for a workshop a $50 monthly meeting or email Bob Pezold at: reservation fee is required with the balance due [email protected]. Please bring something for 30 days prior to the workshop. the show and tell table and wear your CAW gear. To reserve a place in SEW- Mentoring Don’t forget to take home the pieces you brought contact Bob Pezold at [email protected] for the show and tell table There is a $20 shop fee for SEW- Mentoring. This fee entitles you to use a broad The AAW Symposium is being held in Ra- range of CAW owned tools and equipment and leigh, NC this summer. It is fairly close and a great helps pay for equipment maintenance. opportunity to see some outstanding wood turners. There is a $10 charge for attendance at Check out the vendor’s booths as well. There is al- CAW meetings that feature professional ways a great deal offered by someone at the show. demonstrators. I have had only one response from a member wanting to participate in a group of 10 or more club CAW Monthly Meetings members to qualify for the discount at the AAW CAW’s monthly meeting is held the second Symposium. It doesn’t appear this is going to work Saturday of each month (except June and for CAW. Any member planning on attending December). The doors open about 8:30 with a should make their own reservations and arrange- coffee and donut social session. Our meeting ments. I hope to see you there. begins at 8:30 with a short show and tell, followed by a quick business meeting. Demonstrations begin at 9:30. During a full day demonstration, Happy and Safe Turning, the program continues until about 2:30 with a 30 minute lunch break. A short meeting normally Joe Zadareky wraps up by 1:00. All meetings are held at the Bryant School on Popkins Lane in Alexandria. Hey, Imhotep, when’s it my turn Check the CAW website for directions. to use the gouge?

Library News--Books They Still Exist! Did you know that CAW has a collection of over 30 reference books on woodturning and related topics? Classics like Dale Nish's 1975 Creative Woodturning, as well as more contemporary books by Ellsworth and Arnull. Want to make chess pieces--there's book for that (Wooden Chess Sets You Can Make). Need a book on shape and design--there's several. Check out CAW's collection of woodturning books on the website (all titles are linked to Amazon for background information) or check them out in person at the next Club meeting. Be sure to take advantage of this great educational resource! We are working to get a list of our books so we can put it on the CAW website. All CAW books, DVDs, and videos, are loaned free of charge to our members. Skill Enhancement Workshop in Ancient Egypt [ Page 2 ] www.capwoodturners.org March 2019

CAW 2019 Program June June 5– SEW/Mentoring March June 8 – CAW Picnic March 6– SEW/Mentoring June 19– SEW/Mentoring March 7-8– Workshop with Donna Banfield March 9– Donna Banfield July March 20– SEW/Mentoring There is no monthly meeting since it conflicts with the AAW Symposium in Raleigh, North Carolina July24– SEW/Mentoring

August August 7– SEW/Mentoring August 10 – Mark Gardner April April 3– SEW/Mentoring Mark Gardner’s turned /embellished hollow forms April 11-12– Workshop with Dennis Belcher April 13– Dennis Belcher September April 24– SEW/Mentoring September 4– SEW/Mentoring September 12-13– Workshop with Al Stirt September 14- Al Stirt September 18– SEW/Mentoring

Al Stirt’s textured and colored platter

October October 2– SEW/Mentoring May October 10-11– Workshop with Judy Ditmer March 1– SEW/Mentoring October 12- Judy Ditmer May 13-14 Workshop with Rudy Lopez October 16– SEW/Mentoring May 11– Rudy Lopez May 22– SEW/Mentoring Judy’s small turned forms and jewelry

November Rudy’s Thin turned natural edge form November 6– SEW/Mentoring November 9– Local Demonstrator/TBD November 20– SEW/Mentoring

December December 4– SEW/Mentoring December 14– CAW Holiday Party

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We are beginning a new feature called, “Words from Wit” It will introduce information from AAW’s Women in Turning (WIT) This information will appear periodically throughout the year. We hope you will enjoy it. —The Editor

February 2019

Dear AAW Members,

Here is some information to pass on to the women in your chapter. As we mentioned in the last email and you read in the February Journal, we are moving forward with the 2019 EXCHANGE! This year, the EXCHANGE will be Sept 5-7 with arrival Sept 4th and departure Sept 8th. Registra- tion will open March 4th, 2019.

So, what is the EXCHANGE? It is a three-day immersion into the creative process. Each day will be a new opportunity to work and get to know different people in small collaborative teams of three. Each day teams will be working in a fun-filled and fast-paced exploration of designing and creating a piece based on randomly generated word pairs by using a variety of techniques including, but not limited to woodturning, pyrography, carving, and painting. We will all be sharing and learning from each other! If there is a certain tool or technique you want to use, but are not sure how to go about it, just ask. Someone will be able to help you.

The EXCHANGE will take place at the Arrowmont School of Arts and Crafts in Gatlinburg, TN. Un- til June 1st, the early-bird price is $300 ($360 for non-AAW members - but check out our member- ship grants https://www.woodturner.org/page/WITMembershipGrants). The registration fee in- cludes equipment, supplies, meals (Wednesday dinner - Sunday breakfast), and tee-shirt. Housing is available at Arrowmont and reservations must be through Arrowmont. Please consider asking your chapter to sponsor a woman in your club by offering a scholarship.

For more information, check our web page: https://www.woodturner.org/page/WITEvents or contact a committee member. Spread the word! If you use social media, be sure to use the tag "#wit exchange".

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Doc Johnson– A Final Tribute This is the finished eternal home of the remains of Don (Doc) Johnson. Remains, because regardless of your beliefs, such a small container is not large enough for the spirit of the guy we knew. The wood came from Mount Vernon Park Swimming Pool property. About 28 to 30 CAW/Liars participated in its creation, if not hands on, handmaids or midwives.- the main body wood, I’ve thought was cherry and have shown bark to some, however, I’m coming to believe persimmon as that would justify the grain color. The lid is threaded on with male and female threads. The lid wood is blackwood from Doc’s own wood supply. The design and ideas are from Michelle McAndrews. John Nofsiger did the pyrography. The picture doesn’t do the justice to the actual design. The urn and Doc’s remains will ro- tate amongst his family with handoffs at major family events- Frank Jessup

To Doc- you made us better for your participation and the grace of your departure is to be admired – I miss you and hope you’re in a place that either doesn’t respect sanding or doesn’t inspect your work for sanding.—Frank Jessup

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growth patterns. Woods with fine even From the Program Director growth like cherry, pear, birch and maple are Turnings as Canvases best for pyrography. My shop is unheated in the winter and When power carving, you will find you uncooled in the summer. In the winter I can get very different results based on the kind of only turn until I can no longer feel my fingers. burr/cutter you use. For example, the Saburr- In the summer I turn until the sweat starts to tooth bits cut wood very quickly but leave drip on to the lathe bed. So, what can I do if I very rough surfaces. Carbide or high speed can’t turn? steels leave much cleaner surfaces but have a If you’ve been bitten by the wood bug, tendency to burn the wood at higher speeds. there’s always carving. Unfortunately, my wife After you have played on wood scraps doesn’t appreciate piles of large chips on the for a while to see how your tools react, it’s floor, on the rugs, and in the cat’s tail. What to time to actually design and execute that de- do? What to do? sign on another piece of scrap. The guys on The answer is carving with small burrs, those U-Tube videos make it look so easy. pyrography, and painting. Not only do these But, it’s not. Carving or burning an intricate activities open up new avenues of exploration, design is extremely challenging. So, start but they allow woodturners to satisfy their oth- small. Pick a simple, straightforward design er passion– purchasing new pieces of equip- and try to replicate it 6, 7, or 10 times. Look ment, tools, and materials. at each iteration and see what you did right Once you have these new items– a Mas- and wrong. When you are satisfied, move on tercraft power carver and a new set of bits– a to more challenging designs. pyrography set with multiple tips and a rainbow The nice thing is that you are inside of paints and brushes, where do you start? with a fairly small piece practicing a new skill. Like everything, you have to start with You will find the old adage is correct- ”Nothing practice. I know you’ve got a big platter with a is as easy as it looks; and everything takes wide rim you are just dying to get at with your longer than you think.” However, before long, new tools. Curb your enthusiasm. Before you you will be able to make some credible marks fire up your pyrography set or set your bits on your sample pieces. Now it’s time to move spinning, a little practice is in order. on to a turned piece. Surprise; it’s not the The first thing to do is get some scrap same. You have probably been practicing on wood from different species. What you need to flat surfaces. Most turned pieces are curved. learn is how will your tools react in different It’s not the same. It requires a slightly differ- types of wood. All wood is not the same, it has ent approach. So, don’t start with a really nice different properties of hardness, composition, piece- start with a piece you don’t care about. and texture. The second thing you need to You will also find that all over carving is in- know is how speed and temperature will affect credibly tedious and time consuming. When different species. you see pictures of Dixie Biggs’ or Jacques After a little bit of experimentation, you Vesery’s work you rarely realize how small the are going to discover a couple of things. First, pieces are. That’s because this work takes at lower temperature settings you will be able time– perfect for those cold or hot days when to create very fine and delicate lines with your you can’t turn. So learn to play with some burning tips. Second, certain hardwoods con- new tools and build yourself a new skill set. tain regular growth lines that are harder and Stay safe and keep turning softer. Trying to create a uniform line in these , CAW Program Director kinds of woods is very difficult. Stay away from Tom Huber oak, ash, and woods that have these yearly [ Page 6 ] www.capwoodturners.org March 2019

Triumph of the Human Spirit– African skilled, creative craftsmen that created beautiful American Craftsman, Thomas Day objects. Throughout the South there was a huge group of people who were prized for their The United States was a child of the skill and ability. Often they would be able to use contradictions of the eighteenth century. This their talents to buy their freedom and the free- era was the birthplace to changes that would dom of their relatives. transform the world. There was an ac- ceptance of an ideology of a “natural order” Thomas Day (1801-1861) was a free that ranged from free persons to persons as black furniture craftsman and cabinetmaker in chattel and every degree in between. People Milton, Caswell County, North Carolina. Born a could be free, partly free, or unfree. Women free black man in Dinwiddie County, Virginia, had limited rights, and huge swathes of popu- Day moved to Milton in 1817 and became a lations had no rights at all. highly successful businessman, boasting the Despite these limitations, it was impos- largest and most productive workshop in the sible to fetter the human spirit. Even in the state during the 1850s. Day catered to high- most degraded of circumstances people strove class white clientele and was respected among to express themselves and to leave a mark his white peers for his craftsmanship and work that said “I was here”. Frequently, this mark is ethic. Day came from a free and relatively well- made upon the humblest elements of daily life off family and was privately educated. – clothing, pottery, wooden objects, and sim- Today, Day's pieces are highly sought ple furniture. Often many of these objects do after and sell for high prices; his work has been not remain since they are fragile and perisha- heavily studied and displayed in museums such ble. What we normally see that has survived as the North Carolina Museum of History. Day is is in the homes of the wealthy and the power- heralded in modern society as an incredibly ful. These items are cherished by them, but skilled craftsman and savvy businessman, spe- curiously, they are not created by them. cifically in regards to the challenges his race These objects are created by forgotten people posed to his success in the Antebellum South. who rarely affixed their names to the magnificent pieces they crafted. Everyone knows of Scholars estimate that Day employed Tutanhkamen, but no one knows the name of five white and at least seven black workers in his the artisan who crafted his magnificent golden workshop. Although some scholars have chair or his elaborate bed. attributed certain lower-quality pieces of furni- So, it is with some surprise that we can ture to Day himself, it is more likely, according look back at the antebellum South and find to other researchers, that some of the pieces the name of craftsmen that built magnificent sold by Day's workshop were produced by his furniture for the wealthy and powerful. It is less-skilled, apprenticed craftsmen. To craft his even more amazing that we find this crafts- veneered cabinets and other furniture pieces, man was a free man of color– Thomas Day. including beds and bookshelves, Day worked In the plantation economies of the with hand tools in his earlier years, but in the South, each plantation was its own self sup- 1840s he introduced steam power into his work- porting community run by the labor and indus- shop. This steam power quickened Day's craft- try of unfree people. These people did every- ing process and increased production levels. thing– they built, sewed, cooked, and manu- Day specialized in veneered furniture and relied factured the elements necessary for daily life. heavily on mahogany as a work material, which They were not just field hands; they were he imported from places in Africa and Central America. [ Page 7 ] www.capwoodturners.org March 2019

In his furniture workshop, Day tended to spirit that Tom Day was able to persevere, pros- employ his own design style for all of his pieces; per, and be recognized for his unique genius and this style evolved with popular stylistic trends talent. In his day his work was prized by the lead- throughout his few decades as a successful and ers of North Carolina society and the University of skilled craftsman. Day's work is characterized by North Carolina sought him out to commission piec- improvisational subscription to popular urban es for them. styles of the time and his designs were methodi- cal and symmetrical. Although public remembrance and appreci- ation of Day was very present, especially in the Scholars of African and African-American Milton and black communities, throughout the late art and design widely agree that this facet of 19th and 20th centuries, scholarly research on Day's style could reflect his racial heritage, since Day's life and work was lacking until recently. Sev- African and African-American art was highly cre- eral research initiatives into Day's furniture and ative and improvised, with visible rhythms in the architectural craftsmanship were undertaken in designs. Day's scroll shapes emphasized his per- the 1980s and 1990s; these helped to identify sonal craft style of creating a balance of motion Day's crafted pieces as well as his building and de- to draw the eye and create a sense of rhythm in sign techniques. Since then, historians and archi- his work. The scroll motif also had a practical tectural experts have been continually taking stock usage: Day used scrolled armrests on some of of Day's existing work, both furniture and architec- his chair designs to enable military personnel to ture, in homes in the northern North Carolina/ sit down without having to remove their southern Virginia areas . swords. Playing on this idea of balance, too, Day would often create pieces with sharp, The recent academic research as well as squared edges and designs on top, contrasted public education and outreach efforts through by curvilinear motifs on the bottom. Day also both museum exhibits and organized events have tended to emphasize classical elements in his served to put Thomas Day in the mainstream of work, such as columns and framed cabinet pan- public thought and to encourage and amplify his els. Day often employed popular design motifs legacy as a skilled craftsman. Day's furniture is still such as ogee curves, serpentine curvatures, and treasured by owners and scholars alike, demon- spur motifs; the latter two are commonly seen strating its lasting craftsmanship, and pieces on Day's chairs. With each of his personal stylis- thought to be crafted by Day sell for high prices, tic motifs, Day worked to create balance within including an $8,000 wardrobe from Day's work- motion, and method and symmetry within im- shop. Day's legacy in North Carolina and in the provisational spontaneity in his furniture. An- historical community today is strong and lasting as other common design tool employed by Day is the public grows more interested in Day's life and the interplay between positive and negative work, and exhibits and events in his honor pros- space, where positive space is created by actual per. A successful life and a strong work ethic wood, and negative space is created by the earned Day a reputation of skill and service that empty spaces between wooden elements on his has lasted long past his life; he is permanently me- pieces. By bordering the positive spaces on his morialized in statue form outside of the NC Muse- furniture with curvatures, Day formed eye- um of History placing him irrevocably in the main- catching negative spaces as well that were stream history both in North Carolina, in the field meant to again create a sense of balance within of historical craftsmanship, and in the public the piece. memory.

It is a tribute to the power of human

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For more information about the curious and

complicated life of Tom Day , take a look at this interesting PBS video from the Woodwright’s Shop

https://www.pbs.org/video/the-woodwrights-shop-thomas -day-cabinetmaker/

While Tom Day was not a woodturner as such, you can see many turned elements in his work. For example, the drawer pulls and bun feet on his dressing tables were all turned pieces.

Many of his tables have turned spindles as the legs . One of his particularly beautiful walnut and cherry pieces features a large turned spindle that has multiple beads and coves and has been carved with a classical acanthus leaf motif. An- other admirable element of his work is his incorporation of classic designs like ogee curves and the use of positive and negative space as part of his design elements. The chair to the right is an excellent example of these incorporation of these element into an overall design.

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VIDEO VIEW – Interesting Videos of the Month (Gary Guenther)

Woodturning demonstrations and shows for your viewing pleasure

Free, online. Here’s an annual show I love to look at every year – the (26th annual) 2018 Hawai’ian wood show. (25:52)

https://www.youtube.com/watch?v=WEZd4dAcZxU

It has both amazing work and amazing wood -- the best of both turning and flat work intermixed, in a number of different categories. The makers and wood are identified. The background music is pleasantif you want to leave the sound on. You can watch the whole thing at their pace or move through it at your own pace with the slider, but don’t miss the end where the awarded pieces are shown.

Jayne Hart and Amy Rothberg– Two of CAW’s Women in Turning

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Trees we Turn – E u r o p e – The Carob Tree

The carob tree, or Ceratonia siliqua is a flowering In some areas of Greece, carob wood is evergreen tree or shrub in the pea family, Fabaceae– the largely used as a fuelwood, being sold at fuel- pea family. The carob is native to the Mediterranean re- wood yards. It's a very good fuel and some- gion, including Southern Europe, Northern Africa, the larg- times preferred over oak and olive wood. Be- er Mediterranean islands, the Levant and Middle-East of cause the much fluted stem usually shows Western Asia into Iran; and the Canary Islands and Macro- heart rot it is rarely used for construction tim- nesia . The word carob comes from Middle French carobe ber. However, it is sought for ornamental work (modern French caroube), which borrowed it from Arabic sometimes and, since the natural shape of the kharrūb, "locust bean pod". The unit "carat", used for weighing precious metal and stones, also comes from the fluted stem lends itself to it, specifically for fur- Greek word for carob. Ancient Middle Eastern people niture design. Given the sometimes extremely weighed gold and gemstones against the seeds of the car- wavy grain of the wood that gives it very good ob tree . The system was eventually standardized, and one resistance to splitting, sections of Carob bole carat was fixed at 0.2 grams. are suitable for chopping blocks for splitting wood. The carob tree grows up to 50 feet tall. The crown is broad and semispherical, supported by a thick trunk Because of the small size of carob trees with rough brown bark and sturdy branches. The fruit is a and the value of their seeds and pods, large legume (also known commonly, but less accurately, as a pieces of carob are rarely available. This is sim- pod),. ilar to the availability of olive wood. However, when the wood is available, it is very attractive The carob genus, Ceratonia, belongs to the leg- with distinctive sapwood and very richly tex- ume family, Fabaceae, and is believed to be an archaic tured heartwood. The wood tends to be rela- remnant of a part of this family now generally considered tively hard but the grain can be wavy and inter- extinct. It grows well in warm temperate and subtropical locked causing it to be difficult to plane. How- areas, and tolerates hot and humid coastal areas. As a xe- ever the wood turns well and can be sanded to rophyte (drought-resistant species), carob is well adapted a high gloss. to the conditions of the Mediterranean region with just 10 to 20 inches of rainfall per year. Although cultivated exten- sively, carob can still be found growing wild in eastern Mediterranean regions, and has become naturalized in the

west.

Carob products consumed by humans come from the dried, and sometimes roasted, pod, which has two main parts: the pulp accounts for 90% and the seeds for 10% by weight. Carob pulp is sold as flour or "chunks". The flour of the carob embryo or seed can be used in human and animal nutrition, but the seed is often discarded before making carob powder. Carob pods are mildly sweet Highly figured carob slabs on their own and are used in powdered, chip, or syrup form as an ingredient in cakes and cookies, sometimes as a substitute for chocolate.

The production of locust bean gum, a thickening agent used in the food industry, is the most important use of carob seeds .

Carob piece showing wavy grain

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Trees we Turn – E u r o p e – C a r o b

Carob wood turns well but sharp tools are a must due to the wavy grain. Scraping will not give good results as the fibers tend to tear due to their interlocked nature. However, with sharp cuts, spectacular results can be achieved due to the exceptional beauty of the carob grain. Pens, boxes , and even small bowls can be turned from the relatively small sizes of the available timber. The wood has a hardness similar to olive and has been used for millennia in the Easter Mediterrane- an. The wood was mentioned in ancient Egyptian sources as well as the Bible as a favorite wood for furniture and household objects. Carob slab turned and decorated with pyrography—Nikos Siragas

Typical carob wood pen blanks

Carob Wood hollow form- John Jordan

Small carob wood crotch bowl

Carob wood box

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Instant Gallery – F e b r u a r y

Sorby texturing tool effects– Ken Poirier Decorating Elf effects– Tom Huber

Branding and painting maple pendants– Phil Mannino

Heart shaped bowl in purpleheart – Ken Poirier Ambrosia maple urn with threaded lid– Patrick O’Brien

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Ambrosia Maple eggs– Charlie Wortman Australian Jarra– Amy Rothberg

Apple Vessels and winestopper from the same piece of wood

Robin Watson

Bowl from a board– multiple woods Old Fisherman– osage organge, black walnut C.A. Savoy and Joe Zadarecky and a top light- Jayne Hart

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Instant Gallery – F e b r u a r y

A Variety of pens in different materials– John Snyder

A series of dogwood vessels– Mark Heatwole

Box and vase with carving, pyrography, and paint Tom Huber

Figured maple with colored rim– Vince DeWitte

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Advanced Auto Tech is family owned and operated automotive maintenance and repair service center located in Lorton, VA since 1990. We are pleased to extend a 10% discount on any automotive service or repair to all CAW members and their immediate family. Please visit our website at www.advancedautotech.net or call Ben Johnson at 703-339-5500 to schedule your appointment today.

Exotic Lumber Has Moved We have recently relocated our Gaithersburg location to Frederick, MD. We have a lot of turning stock available and as previously agreed we do offer all members of CAW a 10% discount.

Neil Gager at Exotic Lumber Inc, 329 E. 2nd Street, Frederick, MD 21701 Call (301) 695-1271, Fax (301) 695-1274, or Cell (410) 533-2151 [email protected] or visit www.exoticlumberinc.com

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Discount on most products to CAW members including Power- matic and Jet Lathes. Call for quote and identify yourself as a CAW member. Fries, Beall Sand harp Inc. Established 1906 7371A Lockport Place Lorton, VA 22079 Phone:703-550-1100 Fax: 703-550-1105 Store Hours 8:30 am - 4 pm Week- days 9:00 am - 1:00 pm Saturdays www.fries-beall-sharp-inc.com Authorized dealer for: Colonial has an outstanding Festool, Sawstop, Fein, Power- supply of domestic and exotic matic, Jet, Starrett, Amana, hardwoods available in a Kaeser Rotary Screw Air Com- range of sizes. pressors Installation and service availa- All CAW members receive a 10 ble on most machinery. Call for percent discount. details 7953 Cameron Brown Ct Springfield, VA Please note: CAW’s newsletter is happy to 703-451-9217 publish almost anything woodturning or wood related. If you, as a member, have a www.colonialhardwoods.com product or service you would like to offer to Hours daily: 9-5 your fellow members, we are happy to print Hours weekend: 9-2 your information. However, it would be ap- propriate to offer your fellow members dis- counts from any normally stated prices.

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Capital Area Monthly Meeting Information - Directions: Bryant Adult Education Center From VA or MD, take I-495/I-95 Woodturners 2709 Popkins Lane, towards the Wilson Bridge over the Potomac River. Alexandria, VA 22306 Take Exit 177A to Route 1 South on Tom Huber Map with driving directions here: the VA side. (editor) www.fcps.edu/maps/ Drive approximately 1.9 miles on thuber829@gmail. bryant.htm Rt. 1 South and you will pass the Beacon mall complex with Lowe’s Send news items to: thuber829@gmail. on your right. Drive past the main com entrance to Beacon mall and go 4 more stop lights (about 1/2 mile). The 4th stop light is Popkins Lane. Turn left and go two blocks. If your contact information Bryant Center entry is on the right. changes, including your email or Drive to the East side of the mailing address, please contact building. Parking is on the side or Phil Mannino at: in the rear of the building. [email protected] The entrance to the wood working The CAW shop and meeting rooms is off the Newsletter is the back corner of the East side of official publication Bryant Center of the Capital Area Woodturners, Inc.

C a w c oac h i n g P r o g r a m www.capwoodturners.org/mentors.html Please contact Gerry Headley at: [email protected]

NEW Members

Capital Area Woodturners is a chapter of the American Association of Woodturners

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