SWAT Handbook 2021

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SouthWest Association of Turners

28th SWAT Symposium

TOC Welcome ...... 3 Event Schedule ...... 4 2021 SWAT Vendors ...... 5 Friday – August 27, 2021 ...... 7 Saturday – August 28, 2021 ...... 9 Sunday – August 29,2021 ...... 11 Family Programs ...... 13 Women in Turning ...... 13 Turners-to-Go ...... 13 Beads of Courage ...... 14 Executive Committee Members ...... 15 Supporting Chapters ...... 19 List of Demonstrations ...... 20 Bronzed Platter ...... 21 Viking Sunset Bowls...... 22 Making an Heirloom Baby Rattle ...... 24 How Learning Spindle Turning Improves Your Bowl Turning ...... 26 Bowl Turning Fundamentals...... 27 How Cracked Wood Becomes an Opportunity...... 28 Segmented Pens ...... 33 Turning Spoons ...... 44 Spherical Music Box ...... 47 Utilizing Burls and Slabs for Wall Art ...... 51 Natural Edge Bowl ...... 54 Production Turning...... 55 Turned Table Lamp ...... 71 Walking Mushroom ...... 73 Mini Aquifer ...... 74 Mark Making with Power ...... 81 Twisted Snowman Ornament ...... 83 Twisted Pen ...... 84 Custom Pen Making ...... 85 Hollow Form Inlay ...... 91 Scottish Ring Handled Bowl...... 94 Skew Chisel: Darkside and Sweet Side ...... 97 Surface Enhancement from “A” to “Z” ...... 106 Embellishing Your Woodturning Project with Relief Carving ...... 110 Turning Wood Pottery ...... 114 Turning a Half Bowl ...... 116 Carving Goblet Stem Spirals ...... 118 Rubber Stamping Embellishment ...... 119 Stenciling Embellishment ...... 121 360 Herringbone Pen Blanks ...... 122 Pentel Conversion ...... 128 Turning and Sculpting a Flowering Vase ...... 133 Banksia Pod Egg Box ...... 137 About the Artists...... 145 Southwest Association of Turners (SWAT) History ...... 158

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to the SouthWest Association of Turners Symposium

Welcome to the 29th edition of the SWAT Symposium. After a one-year hiatus due to the global pandemic, we are excited to be back in Waco. On behalf of the Board of Directors, our member clubs, the Executive Committee, the Committee Chairs, and the many volunteers who have worked so hard to make this the best woodturning show in the world, I would like to thank you for your support. I hope you find this to be a great gathering of your fellow woodturners for fun, education, and camaraderie. Our many vendors will have everything you need for your craft, from lathes and accessories to tools, wood, casting, stabilizing and embellishment supplies, along with sanding, sharpening, and safety equipment. If you are new to woodturning, our hands-on areas will help you to learn the basics of pen turning, bowl turning, and other skills. Our Three-for-One Drawing is back this year, with your first opportunity to win on Friday morning at the Opening Ceremony. We will be raffling a Jet midi-lathe and an Arrowmont scholarship. Our banquet on Saturday evening will present the second chance for you to win. We will have a number of beautiful art pieces (approximately 30) as prizes. Then on Sunday, at lunch, our third and largest drawing will be held. This will be for an opportunity to win tools, wood and turning accessories donated by our vendors, as well as more art, another Arrowmont scholarship, and yes, three more lathes. The tickets from each drawing are returned to the bin after each drawing, so you have a chance to win each time! Our Art Gallery is second to none, and gives you a great chance to view (and possibly purchase) beautiful pieces of turned art. Any turner can register to display up to 10 pieces of their work on our website (swaturners.org). A section of the Gallery is dedicated to displaying some of the Beads of Courage boxes that have been created by our member clubs. These boxes will be donated to various hospitals, to be given to young patients that are undergoing treatments for life threatening diseases. Be sure to check out the SWAT website (swaturners.org) for more information and a link to the Beads of Courage website. Oh yes, there is also the opportunity to learn about many aspects of woodturning! We have gathered some of the best turners in the world to provide you with 63 classes during our three- day symposium. There are ample occasions to meet with the turners, vendors, and your fellow woodturners to discuss techniques, tools, design, or other areas of interest. Of course, none of this would be possible without your participation and the efforts of the many volunteers that have worked long and hard to bring this symposium to you. I want to again thank each of you for your efforts and welcome you to the 29th SWAT Symposium. I hope your experience is everything you expected and more!

Henry Pennell President, SouthWest Association of Turners

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Thursday 7:00 AM Doors Open for Vendors (Tables Not Available Until Unloading Complete) Registration Set-up (Staff Only) 11:30 AM Lunch for Vendors 12:00 PM Lunch 3:00 PM Registration & Logo Ware Sales Open (Drawing Ticket Sales @ Window #4) 3:00 – 6:00 PM Gallery Open for Check-in 5:30 PM Vendor Unloading Closes 6:00 PM Registration & Logo Ware Sales Close

Friday 7:30 AM Gallery Opens 8:00 AM Registration & Sales Open 9:00 AM Opening Ceremonies in Chisholm Hall First 3-for-1 Drawing (Jet Lathe and Arrowmont Scholarship) 10:30 AM Demonstration Rotations Begin 11:30 AM Lunch for Vendors 12:00 PM Lunch 5:00 PM Gallery Closes 5:30 – 8:00 PM Cash Bar

Saturday 7:00 AM Registration Opens 7:30 AM Gallery Opens 8:00 AM Demonstration Rotations Begin 11:30 AM Lunch for Vendors 12:00 PM Lunch 5:00 PM Gallery Closes 6:00 – 8:00 PM Cash Bar 6:30 – 7:30 PM Banquet Dinner 7:30 – 9:00 PM Second 3-for-1 Drawing

Sunday 7:30 AM Gallery Opens 8:00 AM Demonstration Rotations Begin 11:00 AM Gallery Closes for Disassembly (Artist Pick-up Turnings) 12:00 PM Demonstration Rotations End Lunch Third 3-for-1 Drawing (Tool and Lathe Drawing) Vendors can begin Teardown of Booths

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Alan Lacer Woodturning — [email protected] Jarrar Group Imports — Amalgam-Mutt Blanks — [email protected] [email protected] Lyle Jamieson Woodturning — American Association of Woodturners — [email protected] [email protected] Peke Safety — [email protected] Australian Burls — [email protected] REFT – [email protected] AZ Carbide — [email protected] Segmenting Sleds and Fixtures – Big Monk Lumber — [email protected] [email protected] Carter and Son Toolworks — Speakeasy Pen Emphorium – [email protected] [email protected] Carter Products — Specialty Lumber & Logging — [email protected] [email protected] Century Tree — [email protected] Spiracraft — [email protected] Classic Nib / Arizona Silhouette — Thompson Lathe Tools — [email protected] [email protected] Conestoga Works — TurnTex — [email protected] [email protected] Vince’s Wood N’ Wonders — Diamond Infused — [email protected] [email protected] Flute Master — [email protected] Wood Turners Wonders — [email protected] Frugal Vacuum Chuck — [email protected] Wood World of Texas — [email protected] GM Woodworking – [email protected] Woodturning Tool Store — [email protected] Hands On Sawmill — [email protected] Woodturning with Tim — [email protected] Hill Country Woods — [email protected] Woodworker's Emporium — [email protected]

Support SWAT Vendors

Many come from halfway across the country to bring you their products. Show them our Southwest Hospitality

TOC Friday Saturday Sunday 5 28th SWAT Symposium Symposium Floor Plan

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BRAZOS BRAZOS TEXAS TEXAS SOUTH TEXAS SOUTH BOSQUE RANGER ROOM NORTH SOUTH NORTH 116/117 118 THEATRE VICMARC POWERMATIC POWERMATIC JET POWERMATIC POWERMATIC JET SPONSOR HUNT COUNTY WNT CTWA GCWA HILL COUNTRY DAW APT 9:00 – 10:00 Opening Ceremonies – Chisholm Hall Joanne Sally Ault Matt Monaco Rebecca DeGroot Jeff Hornung Nick Cook Don Ward Sauvageau Making an 10:30 – 12:00 Turning Wood Walking Scottish Ring Production 360 Herringbone Rubber Stamping Heirloom Baby Pottery Mushroom Handled Bowl Turning Pen Blanks Embellishment Rattle LUNCH 12:00 – 1:30 Women In Turning – Brazos North Sammy Long Stuart Batty Christian Janice Levi Nick Agar Embellishing Your Jeffrey Neff How Learning Brisepierre Surface Robert Blanford 1:30 – 3:00 Viking Sunset Woodturning Turning a Half Spindle Turning Spherical Music Enhancement Segmented Pens Bowls Project with Bowl Improves Your Box from “A” to “Z” Relief Carving Bowl Turning 3:00 – 4:00 Break Cory White Tim Yoder Jim Bob Burgoon Nick Cook Linda Ferber Jim Hinze Turning and Jeff Hornung 4:00 – 5:30 Banksia Pod Egg Utilizing Burls and Turned Table Mark Making with Custom Pen Sculpting a Hollow Form Inlay Box Slabs for Wall Art Lamp Power Making Flowering Vase Note: Schedule subject to change as needed. Changes will be posted to the website as soon as they are available!

BRAZOS BRAZOS TEXAS TEXAS SOUTH TEXAS SOUTH BOSQUE RANGER ROOM NORTH SOUTH NORTH 116/117 118 THEATRE VICMARC POWERMATIC POWERMATIC JET POWERMATIC POWERMATIC JET SPONSOR HUNT COUNTY WNT CTWA GCWA HILL COUNTRY DAW APT Joanne Dennis Belcher Colin Chalmers Jeff Hornung Stuart Batty Nick Agar Sauvageau How Cracked Karen Freitas 8:00 – 9:30 Natural Edge Scottish Ring Bowl Turning Bronzed Platter Stenciling Wood Becomes Twisted Pen Bowl Handled Bowl Fundamentals Embellishment an Opportunity 9:30 – 10:30 Break Dennis Belcher Joanne Alan Lacer Matt Monaco Jeffrey Neff Rebecca DeGroot How Cracked Sauvageau Skew Chisel: Don Ward 10:30 – 12:00 Turning Wood Turning a Half Mini Aquifer Wood Becomes Carving Goblet Darkside and Pentel Conversion Pottery Bowl an Opportunity Stem Spirals Sweet Side 12:00 – 1:30 LUNCH 1:00 – 1:30 World of WoodTurners (WOW) Gathering – Brazos South Stuart Batty Cory White Janice Levi Jim Bob Burgoon How Learning Nick Agar Turning and Neal Brand Surface Robert Blanford 1:30 – 3:00 Utilizing Burls and Spindle Turning Bronzed Platter Sculpting a Turning Spoons Enhancement Segmented Pens Slabs for Wall Art Improves Your Flowering Vase from “A” to “Z” Bowl Turning Break 3:00 – 4:00 SWAT Dirctors Board Meeting – Brazos South Joanne Alan Lacer Tim Yoder Nick Cook Rebecca DeGroot Sauvageau Jeff Hornung Skew Chisel: Don Ward 4:00 – 5:30 Banksia Pod Egg Production Mini Aquifer Rubber Stamping Hollow Form Inlay Darkside and Pentel Conversion Box Turning Embellishment Sweet Side 6:00 – 8:00 Cash Bar 6:30 – 7:30 Banquet Dinner 7:30 – 9:00 3 – for – 1 Drawing Note: Schedule subject to change as needed. Changes will be posted to the website as soon as they are available!

Travel Safe & Have a Safe and Productive Turning year…

Demonstration Handbook 2021

Whether you are a woodturner or not, there are plenty of things to do aside from watching shavings fly. The list of classes that family members can take grows each year. Some of the classes in past years include crochet (a lovely scarf), fusing glass (for jewelry), and paper crafting (handmade cards). The content of the classes varies from year to year - and they just keep getting better. There are multiple classes available throughout the day and some of them include field trips in Waco (quilt shop). Each day provides a myriad of opportunities to learn something new. You are even likely to leave with a few new craft pieces. You will certainly leave with new friends. Every member of the family is welcome at SWAT. Younger family members can even learn to turn a pen from seasoned woodturners.

The Southwest Association of Turners Symposium 2015 hosted its first Women in Turning gathering. Women in Turning is a virtual chapter of the American Association of Woodturners, that had its start at the 2014 AAW Symposium in Phoenix, AZ when Betty Scarpino organized a meeting of women to see if there was interest in forming a group focused on the support of women woodturners. There was definitely enough interest. If you are attending the SWAT Symposium this year, please plan to join our meeting. The time and place will be posted throughout the Convention Center and on the Rotation Schedule. Check out the group at: AAW Women in Turning

Southwest Association of Turners is pleased to announce a new program that we are sure will be a great benefit to our member organizations— Turners to Go. This page on our website will list the names of outstanding regional turners who would like to visit your club and demonstrate and/or teach hands-on classes. If you are interested in being one of our visiting demonstrators, please fill out the application form and forward it to Chairman Janice Levi at [email protected]. A committee will check the application for completeness before posting it on the website. Member organizations are invited to search the page by demonstrator name or by subject (hollowing, natural edge bowls, ornaments, etc.). References will be provided by the applicant. Demonstrator fees will not be set by SWAT but will be negotiable between the club and the turner. We hope that demonstrators and our member organizations will find this new program helpful in locating and securing qualified turners for club meetings and classes. Are you interested? Click on the link to be taken to an application form (Turners to Go Application). Your application will be reviewed by a committee before posting to the website. Thank you! We hope you find this program helpful.

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The SWAT Symposium took on the Beads of Courage program in 2010. SWAT's involvement was inspired by Craig Fyock, owner of Wood World, Texas. Each year the contributions for the Beads of Courage program exceeds the previous year. SWAT attendees and support of our vendors has made this possible. There were 149 boxes made in 2014. If you are not familiar with the program, visit the Beads of Courage web site www.beadsofcourage.org, it is really a heart-warming experience. If you want specific information regarding participation as a woodturner, or guidelines for making and donating your boxes go here: Beads of Courage Guidelines. If you plan to display any of your Beads of Courage "boxes", please complete the online form (Beads of Courage Registration form for SWAT 2021). It would be a very good idea to print it and bring a copy with you to SWAT. Note: The Beads-of-Courage entries will not be judged this year. A few images from 2018 to inspire you:

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President, Henry Pennell My first experience with a lathe was at a Woodworking Show in Dallas in 2009. Craft Supplies had a booth and invited me to make a pen. I was hooked. Later, I took a class from John Horn at Woodcraft, and bought a Jet mini lathe. I joined Dallas Area Woodturners (DAW) in November of 2010, and the demonstrator was Michael Hosaluk. Wow, I was mesmerized by his skill and the ease with which he handled his tools. I later became Treasurer of DAW in 2013, and most recently, President in 2017. I attended my first SWAT Symposium in 2013, and have been here every year since. I love talking to the other turners, seeing the demos and expanding my awareness of the various areas of our craft. I hope to help SWAT prosper and improve in the coming years.

1st Vice President, Tom Beatty My love of woodworking comes from my father and oldest brother who were carpenters and owned a cabinet shop in Virginia. At 3 years old, I received a tool box and have been woodworking ever since. My dad showed me how to turn bowls, lamps and table legs using an early 1950s era Shopsmith. Even though college, family life and engineering career took most of my time, I always had time for woodworking. In 2005, my lovely wife bought me a Jet mini lathe as a birthday present without knowing the future she was creating. I tried learning how to use my new lathe by reading books, watching videos and I making lots of shavings and turning lots of pens. In 2008, I met Larry Roberts, who introduced me to Woodturners of North Texas. Thanks to Larry and the club, I learned more in the next 6 months than I had working on my own for almost 3 years. After 4 years in the club, I was elected club Secretary, a job I held for 5 years. I started attending SWAT in 2012 and have attended every year since. I enjoy the learning experience that SWAT offers from world class demonstrators and vendors demonstrating their products and showing capabilities of new tools and equipment. I look forward each year to meeting old and new friends and sharing turning experiences. I am honored to be given the opportunity to help SWAT continue to be the world’s best woodturning symposium.

2nd Vice President, Pam Thompson After college and a few years in the workforce, my husband and I moved to Thailand and lived there for many years. How I wish my love of furniture making had developed by then because it would have been a great learning atmosphere. We moved on to 2 other continents before settling back in Texas. While I was overseas, my parents attended nearly every SWAT symposium from the very beginning. When we returned to the States in 2003, I attended my first symposium with my parents. I had NO idea what turning was but decided to take a little “vacation“ with them anyway. Soon after the symposium was over, my dad sent me his old lathe to try my hand at TOC Friday Saturday Sunday 15 29th SWAT Symposium turning. I can’t say that I was hugely successful, but I kept at it. Now, I’ve added a couple more lathes to my shop, and lots more tools. I will admit that building furniture is my first love. I started turning to add legs and other “parts” to my pieces. I spent several months studying furniture construction at the North Bennet Street School in Boston. Since that time, I have attended many fine woodworking schools all over the country and hope that I will still be able to continue my furniture construction education. I always look forward to attending SWAT and have only missed one in the last 16 years. Seeing old friends and meeting new ones each year, is a high point in my life. Serving on the SWAT board in 2019 as the chairman of the 3 for 1 raffle, was such fun. I look forward to spending the next several years on the Board and working for you to make SWAT a continued success.

Secretary, Betty Hager Woodturning is not my primary hobby, but being married to Stacey Hager; I have had some quality lessons and have turned several art objects. When I turned these I was using a Delta Midi lathe or Stacey’s 2436 One Way. I have attended this woodturning symposium since it was called TTT (Texas Turn or Two) and was held at the Maricopa Camp Ground. I remember the first time we attended a TTT symposium. The Maricopa location offered a few motel rooms and plenty of camp sites. There was a large barn where two demonstrations were staged and two smaller buildings for the other two demos; four choices at each rotation. The vendors were in tents! There were two to three tables where turners could display their work called the “Instant Gallery!” These early get-togethers were held in October. When the weather was great it was a perfect time of year…but we had two cold rainy years in a row. Something had to change. So we tried other locations – San Angelo, Temple, Wichita Falls…finally finding our current venue at Waco. Stacey and I were representatives from our Club (Central Texas Woodturners) when we transitioned from TTT to Southwest Association of Turners (SWAT). In 2008, I served as secretary to Steven Gottlieb when he was President of SWAT. I wrote a manual for the organization to provide some continuity from one year to the next. I have attended AAW and the Utah Woodturning Symposium and they are both wonderful, but what impressed me early on about our gathering was the spirit of friendship and willingness to share. The name tags at TTT always had your first name in large type…for everyone, turners and presenters. So everyone was on a first name basis. I watched David Ellsworth shoot long streamers of wood from his hollowing project, targeting friends in the audience. Rude Osolnik, gave me my first tuning lesson in a tent at the Powermatic booth. We have come a long way from those days, but I believe in this organization. Whether you are a beginning turner or an advanced artist, you will meet some great people at this Symposium and every time you attend you will learn something that will improve your skills.

16 Friday Saturday Sunday TOC Demonstration Handbook 2021 Treasurer, Dave Marshall Raised in a small cabin on the plains of Kansas, I started my woodworking and woodturning career early in life. After building my first, small lathe, I began my woodturning career by selling hand-turned toothpicks to local farmers and businessmen. My skill set grew tremendously during this period which culminated in my ability to use a scraper to turn almost any product on the lathe. When I was thirteen, I read with lust about turner David Ellsworth in in an old black and white edition of Fine Woodworking. That article vaulted me to turn (scrape) my first box and lid. A beauty of a specimen in black walnut. Form and function – perfect. The bottom lacking just somewhat as not being completely flat and bearing the hallmark of three screw holes that attached the faceplate. Still stunning today. Thirteen was the age a young student began his first year in Industrial Arts class in junior high school. After sweet-talking my Industrial Arts teacher, Mr. Anderson, he allowed me to come to shop before classes started for the day and turn all I wanted. He showed me the very basics of some of the limited tools we had available for turning. For some reason I don’t ever recall a lesson in sharpening these tools though… that probably explains my expertise with the scraper. I turned my heart out that year; sock darns, miniature baseball bats, candlesticks, miniature baseball bats, boxes, small plates, miniature baseball bats to name a few. Something happened. I think life, girls, schooling, college, my masterplan to escape Kansas tapered my turning time. Now don’t get me wrong, I tried to design and woodturn as much as possible. I’ve always loved the design and then build and then re-design cycle of creation. Maybe that’s why I became an Aerospace engineer. After graduation and landing in sunny Burbank, California, I got my first paycheck. I bought my first Shopsmith for my single-car garage/shop. I was on my way! Years later, and hundreds of projects later, we ending up in panther-sleepy Fort Worth. After starting a family, I began to look for a woodworking club to join, similar to ones I belonged to in California and Georgia. Not finding anything close by in the Metroplex, I ran across a magazine article featuring Devore Burc and its mentioning of a bunch of ragtags called the Woodturners of North Texas. Whoa… they met only three miles from my home! Their next meeting, I snuck in and grabbed a seat and was blown away by the demo. I was hooked again. I know that this is fascinating as all get-out, but long-story short, I joined that ragtag bunch and haven’t looked back. After a while, I was president of the Woodturners of North Texas. The glamour and prestige went to my head and I ruled the Club with an iron fist for four years. That group of ragtags became a lean, mean turning machine, I say. As a Club member, I became familiar with the South West Association of Turners and attended my first SWAT symposium. Blown away, again! Unbelievable talent…and some of the other turners weren’t that bad either. I’ve been Treasurer of SWAT for a few years now and can almost make the budget numbers add up - between turning projects. The remainder of my free time is spent….wait, I have no free time outside of SWAT. Other activities I do between SWAT projects are spending quality time with my wife, devotion to my new career in the Oil and Gas business, I’m also Treasurer of a professional organization (North Texas Measurement Association), eating, sleeping… well, you get the drift. I am truly honored to be associated with SWAT and every year look forward to the unbelievable talent and skill that you all bring to Waco!

TOC Friday Saturday Sunday 17 29th SWAT Symposium PAST President, Gordon Graves I was first introduced to a wood lathe in 1960, in 7th Grade wood Class. Mr. McDonald, my instructor, helped me attach a face plate to a chunk of maple. Took me three weeks of class to turn my Dad an ashtray. I still have that ashtray. After high school and college I started farming, forty- two years later I retired. During that 42 years I put together a good woodworking shop. Farming was always my first love, but woodworking came a close second. I bought my first lathe in 1992, a small Craftsman bowl lathe. In 2013 I decided I needed a bigger lathe, but during the hunt I found something much more valuable, The Southplains Woodturners Club. Mr. Glenn Williamson, one of the founding fathers of our club, sold me a lathe and sold me on the club. I joined the club shortly after and have attended many classes, beginners and intermediate. I am now helping to teach these same classes as well as serving as the club treasurer. I attended my first SWAT symposium in August of 2016 and was amazed at the number of people who were interested in woodturning. Everyone I met was friendly and helpful. I am looking forward to helping to carry on the proud tradition of SWAT.

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Abbr Chapter Area AW Acadiana Woodturners Lafayette, LA AW Alamo Woodturners San Antonio, TX ALT Ark-La-Tex Woodturners [email protected] Texarkana, TX BW Bayou Woodturners New Orleans, LA BLT Borderline Woodturners [email protected] El Paso, TX BVW Brazos Valley Woodturners Waco, TX CAW Central Arkansas Woodturners Hot Springs, AR COWA Central Oklahoma Woodturners Assn Oklahoma, OK CTWA Central Texas Woodturners Austin, TX CBW Coastal Bend Woodturners Corpus Christi, TX CTW Comanche Trail Woodturners Midland, TX CVW Concho Valley Woodturners San Angelo, TX DAW Dallas Area Woodturners Dallas, TX DSW Diamond State Woodturners Jacksonville, AR ETW East Texas Woodturners Association Tyler, TX GTW Golden Triangle Woodturners Denton, TX GCW Gulf Coast Woodturners Association Houston, TX HCT Hill Country Turners Kerrville, TX HCW Hunt County Woodturners Greenville, TX NEOWTA Northeastern Oklahoma Woodturners Assn Tulsa, OK NWOW Northwest Oklahoma Woodturners Enid, OK PAT Panhandle Area Turners Society [email protected] Amarillo, TX SPW South Plains Woodturners Lubbock, TX STW South Texas Woodturners Victoria, TX SEOW Southeast Oklahoma Woodturners [email protected] Idabel-Broken Bow, OK WFW Wichita Falls Woodturners [email protected] Wichita Falls, TX WNT Woodturners of North Texas Ft. Worth, TX

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Demonstrator Project Page Nick Agar Bronzed Platter 21 Viking Sunset Bowls 22 Sally Ault Making an Heirloom Baby Rattle 24 Stuart Batty How Learning Spindle Turning Improves Your Bowl Turning 26 Bowl Turning Fundamentals 27 Dennis Belcher How Cracked Wood Becomes an Opportunity 28 Robert Blanford Segmented Pens 33 Neal Brand Turning Spoons 44 Christian Brisepierre Spherical Music Box 47 Jim Bob Burgoon Utilizing Burls and Slabs for Wall Art 51 Colin Chalmers Natural Edge Bowl 54 Nick Cook Production Turning 55 Turned Table Lamp 71 Rebecca DeGroot Walking Mushroom 73 Mini Aquifer 74 Linda Ferber Mark Making with Power 81 Karen Freitas Twisted Snowman Ornament 83 Twisted Pen 84 Jim Hinze Custom Pen Making 85 Jeff Hornung Hollow Form Inlay 91 Scottish Ring Handled Bowl 94 Alan Lacer Skew Chisel: Darkside and Sweet Side 97 Janice Levi Surface Enhancement from “A” to “Z” 106 Sammy Long Embellishing Your Woodturning Project with Relief Carving 110 Matt Monaco Turning Wood Pottery 114 Jeffrey Neff Turning a Half Bowl 116 Joanne Sauvageau Carving Goblet Stem Spirals 118 Rubber Stamping Embellishment 119 Stenciling Embellishment 121 Don Ward 360 Herringbone Pen Blanks 122 Pentel Conversion 128 Cory White Turning and Sculpting a Flowering Vase 133 Tim Yoder Banksia Pod Egg Box 137

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with Nick Agar Bronzed Platter

Turning platters offers many variations in choice of shape and design. both the foot and rim of the form each offering the possibility to enhance the work as a whole. Platters are also a great shape to practice gouge presentation. In this demo I will show some methods I use to carve and bronze the foot and the rim using reactive paints as well as other gilding methods. Turning tips, the grind /shape and type of gouge you may choose will be discussed and I will look at push pull and shear cuts while turning the form before decorating with an ancient bronze look to finish.

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with Nick Agar Viking Sunset Bowls 1. Turn your bowl / platter. Sand to 400 grit and texture the surface using your chosen tools e.g. Knurls . Punches , pyrography leaving no damaged or torn surface -e.g. No raised grain or fibres. 2. Paint and seal the surface to be gilded: a. Paint the outside of the bowl with the (chroma -craft ) black wood dye .we find using an airbrush works best to lay a controlled amount of colour on the surface. b. Seal the black with ( chroma craft ) clear sealer using light coats with an air brush for best results. 3. When dry: a. Wear a vinyl / nitride glove that is a tight fit on your fingers. b. Squeeze a very small amount (e.g. The size of grape seed ) of Chroma Gilt viking sliver onto the index finger tip and rub finger and thumb together so you have an even film of Chroma Gilt on your finger tip. c. Now carefully rub the product ON TO the surface taking care NOT to push the silver into the lower textured surface created by texture tools you have used. d. This lower surface should remain black and gives the illusion you want that makes the design stand out / pop. 4. When the Chroma Gilt is dry (6- 24hours) spray a light "fog of " WRU -20 over the gilded area only . This gives long lasting integrity to the finished surface. 5. Repeat when dry to the desired finish. Tips • Various woods and good surface preparation all effect the outcome and with a little practice you should achieve great results . • We recommend close grained wood like maple for the best outcome . • Any combination of colours can be chosen for the inside of your bowl but for the sunset effect do the following . o Starting with the yellow and with the lathe rotating at around400-600 rpm spray from the Bottom inside the bowl up to the rim repeating until a desired color is reached. o Then with the Orange spray from the TOP heading down inside the bowl to a point around 2/3rds from the bottom and not covering but blending into the yellow in the bottom 1/3rd. o Now spray the red from the TOP of the bowl to about 1/3 rd from the top easing off the trigger and blending the red into the orange.

22 Friday Saturday Sunday TOC Demonstration Handbook 2021 • Our awesome clear acrylic lacquer is used for finishing to give the shine on the coloured interior surface of your bowl. o When the color is dry spray sparingly. o and remember several light coats will achieve the shine you are looking for so don't spray to heavy and you will avoid runs. Notes • Wear appropriate safety gear. • Practice first. • Any decorated interior boss or rim will need your consideration during the process.

Now stand back and admire your amazing piece of work. Congratulations .. you have just made one of the most striking bowl designs in the world.

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with Sally Ault Making an Heirloom Baby Rattle

Learn to make a very special gift for a baby. These heirloom rattles will be passed down for generations and will hold a special place in the history of the baby’s family.

In this demo you will learn how to design a rattle including the government guideline for safety, choose the right wood, make a tenon, use a parting tool, spindle gouge and skew. You will learn how to drill on the lathe and hollow a small hollow form, create an appropriate handle that fits a baby’s hand and how to glue the parts together with jingle bells inside. Baby safe finishes are also discussed.

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with Stuart Batty How Learning Spindle Turning Improves Your Bowl Turning

The vast majority of woodturning is spindle turning from boxes to weed pots. This demonstration covers the fundamentals cuts that create all the shapes possible for spindle and bowl turning. Stuart will explain when gouges outperform chisels and vise-versa.

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with Stuart Batty Bowl Turning Fundamentals

Stuart will be showing how to turn any shape bowl with no torn grain using the 40/40 and bottom bowl gouge. Stuart will also be covering how to effectively use negative rake scraping to improve the final shape and reduce sanding.

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with Dennis Belcher How Cracked Wood Becomes an Opportunity

Butterflies / Dutchman 1. Read the crack and determine placement and size of butterflies. 2. Mark center-line of each butterfly. 3. Position template over marked center-line and hot glue template in place. 4. Set depth router bit to twice the thickness of the template. Be careful that the depth of cut does not penetrate the wall. 5. Drill a starter hole for the router bit in the center of one wing to control the bit when the router is first started. Drilled depth should equal the depth of the routing. 6. Clean out any hot glue spillover in the open space of the template. 7. Position the router bit in the starter hole. Route, follow the walls of the template first and then clearing the middle. Wear earplugs and a mask to protected yourself. 8. Use a blow dryer to heat the template for easy removal. Strike the template on its edge to break the hold of the hot glue. Do not strike the face of the template. It will break the template. 9. Hot glue can be removed from the turned form with a pocketknife. Blow dryer makes it easier. 10. The template can be cleaned with hot water and / or a blow dryer. 11. Use yellow carpenter's glue to affix the butterflies in the routed hole. Wipe off any excess glue. 12. Allow the glue to dry overnight and then sand to the level of the form.

28 Friday Saturday Sunday TOC Demonstration Handbook 2021 Splines 1. Place the form securely in a chuck. 2. Read the wood and mark the position of the splines – Mark #1 3. Measure the distance from the bottom plate of your biscuit cutter to the beginning of the slot for the cutting blade. On mine the distance is 5/16 inch. 4. Draw a line (Mark #2) on your form that is 5/16” distance below Mark #1. 5. Hot glue a waste block on your form with the upper edge at Mark #2. Be careful that the waste block is parallel to the upper edge of the form. 6. Position the biscuit cutter on the waste block and verify that it is secure. 7. Set the biscuit cutter to the size of your choice. 8. Cut the biscuit slot. 9. The length of the slot can be increased by moving the biscuit cutter along the waste block. 10. The biscuit slots can be “walked up the wall” by placing shims of appropriate thickness on top of the glued waste block. 11. Create biscuit stock from wood of a contrasting color. Stock should be the same thickness as the biscuit slot. 12. Using a standard biscuit as a template, trace the outline onto the biscuit stock. 13. Only one edge of the biscuit needs to be cut. 14. Cut the new biscuit on a scroll saw or by hand. This is a dangerous operation on a band saw. 15. Use yellow carpenters glue to glue the spline into the wood. 16. Fill any gaps with a mixture of carpenter's glue and sawdust. 17. Allow to dry overnight. 18. Use a small hand saw to cut away the excess biscuit stock. 19. Sand the spline to the level of the form. 20. Make your final cuts and sand as normal.

TOC Friday Saturday Sunday 29 29th SWAT Symposium Lacing 1. Select a pattern from books on leather working or search the internet for tennis shoe lacing patterns. 2. Select your material. 3. Determine how the lacing will end. 4. Put a transparent grid overlay on your work and layout the pattern of holes on the overlay. Mark each hole. 5. Use an awl to set each hole in the wood. 6. Using a small starter drill bit, drill the hole through the wall. 7. Switch to a larger bit and enlarge the hole to an appropriate size for the lacing material. 8. Lace the pattern. 9. Secure the ends. Staples 1. Select the staple material. 2. Layout the location of the staples on a transparent grid. 3. Position, and then tape the grid overlay to the form. 4. Mark position for each leg of each staple. 5. Start each hole with an awl. 6. Drill a hole “tight” to the staple material by using the staple material as the drill bit. 7. Do not go through the wall! 8. Form the staple making sure that it is sized to the hole depth and span. 9. Form a barb on each end of the staple by squeezing the very end of the wire with pliers 10. Put a bit of yellow carpenter's glue in each hole with a toothpick. 11. Tap the staple firmly into the hole 12. Remove any glue squeeze out

30 Friday Saturday Sunday TOC Demonstration Handbook 2021 Hand forged Copper Staples 1. Romex house wire is an excellent source material. For thinner staples use 14-gauge wire, for wider staples use 12 or even 10 gauge wire 2. Flatten the round wire with a hammer against a flat piece of steel or an anvil. 1. Any imperfections in the anvil surface will be transferred to the wire. 2. Use a transparent overlay with grids taped to the form as you layout for the staples holes 3. Mark the leg holes with a marker on the overlay 4. Start each hole with an awl 5. Drill a hole through the wall with a small diameter drill bit. 6. Drill again with a drill bit sized to the width of your staple 1. Masking tape applied to the inside wall minimizes drilling blowout. 7. Insert the flattened copper wire through the hole with sufficient length to extend past the half way point of the span. 8. Bend the staple on the inside making sure that it goes past the midpoint of the span. 9. Bend the staple on the outside of the form and through the second hole 10. On the inside of the form, bend the staple tight to the form. 11. Cut each leg so that the ends meet in the middle. Cut It Out 1. Repair strategy depends on location of the flaw. 2. For cracks at the rim sanding disks are a good shape. Also look at line art on the Internet for other ideas. The zoom feature on your printer can be used to size it appropriately. 3. Cracks across the bottom can be cut out and replaced wood that highlights the repair. 4. One can insert an unexpected object in a flaw – a zipper is only one choice. 5. For the zipper insert, layout the pattern on graph paper and cement it to the form before cutting the slot. 6. Use a hand saw for control. Clean up the cut lines with a rasp and sandpaper. 7. Route a slot around the cutout for the zipper cloth. 8. Zipper is held in place with yellow glue in the slot. Apply with a toothpick.

TOC Friday Saturday Sunday 31 29th SWAT Symposium Rope it Up Texas Style 1. Have on hand 3/8-inch rope and copper pipe. 2. Cut a shallow grove on the form to keep the rope for sliding down the form. 3. Use painter’s, or electrical tape, to tape up one end of the rope. 4. Cut the taped end leaving about a 3/8” of tape. Leave a neat end. 5. Clean the copper tubing until it is bright and spray with a clear lacquer to retard tarnish. 6. Cut about a one-inch piece of tube with a pipe cutter. 7. Put a glob of hot glue or epoxy in the tube and insert the taped end of the rope. Hold until the adhesive sets. 8. Use a spot of hot glue to position the tube where it will sit. 9. Loop the rope around the form and into the midpoint of the tube. 10. Tape the rope where it needs to be cut, again leaving some tape. 11. Drops of hot glue in the shallow grove aid in keeping the rope tight to the form. 12. Insert adhesive into the pipe and insert the rope end. 13. Hold until the adhesive sets.

Resources Transparent vinyl graph overly – EZ Quilting #88882670027 Quilter’s Template Plastic Assortment. Router Template Guide – Freud FT1500 Inlay Template Guide Set with Router Bit. Butterflies are from Big Island Engraving.com. Templates and supplies. Additional information can be found on my website – DennisBelcher.com under the “Demonstrations” tab.

32 Friday Saturday Sunday TOC Demonstration Handbook 2021

with Robert Blanford Segmented Pens

Four Segment Blank For this blank, start with four blanks of different woods. The process will yield four unique blanks. You could perform this process with only two blanks to change the overall look. Start by squaring your blanks. They must be perfectly square to ensure easy alignment for cutting. I use a shop made jig for jointing my blanks on the table saw. The jig grips the blank and I allow just a small portion to overhang the edge of the sled for squaring. This jig can square two blanks per pass. Once the blanks have run through the blade, I mark them with an “X”. I then place the “X” side face down on the jig and run the second side through the blade, again marking it with an “X”.

TOC Friday Saturday Sunday 33 29th SWAT Symposium With two sides of the blanks jointed, I use the table saw fence to square the remaining two sides. Set the fence so that the blade will only shave the edge off of the blank. Use a feather board to keep the blank square against the fence. Orient the blank so one “X” is on the table and the other is against the fence. Run the blank through the blade then flip it over again ensuring the “X”s are against the fence and the table. Shave the remaining side and your blank is perfectly square. Start by taping two of the blanks tightly together with painter’s tape. Cut the blanks in a random pattern on the band saw avoiding sharp corners. Swap the halves of the blank pairs. Cut strips of veneers the width of the blank and just a slight bit longer.

Glue the veneers into the blanks and clamp them tightly. I like to use Titebond II. Spring clamps do a nice job holding the blanks while they dry.

34 Friday Saturday Sunday TOC Demonstration Handbook 2021 Swap the blanks into sets of mixed woods.

The blanks should be dry enough to proceed Ensure the previous cuts are facing the same after 20 minutes. direction. Tape the blanks together tightly. Cut them on the band saw in random patterns avoiding sharp corners.

Swap the halves of the blanks ensuring you have one of each type of wood in each blank.

Cut strips of veneers the width of the blanks and just a slight bit longer.

Glue the veneers into the blanks and clamp them tightly. Once the glue fully cures you will have four unique blanks to turn.

TOC Friday Saturday Sunday 35 29th SWAT Symposium

Eight Segment Blank For this blank, start with eight blanks of different woods. You could also use just two or four blanks of different woods to develop a repeating pattern. Start by squaring your blanks. They must be perfectly square otherwise the diagonal cut will not be true, and the blanks will not properly align for glue up. I use a shop made jig for jointing my blanks on the table saw. The jig grips the blank and I allow just a small portion to overhang the edge of the sled for squaring. This jig can square two blanks per pass. Once the blanks have run through the blade, I mark them with an “X”. I then place the “X” side face down on the jig and run the second side through the blade, again marking it with an “X”.

36 Friday Saturday Sunday TOC Demonstration Handbook 2021 With two sides of the blanks jointed, use the table saw fence to square the remaining two sides. Set the fence so that the blade will only shave the edge off of the blank. Use a feather board to keep the blank square against the fence. Orient the blank so one “X” is on the table and the other is against the fence. Run the blank through the blade then flip it over again ensuring the “X”s are against the fence and the table. Shave the remaining side and your blank is perfectly square. I have another shop-built jig for cutting blanks at a 45 degree angle.

This jig rides along the table saw fence so it can be used with any saw. Place the blank into the jig with both “X”s facing up. Using a scrap block of wood, hold the blank in the jig while cutting to avoid movement and achieve a smoother cut.

TOC Friday Saturday Sunday 37 29th SWAT Symposium The jig will split the blanks into two Isosceles triangles that will have a 90 degree angle and two 45 degree angles. Lay one of the blanks flat on a table with the 90 degree angle facing up. Place glue on one of the short sides then attach a second blank to it with the 90 degree angle facing away from the glue up. (I use Titebond II)

Glue all eight pieces in this manor to form four glue ups.

Allow the glue to thoroughly dry.

Once the glue dries, lay the two segments side by side, flip one of the segments up 90 degrees and glue it to the other segment to form one half of a blank.

Repeat for the other two blanks.

Allow the glue to thoroughly dry.

Once the glue is dry, the two halves of the blank can be glued together. Test the halves to ensure they are perfectly flat before gluing. If they are not flat, lay some sandpaper on a flat surface, mark the bottom of the blank with a pencil and swirl the blank on the sand paper until the pencil marks are gone. Glue the two halves together.

38 Friday Saturday Sunday TOC Demonstration Handbook 2021 Allow the glue plenty of time to dry. Cut the uneven ends off of the blank on the band saw to square it up as best as you can. Locate the center of the blank where all the pieces meet and mark it with a punch tool.

Place the blank on the lathe between centers with the flat sides facing away from you.

True the blank.

I like to use my pen jaws to hold the blank while I drill the proper diameter hole down the center for tubing. At this point, you’re ready to glue a tube into the blank and turn a one-of-a-kind pen.

TOC Friday Saturday Sunday 39 29th SWAT Symposium

Modified Mechanical Pencil The modified mechanical pencil that will be described in this document is made using a standard Slimline Pencil Kit – (PKSLFUPLCH). The idea behind the modification is to remove the center band therefore lengthening the overall blank and enhancing the appearance by showing more of the blank being used. Almost any kit with a screw in nib can be used to make this modification. Examples: Pencil Kits Pen Kits Slimline Pro Pencil – (PKPCLXXCH) Slimline Pro Click Pen - (PK-PENXXCH) Comfort Pencil – (PKCFPCLP) Duraclick Slim Pen - (PKDUSLIMCH)

Measure the tube length: 2.0” Multiply by two tubes: 2.0” X 2 = 4.0” Measure the width of the center band: 0.25” Add the center band measurement to the tube measurement: 4.0” + 0.25” = 4.25” 4.25” is the length of the new tube you will need to cut.

Using a 10” tube, measure off 4.25” and mark the tube.

For this project use the 10” X 7mm tubes: (PKT7-10.) Be sure you choose the proper diameter tubes for the kit you are using.

40 Friday Saturday Sunday TOC Demonstration Handbook 2021 There are many ways to cut your tubes. This is a small tube cutter from the Big Box Hardware Store. Place the tube into the cutter and slowly rotate it while periodically tightening the knob to press the cutting wheel into the tube.

The finished tube can be longer than 4.25”. Be careful not to make it shorter.

The tube will be beveled where the cut was made.

I use a squaring jig on a disk sander to clean up the bevel.

Start by selecting the proper diameter punch and inserting it in the jig. Leave a short distance between the punch and the sanding disk.

Place the tube onto the punch and spin it against the rotating disk to clean up the bevel and reduce the length to 4.25”.

TOC Friday Saturday Sunday 41 29th SWAT Symposium The PK-7MM drill bit is longer than a standard 7mm bit at 5 3/8” in length.

Drill into the blank slightly over 4.25”.

After drilling the blank, measure the length of the tube against the blank and mark it.

Cut the end off of the blank to reveal the hole down the center for the tube

Use a Mid Cure 15-minute two-part epoxy for gluing the tubes into the blanks. Spread some painter’s tape on your tabletop to create a disposable mixing surface. Play-Doh is a great inexpensive way to plug the ends of your tubes. A wood match stick makes a good stir stick.

42 Friday Saturday Sunday TOC Demonstration Handbook 2021 Plug one end of the tube.

Thoroughly mix the Epoxy.

Spread Epoxy on the tube and insert it into the blank

Once the Epoxy cures, square the ends of the blank.

Turn the blank as you normally would using the standard bushings for the kit.

Finish the blank using your favorite method.

Lay out all of the three pencils parts. Press the pen together, using the instructions, minus the center band.

TOC Friday Saturday Sunday 43 29th SWAT Symposium

with Neal Brand Turning Spoons

There are two things I don’t liked about how people usually turn spoons. One is that there is no choice in the shape of the hollow part of the spoon, it is always round. The second is that the hollowing process requires mounting the spoon so that the handle dangerously spins around like a propeller. I intend to show an alternate way to make spoons that allows the turner more flexibility in shaping the spoon and eliminates the need for a spinning propeller. I will also talk about how to make jigs required for the process. Spoon Turning Material List Wood blanks: Two 1” x 3” x 12” (I prefer hard maple.) Hollowing chuck: • 1 ¾” diameter 8” Lathe Buffing Extender (Available at Woodcraft, Grizzly, and other suppliers.) • 1 ¾” x 3” x 6” drilled blank (Any wood, I used two 2 by 4s glued together.) • 2 - 3” x 5” U bolts (Available online at Bolt Warehouse and other suppliers. I only found 6 inch, so I cut off 1 inch.) • 2” long 3/8” bolt (16 tpi) • Washer to fit bolt

44 Friday Saturday Sunday TOC Demonstration Handbook 2021 Safety shield: 3” x 3” thin square (plastic or wood) • Corners drilled for small screws • Center drilled for hollowing entrance

Live center attachment: Make to fit threads of your live center. • Two slots 1/8 or 3/16 inch wide o One with one edge at center o The other centered at ½” off center of attachment

Inflatable Round Dome Sander is very helpful. (Available online at Amazon, Rockler, Woodcraft and other vendors of woodturning supplies.) Or make your own round dome sander. Belt or disk sander. Can use lathe to make a disk sander. Standard spindle turning and hollowing tools. Directions for Turning Spoons • Attach two 1” X 3” X 12” blanks on opposite sides of the hollowing chuck with an overhang of 4.5 inches. Use small screws to attach the safety shield centered on the overhanging ends of the two boards. Hollow the scoop part of the two spoons through the safety shield. • Remove the safety shield and mark the edge of the hollow. • Turn the outside of the scoop part of the spoon, staying 1/4 inch or so from the marked edge. Stay further than ¼ inch from line when you are near where the handle meets the scoop part of the spoon. • Remove blanks from hollowing chuck and use a bandsaw to cut as shown below.

TOC Friday Saturday Sunday 45 29th SWAT Symposium

• Mount one spoon on the lathe using a small steb or spur drive and the live center attachment in the slot further from the center of the attachment. Make sure you mount the blank so that it is centered with respect to the hollow. Check by hand turning the spindle and check that both sides just touch a fixed finger. The hollow should face the center of the attachment. • Turn closer to the marked edge, keeping at least 1/16 inch from the mark. Try to make the distance uniform along 2/3 of the scoop away from the handle. In the other 1/3 you can cut closer but be sure to check the spoon bottom and try to minimize the ridge between the two cuts without cutting too close to the edge mark. • Keeping the blank in the spur drive, move the scoop end to the center slot. One edge of the slot is centered on the live center attachment. The centered edge should be against the bottom of the spoon blank while the non-centered edge should be against the top or flat part of the spoon blank. As before, make sure the blank is centered. • Touch up the edge of the hollow to make the distance of the cut to the marked edge uniform except where the blank connects to the live center and near the transition from the scoop to the handle. • At the transition, pay attention to the ridges on the back of the spoon and try to minimize them, while keeping away from the marked edge of the hollow. Typically, there is a ridge that needs some sanding to be done later. • Turn the handle. Put whatever decorations you want on the handle, such as burnt lines, beads, blood stains, and so on. • Sand the handle and part the spoon from the lathe. I sand to 400 or 600 grit. • Sand both ends to shape. It helps to use a belt or disk sander. • Sand the scoop area of the spoon either by hand or using a 1 ¾ inch round dome sander. (Dome sanders are commercially available or you can make your own. Hand sand or use the round dome sander, a belt sander, or a disk sander to smooth the back of the spoon. I do not apply a finish since the finish will come off anyway after a little use and who wants finish in their soup!

46 Friday Saturday Sunday TOC Demonstration Handbook 2021

with Christian Brisepierre Spherical Music Box

Making a Music Sphere: Planning and Precision using a Sphere Jig The idea of making a spherical music box came to me when I was thinking of making some Christmas gifts for the grandkids. I was into making hollow spheres at the time, so I researched if anyone had come up with the same idea to put the mechanism inside a sphere. I did find one example, but it was using a big key to rewind the music box. This did not appeal to me, so I came up with the idea of using one of the hemispheres as a key. Using a sphere jig helps with the precision required to execute the project, although it is not indispensable. The elements are: a music mechanism and a rewind key. Music Mechanism I use the 18 notes Standard Sankyo. There are some other brands that have the same hole pattern. -The membrane holding the mechanism at the center of the sphere is thin plywood 1/8” thick. The hole pattern and dimensions are shown in Figure 1, with the gray measurements representing the distances from the midline.

TOC Friday Saturday Sunday 47 29th SWAT Symposium The Hemisphere as a Rewind Key Figure 2 is a cross section. Note that the 88.5 mm is the minimum dimension of the inside of the sphere. The wall thickness is up to you, but the movement has to be able to move the hemisphere key, so the lighter the better. There are two design possibilities in making one of those Music Sphere: One is to have a foot at the bottom of the hemisphere containing the movement. The other is to make a complete sphere and accommodate a separate support or base later. Having in mind that you are basically making a box, use a well-seasoned piece of wood at least 4” x 4” x 8” or longer if you want to turn a base to the sphere. Turn a cylinder as big as possible and create a tenon at each end, corresponding to the chuck you own. After mounting the cylinder in the chuck and making sure it is well seated against the jaws using the tailstock, separate top and bottom using a thin parting tool, leaving a center small enough to break off with the lathe stopped. The section attached to the chuck will provide the hemisphere key. I suggest making the membrane slightly oversized so it can be turned down to fit to the recess in the movement hemisphere. Precision is critical to ensure the spring shaft is exactly in the center of the membrane. There is a center cone in the hemisphere key that will receive an aluminum rod, threaded to match the key stub on the mechanism. The Sankyo movement uses 3.5 mm 0.6 thread. I use aluminum for the ease of working and tapping using our woodturning lathes and chucks. The rod diameter I use is 8 mm, but larger would be fine. It is important to bore the hole in the cone larger than the shaft diameter. Centering everything properly is the goal, and the oversized hole will allow the aluminum shaft to stay centered when glued with epoxy. I score the aluminum shaft with a skew on its side to give more mechanical hold to the epoxy. I bore the center hole 0.5 mm larger than the shaft. The hole in the center cone is bored using a drill chuck and the proper size bit. Creating a small V cut in the center with a skew before using a drill bit will keep it centered. Before hollowing the hemisphere key, remove most of the wood using a spindle or bowl gouge. The key hemisphere has a tenon to fit the bottom hemisphere about 5 mm long. It will be cut down to make room for the membrane at a later stage. Cut the tenon only after removing most of the inside and outside to relieve the stresses in the wood. Once the shoulder of the tenon is established, you can install the sphere jig in place, aligning it with the bottom of the tenon (the equator of the sphere). I start with the inside of the sphere, moving the cutter out of the way when some refinement on the center cone must be done. The inside diameter should leave a wall thickness at the tenon of about 2 mm to 2.5 mm. The outside diameter is greater than the final dimension at

48 Friday Saturday Sunday TOC Demonstration Handbook 2021 this stage. Go as far as possible shaping the hemisphere and finishing, cutting it off with a skew, a bedan, or a thin parting tool. Mount what will be the movement hemisphere in the chuck, face the end, and start removing wood from the inside and the outside with a gouge before creating a rabbet inside the sphere to accept the tenon of the key hemisphere. The fit should be fairly tight without stressing the wood. The depth of the shoulder should be just enough so the two halves close tightly. Using the sphere jig, finish shaping up the inside, then the outside, leaving about 1-1/2” material at the base of the hemisphere. Now the edge of the hemisphere is the equator of the complete sphere. Take care to align the jig precisely. Now the two halves can be put together after establishing what the final diameter will be. It is best not to rely on the friction fit but to use the tailstock with a blunt live center to hold the two parts together. The sphere jig has not been moved and can now be used to work around the equator and as far up and down as the tailstock will allow. Take small cuts, threading the cutter forward and listening to the sounds. Vibrations will result in a poor surface quality. Once the final diameter is reached, wrap masking tape around the equator to hold the two parts together, remove the tailstock, and finish the upper part of the sphere. If you want the sphere to have a base, now is the time to design it. Then sand and finish the piece. Skip this next step if you want a whole sphere with no attached base and go to “Complete Spherical Music Box.” Before parting off the base, flip over the key hemisphere and insert it inside the base with a paper towel in between. Use the live center inside the hole in the cone to press it against the base. Use the toolrest and a smooth piece of wood or metal to push against the tenon until it runs true. Increase the tailstock pressure, then reduce the size of the tenon both in thickness and in length sufficiently to leave enough room for the membrane, ensuring that the tenon will not rub against the membrane or the edge of the base. Making a base part of the music box is the easier case. We do not need to remount the sphere after separating it completely to remove the stub on the movement hemisphere. Complete Spherical Music Box If you choose to make a music sphere without an attached base, part off the hemisphere movement, leaving a small excess cap. Using the sphere jig, create a spherical cap in the wood left in the chuck. Make it as big as possible, but make sure the diameter is less than the one of the music sphere. Soften the edges a bit to minimize marring your sphere. In the live center, I use a similar spherical cap made of wood or other material. Assemble the two halves together and use 3/4” masking tape around the equator. This somewhat will prevent the sphere from deforming when put between the two spherical caps. I suggest you put the same thickness of masking tape 90° to the equator but only where the sphere is in contact with the drives. The axis of the lathe should go through the equator. Using the sphere jig, remove the excess wood. To align the sphere jig, rotate the jig from one side to the other until you can assess it is perfectly centered with the lathe off. Turn the lathe on as fast as comfortable and take very small bites. Eventually the masking tape will start to be scored. Remove that portion and continue until the excess cap is almost all removed. It is easier to hand sand a slightly protruding cap than to deal with a scoring below the surface of your finished sphere.

TOC Friday Saturday Sunday 49 29th SWAT Symposium Remove all the masking tape showing and sand the portion showing. Remove the remaining masking tape and sand the sphere, rotating it partially. There is no masking tape so be gentle with the pressure of the tailstock, enough to drive without slippage but not so much as to deform the sphere. Apply your choice of finish. Shorten and thin down the tenon on the hemisphere key so there will be no contact when the membrane is installed. That can be done using the hemisphere cap in the tenon and pushing on the cone with the tailstock. Use the same technique as before, to align the hemisphere key in place before using full pressure with the tailstock. After shortening the tenon, sand and wax it to minimize friction. Finishing Either Music Box Turning the membrane to size can be done using the center hole for alignment on a small tenon. It should fit inside the hemisphere movement precisely without force. After mounting the movement to the membrane, one could glue the membrane to the hemisphere, but I prefer to use two screws to hold the membrane to a semicircle hot glued to the inside. I use basswood or any tight grain softwood. Having access to the movement might be nice if you need to change it or for maintenance. Finally, for either version of the music box, it is time to epoxy the shaft. First screw it on the movement, then coat the inside of the hole in the cone with 5-minute epoxy. The hemisphere movement is on the top so as to avoid the epoxy running in the movement. Wrapping masking tape around the equator helps with the alignment of the two hemispheres. After the glue sets, turning the hemisphere key will rewind the movement and play the tune. To separate the two halves, unscrew the top. In case you have a bit of friction interfering with the rotation, you can use a small washer at the base of the aluminum rod. If the steel harp on the movement sticks out too much and touches the inside, you can grind the end of it on your grinder.

50 Friday Saturday Sunday TOC Demonstration Handbook 2021

with Jim Bob Burgoon Utilizing Burls and Slabs for Wall Art

Burls have to be the wood turner’s Kryptonite! The fascinating features of burls such as squirrely grain, spalting, negative space, and live edge give turners many design opportunities to utilize. Many times, what you do prior to turning the burl will influence the outcome of your finished piece. We have heard the term “think outside the box” many times. The main focus of this demonstration will be techniques to utilize to create more appealing turned wall art. The real challenge when using burls to create wall art lies in safely mounting the blank to utilize all their decorative features. When beginning to plan for wall art, 1” easel size graph paper is a useful tool. Begin your design session by tracing the outline of your burl onto the large sketch pad. To scale down your sketch to a manageable size, create a Cartesian Coordinate system roughly centered on your sketch Now using 8X11”- ¼” graph paper, repeat the process. By locating the x,y coordinates where the large burl sketch fall, you can duplicate the same pattern on the smaller graph paper successfully by connecting lines dot-to-dot. By creating a sketch, you can experiment with different design radii to find the most appealing layout for your unique burl prior to mounting it. This technique is particularly useful if the center of your design is going to be off centered on the burl. Off centered designs can take advantage of the negative space characteristics many burls have. Wikipedia Reference – Negative Space Negative space, in art, is the space around and between the subject(s) of an image. Negative space may be most evident when the space around a subject, not the subject itself, forms an interesting or artistically relevant shape, and such space occasionally is used to artistic effect as the "real" subject of an image. When turned elements extend into the area of the blank where you cannot see the entirety of the circle, your mind will see them as a whole circle. This utilization of negative space can add visual interest to your wall art. Many burl slabs will have at least one flat edge due to harvesting methods. What to do with the flat side can be an impediment to many turners. The simplest approach to dealing with the straight side is to create an arc.

TOC Friday Saturday Sunday 51 29th SWAT Symposium The top left edge of this burl utilized this technique. If your burl has a long straight edge, another design option you can use is book matching. Book matching is a very old technique where a blank is resawn, opened like a book, and glued back together. To achieve the best match, the edge of the blank that will become the glue line should be straight and square prior to resawing. To prevent clamp jaws from marring the live edge, clamping boards can be hot glued to both faces of each half, parallel to the edge to be glued. A book matched blank will yield a grain pattern that will be mirror image. When turning a book matched blank, minimal material removal will preserve the mirrored pattern.

MOUNTING The absolute safest way to mount your turning blank is to attach a large platen board to a 6” faceplate, using sheet metal screws, to act as a backer board for your burl slab. The burl blank should have a flat face for the best attachment to the faceplate platen. I have utilized an open-end drum sander to create the flat face for mounting. The slab can be attached to the platen board by means of screws, double stick tape, or hot glue. If utilizing screws, assure the mounting locations do not interfere with areas to be turned. Since burls tend to have an irregular outside shape, MDF can be utilized to build up a sacrificial boundary around the burl. The full-size tracing of the burl blank will once again be useful for creating the perimeter pieces. If the burl is being mounted off center, this will help balance the turning, which will help diminish vibration. Another advantage of utilizing the boundary MDF is if some of your turning only cuts on a partial area of the burl, having the shape extend onto the MDF will allow sanding to be done utilizing lathe power. Since MDF creates copious amounts of fine dust when sanding, breathing protection should be utilized. TURNING Care should be exercised while turning to controll the cutting depth. Most wall art burl blanks are not extremly thick. Shallow cove and bead shapes are all that are needed. SANDING Prior to beginning sanding, flood the surface with a 50/50 mix of sanding sealer and laquer thinner. Multiple coats of this may be required to fortify the areas of the burl which are softer. Keep adding this untill the turning doesn’t soak up any more. Once again, I would recommend wearing breathing protection while sanding, especially if the burl contains any spalting.

52 Friday Saturday Sunday TOC Demonstration Handbook 2021 SCONCES AND WALL POCKETS Another type of wall art project can be a sconce or wall pockets. A sconce tends to be more bowl like while wall pockets are usually longer and slimmer. If you imagine half (or less) of a turned shape emerging from a wall, you may see the possibilities. To create the blank for this project another age-old woodworking technique will be utilized. A paper glue joint can be used to facilitate splitting the blank, once it has been turned and sanded. In the past, split turnings have been relegated to decorative half-spindles for furniture. By creating a vase like shape which is hollowed, a split turning could be used to display other decorative items. For this project there is the option of making a matched set, or a single decorative piece. When selecting the burl blank to be used, allow some extra length as a tennon will be utilized for chucking the blank. If you are doing a matched set, select a burl large enough to match your desired width. Split the blank into two equal halves. Glue the blank back together with a sheet of paper (I have not found a paper which won’t work) covering the 2 faces being joined. Both halves will need to be coated with glue. Let the glue up dry overnight for maximum safety. If you are doing a single piece, substitute a waste piece for one side of the split glue up. If you desire less than a half-finished shape, the waste piece could extend beyond the center line of the turning. The turning will split wherever the paper joint is located. Once the blank is completed, mount it on the lathe between centers. Turn a good tennon on the waste end to facilitate holding it in a chuck. My preference is to use a chuck with dovetail jaws as there is less likelihood of the blank becoming airborne. Turn your desired shape and hollow the inside out. Sand and finish as desired. Your final cut should pare the pocket from the waste part of the blank. To split the completed project, use a sharp chisel on the inside glue line. Tap lightly with a mallet and the paper in the glue joint will begin to split. You will need to cut a thin back to match the shape. With it glued on, you are complete.

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with Colin Chalmers Natural Edge Bowl

I will be showing different ways to prepare the blank, and how to get minimal cracking when drying, holding the wood on the lathe, manipulating the blank to get the right balance, and how to re-turn a rough turned bowl using glue blocks, chucks, face plates, and between centers.

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with Nick Cook Production Turning

TURNED BABY RATTLES HEIRLOOMS IN THE MAKING Heirloom: an object passed down from one generation to another. That is exactly what many of my baby rattles have become. Many of the children I made rattles for in the 1980’s, have grown up and are now having babies of their own. The original rattles are being handed down to the new babies. The first rattles I turned were made from a solid piece of maple. They were barbell shaped with captured rings that rattled between bulbous ends. Customers were fascinated by the loose rings but, at the same time, they expressed concern about the possibility of a ring breaking and the child chocking on the broken piece. That was when I started exploring other styles and methods of production rattles. I made some by drilling into the end grain of one end of an eight-quarter square of hard maple. I then place dried beans in the hole, turned a plug for the hole, glued it in and turned the hollow rattle. The next attempt involved a table router with a 1” core box bit protruding thru the table top. Blocking and guides allowed me to push my blanks down onto the router bit and create the appropriate void in each piece. It worked but proved to be very dangerous . . . I almost lost a finger so it was back to the drawing board. That was when I came up with what I use today. In fact, I am still using the same fixture I made more than 25 years ago. I have assembled a new one for this article. The old one has been shimmed and adjusted too many times for good photographs. I use ¾” plywood of MDF for the base of the fixture. Two additional strips of the same ¾” material, are used on top of the base to create a space for the blank to drop into. Two more pieces of ¾” stock, 1-1/2” wide, are used to capture the blank at both ends. The top stop is chamfered so the blank can be easily removed from the fixture. The next layer creates a track for the router base to ride in. It must be adjusted to match the width of your own router base plate. Once the sides are attached, you can measure and mount stops at each end of the fixture. The cavity in the blank should be ½” deep, approximately 1” wide and 3” long. Be sure to allow enough material at the end of the blank to separate the finished rattle from the lathe. I use a large, 2-1/2 hp, plunge router fitted with a 1” core box bit with a ½” shank. I have tried ¼” shanks and they will not hold up to the heavy cuts. I prefer to make several passes rather than trying to make one heavy cut. This is easier on me and the router. Once all the blanks are routed, I use a red marker to identify the end with the cavity. This keeps me from spilling the beans as I turn the rattles. The router bit will tend to leave a little fuzz at the beginning and end of each cut. This can be removed and provide a better surface for gluing by making a very light pass across the jointer. Be very careful! Do not attempt to do this with

TOC Friday Saturday Sunday 55 29th SWAT Symposium only your hands holding it down. I have a hold down block with a heal on it and a handle that rides above the jointer fence. One light pass, 1/32” or less will ensure a clean flat glue surface. I match up pairs of blanks for consistent grain and color. I place nine dried blackeyed peas in six halves and apply a thin film of glue to the other six halves. I use Franklin, Tight Bond II for most all my glue ups. I use a plastic glue spreader to avoid too much glue. Too much glue will cause squeeze out into the cavity and bond the peas to the wood. I use three clamps on each set of six blanks and leave them for at least two hours. Before mounting each glued-up blank on the lathe, I rap them sharply on the tailstock to make sure all the peas are free to rattle. I locate and mark the center on each end of the blanks and punch them with a spring-loaded automatic center punch. This creates a dimple to help me locate the centers for mounting on the lathe. I use a ½” Stebcenter in the headstock and a live center in the tailstock. Once between centers, I position the toolrest to within ¼” of the corners of the blank and just below the center. I always rotate the piece by hand to make sure it clears the rest. I set the lathe speed at 3000 rpm but if you are more comfortable at a lower speed, use it. I start out with a 1-1/4” roughing gouge to turn the blank into a cylinder. I grind mine to about a 45 degree bevel to remove lots of material very quickly. Once round, I mark each end of the cavity to avoid cutting into it and spilling my peas. In my own shop, I have marked a toolrest and when it is against the headstock, the marks are in the proper position. When I am out, I use one of the routed-out halves to locate and mark the cavity. After marking, I use a 1/16” parting tool to make a cut at each end of the cavity. Next, I eliminate most of the waste at the tailstock end and reduce the diameter on the handle end of the rattle. The roughing gouge makes this quick and easy. I use the ½” detail or spindle gouge with a 25 degree fingernail grind to first round over each end of the cavity. I then use the same gouge to round over the handle end of the rattle. It is very important to avoid making the handle too small. It could create a chock hazard for a child. A baby safe test device is available at Toys Are Us and other places to ensure it is the proper size. When I have the shape right, I pare down each end to approximately ¼” before sanding. I sand with 150, 180 and finish with 220 grit sandpaper. In the past, I have always used mineral oil to finish my rattles. More recently, I have started using walnut oil. It dries to a hard surface where mineral oil does not. I use paper towels with either oil and I burnish it into the surface. I then apply a light coat of beeswax and buff with the paper towels. Once finished, you can add the baby’s name and birth date either by hand or even better with a laser engraver. You will have an elegant, durable gift that will last a very long time.

56 Friday Saturday Sunday TOC Demonstration Handbook 2021 TURNING CANDLESTICKS This section is from the book "Things To Make In Your Home Workshop", by Arthur Wakeling. Also available from Amazon: Things to Make in Your Home Workshop. Faceplate turning, the next phase of the work, is no more difficult than spindle turning; and no set of exercises need be mastered before real work can be attempted. The tools are the same as those described in the beginning of this chapter, and the methods of using them do not differ materially from the ones employed in spindle turning.

Fig. 43. - Two designs of candlesticks of fine proportions. By mastering faceplate turning, you can make candlesticks, lamps, smoking stands, frames, rings, boxes, trays, and bowls. These projects can be turned only by the use of chucks and faceplates. A candlestick (Figs. 43 and 44) consists of two parts, the upright and the base. Let us turn the upright first. One end of it has a round tenon fitting into the base. The other end must be bored for the candle. Bore this hole with an auger bit before putting the stock in the lathe. As candle ends vary in diameter from ¾ to 7/8 in., it is best to bore a hole 13/16 in. in diameter and of about the same depth. A quick boring auger, that is, one with few threads on the spur, is the most satisfactory for end-wood boring. Turn a plug or short cylinder to fit this hole accurately. It should be about 1 ½ in. long, but in cutting it off be careful not to cut away the end with the hole made by the dead center. The plug should fit so that it can be forced with the hands into the hole in the candlestick. If too

TOC Friday Saturday Sunday 57 29th SWAT Symposium tight, it is likely to split the wood when it is turned down to size; if too loose, it may have a piece of paper wrapped around it.

Fig. 44. - Four steps in making the base, and the method used for turning the candlestick upright.

When the plug is placed in the hole, the end having the mark of the dead center should project so that it can run on the dead center of the lathe (Fig. 44). In this manner the hole bored for the candle will be accurately centered when the stock is turned. Turn the upright according to either of the designs given in Fig. 43.

Get out the stock for the base, plane it flat and true on one side, and cut the sharp corners off it. Screw a faceplate to the planed side of the piece, centering the plate as well as possible. The screws should be rather heavy, and their length depends upon where the screw holes in the faceplate are placed; there must be no danger of cutting into them.

If a small enough faceplate is not available, it will be necessary to use a screw chuck, which is merely a small faceplate with a screw in the center. In hardwoods small holes must be bored for the screws, and soap put on the threads of the screws will act as a lubricant and make it easier to drive them.

After the stock has been securely screwed to the faceplate, the live center is removed from the headstock of the lathe, and the faceplate is screwed on the end of the live spindle.

Adjust the T-rest so that it is parallel to the face of the disk (at right angles to the lathe bed), at a height a little below the center of the stock and ¼ in. away from it. See that the work revolves freely and start the lathe at its medium speed.

With the toe of a skew chisel held at right angles to the face of the base, remove enough of the material from the edge to make the base circular (Fig. 45). This will diminish the vibration caused by uneven centering. The cut should be stopped about 1/8 in. from the rear face of the base, for the wood may split if the cut is extended all the way across the edge of the base.

If the face of the base is rough or much material has to be removed, first use a round-nose chisel, holding it flat upon the T-rest and at right angles to the base. Move the chisel across the face of the base from the front to the center and back again. Smooth the face with a square-nose chisel and test for flatness with a try-square as in Fig. 46.

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Fig. 45 - Making the base circular by removing wood from the edge with the toe of a skew chisel. Note the position of the T-rest. Mark the diameter of the base by setting a pair of dividers to a distance equal to the radius. Place one leg on the center and scribe the circle with the other leg while the stock is revolving. Another way is to set the dividers to the required diameter. Rest one leg of the dividers on the T-rest and place it in contact with the revolving stock. Bring the other leg of the dividers gradually in contact with the stock. If two circles are marked, shift the dividers so that the points come in contact with the stock halfway between the two circles, when only one circle will be marked (Fig. 47, lower view).

Fig. 46. - After the base has been trued with a round-nosed chisel and smoothed with a square-nosed tool, it should be tested for flatness. The second method is more exact and is especially useful when the center has been cut away. It is very quickly mastered. Reduce the base to the required diameter as explained before. Then adjust the T-rest parallel to the lathe bed and to the edges of the base, and with the square-nose chisel remove the thin piece of material left on the rear edge of the base. TOC Friday Saturday Sunday 59 29th SWAT Symposium Next mark a pencil line all around the base to represent the thickness of the part which is to be of the greatest diameter. To make the explanation simpler to follow, the base of the candlestick shown at the left in Fig. 43 will be used as an example. The line just mentioned will accordingly be % in. from the rear face of the base (see Fig. 44). Change the T-rest to its first position (parallel to the face of the base); set the calipers to 3% in. and mark another circle with the dividers as described above. Cut down to the pencil line with the skew chisel on this diameter (3% in.). Set the dividers to % in., mark the circle, and cut the concave curve between this circle and the one previously marked (3% in.). To do this, adjust the T-rest at an angle and as near to the surface being turned as possible. Cut the square bead and round off the corners on the 4 1/8 in. part with a skew or square-nose chisel. With the dividers, mark the diameter of the hole in which the tenon of the upright piece is to fit. Cut on the inside of the line with the toe of a ¼-in. skew chisel and remove the center with the skew chisel or a round-nose chisel (Fig. 47, upper view). Cut the hole so that the tenon fits snugly.

Fig. 47. - Upper view : Using the toe of a keen ¼ in. skew chisel to bore the hole that is to take the tenon of the candlestick upright. Lower view: Marking the diameter of the base with dividers held on the T-rest and centered by trial. Leave the base as it is in the lathe, put a little thin glue on the tenon and in the hole, and fit the tenon in place. Clamp the base and the upright together in the lathe by pressing the dead center into the plug in the end of the upright. Wipe off any surplus glue with a piece of waste moistened with hot water, and leave the candlestick to dry in the lathe. Sandpaper and stain the candlestick to the desired color. If a water stain is used, it is well to wet the wood before applying the stain. The water raises the grain, making it feel rough to the touch, and it is therefore necessary to sand the candlestick again when it is dry. It will be found that the wood will dry more rapidly if the lathe is running. A second wetting of the wood with water stain will not raise the grain. If the wood is very porous, such as oak or Philippine mahogany, it should be filled with paste wood filler thinned with turpentine until of the consistency of cream. Apply it to the candlestick with a brush. After a little while it will lose its luster and become flat. The lathe then should be run at its slowest speed while the filler is rubbed into the pores of the wood with a cloth. Wipe clean with a piece of waste, and allow the filler to dry for twenty-four hours. A thin coat of shellac as an undercoat for the finish next should be applied with a brush. On relatively close-grained woods, such as birch or Santo Domingo mahogany, the filler coat may be omitted and the shellac coat applied directly after the stain has dried.

60 Friday Saturday Sunday TOC Demonstration Handbook 2021 The shellac should be allowed to dry for several hours. The lathe then may be started and this coat rubbed down with No. 00 steel wool. Be careful not to rub through the stain on sharp edges and beads. Next a coat of clear lacquer may be brushed on evenly. Do not brush twice over the same place. The lacquer, which dries very quickly (within an hour), may be rubbed down with No. 5/0 waterproof sandpaper or powdered pumice stone sprinkled on a rag dipped in soapsuds or rubbing oil (crude oil). If a higher gloss is desired, two coats of lacquer may be applied, only the second coat being rubbed. Do not use an oil stain or oil in any form under a lacquer finish. A thin coat of liquid wax also adds to the luster. This is applied with a piece of cotton waste or a rag and polished with a flannel cloth while the work is revolving in the lathe. The candlestick is now finished. The plug is removed from its upper end (a pair of gas pliers may be helpful for this purpose), and the faceplate is unscrewed from the base. The holes left by the screws may be plugged by filling them with wood cement or stick shellac. This is sold in all colors; it looks like sealing wax and is melted in the same way.

Fig. 48. - Gracefully turned table lamp of a type any home worker can make on a small lathe. A piece of thin felt may be glued to the base. Apply the glue to the bottom of the base, not to the cloth, press the cloth in place, and set away to dry. The edges of the cloth may be trimmed later with a pair of scissors. Another method of turning the base, so as to avoid the screw holes, will be explained in the following section.

TOC Friday Saturday Sunday 61 29th SWAT Symposium TURNING HONEY DIPPERS The honey dipper is the perfect project for the beginning woodturner. I have been demonstrating and teaching individuals the art of honey dippers for more than 20 years. It takes very little material, is quick and easy to make. It is an ideal project for the AAW youth program. The project is a great way to introduce anyone, especially young people, to woodturning. They will learn how to mount the material, basic tool usage and a little about sanding and finishing. It also allows the maker a fair amount of creativity in the design of the project. Tools & Material The only tools you will need are: a spindle roughing gouge, a thin parting tool and a spindle gouge. A center finder, mini-drive center and a liver center are all helpful but, not necessary. A little sandpaper and mineral or walnut oil and bee’s wax are the only other things you will need. There is a great deal of flexibility in size requirements and the type of wood use on this project. Most any close grain hardwood will be fine. We are going to use hard maple also known a sugar maple. It is a very tight grained hardwood that cuts cleanly and evenly. It also takes details well with little or no tear out and requires very little sanding. I like to use 5/4 material. It is 1-1/16” thick and I cut it into squares 8” long. The 5/4” stock gives you a little more room for design opportunities. Use a center finder to locate and mark the centers on each end of the blank. An awl or center punch can be used to put a dimple at the center on each end. Mounting the Workpiece Remove the drive center from the spindle and use a mallet or dead blow hammer to drive the center into one end of the stock. Return the drive center, with the blank attached, to the spindle. Bring the tailstock with live center mounted up to the opposite end of the blank. Lock the tailstock in place and advance the quill to engage the blank. Lock the quill in place. Adjust the toolrest to a position just below the center line and about ¼” away from the corners of the blank. Always rotate the workpiece by hand before starting the machine to check for proper clearance. Never move the toolrest with the lathe running. Adjusting Turning Speed We will be working on mini-lathes with step pulleys during the youth program. You should always stop the machine, unplug it, and move the belt to the proper pulley and then plug the machine back in and proceed with your turning. The 1-1/16” squares for this project can be safely turned at about 1800 rpm. With additional experience, you can turn a spindle this size up to about 3000 rpm. It is best to start out slowly and gain confidence before increasing the speed. Roughing Out the Blank You will start with the spindle roughing gouge. Place the gouge on the toolrest near the tailstock with the bevel above the workpiece. Lift the handle until the bevel comes in contact with the workpiece. Once the cutting edge engages the workpiece, roll the tool to the right to cut the corners off the end of the square stock while maintaining bevel contact. Start a little to the left of the first cut and repeat until you near the left end of the workpiece. Next, start at the left end of the workpiece; repeat the cutting process, rolling the tool to the

62 Friday Saturday Sunday TOC Demonstration Handbook 2021 left with each cut until the workpiece is fully rounded. Make a light pass in each direction the length of the toolrest to leave a relatively smooth cylinder. Stop the machine and check to see if all flat surfaces from the square have been removed. Cutting Grooves Next, use a thin (1/16”) parting tool to make grooves in the right end of the workpiece. Start about ¾” from the end of the workpiece and make five evenly spaced grooves to hold honey. The grooves should be approximately ¼” deep, depending on how much you like honey. As with all turning tools, the parting tool should be placed on the toolrest first with the bevel above the workpiece. Gently lift the handle to engage the cutting edge and push forward to make the grooves as deep as you like. Remember to keep the parting tool in a vertical position and perpendicular to the axis of the lathe. Designing the Handle Once the grooves are cut, you can return to the spindle roughing gouge to finish shaping your honey dipper. Add a little shape to the working end of your dipper and start thinning the handle end. The smallest diameter should be just to the left of the grooves. Thin the area down to the desired diameter working first from the right and then from the left. Remember to always cut down hill (from large diameter to small diameter) on spindle work. Continue with the spindle roughing gouge and shape the rest of the handle. Paring Down and Parting Off Starting at the tailstock end of the workpiece, use a 3/8” spindle gouge to pare down the ends of the honey dipper. Turn the gouge to 90 degrees with flute facing the direction of the cut. Lift the handle and push the cutting edge into the workpiece. Rotate to the opposite direction and repeat until the stock is reduced to approximately 1/ 4” diameter. Move to the other end of the workpiece and pare it down to 1/4”. Sanding & Finishing Before separating the honey dipper completely, it must be sanded. Start with 150 grit and finish with 220 grit sandpaper. Use paper towels (never rags) to apply a coat of mineral oil and burnish it into the wood. Add a light coat of beeswax and buff with paper towels. Separating the Ends of the Honey Dipper After buffing, continue to pare down each end of the honey dipper with the 3/8” spindle gouge. Take both ends down to just under 1/8”, and then cut through the right end while cradling the honey dipper in the left hand. Reach under your left forearm and separate the left end. Sand and finish the tiny nibs on each end of the honey dipper and find yourself a pot of honey and fresh warm biscuit.

TOC Friday Saturday Sunday 63 29th SWAT Symposium TURNING A GARDEN DIBBLE WITH THE SKEW Materials: You will need the following: • Drive center & live center • 1-1/4” skew • Center finder • Center punch or awl • Vernier scale or ruler • Mallet • Practice material – 2” x 2” x 12” • Pencil Selecting Stock Select stock that is clean and free of knots, cracks and other flaws. Poplar is a good choice for learning to turn and for practice. It is inexpensive, readily available and is easy to work with. Cut the material into squares approximately 2” x 2” x 12” long. Mounting Material Use a center finder to locate and mark centers on each end of the blank. Use an awl or center punch to make a dimple in each end. Remove the 4-prong drive center from the spindle of the lathe and drive it into one end of the blank. Use a wood mallet or dead blow hammer to drive the spur center into the blank. Never use a claw hammer or other steel faced hammer when driving spurs into material. These will damage the Morse taper of the spur. Never drive the wood blank onto a spur mounted in the spindle of the lathe. This could damage the bearings of the machine. For work smaller than 3”, you might consider a mini-spur center. Place the spur center in the taper of the spindle and bring the tailstock up to the right end of the blank. The tailstock should be fitted with a ball bearing or live cup center. A cup center rather than a cone shaped center is less likely to split the blank. Lock the tailstock to the bed of the lathe and advance the quill with the handwheel to seat the cup center into the workpiece. With the piece mounted between centers, you should now adjust the toolrest to a position just below the center line and about ¼” away from the corners of the workpiece. Always rotate the workpiece by hand before starting the machine to check for proper clearance. Never move the toolrest with the lathe running. Turning Speed On a variable speed lathe, you will want to start the machine at the lowest speed and then bring it up to the appropriate speed for the size workpiece to be turned. The 2” x 2” square for this project should be roughed out at approximately 1500 rpm. Once the corners have been removed from the blank, you can stop the machine and move the toolrest closer to the workpiece. You may also increase the speed to 2500 rpm for general cutting and finishing. If you are working on a lathe with step pulleys, you will need to stop the machine, unplug it, move the belt to the higher speed pulley, adjust the toolrest, plug it back in and proceed with your turning. Cutting wood with the Skew For this project, a garden dibble, you will use only a skew. Because most individuals are intimidated by the skew, you are encouraged to force yourself to use it. That is the only way

64 Friday Saturday Sunday TOC Demonstration Handbook 2021 you can learn to use this or any other tool. Once you learn to use the skew properly, you will find all the other turning tools will be easier to master. The skew is the only tool that will not allow you to cheat. If you do not use it properly, it will produce a catch or dig-in. Before starting with your project, you might wish to practice the following cuts to learn the proper way to cut with the skew. • Roughing out – Most turners prefer not to rough out work with the skew however, to show how versatile it is, give it a try. Starting at the tailstock end, place the tool on the toolrest with the tip of the tool just above the workpiece. Gently lift the tool handle and ease the cutting edge into the workpiece with the bevel supporting the cut. As the cutting edge engages the workpiece, carefully pull the handle around to the left 10 to 15 degrees and lift the trailing of the tool off the toolrest. Move the tool from left to right in a smooth, fluid motion. Work back toward the headstock and pick up more material with each cut and ease off to remove less material at the right end of the cut. This will keep you from creating a cone shape. As you near the headstock, reverse direction and finish making the workpiece into a cylinder cutting right to left. • Planning cut – Finish with a continuous cut from one end of the workpiece to the other, first in one direction and the other. The skew should be presented at approximately 45 degrees cutting just above the centerline of the workpiece. Try to cut with the center third of the cutting edge and keep the toe and the heal off the surface. One common error is to allow the tool to slide down on the toolrest and allowing the toe or long point to engage or dig in the surface of the wood. • “V” cut – Most beginners try to make a V cut by simply placing the toe or long point of the skew at and center of the cylinder and driving it into the wood. Unfortunately, due to the wedge shape of the skew, this does not do a very good job. It tends to leave a plowed furrow and a very rough surface. The proper way to create a V cut is to place the skew vertically on the toolrest with the long point down. Gently lift the handle and push the cutting edge into the surface of the wood to make a fine line. Now move the handle to the right and while keeping it vertical, lift and push to create the right side of the V. Next, move the handle to the left and repeat to complete the left side. Each cut should start at the surface and slice all the way to the bottom and intersect with the opposite cut. Make each cut paper thin and use the bevel to support each cut. Continue to alternate from left to right and back until the V is as wide and as deep as you would like. Forcing the cut, or trying to take too much at one time will scorch the wood. • Rolling a Bead – Once you have mastered the V cut, make several more approximately one inch apart. These cuts will be the outside edges of the beads. Use a pencil to mark the center line of each space between the V cuts. Place the skew on the toolrest first and, with handle low, place the bevel on the right edge of the first bead to be. Using only the short point or heal, lift the handle, push forward and roll the tool in one continuous motion. This will create a slicing cut and leave a very clean surface. You will start at the edge and make successive cuts from the top of the bead to the bottom. The tool should start flat and end up with the cutting edge vertical. Each cut should start progressively closer to the center line. Use very light pressure. Too much pressure, lifting the tool handle too quickly or rolling it too quickly will cause a catch or dig-in.

TOC Friday Saturday Sunday 65 29th SWAT Symposium Repeat the same cuts on the left side of the bead. When complete, you should have a bead that starts at 90 degrees, rolls over and ends at 90 degrees on the opposite side. Turning the Garden Dibble • Select stock, locate and mark centers o Use center punch to mark center • Secure spur center to blank and mount in lathe o Use wood mallet or dead blow hammer • Position tailstock, advance quill and lock in place o Cup shaped live center preferred • Adjust toolrest and lock in place o Just below centerline o ¼” from corners • Rotate workpiece by hand to ensure clearance • Set lathe speed o Approximately 1500 rpm for roughing o Approximately 2500 rpm for finish cuts • Rough the blank to a cylinder • Layout details on cylinder per drawing o Allow ½” waste at each end of blank • Make V cuts to locate beads and pencil a centerline on each o 1” wide bead at right end of blank o 4” space for handle & second 1” wide bead • Roll beads • Shape handle o Add small V cut at end of handle to separate from beads • Make larger V cut to separate handle from working end • Set stop ½” from left end of blank o This will keep you from hitting spur drive with tool • Taper the left end of the dibble to about ½” diameter • Use calipers to mark 1” increments from left end to right • Use skew to produce light V cuts at 1” increments • Reduce waste at each end of dibble to 1/8” diameter • Separate tailstock end first and then headstock end

66 Friday Saturday Sunday TOC Demonstration Handbook 2021 SPINDLE TURNING 201 Materials: You will need the following: • Mini-spur drive center & live center • Roughing gouge • Thin (1/16”) parting tool • Spindle or detail gouge – 3/8” or ½” with fingernail grind • Center finder • Center punch or awl • Practice material – 1” x 1” x 8” long hard maple • Mineral oil and wax for finishing • Paper towels • 1/8” thick hardboard • Black and orange puff paint • Fine point black marker • 1/8” diameter screw-eye • Spray lacquer Selecting Stock Select stock that is clean and free of knots, cracks and other flaws. Hard maple is a good choice this project. You may also choose from a long list of hardwoods including: cherry, walnut or ash. 5/4” material, nominally 1-1/16” thick, is commonly available at most hardwood suppliers. Cut the material into squares approximately 1” x 1” x 8” long. Mounting Material Use a center finder to locate and mark centers on each end of the blank. Use an awl or center punch to make a dimple in each end. Fit the mini-spur center into the headstock spindle. Fit the tailstock with a ball bearing or live cup center. Position the tailstock and lock it to the bed of the lathe. Place the blank against the mini-spur drive center and use the handwheel on the tailstock to advance the quill and seat the blank between the two centers. Adjust the toolrest to a position just below the center line and about ¼” away from the corners of the workpiece. Always rotate the workpiece by hand before starting the machine to check for proper clearance. Never move the toolrest with the lathe running. Turning Speed On a variable speed lathe, you will want to start the machine at the lowest speed and then bring it up to the appropriate speed for the size workpiece to be turned. The 1” x 1” square for this project should be roughed out at approximately 1800 rpm. Once the corners have been removed from the blank, you can stop the machine and move the toolrest closer to the workpiece. You may also increase the speed to 3000 rpm for general cutting and finishing. If working on a lathe with step pulleys, you will need to stop the machine, unplug it, move the belt to the higher speed pulley, adjust the toolrest, plug it back in and proceed with your turning. Cutting Wood Before starting these projects, the honey dipper and snowman ornaments, you should practice the various with the three tools you will be using. The roughing gouge and the parting tool are

TOC Friday Saturday Sunday 67 29th SWAT Symposium both very forgiving and should not require a great deal of effort. The spindle or detail gouge will require a little more practice. • Roughing gouge – The roughing gouge is one of the easiest tools to use. It is usually U- shaped in cross section with a bevel of around 45 degrees. Sizes range from ¾” to 1- 1/4”. It is used to remove material quickly in either direction along the length of the toolrest. The most common use is that of roughing squares down to a cylinder. It is quicker than the skew but does not leave as smooth a finish. Never use the roughing gouge on face plate work. o Roughing out – You must first place the roughing gouge on the toolrest with the bevel above the workpiece. Starting at the right end of the toolrest, lift the handle until the bevel engages the workpiece and roll the tool to the right to cut the corners off the end of the square stock. Starting a little more to the left of the first cut, repeat until you near the left end of the workpiece. Next, starting at the left end of the workpiece, repeat the cutting process rolling the tool to the left with each cut until the two directions meet. Then make a light pass in each direction the length of the toolrest to leave a relatively smooth and flat surface. All flat surfaces from the square blank should be removed. • Parting tool – Another of the easier tools to use, the parting tool is used to make square bottomed grooves, cut tenons, square off the ends of work and to size work. There are several shapes of parting tools; flat, diamond shaped and fluted. The bevel should be ground to something between 45 degrees and 60 degrees. Sizes range from 1/16” to 3/8”. For this project, the very thin, 1/16”, is best suited. o Cutting grooves – Just as with all turning tools, you must first place the parting tool on the toolrest with the bevel above the workpiece. It is very important that the tool always be kept in a vertical position and perpendicular to the axis of the lathe. Allowing the tool to roll in either direction or moving the handle to the left or right will result in tear-out and spoil the surface of the workpiece. Lift the handle to engage the bevel and push forward making a groove as deep as you like. • Spindle or detail gouge – A little more difficult to use, the spindle or detail gouge will enable you to cut a variety of details on spindle work including beads, coves and pare off the ends of work. Made from round stock, the spindle gouge has a shallow flute ground the length of the tool. 3/8” and ½” are common sizes. The bevel of a new spindle gouge is ground around 45 degrees. A detail gouge may be ground to a finger-nail shape with as much as a 25 degree bevel. For these projects, the spindle gouge is used to roll beads, detail and pare off the ends of the workpiece. o Paring down and parting off -- Starting at the tailstock end, rotate the tool to 90 degrees with the flute facing the direction of the cut, lift the handle and push the cutting edge into the workpiece. Rotate to the opposite direction and repeat until the stock is reduced to approximately 1/8” diameter. After sanding and finishing, continue cutting at each end. Cut through the tailstock end first and while the piece is spinning in the left hand, cut through the headstock end of the workpiece.

68 Friday Saturday Sunday TOC Demonstration Handbook 2021 o Rolling beads – Place the tool on the toolrest with the bevel upright and on the surface of the workpiece, lift the handle and roll the tool first to the right and then to the left. Repeat until the bead is the appropriate size. Turning the Honey Dipper • Select stock, locate and mark centers • Secure stock in lathe between mini-spur center and live center • Lock tailstock to bed of lathe • Adjust toolrest and lock in place o Just below centerline o ¼” from corners Rotate workpiece by hand to ensure clearance Set lathe speed o Approximately 1800 rpm for roughing o Approximately 2500 rpm for finish cuts Use roughing gouge to rough blank to cylinder Use 1/16” parting to cut 5 grooves ¾” from right end of workpiece o Cut grooves approximately 3/16” deep Start shaping from grooves to the left o Use roughing gouge to shape to minimum diameter o Reduce diameter to ¼” to 3/16” diameter o Use spindle gouge to cut details on either side of grooves Start shaping handle from headstock toward tailstock Detail left end of handle with spindle gouge Pare down both ends of honey dipper to 1/8” diameter Sand with 150 grit, 180 grit and 220 grit sandpaper Apply finish o Use paper towels o Mineral oil or walnut oil o Beeswax o Buff Separate from waste at each end with spindle gouge o Tailstock end first o Cup in left hand o Separate from headstock end o Sand and finish nibs at each end of honey dipper

TOC Friday Saturday Sunday 69 29th SWAT Symposium Turning a Snowman Ornament • Select stock, locate and mark center • Secure stock in lathe between mini-spur and live center • Lock tailstock to bed of lathe • Adjust and lock toolrest in place • Rotate workpiece by hand to ensure clearance • Set lathe speed • Rough blank to cylinder with roughing gouge • Turn top of hat with 3/8” spindle gouge • Define top of brim of hat • Shape hat • Turn bead below hat brim to create head • Roll half bead to produce shoulders • Taper remainder of blank toward headstock with roughing gouge • Turn 3/8” bead at bottom of taper ½” from drive center • Sand snowman with 150 grit, 180 grit and finish with 220 grit • Burn hatband with 1/8” thick hardboard • Pare down ends with spindle gouge • Separate tailstock end then headstock end • Sand nibs at each end of snowman • Screw screw-eye into center of top hat • Use black puff paint for eyes and buttons • Use Orange puff paint for nose • Use fine point black marker for mouth • Hang from line and finish with spray lacquer

70 Friday Saturday Sunday TOC Demonstration Handbook 2021

with Nick Cook Turned Table Lamp

Supplies and Equipment • 8/4 poplar approximately 7” square for base of lamp • 8/4 poplar laminated to make a blank approximately 6” x 6” x 14” for post • 8/4 poplar square approximately 3” long for mandrel • Lamp kit (socket, wire, plug, harp & lamp pipe • Drive center • Live center with cone • Drill chuck • Scroll chuck • Spindle roughing gouge (I like the 1-1/4” for larger work) ¾” will work • Spindle gouge, 3/8” and/or1/2” • 3/8” Bedan tool or square scraper • 3/8” Bowl gouge • 7/16” brad point drill bit and a 7/16” x 12” long drill bit • ¼” brad point drill bit • 1-3/8” Forstner drill bit

Prepare the Base • Locate and center punch 7” poplar square • Use a compass to draw a 7” circle on face of blank • Use a bandsaw to cut the circle • Use a square to transfer center to edge of square and down one side • Measure up from bottom 3/8” and mark with center punch • Drill a ¼” hole approximately 2” deep • Drill a 3/8” hole about ¾” deep into the center top of base for screw chuck

Turn the Base • Mount the base on the screw chuck (I use a ¼” shim between the blank and chuck) • Use the 3/8” bowl gouge to surface the bottom of the blank • Continue with the bowl gouge to cut a recess in the bottom of the blank approximately ¾” deep leaving a ¾” flat band around the perimeter of base • Use 3/8” bedan tool to cut ¼” deep x 2-1/4” diameter recess in the center to accept the chuck • Remove the blank from the screw chuck, reverse and mount on the expanding jaws • Use 3/8” bowl gouge to surface the top of the blank and true the perimeter of the blank • Mount the drill chuck in the tailstock and use the 1-3/8” Forstner bit to drill a ¾” deep hole in the center of the blank

TOC Friday Saturday Sunday 71 29th SWAT Symposium • Use a 7/16” brad point drill bit in the drill chuck to drill a through hole in the base • Use 3/8” bowl gouge and spindle gouge to turn base to desired shape. • Sand and finish

Prepare the Post • Surface and laminate 8/4 poplar to produce a blank approximately 6” x 6” x 14” • Set the bandsaw table at 45 degrees and cut off corners to make an octagon • Locate and mark the center on both ends of the blank • Mount between centers and turn to a cylinder • Cut a 3/8” x 2-1/4” diameter tenon on each end of the blank • Remove from between centers and remount in chuck using tenon (I use the live center to ensure it is true) • Use the drill chuck with a 7/16” short bit first to drill into the blank as deep as possible • Change to the longer and drill at least one half way through the blank • Reverse the blank in the chuck and drill the rest of the way through the blank

Mandrel for Post • Mount the 8/4 x 3” square between center and turn to a cylinder making a tenon on one end to fit the chuck • Use the tenon to mount the blank to the chuck • Turn a tapered tenon on the blank approximately 1-1/2” long and 3/8” diameter at the end to fit snuggly into the hole in the post

Turn the Post • Mount a cone-shaped live center in the tailstock • Position the blank between the mandrel in the chuck and the live center • Reduce the tenon at the mandrel to 1-/38” diameter to fit hole in base • Turn the post to desired shape • Sand and finish

72 Friday Saturday Sunday TOC Demonstration Handbook 2021

with Rebecca DeGroot Walking Mushroom

In this demonstration, Rebecca will walk you through the process of creating her signature walking mushrooms. She will begin by turning a simple mushroom cap, prepared for pyrography texture, followed by turning a body ready to be carved. Each mushroom has at least three turned legs, which are cut apart, and using spline joinery, reassembled into new forms. Once the lathe work is finished, Rebecca will show you how she carves the body to create a curved neck, use a wood burner to create texture underneath the cap, drill and countersink holes in the body for the legs. Finally, after all the individual pieces have been carved, shaped, burned, and sanded, Rebecca shows you the assembly process and presents the finished piece!

TOC Friday Saturday Sunday 73 29th SWAT Symposium

with Rebecca DeGroot Mini Aquifer

This piece is a turned and sculpted illusion making the sprout appear as though it is drinking the “water” of the droplet from which it grows. In this demonstration, Rebecca will walk participants through casting prep, building molds and utilizing ready-to-use molds, types of resin, the casting process, demolding, turning, carving, painting, and assembly of her finished aquifer pieces. She will share what she has learned over the years, including which tools are best for hybrid turning, tips and tricks, timing issues, pigments and dyes, and just about everything you will need to know to avoid disaster on and off the lathe. Along with the technical information that will be shared in this demo, you will also learn how to turn a simple concept into gallery-ready, stand-alone art and gain the knowledge to be well on your way to begin casting and hybrid turning in your own shop! To begin making this piece you will need a few items. First, gather your materials: • Live edge burl cap or something similar • A few small pieces of wood for the root and sprout (I like maple for this.) • Resin that will accommodate a “deep pour” o Alumilite Slow is great, but you’ll also need a pressure pot and air compressor.

74 Friday Saturday Sunday TOC Demonstration Handbook 2021 o Ecopoxy is good, but it takes much longer to cure. o You could use other resins, but the cure rate and ability to create a successful deep pour will vary based on which one you choose. • Dowel for pinning the sprout • Paints for the sprout • Dyes or pigments for the resin Next, gather your tools and supplies:

• Tools or machines for cutting the rough shapes or the carved items o Bandsaw, scrollsaw, or even a coping saw • Carving or shaping tools o I now use a Foredom flex shaft power carver and Saburrtooth burrs. o Before I invested in the power carver and burrs, I wrapped a dowel

with sandpaper and did all my shaping by hand. • Hand drill and drill bits • Adhesives: this is a personal preference o If I have a lot of time to wait, I like to use a two-part epoxy like West Systems G-Flex. o You could also use CA glue or wood glue. • Tools for mixing the resin o Container in which to mix the resin o Accurate scale to weigh the resin (if it is mixed by weight) o Stir sticks • Mold/form in which the hybrid blank will be cast. There are many different types of molds you can either buy or make at home. Some of them include: o PVC pipe or HDPE plastic o Corrugated plastic or cardboard lined with tape o Premade silicone mold

TOC Friday Saturday Sunday 75 29th SWAT Symposium How to begin: Carve root • Start with a piece of wood longer than you need it, but only as wide as the curves of the root. This way you won’t have to carve and shape as much as if you started with a larger piece. • Draw out the root shape on one side of the piece. • Carve that profile into the root. • Once this is carved, draw the curved profile on the previously carved face

and carve the new shape. • This will give your root a three- dimensional look from every angle. • After you have it rough carved, refine the shape by carving the hard edges and sand to smooth the surface. • Once you finish sanding, stick your root in the oven to remove extra moisture. Prepping the Burl • If you are using a silicone mold, you’ll need to cut your blank to fit the mold. • The other option is to build a mold to fit the blank. By doing this, you won’t have to sacrifice excess burl material because

you have the ability to simply make a larger mold. • After the burl is sized to the mold, find the center of the live edge side of the burl and drill a small hole that will fit the root. • You don’t want to glue the root into place because many glues negatively react with resin being used. DO NOT USE CA GLUE IF YOU ARE USING ALUMILITE RESIN. • Once the burl is sized and drilled, return to the oven, trim the excess material from the root, and friction fit it into the hole drilled in the burl. • Place both pieces, now together, back into the oven

76 Friday Saturday Sunday TOC Demonstration Handbook 2021 While waiting for the excess moisture to be removed from the burl and root, you can begin working on the sprout. The Sprout You’ll want this to be two separate pieces of wood with the grain of each piece running in the direction of that section of the sprout. • The leaves make up one section and the stem makes up the other. • The sprout before being carved will look like a tilted T. • Use a pin or preferred form of joinery to join the two pieces together. • It’s ok if the method of joinery is visible because this will be painted over. Once the glue has set for the t shape, you may begin carving. • Similar to the root, you’ll want to look at the sprout from every angle, determining what you want the finished profile to look like and simply carving away everything that doesn’t fit.

• After you have the profiles carved, you’ll be left with a squared sprout. • Round over the corners and add any details you would like, such as a crease on the top of the leaves or a sharp edge around each leaf. • Once you are happy with the sprout form, sand to desired surface finish to prep for paint.

There are two types of paint that I would recommend: • Acrylic paint to be brushed on • Spray paint from a rattle can Whichever you choose, make sure you set up your work space accordingly. Using your desired paint, color your sprout. • I like a gradient from light pale-yellow green at the bottom to darker green at

TOC Friday Saturday Sunday 77 29th SWAT Symposium the top. This gradient will give the appearance of young growth to mature growth. • Apply a non-yellowing clear coat to unify the color and set aside to dry. Once your burl and root have had sufficient time in the oven to dry out, you may begin to prep for the resin pour.

• Take the wood out from the oven and affix the blank into your mold. • Use hot glue, silicone glue, friction, clamps, or tape. Casting the Resin Mix your resin by volume or by weight depending on the type of resin. • Adding color to the resin: once the two parts of your resin are thoroughly mixed, you may add color. You can add said color using one or more of the following additives. o Dyes or Inks are concentrated liquid color. They can be translucent or opaque depending on the variety. Only add a little bit at a time. o Powdered pigments are the other

option. Most are a colored mica type powder which will add some shimmer to your resin. You may add one or many to give different effects. • Pour the resin into the mold. Solid color pour or multiple colors for layers or swirls. o To pour one color, you can pour as soon as you know the two parts are mixed and the color is added. o If you plan to pour multiple colors, you can pour early and let the colors blend or for separation between the colors, wait for the resin to start to thicken up a bit. • If using Alumilite, carefully move mold into the pressure pot and make sure the lid is completely sealed.

78 Friday Saturday Sunday TOC Demonstration Handbook 2021 o Add correct amount of pressure (about 50psi). o For Alumilite, the demold time is 4 hours, but I usually just let it sit overnight before taking it out of the pressure pot. Once the blank has finished curing, it should be ready to demold and prep for turning.

Turning the Blank • You can either glue your blank to a waste block OR hold the blank directly in the chuck. • When placing your blank in the chuck, make sure you’re holding the blank on the resin end. This will allow you to access the wood top of the droplet for the desired aquifer effect. • You can use a variety of tools to shape the resin-wood hybrid blank, but my recommendation is the use of negative rake carbide cutters. These will turn the material in a way that is more gentle than traditional turning tools or even other carbides. • Very carefully rough turn your blank first, making sure you have completely turned away any flat spots. • Once you have a cylinder, you can start to shape the droplet form. Start with the end closest to the tailstock by turning the top of the droplet shape,

leaving a thicker point to be drilled into later. • Begin to turn the rest of the shape creating a continuous ogee curve around to the underside of the droplet. • For the majority of the shaping, I recommend the negative rake carbide cutters as they take very little material away and leave you with a clean surface straight off the cut. • Before turning too much of the bottom away or parting off the droplet, make

TOC Friday Saturday Sunday 79 29th SWAT Symposium sure you drill the hole into the top from where the sprout will grow. • Sand your droplet through the grits all the way up into the higher grits of steel wool or micromesh sandpaper. I stop sanding at 0000 oil-free steel wool. • Part off the droplet at an angle creating a slight undercut so that the base of the droplet sits nicely on a flat surface. Be careful to keep a safe distance from the root. • Finish as desired. I enjoy taking the droplet straight to my three-stage buffing system to really bring out the glossy surface of the resin. Painting the Sprout This is the last stage in the process before assembly. Again, you have options. • If you prime the sprout, you can airbrush the colors to achieve a soft gradient, but I don’t have an airbrush, so alternatives are great! • Acrylic paint is wonderful, but it takes a bit of practice to achieve the desired hand-brushed gradient. • I actually really enjoy spray painting these sprouts. It’s pretty easy to dust the piece with colors to get the gradual fade from one color to the next, and it gives a speckled texture which is interesting. Assembly Once the paint has had time to dry completely, use a two-part epoxy to assemble your very own mini aquifer!

80 Friday Saturday Sunday TOC Demonstration Handbook 2021

with Linda Ferber Mark Making with Power

Mark making is a term used to describe the different lines, patterns, and textures that are made visible as a manifestation of applied or gestural energy. It is the gestural “language” of the artist. Express yourself with energy and individuality. Start by making sample boards, getting familiar with your tools to improve your skill and clarify your marks. “Don’t wait for inspiration, it comes when you are working.” – Henry Matisse

Inspiration and Planning Tools and Bits • PPE o Mask o Lighting • Ventilation • Comfortable chair • Eye Protection • Razor Tip Woodburner unit o Skew tip o Fish Scale o Ball tip o Sharpening & Cleaning • Microcarver unit o Ball tips o Ball nose o Sanding bits o Others

TOC Friday Saturday Sunday 81 29th SWAT Symposium Sharpen

Carving and Texturing Project Mushroom • Carved • Burned • Painted

Carving

Sanding

Woodburning

Painting

“The secret of getting ahead is getting started.” – Mark Twain

82 Friday Saturday Sunday TOC Demonstration Handbook 2021

with Karen Freitas Twisted Snowman Ornament

Materials: 1”x 1” x 8”- Maple spindle Black Paint or India Ink Felt Tip Marker Orange Puff Paint

Turn the spindle between centers until round. You can also put the square blank into pin jaws to hold the hat side of the blank and use a tail center for the bottom. Mark off the top hat area around 1 ½”. Create the top hat and then turn a 1” round bead for the head of the snowman. Make only 2/3 of the head showing leaving the illusion that the snowman’s hat if partly on the head. Color the hat black with a black magic marker or paint. Below the head, create shoulders and then taper the rest of the spindle to either a point or a small ball at the bottom of the snowman. Sand the snowman to 400 and part down both the hat and the bottom until removed. Sand those areas by hand. Color the top of the hat black using India Ink markers and create the eyes, mouth and buttons on the torso using black puff paint. Use the orange puff paint to slowly build a “carrot” nose or make a small “carrot” nose and paint it orange. It may take two or three dots on top of each other allowing each dot to dry before the next is added if using puff paint. Or you can turn a small nose and paint it orange, drill hole for nose. Spray with Krylon Fixative and Krylon Matte finish. Tie a long, thin colored ribbon around the neck to create scarf.

TOC Friday Saturday Sunday 83 29th SWAT Symposium

with Karen Freitas Twisted Pen

Tapered Twist 1. Turn a tapered closed end pen. Measure the diameter of the largest section with calipers and mark the length the same as that measurement. Now measure the diameter of your second line (smaller) and mark each of the next lines until the end of the taper. 2. There will be six separate horizontal lines for the area you want to twist. 3. You must then mark each box from corner to corner using pencil line twisting your way around the pen. Every other line will be pencil or colored pencil.

Traditional Twist- 1. You can use a Japanese hand saw to cut the colored line for your twist. I use a carbide shaping wheel to cut my initial line and begin the rough out process in my variable speed Micro Motor. 2. Since the size of pen is so small, I use a small rat tail file to carve the wood out from the colored lines. 3. Now it’s time to sand. I have a jig I have made using a wooden handle with thin foam backing and the “hook” part of hook and loop Velcro. You can use any type of Velcro type sandpaper but I prefer Abranet since it is easy to clean out the dust. 4. After going through the array of sandpaper up to 400 you can test the smoothness of your twist by allowing the twist to slip between your fingers and feel for any bumps or tear out which will show up during finishing.

84 Friday Saturday Sunday TOC Demonstration Handbook 2021

with Jim Hinze Custom Pen Making

Tool List The following is a recommended list of tools for one particular size of custom pen making. This is the size you learned to make in the class. There are general finished size guidelines, but no hard and fast rules. Wherever possible, the source of the tool is included. 1. Lathe—Wood lathe, 10” swing minimum. 2. Scrolling chuck: There are many options here. My personal favorite chuck is from Hurricane Turning tools (HTC 100). The record chuck, Nova G3, PSI economy chuck are all good for this purpose. You want to ensure you have “spigot” jaws. These are used when making a rectangular blank round to fit into a collet chuck OR if you have a round blank that does not fit into your largest collet. 3. Collet Chuck: The two commonly available are the PSI and the BEAL. The PSI chuck is only available in 1” x 8 tpi for most midi-lathes. The beall chuck is available in a variety of sizes. I have both chucks and have no issue with either. 4. 20mm collet: Can be obtained from Ebay. This is required for blanks poured in molds over 3/4” 5. Floating tailstock tap and die holder: although there are many available, there is only one I recommend. It’s made by Neil Butterfield (neilsniche.com). Along with the base kit, you need to purchase the 1.5” die holder and 3/4” tap holder. 6. Drill bit set (imperial, letter, and number): Harbor freight sells a 119-bit set that has 99% of the bits you need. Purchase either the Titanium Nitride coated or the Cobalt steel. 7. M12, M13, or M14 triple start tap and die pair: TurnersWarehouse.com . A triple lead tap and die is the perfect choice for custom pens. It cuts 3 threads at once, meaning with each rotation of the cap, it will travel 3x’s the distance. This results in a cap taking 2 full revolutions to turn as opposed to 6+ full revolutions. 8. Section tap and Die set (M10x1 recommended): Turners Warehouse.com or Amazon.com 9. Nib housing tap: Recommend Jowo #6. Can be purchased from TurnersWarehouse.com or Sil- verPenParts.com 10. Normal lathe tools: HSS or Carbide (or combination) 11. Mandrels to hold your work for finishing and polishing: turnerswarehouse.com OR Hinzepens.com Custom tools made by me: In an effort to assist other makers, I produce mandrels out of brass or aluminum. These mandrels are used to hold the work while shaping and polishing. I also make a tenon cutter which will quickly and accurately cut any of the tenons required to thread (e.g., cap threads,

TOC Friday Saturday Sunday 85 29th SWAT Symposium section threads). Both items are available from either my website (www.hinzepens.com) or Turners Warehouse (www.turnerswarehouse.com) Getting Started To begin, you need a blank. I recommend using rods casted using molds created by Fred Wissin of PtownSubbie. They are the perfect size at 8.5” long and 3/4” around. You may also use standard commercially available acrylic blanks sized at 3/4” square by 5 1/4” long. You will need 2 total at that size. Material should be amongst the following: Polyester Resin, Alumalite, Epoxy, Ebonite, or Acrylic Acetate. Do not use Inlace Acrylester, tru-stone, sim-stone, or other overly brittle material. Additionally, wood is not a good choice as it will not take and hold threads. Any of the “no-no” materials would need to be sleeved with one of the good materials and threads cut into the sleeved material. This is a little advanced for this guide. Sizing parts for your pen Body: The body should be approximately 3.5” to 3.8” long. This will result in a pen about or a little bigger than, a Jr. Gent / Jr. George. Section: approximately 1.2 to 1.25” long. If this is too long, you have to create a cap that is overly large or if too small, the nib won’t have room to be tapped and hold a cartridge/cartridge converter. Cap: If you make the body and section ﬁrst, you can insert the nib and measure the minimum length required to ﬁt the nib inside the cap, then add 1/4” to 1/2” for top clearance. The resulting cap will be anywhere from 2.2” to 2.5” long (give or take either direction).

8.5” cylindrical blank

Two 5 ¼ blanks

86 Friday Saturday Sunday TOC Demonstration Handbook 2021 Making the pen body

The diagram above details a basic schematic for the steps necessary to form the rough body. The written steps below will describe in detail what needs to occur. These operations are done on a rounded blank mounted in a collet chuck. Mounting in a collet will keep it as concentric as possible when removing and re-mounting. This work can be done in a scrolling chuck, it may not be quite as accurate. Remember though, we’re making pens, not parts for the space shuttle. Accuracy is quite relative here. 1. Face the blank so that the end is ﬂat and then center drill the blank so you can support cutting the tenon with a live center. 2. We need to cut a tenon to prepare for cutting the cap threads. The tenon needs to be approximately 5/16” long. Cut the tenon to the diameter required for the die. Use the chart below as a guide for the various tenon sizes. You do have some wiggle room. Never cut the tenon oversized, this will stress the die and if too large will cause chipping. Cut the tenon no less than the following:

Ideal Dia Ideal Dia Min Dia Max Dia Die Size (MM) (IN) Min Dia (MM) Max Dia (IN) M9 9mm 0.352 8.90 0.350 8.97 0.353

M10 10mm 0.391 9.90 0.390 9.97 0.392

M11 11mm 0.431 10.90 0.429 10.97 0.432

M12 12mm 0.471 11.90 0.468 11.97 .471

M13 13mm 0.509 12.90 0.507 12.97 0.510

M14 14mm 0.549 13.90 0.547 13.97 0.550

TOC Friday Saturday Sunday 87 29th SWAT Symposium 3. At the end of the tenon, a relief needs to be cut to allow the die to fully thread to the end. The relief should be about 3/32” to 1/16” wide. This can be cut with a thin parting tool or other similar tool. It should be slightly deeper than the depth of the thread pitch, in almost all in- stances, this means about 1mm (0.04”) below the tenon surface. 4. Chamfer the start of the tenon to 60 degrees to allow the die to slip over to start. 5. Load the die into the die holder with the etched size facing out. Using lubricant (cooking spray, cutting oil, WD40, etc.) cut the threads all the way to the shoulder and back the die off. 6. Flip the die in the die holder so that the letters are facing inward. Be careful NOT TO CROSS THREAD. This will ruin the tenon. Chase the threads all the way to the shoulder. 7. Inspect the relief, if there appears to be threads cut in the relief, trim them off with the thin cutting tool. 8. We need to bore the body to a depth of 3 inches to accommodate the cartridge converter. The size of the bore is dependent on the size of the thread being tapped for the section. The chart below (Figure 1) details some common sizes: 9. Load the appropriate tap into the floating tap holder and tap in a distance no less than 3/8” and no more than 1”. 10. Once bored, and taped you’ve completed preliminary work on the body and it can be removed from the chuck.

Tap Size Drill Bit

M9x.75 8.25MM or 21/64 M10x1 9mm OR ‘T’ bit

M10x.75 10.25 OR ‘U’ Bit

7/32 ‐32 ‘Y’ Bit

Figure 1

Making the Section—Jowo #6 nib housing 1. Mount the section with the front (portion the nib screws into, facing the chuck). 2. Face the end of the blank and center drill to accommodate a live center supporting the work while cutting the tenon. 3. Mark the tenon length at 5/16” of an inch. 4. Cut a tenon to accommodate the appropriately sized tap. The chart (ﬁgure 1.1) will guide you in the acceptable diameter. Also cut a relief as you did with the cap tenon to accommodate the threads.

88 Friday Saturday Sunday TOC Demonstration Handbook 2021 5. Using lubricant (cooking spray, cutting oil, WD40, etc) mount the die in the die holder and cut the threads. 6. If the die being used is double sided (generally all American made dies are and Chinese dies are not), flip it around and re-chase the threads to the end. 7. Inspect the relief, if any threads are present in that area, trim them flat. 8. Next, drill a 7mm through hole. 9. Flip the die around in the collet. 10. Using an ‘N’ bit, drill in a distance of 0.58” as measured from the shoulder of the drill bit, not the tip. 11. Using an ‘R’ bit, drill in a distance of 3/32” as measured from the shoulder of the drill bit, not the tip. 12. Install the JOWO tap (M7.4 x .5) into the tap holder and tap threads for the nib housing. No more than a 1.4” to 5/14” of thread is necessary to secure the nib. 13. Clean out any lubricant using a paper towel and test fit the nib.

Common issue with nib fit: • Distance bored with N but is slightly shallow. Re-chuck the bit and take a tiny bit out. • Distance bored with N bit is too far (threads won’t engage). Trim some length oﬀ the front and re-ﬁt until threads catch. Note, you may need to use the ‘R’ bit to increase the depth to countersink the nib. • Countersink ‘R’ bit was not drilled deep enough.

Dimensioning the Cap

With the Nib installed in the section, screw the section into the body. Measure using Vernier calipers, the distance from the shoulder of the body to just beyond the tip of the nib. This is the distance you need to bore for clearance inside the cap. The cap should be at least another 1/4” to 1/2” longer than that clearance dimension. You want to keep the cap in proportion to the body. The Golden Means ratio is a good guideline, or simpliﬁed, the cap should be 1/3rd of the body length +/-.

TOC Friday Saturday Sunday 89 29th SWAT Symposium Mount cap blank into the chuck with the top of the cap facing the chuck. 1. Bore the blank to the depth measured for nib clearance using the “1st step” bit listed in ﬁgure 1.3 for the tap required. 2. Bore the blank with the “Tap Bit” to a depth of 1.5 inches 3. Tap the hole using the speciﬁed tap. You need between 3/8” and 1” of thread cut to accommodate the tenon.

Tap 1st Step Tap Bit

M11 x .08 x 3L ‘V’ ‘Y’

M12 x .08 x 3L 13/32 11.2 or 29/64

M13 x .08 x 3L 7/16 12.2mm or 31/64

M14 x .08 x 3L 7/16 13.2 or 17/32

Finishing the pen The outsize of the body should have a diameter at its widest between .057 and .059, The cap should be between 0.6 and 0.63 depending on how much of a lip you like on the cap. Dimensioning the pen and shaping it should be unique to you... every maker has their own unique style... this is your opportunity to find yours. To ﬁnish the pen, it needs to be mounted on mandrels. I sell a set of mandrels made from either Brass or Aluminum. One for the body, one for the cap, and one for the section. Aluminum mandrels are $75 a set and brass are $95. These mandrels will also be available through turners warehouse.com. I’ve been asked for dimensions of the mandrels. Given the information in this guide, you can reverse engineer the mandrels if desired. If that is problematic, you may contact me, and I can draw them up for you. I recommend sanding from 220 through 400, then using ZONA paper. You can ﬁnd Zona paper on Amazon.com: www.amazon.com/dp/B001BHGC7G/ref=twister_B07C2VR2Y9?_encoding=UTF8&psc=1 Finally, polish each piece using Maguires Scratch X 2.0.

90 Friday Saturday Sunday TOC Demonstration Handbook 2021

with Jeff Hornung Hollow Form Inlay

This is a fun little project that can be done with hand hollowing tools or even just traditional scrapers or carbides. Focus is on basic technique and epoxy inlay with powdered metal. Shown here is a walnut hollow form with powdered aluminum inlay. Wood selection. Any species of wood will work, grain orientation is not important but may cause you to use different techniques to hollow with. I normally make these pieces from 4 to 6- inch square bowl blanks that are at least 2 inches thick. Mounting. You may start between centers or on a worm screw as you wish. I prefer to start between centers as the shaping out the outside is fairly straight forward. Note: a faceplate is probably not going to be helpful here unless it is very small. Being able to do most of my outside shaping before going into the chuck will speed up the process. Turning. Once your stock is secure, round into a balanced cylinder and create a tenon on the tailstock side. Since we are using smaller blanks and making smaller pieces a 2 inch, 50mm, tenon will suffice. This will be the bottom of the piece. (I don’t use an expansion hold when doing hollow forms of any size as you run a much greater chance of punching through the bottom.) Plan your bottom surface to be 1/3 the total height of your vessel and the upper section being 2/3 the total height. Kind of a droopy UFO shape. It’s fun to turn and very simple. Traditional turning tools, scrapers or carbide tools will work just fine. Refine the shape of the bottom, turn to finish, sand and apply your choice of surface film finish at this time if you’d like.

TOC Friday Saturday Sunday 91 29th SWAT Symposium Once the bottom is finished to your liking remove and remount into the jaws of your chuck. I normally bring the tailstock back up for support until it’s actually in my way. Remove any waste material and finish shaping the upper 2/3 of your vessel. Take your time and create a nice gentle curve. That tends to be more visually pleasing. Create a flat for your vessel opening and try to make that opening no bigger than the tenon or foot profile you’re using on the bottom. Great balance and design focus. On these smaller pieces I’ll use a 2” tenon which will leave a 2” base. That means my opening will be no more than 2” wide. Create a center divot with your tool so you have a reference point for the next step. I find it very helpful to use a depth gauge of some sort to plan out how deep I want the inside of this vessel. Less chance of punching through the bottom when you turn away the tenon at the end and more accurate measuring when working on the inside. Take into consideration the wall thickness you’re planning to work with and leave a little extra wood on the very bottom…just in case. When working with end grain blanks, drill to depth as you’d like with either a standard bit or forstner. When turning cross grain blanks, I find it more stable to use a round carbide to remove the majority of the inside stock. The best part of a project like this is even though we can use hand holloing tools like a swan neck hollower, we don’t have to. Keep in mind, the more consistent wall thickness and crisp inside “corner” where the upper and lower planes meet, the more likely you’ll need a specialty tool. If you don’t have dedicated hollowing tools, you can to an enormous amount of work with round and square carbide tools or traditional scrapers. When using scrapers or carbide, use the rounded tools for the bulk of stock removal. Dial in your depth and rough in the wall thickness. Switch to a square shape to get the corner transition as clean as possible, working withing the design of the outside of your piece and the size of the opening. It may not be a precise a job as it would with dedicated hollowing tools but you can do a good job of creating a hollow form this way. If you have access to traditional hand hollowing tools, they can give you an advantage on the quality of the hollowing you can do here. Using a swan neck tool with either a small carbide or straight HSS cutter you can dial in the wall thickness and create a very clean corner on the inside of this form. Please note when using a swan neck tool…the toolrest MUST be positioned so it supports the tool behind the curve, the tool holding end should be in line with the shaft of the tool and there should be a proper flat grind on the bottom of the tool where it makes contact with toolrest. Watch out for low end tools as they are not always designed by woodturners and that may make them very hard to control. Once the inside shape is done, sand and finish the inside. When sanding the inside

92 Friday Saturday Sunday TOC Demonstration Handbook 2021 use caution and keep your fingers and hands out of there. Sandpaper on a stick or sanding mop will be your best bet. If you need to sand the inside surface with your fingers do NOT run the lathe. Do this manually. Powdered Metal in Epoxy Inlay. After the inside of your form is finished, use a thin parting tool to create 1-3 grooves near the opening of the hollow form. I normally use a 1/8” parting tool and make the grooves about 1/8” deep. Position these grooves on the smaller third of the top surface of your vessel to create an asymmetric placement. Putting them on center or on the wider 2/3 of the surface distorts the proportions and creates a visual imbalance. Remember, we are using the inlay to enhance the woodgrain and the form, not be the main focus for this project. Once the grooves are made get your 2-part epoxy and powdered metal ready. {Remove the chuck AND piece from the lathe…do not take the piece out of the chuck as we will still need to turn away the epoxy and finish. If you remove the piece, you may ruin the registration when trying to remount the work back into the chuck.} I prefer to use epoxy that is at least 5-minute working time and comes in 2 separate bottles for the resin and hardener. You can use the syringe type epoxy but you’ll need to work much faster to mix and apply. Take a piece of aluminum foil and make a gluing pallet. Squeeze out equal portions of both the resin and the hardener NEXT TO EACH OTHER BUT DO NOT MIX. Add your powdered metal to the resin puddle and mix in thoroughly. A wooden tongue depressor or popsicle stick works great for this. Use more than you think you need. Once the powdered metal is incorporated into the resin mix in the hardener. Now your working time countdown begins. Quickly scoop up some of the resin metal mix and smash it down into the grooves you’ve created. You must force out any air bubbles from the grooves, as that makes the project much easier to finish. Repairing epoxy bubbles here are done by turning out all the epoxy from the grooves and starting over again. Work quickly and get the grooves filled in. Set aside and let cure fully. I’ll usually give even a 5-minute epoxy about an hour before I go back and finish turning.

Once cured use your standard turning tools and quickly turn away the excess epoxy. Your grooves should be full and no voids should appear. Sand and finish the piece however you’d like and remove the tenon to finish the very bottom. When using powdered metal mixed into epoxy the metal will appear matt and grainy, but that is the idea. If you want a solid shiny metal look, you’ll need to use a different inlay technique relying on CA glue instead.

TOC Friday Saturday Sunday 93 29th SWAT Symposium

with Jeff Hornung Scottish Ring Handled Bowl

This piece is inspired by a wooden vessel discovered in the Highlands of Scotland and dated to around 90-400AD. It featured a round bottom bowl with at least one ring handle positioned low on the body. This appears to have been turned and carved out of a single piece of wood and I tried to recreate that using the techniques listed below. I use a standard bowl gouge, a standard spindle gouge, normal chuck, worm screw and some power carving tools. Wood Selection: Stick to the hard woods and position the bowl in cross grain orientation to have the most amount of strength for the handles. Avoid soft woods and don’t use an end grain turning. If you plan to color or paint your finished work, I suggest a plain wood with boring grain. Hard maple is my preferred but Sycamore, Oak, Ash and other light-colored woods have been used very successfully. Mounting. While you can mount between centers, I recommend starting out either on a faceplate or on a worm screw like I do. This way you will be able to remove the tailstock when it becomes in your way without losing your holding point. Anticipate making a tenon to hold in a standard woodturning chuck for hollowing and carving of the handles etc. Make your tenon sized appropriately for your blank and jaws using the 2/5 overall diameter as your target tenon size. Example, if you’re using a 10” diameter blank plan for a 4”/100mm diameter tenon for the best possible hold. Use your tailstock for the best support and security.

94 Friday Saturday Sunday TOC Demonstration Handbook 2021 Turning: Take your time and think this through as you need much more wood than you’ll realize. The turning process is simple…create a bowl form with a large bead on the surface. The ring handles are carved out of that ring. Exaggerate that bead form and use your own finger thickness as reference to help plan this out. I like to start by shaping the bottom of the bowl. Create your tenon plus a “shelf” for your jaw face to sit on. Round over the bottom surface and cut UNDER where you want the bottom of that bead to sit. Next shape your bead. Make it bigger than you need, you can always remove more wood if/when necessary. The more you turn to shape the less you’ll need to carve your ring handles later. I like to create a wide bead and then remove wood from the upper portion of my vessel. Refine the bead shape as you also refine the bowl shape. Your goal is to make it appear that the bowl form is running under the bead, and that the bead form is sitting on top of the bowl form. Again, the more work you do with your tools the less carving to shape you’ll need to do later. I like to position the bead around the lower third of the vessel to create an appealing proportion. Make adjustments as needed and finish the turning of the outside bowl form. Remove tailstock if/when it becomes in your way. Don’t compromise good turning technique since you’ll either be on a worm screw or faceplate. Turn away the inside. There is nothing special about the turning of the inside of this bowl. Standard cross grain practices are all you need. I like to turn these thin and hope for natural warping in the future but go with the thickness you are most comfortable with. I will admit that leaving some thickness may help if you have a heavy hand while doing the carving. At this point I find it much easier to remove the chuck and piece from the lathe spindle and mount onto a carving stand held in my banjo. If you do not have a carving stand you can leave the piece on the lathe but I find that to be a bit awkward. Once on the carving stand, I use a set of calipers to mark out my handle thickness. This is about ½” and pretty much in line with the end grain of the wood. Using a hand saw make relief cuts to identify your handles. This will give you much better visual reference as to where those handles are when removing the bulk of the stock from the remaining bead.

TOC Friday Saturday Sunday 95 29th SWAT Symposium Once the handles are free, I like to head to the bandsaw and use that to cut away about ¾ of the thickness of the bead. Most of the time I even leave the chuck on the piece as it remains in true registration if I need to go back onto the lathe for some reason. If you do not have a bandsaw or are not comfortable with this step there are a number of ways you can remove the stock.

• Hand carving chisels and a mallet • Angle grinder with an Arbortec Mini Turbo Plane or similar • Dremmel tool and sanding barrels • Foredom type tool and carving burrs • Merlin 2 mini angle grinder with carbide or sanding discs You can also use an one of those tools to carve away the remaining stock where the bead sat. Feather the carved surface to make it look like it was a turned part of the bowl. The next thing you need to do is open up the ring handles. While you can use a drill and bit I find that a great way to break your handles into a bazillion pieces. Any twisting of the drill in your hand can cause the bit to apply pressure to the handle. It’s better to use a carving burr or abrasive to remove that wood and create the ring opening. For this I prefer a Dremmel tool with a Saburrtooth burr, straight cylinder with a rounded tip. This gives me plenty of carving power while still maintaining control. Once the ring handles are opened up you can use carving burrs or other abrasives to shape and finish. Once your carving and shaping is finished go back between centers and turn away your tenon. I prefer a rounded bottom to complete the illusion of the piece being an ancient vessel though you can finish as you prefer. You can use center drives, a vacuum chuck, Cole jaws or jam/friction chuck…just remember those spinning ring handles can be broken off easily if you hit them during the process.

96 Friday Saturday Sunday TOC Demonstration Handbook 2021

with Alan Lacer Skew Chisel: Darkside and Sweet Side

This is all about making this often-troublesome tool behave. An underlying theme will be how to reduce the “fear factor” that so many have regarding this versatile tool. Think the skew is just for “spindles?” Better to think again. When the wood grain is parallel to the lathe bed (long-grain) the skew is an outstanding choice --although not an inside hollowing tool. This includes: • Handles • Lamps • end-grain bowls (outside) • lidded boxes (outside) • goblets • rolling pins • Christmas ornaments • drawer pulls with tenons • fishing lures • ink pens, • baseball bat • candle holder • decorative vessels • vases • scoops • pepper and salt mills • and much more. What you will find is that the skew is outstanding for a wide variety of different cuts (Alan has identified a dozen) that in some cases no other tool can replace it as well. Not well suited for turning face-grain bowls. Alan will cover fundamentals: • shaping and sharpening the skew • preparing the lathe for skew work • a number of cuts from simple to the most challenging • suggested drills and exercises for skill development Alan will explain the grind he prefers and the many advantages—and also how to convert from a “standard grind” to his preferred shape. There will be special emphasis on how to achieve a “nasty sharp” edge rather quickly.

TOC Friday Saturday Sunday 97 29th SWAT Symposium He will conclude with suggested “skew only” projects, to push your limits, such as: • eggs • tops • door stops • peppermills • handles • etc.

Most of the session will be demonstrating cuts—and problems associated with those cuts. As time allow, Alan will turn a couple of small items. Alan has also done some unusual turnings that he will be happy to discuss at end of presentation including his “Jello” turnings.

98 Friday Saturday Sunday TOC Demonstration Handbook 2021 ALAN LACER AND SKEW CHISELS www.alanlacer.com www.alanlacer.info

SKEW CHISEL SELECTION I prefer rectangular sectioned skews, the heavier the better (at least 1/4” thick, better yet, 5/16” or 3/8”) with the short point side corners rounded back to the ferrule, the long point side corners chamfered (slight rounding) back to the ferrule. I do not like the oval sectioned skews: they are overly thinned out, rock on the toolrest when grinding, nearly impossible to do the peeling cut (which I use a great deal), and presents a changing angle to the wood as presented in several of the cuts below—such as the rolling cut. Sizes: I primarily work with two sizes: a smaller one that is 1/2” or 5/8” and a larger one that is 1 1/4” or 1 3/8”. These sizes generally work well on all the cuts below on stock 5” in diameter down to miniature sizes. Preparation: get it sharp through grinding, refine and maintain the edge through hand honing using a diamond hone. Make sure the toolrest is filed flat and clean, wax the top surface of the rest. Drive the work with a ring center rather than a spur—especially if you are in a learning phase. Practice the following cuts on a softer wood like yellow poplar, alder or pine. CUTS Planing: most commonly done with the short point down and leading the cut—but cutting anywhere along the area just above the short point to just above center of tool, handle is positioned at about 45 degrees to the axis of lathe. Problems: skating, dig-in, ribbing, chip-out. Roughing: using the tool in the same position as the planning cut, the skew can be used to round smaller diameters (usually under 2 1/2”) and shorter pieces (generally under 18” in length). It is very much a pushing off of the corners to reach the cylinder. In chippy woods like red oak or ash, I either use the planning approach but shorten the length of each cut or use a peeling approach—followed by a planning cut to clean the surface. Peeling: using the skew like a veneer peeler’s action on a log. The cutting edge is held parallel to the lathe’s axis, but with the handle low in back to provide a cutting edge that has bevel support—not a scraping action with just a sharp edge. Place the long point against the side of TOC Friday Saturday Sunday 99 29th SWAT Symposium the wood you intend to keep. I normally use only a portion of the tool’s edge as too heavy of a cut is hard to make or control. This is a sizing and rough cut—not for finishing. It can be used to take the corners off of a square, cut tenons, or remove large amounts of waste material. Vee: long point down, cutting with an arcing motion. For the first cut, the point is at a right angle to the axis of the lathe. To deepen or widen the “V” that is created, come from the side of the original cut, being sure to clear the long cutting edge away from the area just cut. Problems: skating, burning, “stalling out.” Shoulder or Facing-Off: long point is down, long cutting edge is tilted away from the face of the shoulder only a few degrees (2 to 5). Cut is performed high on the work, using an arcing motion and ending above the center axis of the lathe. Problems: skating on entry or at any time on the face of the shoulder, dig-in, “stalling out,” torn grain. Saucer: done very much like the shoulder cut, except the action is now concave. Since this is cutting somewhat against the grain, don’t take the cut too deeply into the end-grain. Useful in doing the bottom of projects like a goblet, vase, toothpick holder, lidded box, etc. or for cutting rings free on a shaft. Parting: done with the long point down, a series of vee cuts to part a small work pieces/projects off at the headstock side. Tends to avoid many of the problems of parting tools: cleaner cut on the end-grain and seldom snaps the piece off near the conclusion to create a small hole in the end of the project. Pummel: the process of turning square elements that transition into round. I prefer to cut these with the long point down—especially square shouldered pummels. Layout the placement of the pommel with a single 90 degree line (using a square or protractor). Cut to the waste side with a Vee cut—then turn away material on the waste side until you reach a cylinder (using either a peeling or planning cut). Make the cut to the line using the same method as for a shoulder cut (for the square shouldered pommel). For a curved pommel, make two 90 degree lines—one for the ending point (meets the rounded area of your project) and one for the starting point of the pommel. I usually go ahead and create a square pommel at the end point. Then in a series of light cuts, add a curving motion to create the curved surface until you reach the line that marks the starting point of the pommel. If a relatively friendly wood, I lead with the long point through the entirety of the cut. If a difficult wood (usually very soft or easily torn on the end grain), I start with the long point in the wood, then raise the handle with my back hand to allow cutting in the area just above the long point. Rolling: using the skew to produce a convex shape, such as a bead. For small beads (under 3/8” wide or less) I often use the long point. For most beads and other convex shapes of a larger size I make the cut with the short point down. You may cut with the short point in the wood (to assist with keeping the tool against the side of the bead and with a bevel rubbing) or with the area above the short point but not above the center of the tool’s long cutting edge. Problems: skating (creating slashes in the bead), dig-ins (getting the trailing edge/point pulled into the wood), shapes that are not rounded—but were intended to be convex. Coving: using the skew to produce a concave shape. Usually done with the short point down, moving the tool with a scooping action. Here the curved edged skew certainly performs better. Problems: skating and failure to produce a curved surface in the cove.

100 Friday Saturday Sunday TOC Demonstration Handbook 2021 Rough-Grain: using the skew as the final tool to work an area of twisted grain, severe chip-out or even a knot. First the area is lightly cut with a roughing gouge, cutting edge at a 90 angle to the lathe’s axis, with bevel support. Make the cuts across the difficult area lighter and lighter until almost dust like in their action. Next, be sure the toolrest is almost touching the wood, cutting edge of the skew is held parallel to the lathe’s axis, tool handle is horizontal, edge is presented in a scrapping approach with no bevel support. Make very light passes across the difficult area, completing with only the lightest of cuts. End-Grain Scrape: using the skew for scraping directly across end-grain as found on the rims or bases of such projects as lidded boxes, goblets, toothpick holders, etc. Get the tool extremely sharp by honing, place the toolrest as close to the work as possible, present the tool facing the end-grain area, the tool handle should be horizontal (to present the edge in a scraping approach with no bevel support) and lightly scrape across the area. You should be getting tiny ribbons rising from the edge—if not, you may be tearing the grain. LACER’S SKEW WARMUPS Suggested wood type and dimensions: something soft and dry such as alder, poplar or pine, approximately 1 ¾” square and 5” to 6” in length. BLOCK #1: Remove corners from ½ the length of the first square block using a planing method, the other half by peeling. Turn the block to an even cylinder using a planing cut. From the middle, taper the bock down to a straight taper just slightly larger than the drive center; do the same to the other half. Turn the block back into a small cylinder. Avoid hitting the drive centers (leave larger diameters at the ends); turn as small a cylinder as possible. BLOCK #2: Turn a cylinder from the block. For 1/3 of the length, create V’s that are below the diameter of the cylinder. For another 1/3 of the length, create V’s that are proud of the surface. For the remaining portion of the cylinder create several individual micro beads, then a grouping of three or four micro beads. Face off both ends of the cylinder with shoulder cuts. BLOCK #3: Create a square shouldered pommel on one end of the square, a rounded shouldered pommel on the other end. Peel into the middle to create space for two more pommels. Do a rounded pommel on the left side, a lamb’s tongue/ogee shouldered pommel on the other. BLOCK #4 Turn the block into a cylinder. Starting at the left, lay out (using V-cuts) three beads approximately 1” wide, then three 7/8” wide, then three ¾” wide, then three ½” wide.

TOC Friday Saturday Sunday 101 29th SWAT Symposium BLOCK #5 Turn the block to a cylinder. In the middle turn a 3/8” wide bead that is proud of the cylinder. Using saucer cuts, cut the bead free of the cylinder. Using a coving cut, trap the bead within a deep cove. On the side near the headstock, about ½ “ from the end, make a series of V cuts. Round over the end of the remaining stock that is close to the V cut. With a series of V cuts, part off the stock leaving a nice rounded end. BLOCK #6 Find a blank with one or more large, solid knots. Plane the square into a rounded shape being careful around the knots. Try to cut the knots as cleaning as possible by using a planing method. Vary the angle of presentation and a very slow feed rate. Complete by light scraping across the knot. SHARPENING GUIDELINES Alan Lacer www.alanlacer.com (articles on sharpening and honing) EQUIPMENT: Wheel grinder (I prefer a 1725 or 1800 rpm) set just below chest height, 8 inch diameter wheels 1 inch wide, 60 or 80 and 46 grit friable aluminum oxide wheels (usually white, pink or blue) OR a SG wheel in J or K hardness, rock solid toolrests, eye protection, dust mask, wheel dresser (star-wheel, dressing stick, or diamond dresser—all work, but leave different surfaces, my choice is the diamond), diamond slipstone (best for modern tools), OR flat stone in diamond plus a tapered diamond hone (slipstone replaces these two different hones). CBN wheels and boron hones also work well—will discuss in the session. However, with a CBN grinding wheel there is not “spark trail”—so check the edge with light frequently. PART 1. Guidelines for sharpening scraping type tools (flat steel, ground on one bevel only, similar to the cabinetmaker’s scraper in its edge—a burr): 1. As with any turning tool, shape or profile the tool first. Scrapers are the most readily shaped tools—ground into whatever shape is needed. 2. Aim for a bevel angle between 70 and 50 degrees (or think of it as a relief angle of 20 to 40 degrees off of 90 degrees). Set the platform of the grinder to the desired angle. 3. Although normally the bevel is not rubbed on the wood—and we do not hone these tools like cutting tools—I still aim for a single faceted tool. 4. Start at heel of bevel and lap or grind forward until sparks just begin to appear over the top of the tool. 5. The burr that is raised from grinding OR raised with a burnisher IS the cutting edge at least 95% of the time. On some woods where the burr is too aggressive, we remove the burr and scrape with a sharp edge. 6. Leave the heavy burr from grinding if the intention is to remove considerable material and quickly. If you are using the scraper as a finishing tool, remove the burr with a flat honing tool (face of the slip stone or flat diamond stone). Next raise or pull up a more delicate burr with a burnisher—anything harder than the steel. I use the rounded edge of the slip stone or a cabinetmaker’s burnisher to raise the burr. This is accomplished by tilting the burnisher just about five degrees past 90 (towards the top of the tool) to fold the steel back—and traveling along the full length of the edge. The burr size is most determined by 102 Friday Saturday Sunday TOC Demonstration Handbook 2021 the amount of pressure you apply to raise the burr—more pressure, the heavier the burr. You can successfully raise a burr 4 to 8 times before the edge is too rounded and you must then return to the grinder. SHARPNESS INDICATORS FOR SCRAPERS: Feel for the burr by running your finger off the edge, not along the edge. When working with a sharp scraper it should also produce small ribbons—if sawdust, then the tool is usually dull. PART 2. Guidelines for sharpening “cutting” type tools such as gouges, skew chisels, parting tools and hook tools: OBJECTIVE: Single facet with a slight hollow grind. MENTAL OBJECTIVE: Grind the bevel and not the edge. STRATEGY: 1. Profile or shape the tool first—don’t be too timid removing large amounts of material to reach desired shape—check a book, video or an experienced turner for recommended shapes/angles. 2. Next, begin to match the desired bevel angle to the profile (to actually sharpen the profile). Start at the heel (back edge) of the bevel and gradually lap forward towards the edge. 3. Use light pressure, be slow and deliberate, maintain a relaxed attitude and grip, elbows in, controlled stance. 4. Leave the tool on the wheel, looking at your progress only occasionally—use the spark trail as feedback to determine where you are grinding. Stop grinding when sparks evenly form over the top of the tool edge—further grinding burns away the edge, producing a “saw- toothed” edge. When full bevel is in contact with wheel, tool is sharpened 5. Avoid heating the tool to such a temperature that you see temper colors developing (yellows, purples, blues). When grinding carbon steel tools, quench in water quite regularly. If using high-speed tools avoid quenching when tool becomes hot—grind in stages, allowing the tool to air cool between sessions. SHARPNESS INDICATORS: Under a strong light: if you can see the edge on cutting tools (skews, gouges, parting tools, etc.), there is no edge! The amount of effort or pressure it takes to remove material is a great indicator of sharpness—a sharp tool seems to allow the wood to cut itself, a dull tool requires extra force. Look at the material coming off the tool—dull tools tend to produce dust or short chips, sharp tools tend to produce ribbons and curls even if short. Listen for sharpness: sharp tools make a hissing sound (much like a sharp plane), dull tools sound flat or make a scraping sound. Examine surface quality. HONING GUIDELINES for skews, gouges, parting tools: It is easier to keep a sharp tool sharp than it is to use a tool so long that you must return to the grinder. Get in the habit of regular honing, especially before final cuts. For gouges hone the outside ground bevel first by touching the heel of the bevel first, then gently rock into the area just below the edge, still touching the heel of bevel—always a two-point contact. Next, hone the inside flute: hold the curved edge of the slipstone perfectly flat within the flute and move the stone in and out of the flute until the entire edge has been honed. Hone both ground surfaces of the skew and parting tool in a similar two-point strategy. You can only hone a properly ground tool—good grinding is still more critical than honing. RULE: Hone the bevel and not the edge!!

TOC Friday Saturday Sunday 103 29th SWAT Symposium AN ALTERNATIVE GRIND FOR THE SKEW CHISEL Geometry: 70 degrees from point to point; ground bevel angle (equivalent to bevel length) is expressed as 1.5 x steel thickness; behind the short point’s bevel a full round to the end of the blade; behind the long point’s bevel a flattened surface but with the corners removed.

Advantages: 1. “Tells” you where to cut for planing and rolling cuts (cut where curved) 2. For planning and rolling cuts gives increased clearance angle for the trailing point and trailing edge 3. Gives between 15% and 20% more cutting edge 4. For peeling cuts is self-limiting 5. For peeling cuts puts the handle at a right angle to the axis of lathe 6. Straight section used for scraping actions 7. Straight section used for finishing cuts on rounded pommels 8. Curved edge works better on “chippy” or figured woods 9. Curved edge has lower impact when planning or rolling, has a progressive entry into the wood, better at shearing the fibers 10. Curved edge works better for concave cuts (a curve fits a curve better) Disadvantage: Harder to sharpen than a traditional ground skew. For sharpening two sizes of skews with this grind see Alan on YouTube: https://www.youtube.com/watch?v=dmCxDToHm6Y&t=19s

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USING RING DRIVES Sometimes called a cup drive, safety drive, safe driver—but is more accurately called a “ring drive.” Ring drives have been around for centuries, in a variety of sizes. The most common versions today are rather smallish ones that replace the spur drive in the headstock. These same small centers in the tailstock were known as “dead cup centers”—mostly replaced today by live centers (centers with bearings) for the tailstock side. Using such drives in the headstock have many advantages: 1. The amount of drive can be controlled by how tight the tailstock is tightened. Allowing some degree of slippage is very helpful for learning difficult tools like a skew chisel, working with kids or for anyone in a learning phase. 2. Pieces can be remounted and will always be centered. 3. If a dig-in or catch occurs the piece tends to stop or spin freely, making it very hard to pitch the work piece off the lathe. 4. Work can be mounted and dismounted with the lathe running by controlling the drive from the tailstock handwheel. This last one is only important to production turners—not a suggested habit for the beginner. Tips for use: 1. Center point should only protrude about 1/8” from the body. 2. Drive the center hard into the end-grain of the block using a dead blow mallet. 3. Periodically sharpen the rim (lathe running) with a fine-cut mill file. The sharper the rim the deeper the penetration and greater will be the drive. 4. When you are confident in your abilities, file three small notches into rim with a chainsaw file or small grinding bit—allows better drive in very hard end-grain woods like hard maple, Osage orange, cocobolo and such.

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with Janice Levi Surface Enhancement from “A” to “Z”

We will examine several types of enhancements that woodturners can use on their turnings. Although the natural grain of the wood often stands alone as an artistic statement, occasionally, woodturners want to give the turning a little added boost. I—Inlay--Egg shell • Adhesive (Aleen’s Gel Glue) o Use glue to adhere eggshell; use a pointed skewer to move eggshell around. o Apply grout when glue is dry—can mix spackling compound with dry or wet dye to add color. • Can leave eggshell white or brown or can add color (*Do this step when glue is dry) o Watercolor o India ink o Acrylic—the opaque paint will color the grout lines.

B—Beading • Make your own beading tools from small bowl gouges.

106 Friday Saturday Sunday TOC Demonstration Handbook 2021 T—Texture • Make your own texturing tool with the rawl from spurs.

I—Inlay--Pony beads • Grind and sieve the plastic beads. o Use an old coffee grinder; dust will stick to everything. o Sieves of various sizes are available at grocery and specialty stores. • Use thin CA glue and accelerator to set the beads. • On a curved surface, create a little dam with beads and thick CA. • Let surface dry then turn away excess on lathe.

M—Metal Reactive Paint • Copper, bronze, iron • All require a primer and an acid to create patina. o Apply two coats of primer, drying between coats. Paint on quickly then sponge for texture. o Apply one coat of paint and let dry. Apply second coat of paint and sponge for texture. • Spray on the patina while the second coat of paint is still wet. Keep the turning moving to avoid drips and puddles.

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Bronze Copper Rust

Z—Zentangle • Repetitive designs/doodles • Can be applied by pen or pyrography. • Can be left natural or colored. o Markers o Colored pencils o Inks

P—Pyrography or Woodburning • Branding, artistic (branding tips) • Basic techniques (writing tip, skew, shader) • Intensity control (speed, pressure, temperature) • Highlight and shadow • Patterns o Where to find (online, books, leaves in nature, your own drawing) o How to apply ▪ Darts ▪ Wadding ▪ Graphite paper

108 Friday Saturday Sunday TOC Demonstration Handbook 2021 ▪ Draw onto wood using 4B pencil; erase lines with Tombow MONO rubber eraser with abrasive. ▪ Remove overburn with 91% alcohol on soft cloth.

C—Color • Colored pencils (soft effect) • Watercolor (a little more intense, but will raise grain. Apply water, sand before using) • Markers (can be blended) • Acrylics (raises the grain, but colors are intense. Apply water, sand before using) • India ink (permanent when dry. Intense color) • Dyes (permanent when dry. Intense color) • Liquid shoe polish

Resources: 1. Aleen’s Gel Glue—Craft stores (Hobby Lobby, Michaels’s, etc.) 2. Plastic Pony Beads—Craft stores 3. Metal Reactive Paint—Craft Supply 4. Pyrography Machines—MDI Woodcarvers, Bigfoot Carving Tools

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with Sammy Long Embellishing Your Woodturning Project with Relief Carving

For this demonstration, I will use a turned disc which is 5/16” – 3/8” wall thickness. When turning a hollow form for carving I use the same wall thickness. Once the hollow forms are dry, I lightly sand the outside to get a smooth surface on which to draw the design. For this demonstration, I will be using natural leaf designs. Once I have cut out the stencils for the leaves, I trace them onto the hollow form or disc in pencil. After I have them arranged to my liking, I use a fine point sharpie to make the transfers permanent. With the sharpie, I shade the negative space indicating where the wood needs to be removed. These pictures show a leaf that has been transferred onto the disc for carving.

With a Foredom or Master Carver, I use a 1/8” bit to drill holes around the outside edges of each leaf. Next I use a 1/8” diameter ceramic tile cutter to connect each drilled hole to remove each section between the leaves to create the negative space. Using my detail carver, RAM or Mater Carver Micropro, and Mini Stump Cutters, I clean up the edges of the leaves.

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The round Saburr Tooth Bur is used in the next step. This allows me to add the undulations onto the leaf.

I begin carving the details in the leaf. Using a Round Stump Cutter, I can define the shape and get a cleaner surface on the wood as I add the details.

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I carve each leaf using the same process, making each unique, but adding the same general details. It is a slow but rewarding process. Once each leaf is carved, I then use the Stump Cutters and the Mini Stump Cutters to remove the thick, square edges from the back edge of each leaf. This also removes all shadow lines that also need to be removed. Once this is done, I use the Round Diamond Burs to clean and smooth out any scratches on each leaf. I use the Pointed Diamond burs to smooth the back edge of each leaf.

Sanding is up to the artist.

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with Matt Monaco Turning Wood Pottery

For this demonstration, I'll be making a variety of my signature "Wood Pottery" vessels, in which I'll be sharing my methods on the finer points of creating elegant & refined enclosed forms that emphasize shear cutting on both exterior and interiors, which include the addition of finely cut exterior detail so as to provide the best finish straight off the tool for minimal sanding. The broader concept of this demonstration will center around demystifying woodturning processes in order to provide an accessible framework for people to grasp and relate to; Highlighting both the proper body mechanics and finesse as the forefront of creating this variety of vessel, as well as the practice of learning to see the forms naturally develop by eye. I'm also a believer in demonstrating "shared education" with others in such a way that you can develop the confidence to apply & execute my methods and concepts in your own shops and work at home. One of the staples of the concepts is found in my emphasis of developing the skill of freehand sharpening, of which I'll I will be sharing two different methods, and hi-lighting it's overall benefits in application to a wood pottery vessel, as opposed to using jigs which I find overall to be limiting. In closing. Whether the project be a wood pottery vessel or otherwise, my belief is that refining & sharing the skill and art of wood turning happens in three stages: 1.) Recognize the finer points: "If you're turning... your body shouldn't be hurting" Learning to recognize the finer points of what allows the tools to properly and naturally function with good body mechanics is the key to woodturning. This, along with the discovery of the right tools that effectively allow for your comfort (and are dedicated to the approach being used) can have the potential to instill greater focus because you're refining the skill of a few tools, rather than too many at once.

114 Friday Saturday Sunday TOC Demonstration Handbook 2021 2.) Don’t be afraid to fail. "The faster you fail, the faster you gain an opportunity to grow in skill" The failure success rate in woodturning is a gift. Being able to shape the material quickly on the lathe allows for a faster rate in which your skill can be refined. So in this way... if you happen to ruin a piece, you just gained a lesson that can be corrected often as fast as the process started. So, in my opinion, you're only limited by the level of familiarity you have with a technique or method that has the potential to yield better results next time, or a personal willingness to learn. 3.) Practice, Watch, and Enjoy! The more you practice techniques that interest you, as well as watch and recognize good tool work that is a reflection of using proper body mechanics, the greater the depth you'll be able to learn about what inspires you to reveal greater horizons of discovery and exploration in the craft. Now with all these things in mind... Go make some shavings fly!

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with Jeffrey Neff Turning a Half Bowl

The skills practiced in turning a half bowl directly transfers to turning square turning. The biggest difference between these projects is the finished form. I’ll step you through the process of turning the half bowl, and then show you one approach for embellishment. Here are the steps in turning a half bowl: 1. Begin with by preparing your bowl blank. Mark the center of your blank and cut the round the bowl blank round. 2. Place the bowl blank between centers on your lathe and true the outside diameter of the blank. Sand the outside diameter. 3. Remove the bowl blank and mark half the bowl blank with a line through the center. 4. Cut the bowl blank in bowl blank in half on the bandsaw. 5. Sand the flat side of the half bowl blank to remove any saw markings. 6. Take the half bowl blank and measure and mark the center point of the half bowl on both sides 7. Place one side of the half bowl blank against a four-jaw chuck with the live center in the tail stock on the center point of the half bowl blank. 8. Turning needs to be at higher speed you will with having intermit in cuts. 9. Turn a tenon on the half bowl blank. The turn bottom of the half bowl blank to your shape. See photos for the shape.

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10. Remove the half bowl and mount in your four-jaw chuck. Turn your outside shape and then turn your bowl leave enough rim if you want to texture the bowl rim. See photos for shapes.

11. Using a texture tool add texture around the bowl opening 12. Remove from the four-jaw chuck and reverse into a jam chuck and remove the tenon and add texture to the bottom of the half bowl. See photo for texture.

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with Joanne Sauvageau Carving Goblet Stem Spirals

In this demonstration, I will explain my process to carve hollow barley twists on your goblet stem. This isn’t the only way, but it works for me. There are many techniques and if you have a better way, I encourage you to share it with me. Barley twists have been around since the Roman Empire. They can be found in everything from architecture to glass works and even candy! For this demonstration I will use a goblet I turned ahead of time.

Steps: 1. Turn a goblet with this form. 2. Before removing the goblet from the lathe, sand it smooth and using the indexing on your lathe, mark your divisions. If you don’t have an indexing wheel, use a cloth tape and the toolrest to mark 8 equal divisions on your piece. 3. Connect your squares to create 2 spirals around the stem. 4. Using your favorite carving bit, start carving away the empty space. 5. Refine your spirals and sand smooth. 6. Complete your goblet by applying your favorite textures, paint or carvings!

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with Joanne Sauvageau Rubber Stamping Embellishment

I spent most of my life running to the forest when situations became too difficult to bear. Water and trees, wildlife, always had a calming effect on me. When you’re feeling anxious, pausing to appreciate the natural world can be a great way to calm the mind and relieve stress. Most of the techniques I create come out of a need to embellish the very plain wood I have access to. White birch! There is nothing spectacular about the grain but I love turning it. The wood itself is a perfect canvas for me to create on. In this demo I will be using some of my favorite rubber stamps to create a landscape of some of my favorite spots I run to for rest and relaxation. I will also demonstrate some painting techniques using alcohol inks. These techniques can be easily achieved on bowls, platters or vases. Your choice of wood should be any light-colored, although I will explore various techniques of “preparing” any dark woods to use this technique using different products. You should consider the size of your stamps when creating your form. In my demonstration, I will be covering the legalities of using commercial stamps and stencils in the embellishments of your woodturnings. You will learn various ways to prepare your work for the use of stamps, as well as a variety of alcohol ink techniques. I introduce alcohol inks of various brands and demonstrate the Copic Airbrush System.

TOC Friday Saturday Sunday 119 29th SWAT Symposium I show how to properly apply rubber stamps on a round surface and how to avoid common mistakes. I’ll be speaking on a variety of new products available on the market. I will cover how to finish your product. I also provide a list of the supplies I use.

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with Joanne Sauvageau Stenciling Embellishment

I’m attracted to the old arts! Stained Glass, Sculpture, Leatherwork, Ironwork…Woodwork! You name it, I love them all! Textures fascinate me! They inspire a lot of my work. I enjoy imitating them in some form. In this demo I will introduce the use of stencils and their various applications to decorate your turnings. I will be using a variety of products for inlays, carving, piercing and many more ways to add interest in plain wood. I will cover how to create your own stencils to create unique work of your own. With the introductions of new art products come new ideas for inspiration!

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with Don Ward 360 Herringbone Pen Blanks

The first blanks like this I made I used a power miter saw with a zero-clearance fence to cut the tiles. To make a blank for the Sierra pen above I needed 80 tiles for just one blank. Cutting pen blanks into 80 or more tiles on a miter saw became quite a boring and time-consuming chore. I did find a faster way.

1. The solution I found was 2. I clamp 10 strips tightly 3. The strips are tightly to rip strips from a board to together and wrap with mini wrapped and ready to be cut the width I wanted to use. stretch wrap. Be sure to keep into tiles. Start by making a My go to tile width is .20” . the strips tightly together. cut at the end to even up the strips.

4. Set a stop to gage the tile thickness and 5. One cut on the miter saw yields 10 tiles. to insure they are all the same size. Ten Much better than cutting one tile at a time. strips wrapped together and one cut = 10 tiles. The next step is to start gluing the tiles together. Six tiles will make one layer and 12 layers are needed for a Sierra blank. I hope I can get the tile layer building explained. It can be quite confusing.

122 Friday Saturday Sunday TOC Demonstration Handbook 2021 Two tools I found very helpful to keep the tiles in place while the glue dried were a strip of 1” x 1” aluminum angle and a collection of small clamps I found at Harbor Freight.

6. Aluminum angle: 1” x 1” 7. Clamps I used Tight Bond III™ for gluing the first pairs of tiles. Micro brushes were used for glue application. CA glue was used for gluing the remaining tiles to make the 6-tile layers. Consistency in tile thickness and “square-ness” is necessary for accurate glue ups to make the 6-tile layers. I tried using Scrabble™ tiles but found them to not be uniform in thickness and shape. These six tile pieces, which I will be calling layers, will be made first from the single tiles. They will be stacked on top of each other and glued together to form the blank. Twelve layers will be needed so 72 tiles will be needed. Make sure they are as uniform as can be made. Remove any saw blade fuzz from the cut edge. Sandpaper works well for this. Get the glue ready along with the smaller clamps and the aluminum angle. Pairs will be made first then, then a 3rd tile added to each pair then two triplets glued together to make the 6-tile layers. Repeat to get a blank long enough as required for the pen to be made. Yes, it is a LOT of work to make these blanks.

8. Tight Bond III™ and micro brushes from one of the hobby box stores are used to apply thinned glue to one edge of one of the tiles. The tiles are then placed on the angle at right angles and held in place with the clamps.

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9. One pair glued and clamped to the 10. Twenty pairs glued and clamped ready for the angle. next step. Now the confusion starts. I have numbered the tiles in the next steps so it will (hopefully) be easier to keep track of what is happening to get the 6-tile layers. I used lighter wood so the number will show better. Tile pairs 1&2 and 4&5 are the pairs glued together in picture #10. Tiles 3 and 6 will be glued in the location shown. I used the clamps to hold them in place and thin CA at the joint to glue them together. I suppose the wood glue could also be used but I was getting a little bored and wanted 11. Three tiles will be glued together in the process to proceed quicker. this configuration.

12. After tile 1&2 are glued together 13. Use thin CA to secure tile #3 to #2 in the then clamp #3 in place making sure the correct place. tiles are perpendicular to each other. Repeat for #4,5, & 6.

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14. After step 13 you should have two 15. Tiles 1, 2, & 3 should be oriented like those in “triplets” ready to form a 6-tile layer. picture 15. Tiles 4, 5, & 6 should have the same Both triplets will be rotated 180 orientation. Refer to picture 14 and 15 until the degrees towards each other: notice the placement of these pieces is understood. arrows!!

16. Position the two triplets according 17. Rotate 1,2, & 3 180 degrees vertically. This is to picture 14. Then rotate them 180 difficult to explain. By vertically I mean the degrees towards each other. Tiles 1, 2, opposite direction from the way it was rotated in & 3 rotate counter clock-wise (to the the previous picture. The left triplet has not left) and tiles moved. 4, 5, & 6 rotate clock-wise (to the right) ending like those in this picture. 18. Notice the position of the numbered pieces relative to each other. One blue arrow is pointing to tile #5 that is hidden in this picture. The other arrow is pointing to the intersection of all six tiles. All edges should line up on the outer edges: #6 & 1, #4 & 3. These two triplets are now ready to be glued together.

TOC Friday Saturday Sunday 125 29th SWAT Symposium 19. When the position of two of the triplets is where I want them then I clamp them together. Notice the clamps are holding tiles 1 & 6 together and 4 & 3 together. Thin CA is used to glue the joints as I did in picture 13.

20. There are two orientations of the two triplets. Study picture 20 to see the two and to see the differences.

My suggestion would be to take two triplets and number them as I did. Go through steps 11-20 until over and over until a complete understanding of how the two triplets of tiles fit together. Now it is time to assemble 6-tile layers and prepare for the stacking the layers. I found it easier to glue them in steps rather than all 12 layers at one time. I glued two together and bound them with heavy rubber bands. I used epoxy dyed black. Once the glue set, I glued 3 of the layer pairs together and used the rubber bands. Then I glued the last two, two 6-layer stacks together with the rubber bands holding them until the glue set. 21. Six pairs of layers glued together. I did not have a picture of the 6-layer stacks. Just glue 2- layuer stacks together and bind them with the rubber bands. Once the glue has set glue the two 6-layer stacks together to make the 12-layer blank needed for the sierra blank. 22. The 12-layer blank glued and banded together. The work will be worth it once the blank is turned.

126 Friday Saturday Sunday TOC Demonstration Handbook 2021 23. Once the glue has set I used my band saw to cut the ends to cut the blank to the correct length. I then cut off the “corners” so the turning would be a little less bumpy with the corners. I actually turned one without first removing the corners with no problems.

24. Drill the appropriate size hole. Glue the tube in place and square the ends. I would suggest to not use a pen mill to square the ends of glued up segmented blanks. Turn, finish and assemble.

25. NOTE: Here is close up of one of the layers . The X’s identify the area where the black dyed glue is applied. This helps keep the mess to a minimum.

26. NOTE: Before gluing the layers together I sanded ALL of the surfaces to remove any glue from the corners where the edges were glued together. This helps get a better fit when gluing the layers together.

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with Don Ward Pentel Conversion

Pentel™ pencils, especially the P205, P207 and the P209 are very popular with accountants and engineers. In the mid 2005 or so I was contacted by a CPA from Florida asking if I could take one of these pencils and replace the plastic barrel with wood: actually, he wanted antler. Someone was making them for him but was no longer turning. My research started. The only information I could find was an article written in 1987 by Nick cook outlining the process: No Pictures! The article is still on Nick’s website: www.nickcookwoodturner.com/articles-pencil-pusher.htm The blank has to be drilled with a 17/64 bit and the last 1/8 inch or so is drilled with a 5/32 bit. This is how I made them for a couple of years. I learned about a step bit from Nick Cook’s article but availability was scarce. CSUSA once sold them but not when I started making them. I later had several made by a local tool grinder. I am still used 4 of those today. The step bit made making these conversions much easier. But in the December 2012 issue of Woodturning Design magazine had an article by my friend, the late Rich Kleinhenz, describing a very clever way to make this conversion. I only wish I had thought of this. Rich allowed me to share his article and one place it is archived is here: https://drive.google.com/file/d/0BwK15ZnanVojREI3N2JGSDdYM0U/view?usp=sharing I now use a combination of my process and Rich’s process to make this conversion that is what I share here and in the demo. The Pentel™ pencil to use in this conversion. Blue is the P207(.7mm), yellow is the P209(.9mm) and black is the P205(.5mm)

The writing tip will unscrew from the pencil mechanism and the mechanism can be removed. Remove the clip.

Measure the pencil barrel to determine the length of the new wooden, or plastic, barrel. The measurement is 4.451 inches. This is the length to cut the blank.

128 Friday Saturday Sunday TOC Demonstration Handbook 2021 Longer bits, called aircraft bits, are readily available. Use a To drill the longer blank I mount 17/64 aircraft bit first drilling totally through the blank. it between centers and turn each Then drill with a 7mm bit from both ends to enlarge the end round to just under ¾ inches hole to 7mm. in diameter. I can then hold the blank in my collet chuck and drill as far as possible with a jobber bit. Then flip the blank around and drill from the other end meeting the first bore with the second. Works for me. Other ways to drill can be figured out depending on the blank holding tools available. Drill completely through the blank. Use 7mm bit. Longer 7mm tubes will be needed. 10” tubes are available. Two tubes will be needed: the longer tube is about 3.7 “ long and the shorter tube is the balance of the blank’s length. The longer tube is glued in place flush with one end and the shorter tube is inserted in the other end. It is NOT glued in the blank. After the tubes are inserted square both ends tuning the blank to the correct length. I plan to turn the blank between centers using these two between center bushings holding the blank between a dead center and a live center. The blank is mounted with between center bushing between a dead center and live center.

TOC Friday Saturday Sunday 129 29th SWAT Symposium The blank is turned, sanded and a finish applied. Notice the recess on the right end for the clip. Take measurements from the original barrel. Also, did you notice I changed to standard slimline bushings and a mandrel? The longer blank was flexing being held between centers as the diameter reduced. NOTE: Take measurements for the ends and diameter of the new barrel. Personally, I like to make the new barrel just a bit larger in diameter than the original. The writing tip gets really thin and the brass tube can become exposed if the writing end is too small. I like to keep it a little larger and round over the edge to soften the transition to the metal “nib”. The next step is where this conversion is really unique and clever. The way others have made this conversion is to bore barrel with a 17/64 bit to almost all the way through. Then the last 1/8 or so is drilled with a 5/32 bit. Actually, the smaller bit is used first and then the larger bit is used. But, the technique that Richard Kleinhenz presents in his article does not require this step drilling…well not on the wooden blank. And, as has been done, brass tubes are used. The barrel can be one piece or made from two pieces with some sort of treatment where the two shorter pieces meet at the center. Reading Rich’s article will give all the information I am leaving out. I prefer a one piece so about the only part of Rich’s technique used in this demo is the next part... the best part. A slimline clip finial is used in “nib” the end of the barrel to accommodate the pencil mechanism. But, first the finial must be modified. The large diameter will be reduced to match the smaller diameter and then it will be step drilled for the mechanism. This modified piece will be pressed into the “nib” end. Stay tuned. Notice the blue arrow. This is the end that will be pressed into the end of the longer brass tube glued in earlier.

The black will be removed and the drilling will form the red shaded area.. I hold the clip finial in a collet chuck but other methods can be used. Possibly a jacob’s chuck will work to hold the piece. DO NOT USE A JACOB’S CHUCK IN THE HEASDSTOCK WITHOUT A DRAWBAR.

130 Friday Saturday Sunday TOC Demonstration Handbook 2021 Here is a picture of the actual part that will be modified. One way to remove the larger diameter is to press the part into a brass tube and rotate it on a grinding wheel using the tube as a handle. Remove the larger (black area in the previous image) diameter until a cylinder is formed. Time to drill.

The clip finial held in a PSI collet chuck with a ¼ inch collet. Use a parting tool to remove the larger diameter. This part is brass so removing material will be quite easy. Just go slow, taking light cuts but a fast speed seems to be best. Be sure to face the slightly domed surface.

The larger diameter is reduced and the next step will be to drill this piece to accept the pencil mechanism. Leave the piece in its current place to drill the first hole. Use a center drill to make a starting hole. Then drill all the way through with a # 22 (.157) drill. Remove the brass piece and turn it around and put it back ready to drill with the second bit. Now use a #15 (.180) bit and chase the first home to almost all the way through, stopping short about 1/8 inches from exiting.

The modified clip finial should look like the image to the left. The arrow indicates the direction this piece will press into the pen barrel. Test the mechanism in this piece and adjust as needed. Or, as I have done, start over on this piece.

Test fit seems to be OK. I like to have about 8 threads exposed beyond the brass part for the nib to screw onto.

TOC Friday Saturday Sunday 131 29th SWAT Symposium This piece is ready to be pressed into place. Pay attention to the orientation of the piece with pressing it in. The larger diameter hole should enter the pen blank first. But, it can be removed and pressed in the correct way if needed. DAMHIK!

Ready to assemble. Remove the short brass tube from the other end of the blank. Drop the mechanism in place and screw on the “nib” tightening it securely. Test the mechanism to be sure it is working properly. If the short tube is not removed it will bind with the mechanism’s eraser cover and the mechanism will not work properly. Now you know. This short tube can be used over again unless it is lost. Again, DAMHIK. Slide the clip into place. In Righ Kleinhenz’s article is a neat easily

made tool to help in putting the clip into place. I have not used it.

The completed pen is shown to the left. Anyone guessed the wood species yet? It is a nice piece of curly cottonwood that has been stabilized.

My email is [email protected] if anyone needs questions answered.

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with Cory White Turning and Sculpting a Flowering Vase

INSPIRATION Nature provides woodturners with such beautiful wood. What if what we turn could reflect just some of nature’s beauty? A flower’s petals provide the perfect inspiration. Perhaps a quick look at the flowers known as trumpet vine and daylily is all a turner needs to begin the journey of turning and sculpting a flowering vase.

PREPARATION Simply put, select turning blanks that already have natural characteristics and features similar to flowers. This is not as challenging as it might seem once we learn what to focus on. Look down at the base of a tree and there it is, except it is upside down.

Besides stumps, sections of trees containing multiple crotches make great potential flowering vases.

TOC Friday Saturday Sunday 133 29th SWAT Symposium PRODUCTION STEPS 1. Ready the blank for turning by either using a heavy-duty faceplate or turn a long tenon if you have a chuck with deep jaws.

2. Rough turn the outside just enough to make it balanced, but not the top outside wall area.

IF you simply want to turn a basic “Flowering Vase” with a natural edge, and forgo extensive power carving and sanding, proceed with Method 1. If not, skip to Method 2. (SPECIAL NOTE: Not all “flowering vase” blanks are conducive to this. Typically, only stump blanks will have enough width and natural flaring out characteristics to finish the piece using this method.) METHOD 1: A. First, finish turning the outside to accentuate an outward flaring form. B. Next, turn the inside to compliment the outside shape much like you would do with a bowl. C. Sand and apply finish of your choice. D. Lastly, part off the piece (or whatever method you prefer) and finish the bottom of the foot.

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IF instead, you want to significantly sculpt the piece to further enhance the vessels’ natural flower form and petal like features, proceed with Method 2. (This method can work well with stump blanks or multi- crotch section blanks.) METHOD 2: (stump blanks or multi- crotch section blanks) A. Rough out the beginning of the inside leaving plenty of thickness to allow for shaping organic features. B. If the blank allows, use a series of forstner bits to core out the inside center down to just above what is expected to be the bottom base. Be careful to limit the width of the coring as to not interfere with sculpting possibilities on the inside and outside. C. Inside Sculpting: Use power tools to grind, carve and create lines and depressions, rolls, etc. to enhance existing organic features. (Recommended tools are listed at the end.) D. Outside Sculpting: Use power tools to grind, carve and create lines and depressions, rolls, etc. to compliment the inside sculpting. E. Power sand inside and outside sculpted surfaces. F. Turn what will be the bottom of the “vase” to create visual lines that complement the upper piece. G. Establish and turn just the beginning of the foot and the parting off line. H. Do final sanding on bottom “vase” using the lathe. I. Do final power sanding to blend the lathe sanded base with the power sanded upper portion. J. Part and saw off the piece as planned. Power sand bottom of foot. K. Apply finish of choice.

TOC Friday Saturday Sunday 135 29th SWAT Symposium RECOMMENDED TOOLS AND EQUIPMENT 1. Chainsaw with protective gear 2. Bandsaw 3. Angle grinder with carbide shaping disc 4. Die grinder with large shaping burrs 5. Flex-Shaft Rotary Tool with 1/4" collet for power sanding 6. Micro carver with 1/8" and 1/16" collets 7. 1/4" hook and loop sanding disc in 1", 2", and 3" sizes 8. 1/4" shank drum sanding assortment 9. 1/4", 1/8", 1/16" carving and shaping burrs assortment 10. Sculpting riffler rasps, riffler files, and diamond files 11. Large 6" heavy duty faceplate or Nova Titan III Chuck with 5” Power Grip Jaws (or equivalent) 12. Medium and large lathe chucks 13. Turning tools 14. Sand paper 15. Face shield 16. Respirator dust mask

REFERENCES AND RESOURCES “38 Amazing Flower Photos and Photographers That You Must See.” Flowers Across Sydney Florist Blog, 13 March 2017, https://blog.flowersacrosssydney.com.au/amazing-flowers/. 20 May 2021. “Bill’s Daylily Photo Gallery.” http://www.ofts.com/photo/dl_view.html. 20 May 2021. Martin, Terry. “Gary Stevens A Road Less Traveled.” American Association of Woodturners, April 2012, http://aawcontentsource.org/aaw_cs1_pdf/AW2702p48-55.pdf. 20 May 2021. Martin, Terry. “Mark Lindquist Pioneer of the Unexpected.” American Woodturner, 2010 June. https://www.woodturner.org/common/Uploaded%20files/POPMeritAward/2007Lindquist. pdf. 20 May 2021. MDI Woodcarvers Supply. https://mdiwoodcarvers.com/. 20 May 2021. Santos, David de los. “Time-Lapse: Watch Flowers Bloom Before Your Eyes: Short Film Showcase.” YouTube, National Geographic, 14 Nov. 2014, https://youtu.be/LjCzPp-MK48. 20 May 2021. Sammy Long. http://www.sammylong.com/. 20 May 2021. Stevens, Gary. “The Art of Sculptural Bowls.” https://artbowl.com/. 20 May 2021. Stevens, Gary. “Santa Cruz Wood Sculpting.” Wood Culture, 2 January 2017, https://vimeo.com/197846928. 20 May 2021. Ramljak, Suzanne and Michael Monroe. Turning Wood into Art: The Jane and Arthur Mason Collection. Harry N. Abrams, 1 May 2000. “Year 10 Natural Form Sculpture Slide Show Project.” 20 May 2012. https://www.slideshare.net/missfmay/natural-forms-sculpture-project. 20 May 2021.

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with Tim Yoder Banksia Pod Egg Box

Today we are taking a trip down under, to Australia, and we are going to be turning Banksia pods! These are probably the strangest things you will ever put on your lathe. The Banksia pod is the dried flower of the Banksia tree. These pods can reach over 12 inches in length and weigh over three pounds. The holes you see are chambers that once held seeds. Grassfires are common in the Australia and the Banksia tree uses that to its advantage. When exposed to fire the pods shoot out the seeds for several yards helping to distribute the future seedlings. You can make many things from these pods but today we are going to make a Banksia Pod Egg Box. Tools and Supplies 1 Banksia Pod minimum 5” long and 3” wide 1 Hard wood blank ½” thick and a little wider than your pod Roughing Gouge or Carbide square scraper 3/8" spindle gouge or Carbide scraper with a rounded square bit Skew Parting tool Hollowing system or tool (Elbo Tool used in these instructions) Chuck with small jaws Calipers Sanding block Super glue and accelerator Sandpaper Micro mesh

TOC Friday Saturday Sunday 137 29th SWAT Symposium Instructions Nip the ends of the pod off on a band saw. This will give you a flat surface for your drive center and live center. Later you will make tenons on both ends of the pod so cut enough off now so the ends are about the width of the tenon you need for your chuck jaws. Mount between centers. Note: Get ready for extreme turning! The best description I can give for a Banksia pod is that it resembles a pinecone on steroids. The pod consists of three distinct layers. The first is the crusty outside. It is sharp, hard and hurts a bit as it hits your hands during roughing. The second layer is just the opposite. You will find a soft velvety red fuzz that is the remnants of the flower.

After cutting through the fuzz you reach the third layer, which is a very hard and dense wood like layer. It is cool looking, something like a fossil. One last thing…wear a face shield because sometimes there are seeds still in the pod and they fly out fast and have a very pointy end. And trust me they hurt like the dickens.

138 Friday Saturday Sunday TOC Demonstration Handbook 2021 Mount between centers with the thicker end facing the tailstock. This end will be the base of the box. Use roughing gouge or carbide square scraper to round out pod. Do not shape yet. Make tenon with 1/8”parting tool and skew.

Reverse mount the blank onto chuck and bring up the tailstock. Cut tenon a on the other end. Rough shape with 3/8" spindle gouge or carbide rounded square cutter. Note: Do not sweat making a perfect egg. Eggs can be long or short so there are no bad eggs. Also, you will have time to refine the shape later so do not take off too much of the pod. Come up from the bottom (tailstock end) of the egg about 2/3rds of the way and make a pencil mark. This mark where you will cut to separate the lid from the box. Use a 1/16” thin parting tool to part top from bottom. Do not part completely off as the pod is fragile and will snap. Stop the lathe with about ¼” of a tenon left between the sections. Twist by hand to separate pieces. Note: In this example the top of the Egg is on the left and the bottom is on the right. Imagine where the top of the Egg will be and using a Jacobs Chuck with a ½” drill bit, drill a shallow hole that will not go through the top of the Egg.

TOC Friday Saturday Sunday 139 29th SWAT Symposium With the top of the Egg Box mounted in the chuck sand the end flat with a sanding block. Remove Egg top from the chuck and the Egg base in the chuck. Repeat the above steps but this time use a forstner bit that is about ½ the diameter of the Egg base. Drill short of where you imagine the bottom of the Egg will be. Mount your hardwood blank in the chuck and using the same forstner bit drill a ½” deep hole.

Sand the end flat with the sanding block and part of the ½ wide ring.

Mount the Egg base in the chuck and glue the wood ring to the base lip. Make sure to mate the sanded end of the ring to the pod. Use the tailstock quill as a ram to hold the blank in place.

140 Friday Saturday Sunday TOC Demonstration Handbook 2021 When the glue is dry sand the ring face with the sanding block. Use the live center and the point hole in the Box top to align the top to the wood ring and glue the two pieces together. Hold in place until the glue dries.

Using a spindle or bowl gouge clean up the wood ring until it is flush with the pod. Do not shape at this point.

Using a thin parting tool create a 1/16” lip on the bottom side of the Box.

Then create a 1/16” lip in the ring wood for the top. Only cut in about 1/8” as this will become the tenon that will insert into the lip on the bottom of the Egg.

TOC Friday Saturday Sunday 141 29th SWAT Symposium Part down the center of the ring, just remember that there is a hole in the middle. You should probably use a pull saw to remove the rest of the wood…Whoops!

With the Egg base still in the chuck use a skew or parting tool to widen the hole in the ring. You want to get the tenon from the Egg top to easily slip into the hole. You do not want a ‘jam’ fit as you want to be able to lift the top off with one hand.

Each rim should be about 3/16” thick.

Use the tailstock to hold the Egg top against the Egg bottom and begin shaping the Egg. Leave some thickness at the bottom and the top. You will need this support for hollowing. If you take off too much pod the Egg could snap off during hollowing. While the Egg is mounted sand up to at least 600 grit. The finer the grit the more polished the pod becomes.

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Remove the Egg top and begin to hollow the Egg bottom. Take light cuts as the wall get thinner. Since the Banksia Pod is a dried flower, it basically has all end grain on the sides. If you use a scraper it will push out those fibers and blow out the sides. You need to use an edge tool like a Hunter carbide cutter to cleanly slice the fibers and minimize the outward pressure from the tool. If cracks start to appear use thin cyanoacrylate to soak the pod and stop the cracking. You can sand off the residue after hollowing.

Turn down the bottom of the Egg being careful to leave a nice finish as you will have to hand sand the bottom after you part it off.

TOC Friday Saturday Sunday 143 29th SWAT Symposium Mount the Egg top into the chuck and repeat the hollowing, shaping and parting off.

After hand sanding both pieces apply the finish of your choice. ‘Egg’cellent job!

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Nick Agar Brooklet, Georgia Nick Agar has become one of the most sought after instructors / workshop leaders and seminar presenters on the world woodturning stage. He is one of the most creative makers in the field and has an unsurpassed knowledge and understanding of the many processes that are now used in this creative medium specializing in surface enhancement. Renowned for his Viking sunset owls and wall sculptures, his award- winning work often incorporates carving, airbrushing, ceramic and metal effects. Nick has inspired many woodturners with his work and has traveled across the world to demonstrate his skills. Having now relocated to the United States, he has recently opened new teaching studios in Savannah, Georgia. With more than 30 years of experience, he has a great understanding of his medium. Choosing Maples for decorative works or burrs and intriguing or figured timber for sculptures or natural edged works. Agar is a master at exposing natures treasures that hide beneath the bark. In addition to exhibiting widely and appearing at international conferences both as a demonstrator and a judge, Nick is in constant demand for commissions from collectors. His wide range of clients including HRH Prince of Wales, Dukes, Duchesses and the Royal jewellers, Aspreys. He and his work have also featured on BBC and ITV lifestyle television programs. Nick is a member of the Worshipful Company of Turners and has recently been awarded the Freedom of the city of London in recognition of his services to the world of woodturning. Nick is Patron of the Max Carey Woodturning Trust - the only woodturning trust in the UK. He is co-author of the book "woodturning evolution " an elected member of the Devon Guild of Craftsmen, and a Registered Professional Turner. A member of the AWGB and AAW, he has also been made Honorary member of several woodturning clubs at home and abroad. Nick is also a popular demonstrator/teacher on the Woodturning cruise.

Sally Ault San Diego, California Phone: 619-415-5308 Email: [email protected] Website: www.Sallyault.com Sally Ault was born and raised in San Diego, California and graduated with a BA in Art with a 3-dimensional emphasis from San Diego State. After a break for work and raising a family Sally began woodturning seriously in 2001. Sally loves making lidded containers (including her signature Sea Urchin Boxes), bowls, embellished pieces and wooden jewelry.

TOC Friday Saturday Sunday 145 29th SWAT Symposium Her work has been honored with awards at a number of shows and she has demonstrated woodturning at many woodturning clubs and at a number of regional and national symposia. She is a member of the San Diego Woodturners Association, American Association of Woodturners, Point Loma Artists Association and Spanish Village Art Center in San Diego. Her work is shown at Studio 38 in Spanish Village.

Stuart Batty Boulder, Colorado Email: [email protected] Stuart Batty is a third generation apprenticed woodturner with over 40 years of experience. Under the expert tutelage of his father Allan Batty, a world-renowned master spindle turner, Stuart began turning at the age of ten. By the age of 16, Stuart had become an accomplished production spindle turner and instructor and had gained wide notoriety for his technical proficiency and teaching abilities. Stuart has taught more classes and demonstrated at more clubs and symposiums than any other woodturner in history and is recognized as one of the world’s most accomplished woodturners. Through years of production turning and teaching hands-on woodturning classes, Stuart developed a unique style of the European push-cut technique using fewer tools and simpler grinds to eliminate torn grain, requiring less physical effort, and enabling rapid, repeatable cuts. Stuart has pioneered many of the techniques and terminologies that all woodturners use today such as the push-cut, pull-cut, negative rake scraping, 40/40 and bottom bowl gouge grinds. Stuart’s work includes balustrades and newel posts in Royal and Stately British Homes and a piece in the White House Permanent Collection. He is now focused on teaching classes to help students improve their woodturning technique. Stuart’s methodology is focused on teaching a set of universal skills which can be used to make any workpiece on the lathe. It is not focused on product, but on correct technique and process.

Dennis Belcher Hampstead, North Carolina Phone: 309-256-1247 Email: [email protected] Website: www.dennisbelcher.com Dennis has worked with wood since his earliest days. For many years woodworking provided relief and relaxation from the rigors of a career and being the father of three daughters. Things changed in 1996 when he was reintroduced to the lathe while building a Windsor Chair. The world of flat-work and measurements to the nearest 1/128th was left behind and Dennis

146 Friday Saturday Sunday TOC Demonstration Handbook 2021 entered a world of building with the measurement of the eye and hand. Working at the lathe became his passion. Dennis is a frequent contributor to the American Woodturner, demonstrates, and teaches nationwide. He participates in juried art shows throughout the eastern half of the United States and his work is exhibited in numerous galleries. Dennis was the recipient of the North Carolina Regional Artist Grant in 2013 and in 2017.

Robert Blanford Newburgh, Indiana Youtube.com/RJBWoodturner Instagram: @Rjbwoodturner Website: [email protected] Bob began his turning adventure in 2011 with a box of lathe parts found at a garage sale for $20.00. Little did he know the depths of the hobby he stumbled upon. Once the lathe was assembled and the missing parts sourced he began searching for inspiration. Pens were one of the first projects he decided to attempt, and an enthusiast was born. Early on he turned to YouTube in hopes of gaining an education but quickly became frustrated when every video he watched left him with more unanswered questions. In 2013 he decided to try his hand at making a video of his own. The RJBWoodturner channel was born. Through his videos he continues to learn, teach, and encourage others to start turning. With an emphasis on family friendly video content and an approachable demeanor, he has grown his channel to over 36,000 subscribers. He prides himself on making the type of videos he needed when he started turning. Through it all, pens have remained his passion and he has developed his own personal style which shows in the video content he makes. More recently he has begun modifying pen kits, making custom blanks, and turning kit less pens. Through his membership in a small turning club in Southern Indiana, IKI Woodturners, he met many veteran turners and experienced demonstrations that fueled his excitement for turning. He has demonstrated for his club as well as with his club at a local wood carving show. He helped plan and host an event where the club turned over 200 pens and donated them to our veterans through Honor Flight. Bob hopes to continue to improve upon his skills as a pen maker and to pursue opportunities as a virtual demonstrator for clubs around the world. More than anything, he just wants to chase that next pen turning adventure.

TOC Friday Saturday Sunday 147 29th SWAT Symposium Neal Brand Denton, Texas My first experience using a lathe was in junior high shop class where I turned a walnut lamp. I was immediately intrigued with woodturning, but it wasn’t until 40 years later that I owned a lathe and turned my second project. I am a member of Golden Triangle Woodturners, Woodturners of North Texas, and the Dallas Area Woodturners as well as the American Association of Woodturners. I grew up on a farm in Northeastern Indiana, and I lived in California, Ohio, and Illinois before coming to Denton Texas in 1983.

Christian Brisepierre Las Vegas, Nevada Phone: 702-871-0722 Website: woodworkersemporium.com My first experience that I can recall with wood and machinery is when the new food processor that my dad bought for our family on a payment plan (it was a luxury then) was immediately repurposed by my mom in a sanding machine. She would glue up sandpaper on the top platter, and we would shape pieces of wood and make all kinds of objects, sometimes shooting those pieces across the room and discovering the magic of centrifugal force. Guess who the handyman in the family was. Most of us define ourselves by what we do. I thought of myself as a dancer for a long time, then a furniture maker (given that dancing is a profession for the young), and nowadays as a woodturner or at least an apprentice woodturner. I got into woodworking when I came to the United States and needed some furniture. I did not like what I could afford and could not afford what I liked, so I decided to build my own. My first machine was a Shopsmith, certain I would never need anything else. It had a lathe, so I turned lamps and things mostly from glued-up stock because wood is not abundant in the desert. Then I came across Dale Nish’s book Creative Woodturning, and like so many of us it was a revelation to what was possible in woodturning. I have since had the opportunity to take several classes notably with Jean-François Escoulen who has been quite an inspiration to so many turners. I now have a wonderful workshop at home with 10 lathes. During the years, we have been privileged to host many demonstrators giving classes, Jean- François Escoulen, Mike Mahoney, Stuart Batty, Glenn Lucas, Alan Lacer to name a few. Although I am mostly the go-fer during those classes, one would think some of the knowledge eventually would stay with me. There is nothing more exciting than waking up with a woodturning idea with a technical challenge to be solved, ruminating all day, and envisioning strategies and procedures to find the solution. The ultimate reward is when your friends ask how you did something. Poor souls! Now they have to listen to your long-winded explanations. My wife and I own Woodworker’s Emporium, we have served the woodworking and woodturning community for 40 years.

148 Friday Saturday Sunday TOC Demonstration Handbook 2021 Jim Bob Burgoon Lubbock, Texas Jim Bob is a graduate of West Texas State University with a degree in Industrial Education. He oversaw the Woodworking class at Levelland High School from 1983 to 1998. He then served the Lubbock Independent School District, teaching Technology Education at two middle schools until his retirement in 2011. During his teaching tenure, numerous students competed in the Technology Students Association’s regional and state project competitions. He was named Regional Outstanding Teacher by the South Plains Industrial Teacher Association three times during his teaching career. Burgoon joined the South Plains Woodturners upon its inception in 2006. Since then, he has served in the capacities of club librarian, Treasurer, 1st Vice-President, President, and Past President. He is currently serving his third term as Past President for SPW. Jim Bob is the current vendor chairman for SWAT. With his extensive background in woodworking, Jim Bob has demonstrated numerous times for his local club. He has also demonstrated for the Panhandle Area Turners Society (PATS) in Canyon, Mountain Top Turners in Ruidoso, New Mexico, Woodturners of North Texas in Fort Worth, Comanche Trail in Midland, Central Texas Woodturners in Austin, and SWAT. Jim Bob is the lead teacher for the South Plains Woodturners beginner and intermediate classes held six times annually. He has also been an instructor in the Nave’s Woodturning Retreat and the Trinity Council Woodturning Retreat. Since retirement in 2011, Jim Bob has opened a woodworking shop. He does a wide variety of woodworking activities from custom turning to flat work! His work can be viewed on Facebook by searching @jimbobburgooonwoodworks. Jim Bob annually turns commemorative baby rattles for Monterey Church of Christ’s Family Commitment Sunday. He has lived in Lubbock since 1985. Burgoon is married, with two children.

Colin Chalmers Tennessee Colin is a native of Scotland. His interest in wood started as a young lad while hanging out in his father’s wood shop. He has always had a great interest in woodworking. On leaving school Colin wanted to be a cabinet maker, but his life took a different direction, and he joined the Military. After his service was done in 1992, Colin went to a woodturning demo in his local wood shop and he has been hooked ever since. 28 years later, Colin is still as passionate as he was back then. He likes to turn platters, natural edge bowl, hollow forms, and spindle work. Colin also likes to do some carving on his work if needed. His specialty is natural edge bowls with a nice form.

TOC Friday Saturday Sunday 149 29th SWAT Symposium Colin has recently moved to Tennessee where he plans on becoming a full time woodturner teaching and demonstrating.

Nick Cook Marietta, Georgia Nick Cook is a full time production turner producing a wide variety of gift items, one of a kind bowls & vessels as well as work for furniture makers and millwork contractors. He spends much of his time teaching both individuals and groups throughout the country. He has done workshops for woodturning groups in Australia and has also participated in the national woodturning symposiums in New Zealand. Nick is a founding member of the American Association of Woodturners and has served as vice president and conference coordinator. Nick was named the 12th honorary lifetime member of the AAW. He has written numerous articles for various woodturning publications including American Woodturner, Woodworkers Journal and American Woodworker. He also has produced two videos: “Turning for Food” & “Turning for Fun and Profit.

Rebecca DeGroot Houston, Texas Rebecca started woodturning with her father at a very young age. Dad’s rule was simple, if she could stand on the bucket and reach the lathe, he would teach her how to turn. That is exactly what he did, and at five years old Rebecca spent her evenings in the shop turning honey dippers with her father. Once she began school her efforts and energies were dedicated to her studies and woodworking took a back seat. Although she knew from a young age that art was her passion, it was during middle school that she realized that this fascination and enthusiasm could be pursued as a career in teaching. After graduating high school Rebecca decided to go to college to turn her dream of teaching into a reality. While attending Kendall College of Art and Design in Grand Rapids, Michigan, Rebecca found herself back in the school’s basement woodshop. Fifteen years had passed since she had spent any significant time in a woodshop, and she took back to it like reuniting with an old friend. Since graduating in 2014 with two bachelor’s degrees in Art Education and Sculpture and Functional Art, Rebecca has spent the past seven years juggling her full-time career as an art educator and her passion for woodworking. The balance of real life and anyone’s true passion is always difficult and while Rebecca’s career in education is time consuming, she always finds time to make her way to the lathe. After a difficult day in the classroom she can’t think of a better way to relax and let off some steam.

150 Friday Saturday Sunday TOC Demonstration Handbook 2021 Rebecca finds her inspiration in various living things and objects that she interacts with regularly. Simple things like insects or even coffee cups can send her scrambling for her notepad to transform her imagination into possible projects. She’s never far from sketching strange creatures or making lists of ideas she is longing to try. Her days of teaching Art 1, Sculpture, Ceramics, Jewelry, and AP 3D Studio Art are fulfilling and the passion she shares with her students is the same fuel that keeps her in her shop late into the evenings letting her imagination run wild.

Linda Ferber 1518 Wellington Way Eagan, Minnesota 55122 Phone: 651-497-6484 Email: [email protected] Linda Ferber has been turning for over twenty years and enjoys the creative possibilities and personal challenges woodturning provides. The opportunity to try woodturning presented itself back when her Dad had an auction including his shop equipment. Linda purchased his lathe, thinking that with this one piece of equipment she could create with wood. With no previous experience with a lathe, she took a bowl turning class and found the local chapter of the AAW. Looking back that one impulse purchase at an auction has made a big impact on her life. Linda is a member of the Minnesota Woodturning Association and the American Association of Woodturners. AAW Committee member of Women in Turning (WIT) and Youth Committee. She has had numerous articles published in magazines to include American Woodturner, Woodturning FUNdamentals, and Woodturning GMC.

Karen Freitas San Diego, California I had been employed by the San Diego Sheriff’s Department as a Deputy Sheriff from 1984 until 1988 when I got married to my husband and biggest supporter Maury. When we decided to have children, I quit working full time and was lucky enough to stay home with my two children. I began my journey in to the woodworking world in the mid 1990’s as a student at Palomar College. I took many classes making furniture such as cabinets for both the kitchen and items for the house. At the time, I was staying home with my two beautiful children. While they were going to school, I had time to enjoy some time in the shop and build things.

TOC Friday Saturday Sunday 151 29th SWAT Symposium In 1999, I decided to go back to work for the Sheriff’s Department and knew I wouldn’t have time for lengthy furniture projects. I had always wanted to try turning wood so I took a two weekend class at Palomar with my mentor Nan Bushley. I was hooked! I have been on the board and a member of the San Diego Woodturners for many years and I assist with scheduling the professional turners we bring in to demonstrate for our club. I’ve assisted and have learned from some of the best instructors in the world of turning. I had the late Alan Batty stay with my family on several occasions and he was the one who got me started on twisting. Having such a close friend show me the “ropes” has helped me understand some of the other many ways to lay out and cut a twist. I still enjoy some furniture making but my passion is turning. I sell my work at the Art in Wood gallery in Spanish Village in Balboa Park and at craft shows throughout California. I have taught twisting at the San Diego Woodturners, Orange County Woodturners, Bay Area Woodturners, Utah and AAW Symposiums and most recently at a hands on retreat in Texas.

Jim Hinze Dallas, Texas Email: [email protected] Jim Hinze is 50 years old, and has one daughter. He was born in upstate N.Y. in 1970. Growing up, Jim had the benefit of living in over 8 different states, giving him a much broader view of some of the differing regions of the United States. Jim was an athlete in his youth and through college (football) and a competitive powerlifter in his 20’s and 30’s. By trade, Jim is a software engineer… mostly a digital person. He never really had any skill with his hands until he decided he wanted to work with wood. Somewhere around 1998 or so, Jim decided he wanted to build furniture. He is mostly self-taught, having only taken a class or two with David Marks along the way. In the early days, Jim focused on craftsman style furniture (particularly Green and Green). He also did a lot of marquetry work, and made his own hand planes (Krenov style). Somewhere around 2002, Jim was introduced to pen turning... via a demo at his local club when he lived in Michigan (Southeast Michigan Woodworkers). It was a slim line, nothing fancy, but got Jim hooked. For the next 7 years, Jim honed his turning skills on pens, bowls, mills, etc., and then he stopped around 2007 and took a 6-year hiatus. After Jim’s resumption of turning in 2013, he focused on pens… mostly kit pens. He used to be a cornerstone at several of the weekend farmers markets around Dallas. In 2014, Jim watched a series of videos entitled “Masters of the fountain pen” chronicling several of the Japanese masters of the art and their processes. He was mesmerized. Jim spent the next year teaching himself how to make pens by hand. There wasn’t a lot of information on the web to learn from, and most of the folks who were making them either weren’t friendly, or just would not share. As Jim’s skill began to grow, he started selling at the national pen shows, and after 5 years, he has developed a small fan base.

152 Friday Saturday Sunday TOC Demonstration Handbook 2021 With all the difficulty Jim had in teaching himself, lack of detailed info available, and frankly anyone willing to help, he decided that he would share what he has learned thus far and help others get started in the craft. Jim has taught no less than 50 people individually and demonstrated at makers gatherings to countless hundreds. Penmaking has become a passion and a way for Jim’s digital self to leave a tangible, physical, lasting impression.

Jeff Hornung St. Louis, Missouri Jeff Hornung began his artistic foundation in 1984 as a ceramics maker. This was a family business and he learned form, function and painting techniques. The business evolved in 1991 and Jeff spent the next 24 years as a floral designer. Color and design were the main lessons and his bold color palette was formed here. As for the love of wood, he’s not sure where that came from but has always had an appreciation for well-made furniture and the hand carved details found in stately houses and architecture. He didn’t really do much woodwork as a young man though his first woodworking project, a paperclip holder for his mother, is on a shelf in his office. This was made in the mid 1970’s. In 2011, he was in a minor car accident and suffered a concussion. For whatever reason, Post Concussion Syndrome made his life miserable for the next year and he ended up at John C. Campbell Folk School in North Carolina for a much-needed vacation. Woodturning was the class he chose and somehow that not only began the healing process his brain needed but also ended up launching his very own woodturning business. As he continues to evolve as an artist, he is also teaching others so they can experience the joys of turning. Since that first class, he has become a juried artist, national and international demonstrator, author, woodturning teacher and artist in residence at Craft Alliance School of Art + Design in St. Louis, MO. His current signature style combines color and texture with form and function, creating the illusion of fine porcelain or ancient metal work…while still only working with wood.

Alan Lacer River Falls, Wisconsin Email: [email protected] Website: www.alanlacer.com Alan has been involved in woodturning for over forty years as a turner, teacher, writer, exhibition coordinator, demonstrator and expert witness. Alan has been an instructor and demonstrator, working in all fifty states and six foreign countries. His published writings—upwards of 150—cover a wide spectrum of woodturning from historical and cultural, technical and specific projects. His specialties include the skew chisel, sharpening

TOC Friday Saturday Sunday 153 29th SWAT Symposium techniques, finishing, lidded boxes and making/using hook tools. In 1999, he was awarded the Honorary Member Award for that year from the American Association of Woodturners for his contributions to the field. He has appeared in television programs nationally on PBS and DYI channels.

Janice Levi Grosebeck, Texas Phone: 713-410-4193 Email: [email protected] Website: www.janicelevi.com In 2001, Janice Levi asked her husband for and received a lathe for her birthday. She immediately joined the local Houston area woodturner’s organization and found that she had entered a man’s world. But the men were gracious and two who lived nearby became her mentors, insisting that she learn toolmanship and safety. Janice had no special training in art but her work as a journalism and photography teacher then as a drama teacher did help her develop an eye for movement and form. Janice has enjoyed woodturning and participation in organizational leadership. She has served as president of the Houston area club, the Waco club and SWAT 2012. Although honored to serve those organizations, it has always been the turning, the teaching and the demonstrating that she really loved. Like most woodturners, Janice experimented with turning lots of different items but in recent years, began making purses and jewelry, a great way to wear those wonderful pieces of turned art out in public. But the plain wood sometimes needed a little something to bump it up a notch or two—and pyrography and other enhancements were just the thing. Janice demonstrates and teaches at symposia and woodturning clubs across the country. You can also find her articles published in various woodturning magazines including American Woodturner, Woodturning, More Woodturning, Woodturning FUNdamentals and the online Women in Turning Newsletter.

Sammy Long Brandon, Mississippi Email: [email protected] Website: www.sammylong.com/ Sammy Long is a native of Greenville, Mississippi and a resident of Brandon, Mississippi. He is happily retired from many years of work in the gas pipeline industry. He began his career as a machinist and first learned to turn on a metal lathe as a young adult. He began turning as a hobby and is now known for his exquisite hollow forms with leaf carvings, piercings and spiraling. He is a member of the Craftsman’s Guild of Mississippi and

154 Friday Saturday Sunday TOC Demonstration Handbook 2021 teaches there, at the Appalachian School of the Arts, John C. Campbell, Arrowmont School of Arts, and for local and regional woodturning clubs and symposiums. Those who have directly influenced Sammy’s work have been John Jordon, Binh Pho and Dixie Biggs.

Matt Monaco Southwest Missouri Email: [email protected] Website: www.monacobowls.com Matt operates a full time woodturning studio in the southwest region of Missouri, and makes dedicated collections, signature series vessels, and lidded containers for the interior design industry, and collectors using woods from the Ozark Mountain Range, and select exotic species. He's turned wood for over 15 years, apprenticed for 5, and has completed over 10,000 hours of trade work as one of the youngest working professionals in the Craft. His training includes assisting and working with acclaimed masters of the craft, (Including Mike Mahoney and Richard Raffan) and teaches workshops across the country. He is the exclusive rep for Glaser Hi-Tec Tools, has a great interest in diversifying the field of woodturning and imparting wisdom of the craft to future generations of makers in the field.

Jeffrey Neff San Diego, California Jeffrey began making things at a early age and continued enjoying woodworking through high school. His first turning experience was in his junior year of high school. Jeffrey got into making furniture as a hobby. Although the lathe was only used occasionally in his furniture making, he didn't start seriously turning until 2009. Jeffrey decided to pursue his creative abilities as a woodturner and to take that ability to the next level. Jeff has taken classes from world famous woodturners: Allan Batty, Mike Mahoney, Stuart Batty, John Jordan, Richard Raffin, Guilo Marcolongo, Cindy Drozda, Al Stirt, Michael Hosulak, Nick Cook, and Jimmy Clewes. He believes that personnel tutelage has been the best way to learn and develop his techniques. Jeffrey is continuing to learn and improve his woodturnings. “There are not many things better than finding a burl and figuring out the best way to turn it into one or more pieces of artwork.” Jeffrey likes to create natural flowing designs, which include natural edge pieces made from unique burls, but he also turns bowls, including thin natural edge open bowls, hollow forms, wings bowls, boxes, wine stoppers, jewelry, platters, pepper mills and a variety of sculptural forms. “A finished turning will highlight the beauty of the wood, in a shape that is pleasant to both sight and feel.” Jeffrey is a member of the American Association of Woodturners (AAW) and San Diego Woodturners.

TOC Friday Saturday Sunday 155 29th SWAT Symposium Jeffrey won a prize at the 2010 Design in Wood at the Del Mar fair. His work has been featured in the December 2010 issue of Woodworker’s Journal and he has had several cover photos on World of Woodturners (WOW). Currently his work is on display at Stone Cottage Gallery in Hamilton Montana. In summary, Jeffrey’s answer to the question of what advice he would give to a beginning woodturner, “Tell people not to worry about technical skills because those can only come with practice.” He has always felt that an imperfectly executed good design will speak louder than a perfectly executed poor design. “Enjoy turning and let the skills develop.”

Joanne Sauvageau Gainford, Alberta Website: Joannesauvageau.com Joanne Sauvageau lives and creates her art in her personal studio in Gainford, Alberta. Self-taught, she began turning 6 years ago and was hooked. Inspired by many art forms, pottery, and nature, she specializes in surface enhancement. Her work can be found in galleries near her home and online. A standing member of the American Association of Woodturners, she has attended many symposiums. Her love of experimenting with form, craft and color, Joanne enjoys incorporating leatherwork, copper and “other” materials in her turnings. Nothing is off limits! She has turned alabaster, chocolate, even cardboard. She has recently joined the Remote Demonstrators list and loves sharing her skills as a demonstrator.

Don Ward Wichita Falls, Texas Don has always enjoyed woodworking and developed an interest in woodturning in 1998. Having always loved pens, especially older fountain pens, Don was quite excited in 2001 when he discovered that he could make pens on his wood lathe. Don turned his first pen and was hooked. He has studied, learned, grown and developed, not only in his turning, but also in his pen making. Don has become an accomplished pen maker and continues to strive to make his artwork through pens functional, unique and beautiful. In addition to pens Don also turns most other items such as bowls, boxes and hollow forms. Don Ward is a member of the American Association of Woodturners, Wichita Falls Woodturners, International Association of Penturners, and has been accepted into the Penmaker's Guild. Don retired from teaching high school mathematics in 2006. Don has demonstrated at SWAT, The Utah Woodturning Symposium, Craft Supplies Super Wednesday Open House prior to the Utah Symposium, Turn On! Chicago, The Desert Woodturning RoundUp, The Oregon Woodturning Symposium and several woodturning clubs.

156 Friday Saturday Sunday TOC Demonstration Handbook 2021 Don taught classes at Arrowmont School of Arts and Crafts in 2015, 2017, and 2019. He has on book published: Turning Modified Slimline Pens: Beyond the Basics.

Cory White Rowlett, Texas Email: [email protected] Website: www.wherewoodisart.com As long as Cory can remember, he has always viewed the world through a different lens, one of creativity, design and form. His love of woodturning began in November of 2015 when he bought his first lathe, an old Grizzly made in the late 80’s. Recently retired after 32 years in Texas Public Education, Cory is now blessed with the time and opportunity to fully pursue artistic creativity through woodturning. Cory’s recent focus has been on turning natural forms that reflect the inherent beauty, order, and design found in nature. Cory is a proud member of the Hunt County Woodturners (currently serving as Treasurer), the Trinity River Woodturners Council (currently serving as Secretary), the Dallas Area Woodturners, Lucid Woodturners, and American Association of Woodturners.

Tim Yoder Tulsa, Oklahoma Website: wtwtim.com Tim Yoder is best known as the good-natured host of the Emmy Award winning Woodturning Workshop. In four years, he produced 65 episodes of woodturning projects and tips which are still seen nationwide on PBS. Currently he is hosting and producing Woodturning with Tim on YouTube. As of this writing his channel has over 200 videos, 104,000 subscribers and over 38 million views. Tim also has developed Tim’s Tools, a line of gauges, rulers and center finders for woodturners. In addition, he manufactures and sells the original articulated hollowing tool, the Elbo Tool. Tim has a knack for breaking down turning techniques in such a way that beginning and experienced turners can learn something new. He has many mantras such as 'Sneak up on a bead' 'You can't put wood back on' and 'You can't learn from perfect…that is why you are watching me!' That last phrase is what connects Tim to his viewers. He does not hide his mistakes. He embraces them and uses those 'design modifications' as a teaching opportunity.

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The large regional woodturning symposium known as SWAT has quite a heritage. It got its start in October 1992, when a modest group of Texas turners decided to get together under some large live oak trees near the Colorado River in Columbus, Texas. They couldn’t have imagined what they were starting. That was the beginning of what has turned into the second largest woodturning symposium in the world. That gathering became known as Texas Turn or Two, and continued for ten years under that name. The symposium was conceived and organized by a group of Texas turners who met at the home of Bob Rubel in San Marcos. Among those attending that get-together were Gary Roberts, Clay Foster, James Johnson, Larry Roberts and Mark Potter. That gathering led to the idea that it would be great to have a regional woodturning symposium that could be attended by those who had neither the time nor the money to go to a national event. The four or five AAW chapters then in Texas got to work. The idea at first seemed likely to founder since no one could come up with a site that wasn’t too expensive. A few days later, Mark Potter decided that he could move things around in his cabinet shop near Columbus and host it there on Columbus Day. The demonstrators agreed to demonstrate without a charge and the principals decided that if they could get 50 people, they would break even. On the appointed day, folks began to wind their way down the dirt road a couple of miles outside of Columbus. Soon there were motor homes, trailers, pop-ups and tents scattered all around the area under the big live oak trees. The event was a success! They more than broke even, with approximately 80 attendees. The event returned to Columbus the next year, with John Jordan as the first invited featured demonstrator. By then it had outgrown Mark Potter’s shop! From 1994 through 2000, the Texas Turn or Two symposium was held at Maricopa Ranch RV Park west of New Braunfels, near Canyon Lake. Eventually, attendance became so large that just accommodating everyone at the demonstrations was a major challenge. Add to that a ferocious rainstorm that very nearly swamped the event in 2000, with cold rain blowing in under the demonstration tents and falling into the dining tent and tent where the vendors had their wares to sell, mainly iron. It became obvious that larger facilities would have to be found, and the event moved to San Angelo for the 2001 Texas Turn or Two. In 2002, the symposium was reorganized as the 158 Friday Saturday Sunday TOC Demonstration Handbook 2021 SouthWest Association of Turners and held its annual symposium in Wichita Falls. Both the name change and the location were undertaken to make the event more accessible to woodturners from nearby neighboring states. In 2004, the event was moved to Temple in central Texas, to be more accessible to its Texas membership base. The event returned to Wichita Falls in 2005. The Fifteenth Annual SWAT Symposium, now sponsored by eighteen woodworking clubs in Texas and Oklahoma, was held in Temple in 2006. This was the largest and most successful gathering yet, with some 580 attendees. The large number of attendees and number of demonstration rotations had to be held in two separate buildings. This also pushed the limits that the facility could handle. The sixteenth annual SWAT Annual Symposium moved back to Wichita Falls, Texas in 2007. Our association now included 22 woodturning clubs in Texas and Oklahoma. The event featured six lead demonstrators and twelve regional demonstrators with a total of 58 demonstrations over the run of the symposium. The symposium was now drawing attendees from Alabama, Arkansas, Arizona, California, Colorado, Florida, Illinois, Kansas, Minnesota, Missouri, Mississippi, Nebraska, Oklahoma, Tennessee, Texas and Washington who came to enjoy the three-day event. That year we ran into space problems in Wichita Falls and need to look into larger facilities. The Waco Convention Center became the site of the seventeenth symposium in 2008 and has been our home since. The first year in Waco, the attendance was 582 attendees. The symposium offered the largest group of vendors to date, totaling 25. The Instant Gallery was very successful with the added attraction of a Gallery Drawing that was well received. The slate of national leads was the largest number offered in the history of SWAT. The larger convention center allowed growth in attendees and a larger group of vendors. By SWAT's 25th anniversary in 2016, we reached a new record with more than 1,000 attendees and 78 vendors to take care of every woodturner's needs. Several things make SWAT symposiums attractive. SWAT features world-class demonstrators and an outstanding gallery of art. The registration fee, including lunches, is one of the lowest in the nation. The chef who prepares all of our meals in Waco receives rave reviews from attendees; an annual favorite is the prime rib served at the Saturday evening banquet. There are classes and activities for the spouses and a large number of quality vendors. Another popular item is our 3-for-1 Raffle. It is one raffle that has three drawings, with the drawn tickets returned to the bin before subsequent drawings. For the price of one raffle ticket, everyone has a chance of winning any of the three drawings.

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