A Chapter of The American Association of Woodturners

MARCH 2011 THE WOODTURNERS’ LOCAL RESOURCE

VOLUME 16, ISSUE 3 WWW.NORTHWESTWOODTURNERS.COM

THREADED BOXES CAN COME IN ALL SHAPES

OUR MARCH DEMONSTRATOR … MIKE MEREDITH ON THREADING

Wouldn't it be nice to replace our friction fit boxes with elegant threaded ones? Mike will show us how. Not only will he go over the basic chasing of threads; but he will tell us how to select our woods for hand chasing. He will also give us a list of wood that works well for hand chasing. He will show us how to get around wood that doesn't thread well … which will surely save us some time spent on experimentation and the po-tential loss of an elegant box.

An added bonus, Mike will show us tools and techniques for both male and female threads as well as left handed threads. The pic-ture shows the Baxter threading machine that Mike will show us how to use. Bring your paper and pencils as this will be a perfect demo to take notes we want to keep over time!

Design your own shape and style box.

Friction fit with the familiar pop

OR

Use the elegant threaded lid that Mike teaches us to make

Northwest Woodturners meetings are held on the 1st Thursday of each month at 7:00 PM. See www.northwestwoodturners.com for details and map. March Demonstration Mike Turning Challenge for April Easter Turning Challenge for May Flowers President Joe Jedrychowski jjedro@comcast.net phone 503 699 1990 V. President Richard Hall Secretary Bill Rufener Treasurer Mike Meredith Members-at- Large Jim Hall Scott Blackman Dave Maguire Bob Mach Librarian Lynne Hemmert Raffle Tom Willing Supplies Tom Helzer Newsletter & Web Barbara Hall Official Greeters Fred Kline & Jerry Keller MyFamily Administrator Owen Lowe

QUICK UPDATES

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WWW .NORTHWESTWOODTURNERS .COM

PAGE 2 VOLUME 16, ISSUE 2

HALLOWED HALLS … ONE OF MANY … RICHARD’S SHOP

The attached photos illustrate the results of improper tool usage. That is a large round-nose scrapper that is 7/16" thick and 1.5" wide; a very heavy scraping tool. The user, who shall remain nameless, did some things correctly and more importantly, some things incorrectly.

Correct Things: 1. In this case they did not have a metal handle on the scraper; if they had, then a shoulder quite probably would have been torn-up because the lathe that was being used is heavy duty and strong and the metal handle would not have given, the person's body would have given; and 2. They had the tool tucked into their body in a three point stance which is the proper stance.

Incorrect things: 1. They had the tool cutting above center; never use a scraper above center, if it gets a catch it needs to es-cape to "air"; and 2. They undoubtedly had the tool rest too far from the cutting surface; the tool should be cutting no further than 1.5" from the surface of the wood.

Comments: These guidelines sound very easy to follow, but under the "heat" of cutting the wood and getting it "just right", it is easy to have dumb things happen. Therefore you need to "PAY ATTENTION" at all times.

RESULTS OF IMPROPER TOOL USAGE … AUTHOR UNKNOWN …JIM HALL

The cars have been displaced as Richard Hall searches for more room. Tools are anchored to the walls with pull down convenience when used Safety: all major power tools have foot pedals. Plans have been drawn for house expan-sion … for the shop area to be enlarged, of course. Too much equipment!

PAGE 3 VOLUME 16, ISSUE 3

We want to thank Joe Cornett for his interesting and very complete talk on finishes and finishing. We are so fortunate to have a resource like the Rockler store that carries a very complete line of finishing materials and a knowledgeable manager like Joe who can direct us to the right product to use for our finishing work.

You are in for an interesting and exciting evening. How many of you have given up on a good piece of wood because of seri-

ous flaws you see in it? Learn how to resurrect that hunk of wood and change it into something special.

Phil Lapp will be doing an interactive presentation. All members are invited to bring a piece of wood that you really want to turn; but have decided it is not possible because of some problem within the wood ... Does it have a saw cut down the middle? Are their cracks or splits ? Are there knots or knot holes? Is there spalting or punky sections? Phil will check each piece of wood and explain how to make the piece into an interesting turning. After this lively discussion, he will choose one of the pieces and turn it for all the members to see how to overcome these problems. Phil uses multi centers, and all sorts of interest-ing tricks to rescue a fine piece of wood and create an interesting turning from one that seems impossible.

Phil requests that you not bring fully prepared blanks; but rather choose an interesting and challenging piece au natural; the only requirement is that it will fit on the lathe.

He will not have time to turn all our pieces of challenging wood; but look at the one piece he makes into something wonder-ful. Examine it before and check it out after. Then lets look at our pieces of wood and think about the ways we can transform them, using the „Phil Technique‟ and the many ideas he gives us.

OUR APRIL DEMONSTRATOR … PHIL LAPP .. . BRING YOUR WOOD FOR PHIL TO CHECK

OUR FEBRUARY DEMONSTRATOR … JOE CORNETT

PAGE 4 VOLUME 16, ISSUE 2

NORTHWEST WOOD TURNERS SHOW/TELL AND CHALLENGE

Betty Fox Stan Postma

Stan Postma

Don Woodward

Jim Hall

PAGE 5 VOLUME 16, ISSUE 3

.

Phil Lapp

Don Woodward

Phil Lapp

PAGE 6 VOLUME 16, ISSUE 2

PRINCIPLES OF DESIGN … ENHANCE CREATIVITY WITH GOOD CRITICISM

We have spoken about the creative process in our design articles. Now another path to further enhance our creative process is to work with the critique process. Christianson states: "A good critique provides feedback that can improve future work and assist in developing new ideas. Without constructive feedback, the turner is not only destined to repeat past mistakes but to not see new ways to improve his or her work. A critique—poorly done—can result in discouragement, anger, and a possible loss of enthusiasm and creativity." We may not always receive a good or even a kind critique from our mentors. (jimchristiansen@moscow.com)

I remember one teacher who nearly ended my painting career. She insisted that I use yellow in my watercolor work; to the point that if I did not; she would dab a brush load of yellow on my canvas. It all but destroyed my joy in painting. Maybe that is one reason that I am a metalsmith … paint washes readily off metal).

It is important, then, to make sure that when critiques are given, they are “good” ones that enlighten and inspire. Good evalua-tion is not easy. It is a process that requires shared understanding, sensitivity, and good communication between both the cri-tiquer and the critiqued. We are fortunate to have Steve Newberry critique this month‟s Challenge pieces. Having collaborated on a piece with Steve and Owen, I found Steve to be sensitive to the problems we encountered in doing our work and very sup-portive in the design process. He has much to share with us.

What can we expect from a good critique of our work and/or work of our fellow turners? One benefit is to develop an aware-ness of the special factors that determine the quality of our work. This will take really looking at our work and others' work to build up a feeling of what in our mind constitutes a quality piece. Among other qualities we need to continue to enhance is our ability to perceive the design elements of shape, line and form, and balance that we talked about in previous Newsletters. What do color and surface texturing do to the piece? Is it finished well, with no visible sanding or tool marks. Does the design flow or does it have brutal transitions. Learn to discount another‟s viewpoint that too subjective. Again what is beautiful to one person may be ugly to another. Colors and texture parameters can be very personal.

Some of these design parameters are judgment calls and reflect our personal biases when we look at another turners work; this is the reason we need to develop a sense of self in our own work. Having our work judged can be very helpful. If the critique hits its mark , we can become more aware of new options, possibilities, and directions. We can also discover better ways to produce our work by listening to guidelines given by our demonstrators and taking classes offered by the club. What it really comes down to is we need to learn to really look at our pieces and dare to make changes in our own work. Criticism we direct at ourselves can be harsh and demanding. Remember this is a learning experience and it may take lots of trial and error practice to get the results you want. Be kind to yourself. Gently laugh at some of your efforts and really enjoy the experimentation.

I learned a valuable lesson that directed my teaching career from one of my first metal instructors. He was the one to convince me how to look at another person‟s work, in this case my future student‟s work. He looked me straight in t he eye and said: 'I don't like your work; ( a long silent pause while I sunk inside) and then he added; but it is very good' and then to my surprise, he entered my work in the student faculty show.

Despite our being drawn to work we like that emotionally appeals to us, judging our own and someone else's work is not de-pendent on whether we like it; but how well it is executed. If we, as artists, try to be true to our style and planning in our own work, we can become our own best critic.

How would you judge these turnings?

TIME TO RENEW YOUR MEMBERSHIP

VOLUME 16, ISSUE 3 PAGE 7

BUSINESS ADS

The dues are $30.00 per year, and can be paid at the meeting, on the web site or by mailing payment to the treasurer, Mike Meredith. Family memberships are $45. Business memberships are $60 per year and include a copy of your busi-

ness card in the Newsletter. Payments can be paid through PAYPAL. nwwt@northwestwoodturners.com. $31.25

Single Membership. Some email addresses have been changed, please update so we can contact you. Many thanks!

JUDGE USING DESIGN PARAMETERS; JUDGE USING EMOTION;

Please support our members who also have businesses that relate to furnishing wood turning products to our club members.

We appreciate the great service they give us.

PAGE 8 VOLUME 16, ISSUE 2

SHOW AND TELL … NEW FORMAT WITH YOUR SUGGESTIONS ADDED!

David Williams has graciously furnished us with the names of the Cascade demonstrators for the next three months of 2011. We have agreed to publish the names of all area demonstrators to offer members the greatest opportunity to take advantage of special turning hints and training that will help all of us to better our products.

March: John Jordon Sculpture Demo Classes

April: Denise De Rose Purses

May: Merryll Salan

Terry Gerros furnished us with the names of the next three months Willamette demonstrators.

March: Reed Gray Turn a bowl from a cube on the bias next day: Bowl Coring Saturday Sawdust: @ Terry Gerros shop (503) 580 5013

April: Dave Schweitzer Hollow forms & flutes Friday all day demo Sat. Sun. works

May: Vernon Leibrant Big bowl coring

I want to thank each of you who gave your opinion on the new Show/Tell/Challenge in MY Family. We tried to incorporate your excellent suggestions. The majority expressed satisfaction with the new format so we will continue; but with adding your input: Creators are to stand behind the table leaving more room for viewers. Creators can leave their stations to view other's works and since we are a very social group, please continue chatting with your friends! We will begin the judging of the Challenge group just before the demonstrator, Mike. Steve Newberry has graciously said he will do this important job. This will give each of us the opportunity to listen to a knowledgeable critique of other members‟ work. Then at the mid break we can see the pieces Steve judged and better understand Steve‟s comments.

Process: Those members who want their pieces judged should put them on the Challenge table. Place all your pieces NOT to be judged on the Show n‟ Tell tables. Right before the demonstrator is introduced, Steve will look over the Challenge piec-es and talk about them with the turner who created them.

At the first break midway during the demonstrator‟s talk, we ask all creators with pieces on display to come to the display area and stand behind the table by your piece. All interested members who want to know more are requested to come and enjoy discussing the pieces with each of you. Note: Creators, please take a break to view work by the other members at your con-venience.

Communication can be very meaningful ... This two way conversation can be very beneficial to creator and want-to-be crea-tor. This should be fun, a learning experience and of course is definitely designed not to be a pressure situation.

Directions: Enter your name, the name of your creation, and the material it‟s made of on the white paper accompanying your piece. If you wish, write a brief message telling what the inspiration is for the piece and any problems and/or successes you experienced in making it that you‟d like to share. This will help the members who want to know more about your piece. Then if you leave your spot to view other members‟ work, those interested in your piece can still gain insight into your work.

W ILLAMETTE VALLEY ’S DEMONSTRATORS

CASCADE WOODTURNERS DEMONSTRATORS

The Greater Vancouver Woodturners Guild GVWG is offering an associate membership to members of other woodturning guilds located outside the Metro Vancouver area (aka the Greater Vancouver Regional District). Now, for an annual fee of $12, the GVWG will forward our monthly newsletter to all associate members at the same time as the GVWG members. The newsletter or other advance notices will be sent to all for the (usually) Saturday demonstrations by visiting demonstrators. They will also be allowed to participating in the day long workshops following; usually held on Sundays. Cost for the demos is $30 in a classroom setting and the workshops are $160 with a maximum of 6 attendees. http://www.gvwg.ca Peter McLaren

THE GREATER VANCOUVER WOODTURNERS GUILD

PAGE 9 VOLUME 16, ISSUE 3

EDITOR’S NOTE

Date Class/Demo Location Time

3/02 End turning Woodcraft *6:00PM-9.00PM

3/05 Deep Relief Carving demo Woodcrafters 10:00AM-2:00PM

3/06 Power Carving Woodcraft *12:00 PM-4:00PM

3/12 Wild Life Scenes demo Woodcrafters 10:00AM-3.00PM

3/18 Carving Wood Spirits demo Woodcrafters 10:00AM-3:00PM

3/26 Wood Carving demo Woodcrafters 10:00AM-4:00PM

3/27 Pen Turning Woodcraft *9:30AM-11:30AM

3/05 Turn Bottle Stoppers demo Rockler 9:30AM-11:30AM

Many other fine classes and demos are available from your local stores: Woodcraft Store at (503) 684-1428 Email portlandretail@woodcraft.com Woodcrafters Store at (503) 231-0226 Web page http://woodcrafters.us/ craft sup-plies Rockler Store at (503) 672-7266 Email store17@rockler.com *Fee: students should bring chucks, sharpened turning tools, safety gear. Turning mate-rials provided

Submissions to the newsletter are due by the 20th of the month. Articles, tips, web links, classified ads, or other items pertaining to woodturning are welcome.

Barbara Hall Newsletter Editor Phone: (503) 649-5581 E-mail: barbara@iwci.com All other business should be directed to:

Northwest Woodturners 13500 SW Pacific Hwy #185 Tigard, OR 97223

LOCAL EVENTS, CLASSES, AND DEMO ’S

MEETING SCHEDULE FOR 2011

Key: H1 Hands-on class Friday H2 Hands-on classes Friday and Sunday H3 Three day Hands-on class D Saturday Demo

Jan 2011Annual Swap Meet + mini demos July 2011 Jim Hall (Carving) D

Feb 2011Joe Cornett (Finishing) Aug 2011 Picnic/Wood Auction

Mar 2011 Mike Meredith (Threading) Sep 2011 Christian Burchard (Sculpture) H2 D

Apr 2011 Phil Lapp (Wood) Oct 2011

May 2011 Don Derry (Color) Nov 2011 Selling your work Member Auction

Jun 2011 Mitch Patton (Pens) Dec 2011 Christmas Party

This is a very simple Turner Tip, but it sure is helpful in sanding

I use 5" Mirka sticky-back sand paper that I get at an automotive repair/body paint shop. I then get an old rubber innertube from Les Schwab that is a throw-away. I cut rounds out the side-wall of the innertube and stick the sticky back sanding discs to the round that I have cut from the tube. I have many different grit of the paper and I differentiate by putting a strip of masking tape on the back of the rubber and marking the grit. The benefit that you get from this is that you can shape the sanding disk most any shape and it will come back to the original flat disk. You can use it in all sorts of ways and I find it very helpful when I am sanding. Yes I do a lot of power sanding, but there are many times that I have to do hand sanding and then I use the sticky backed paper on the cut-outs from the innertube. Try it, it does not cost much and I believe that you will find them very help-ful.

Another helpful sanding item is Mirka "Abralon" sanding pads. These are somewhat expensive, but they last a long time; I use them and then blow them out. I use them on final sand. I use grits 500, 1000, 2000, and 4000. If you use them you will find that they really polish up the piece.

TURNER TIPS BY JIM HALL

13500 SW Pacific Hwy, #185

Tigard, OR 97223

CLASSIFIED ADS

Show your NWWT Membership Card to receive a discount of your purchase at Gilmer‟s, Rockler, Woodcraft, Woodcrafters, NorthWoods sand Crosscut Hardwoods. Membership has benefits.

Guidelines for Classified Ads: Ads will run for three consecutive months. Please submit your ad by the 20th of the month. The Editor takes no responsibility for spelling or grammatical errors. All woodworking items, for sale or wanted, are welcome.