center for furniture c 2003 workshops · with wood: the basics of craftsmanship (taunton press,...

TWELVE-WEEK INTENSIVEIf you are considering furnituremaking as a profession, a sabbaticalfrom your present career, or simplya life-enhancing skill, this course isfor you. Twelve straight weeks ofhands-on woodworking in a fullyequipped shop with daily personalinstruction.

The curriculum offers drawing anddesign, joinery and construction,hand and machine skills, finishingand shop maintenance.

With enrollment limited to twelveparticipants, and two full-time faculty in attendance, you areencouraged to develop an individu-alized series of projects to fit yourinterests and level of experience.

We encourage individual excellence in woodworking and design, with a quiet emphasis on self-expression. Our workshops are for novice,

intermediate, and advanced woodworkers who seek an inspiring learning experience in a supportive environment.

C E N T E R f o r F U R N I T U R E C R A F T S M A N S H I P

2003 WORKSHOPS

WORKSHOPSEvery workshop is an opportunity to immerse yourself in woodworkingwith the guidance of outstanding,professional craftsmen committed to sharing their skills, and the companionship of other enthusiasticparticipants.

Students vary in age from seventeento their seventies—women and menwho are open to learning new skillsand to sharing their knowledge with others.

Enrollments are limited to twelveparticipants per class. Each workshopis staffed by two or three facultymembers, so you are assured plentyof individual attention, as well asexposure to a broad range of techniques and demonstrations.

OUR 11TH YEAR

C E N T E R F O R F U R N I T U R E C R A F T S M A N S H I P

C E N T E R f o r F U R N I T U R EC R A F T S M A N S H I P

is a nonprofit 501(c)(3) educational organization.

Our mission is to provide the best possibleeducation for people who want to design

and build functional, beautiful, expressive furniture out of wood to the highest

standard of craftsmanship.

BOARD OF DIRECTORSPresident

Craig Satterlee Marietta, GA Vice-president

Richard C. Kellogg, Jr. Houston, TX Treasurer

Jim Bowers Washington, ME Secretary

Jeremy Morton, M.D. Portland, ME

John Dunnigan W. Kingston, RIMark Horowitz Weston, MA

H. Alan Hume, M.D. Sidney, MEKarin Thomas Camden, ME John Tuton Philadelphia, PA

HONORARY BOARDArt Carpenter Bolinas, CA

James Krenov Fort Bragg, CAJohn Makepeace Beaminster, England

Wendy Maruyama San Diego, CAThomas Moser Auburn, ME

Alan Peters Cullompton, EnglandMartin Puryear Accord, NY

EXECUTIVE DIRECTORPeter Korn

ADMINISTRATORJoyce Steel

DEVELOPMENT COORDINATORBetsy Welch

RESIDENT INSTRUCTORTim Rousseau

DESIGN & PRODUCTIONSilverline Studio, Camden, Maine

CENTER FOR FURNITURE CRAFTSMANSHIP

25 Mill Street, Rockport, ME 04856(207) 594-5611

[email protected]

Center for Furniture Craftsmanship does not discriminate on the basis

of race, color, religion, gender, national origin or sexual orientation.

TABLE OF CONTENTS

4–5 TWELVE-WEEK INTENSIVE

6–7 BASIC WOODWORKING

8 INTERMEDIATE FURNITURE MAKING BRETON/RODELTRADITIONAL HAND TOOLS MARIO RODRIGUEZ

9 ORNAMENTAL CARVING CHRIS PYERELIEF CARVING CHRIS PYE

10 CARVING TUTORIAL CHRIS PYECABINETS AND CASEPIECES CURRY/WALES

11 REALLY BASIC WOODWORKING JULIE MORRINGELLODRAWING/DRAFTING/RENDERING ALISON WALES

12–13 2003 CALENDAR

14 SCULPTURAL CLOCKS CARTER SIOJAPANESE HAND TOOLS JOHN FOX

15 ADVANCED FURNITURE MAKING FOX/STEVENSEXQUISITE SURFACES & DETAILS GARRETT HACK

16 HAND TOOL SKILLS PHILIP LOWESURFACE DESIGN GOLDBERG/STONE

17 FINISHING TERI MASASCHIREPAIR AND REFINISHING TERI MASASCHI

18 CHAIR MAKING ROBERT DEFUCCIOINTRO. TO LETTER CARVING MICHAEL RUST

19 DESIGN AND CRAFTSMANSHIP BLACHLY/STRAKERVENEERING DARRYL KEIL

20–21 DONOR ACKNOWLEDGEMENTS

22–23 GENERAL INFORMATION

24 REGISTRATION

Peter Korn, Executive Director

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FACILITYWe are situated on eleven acres of meadow andwoods along the Oyster River in Rockport, Maine.Our 4200-square-foot workshop consists of a benchroom, a classroom, and a machine room.

In the bench room we provide a European-styleworkbench for each student. The classroom is furnished with tables and benches to meet the needsof more specialized workshops. The machine room isequipped with high quality woodworking machineryof a scale appropriate to the advanced amateur andsmall professional shop.

The machine room has full dust-collection and issupplied with two 10" tablesaws, two 8" jointers, two12" thickness planers, 14" and 20" bandsaws, lathes,a chopsaw, drill presses, a scrollsaw, slot mortisers,grinders, and a stationary disc/belt sander. We alsohave a plentiful assortment of hand tools and hand-held power tools for your use.

The Center for Furniture Craftsmanship

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Steam bending in last year’s Curved Furniture course

A student in Repair and Refinishing

TWELVE-WEEK INTENSIVE

February 17 – May 9, 2003

November 3, 2003 – January 30, 2004

February 16 – May 7, 2004

Our Twelve-week Intensive is especially designed tomeet the needs of aspiring professional furnituremakers and amateurs on sabbatical from other professions. With two instructors available at alltimes and only twelve students, each participant isable to individualize the course of study to fit his orher interests and level of experience.

The skills available through our curriculum include:

Design – developing a design brief; drafting, designdevelopment through models, mock-ups, and prototypes; critiques and discussions of aesthetics.

Drawing – Improving your ability to sketch, renderobjects, and think on paper.

Lumber selection – Wood characteristics; buyinglumber; selecting wood appropriate to yourdesign.

Joinery – choosing and making the right joint for every situation using both traditional and contemporary methods.

Traditional hand skills – The foundation of finefurniture making, includes: sharpening; use andtuning of hand planes, saws, and scrapers; hand-cut joinery.

Machine techniques – Use of power tools androuters for stock preparation, joinery, and forming.

Advanced techniques – Laminate bending; steambending; re-sawing and veneering; spindle turning; jig and fixture making; and more.

Surface preparation and finishing – Preparingwood with cutting tools, scrapers, and abrasives;choosing the right finish for the effect youwant; application of finishes.

Shop maintenance – Selection, tuning, and mainte-nance of woodworking machinery.

Professional practices – How to run a business,product development, pricing, marketing, bookkeeping.

The curriculum divides into three segments. For thefirst three weeks we go through the Center’s BasicWoodworking course (see page 6), teaching theessentials of furniture making with an emphasis on hand skills. Each student designs and builds a projectrequiring hand-cut dovetail and mortise-and-tenonjoinery. The second segment, weeks four through

eight, focuses on solid-wood carcase construction,including door-making and drawer-making. Eachparticipant creates a casepiece with at least one door and one drawer. The third segment starts inweek eight with a series of lectures and demonstra-tions on steam bending, laminate bending, andveneer work. Each student’s third project is to designand construct a challenging piece using one or moreof these techniques.

Open to all levels of experience.Tuition: $5100

FACULTYThe faculty for the Twelve-week Intensive is drawn fromamong the following instructors.

LYNETTE BRETON is a professional furniture maker inHarpswell, Maine. With over twenty years’ experi-ence designing and building custom furniture andarchitectural interiors, her knowledge spans the spec-trum from commercial production to one-of-a-kind,studio furniture. Lynette’s work is featured in theFurniture Society’s recent publication, ‘Tradition inContemporary Furniture’ and was selected for theEditors’ Choice exhibition at SOFA Chicago 2001.


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COURSES

Ancestral Table by Lynette Breton, bog oak, greenabalone, and mammoth tusk, 1998

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Twelve-week Intensive students doing a steam bend

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ANDREW GARTON graduated from Parnham School forCraftsmen in Wood in 1988. For the past fourteenyears he has run his own custom furniture workshopin St. Helier, Jersey, U.K., which is his home. Hisshop experience has varied from working alone as a designer/craftsman to managing two full-timeemployees. Andrew’s work combines a solid masteryof traditional technique with an inventive sense of design.

PETER KORN, the Center’s Director, has been a furni-ture maker since 1974. He is the author of WorkingWith Wood: The Basics of Craftsmanship (TauntonPress, 1993) and The Woodworker’s Guide to Hand Tools(Taunton Press, 1998). Prior to founding the CenterFor Furniture Craftsmanship in 1992, Peter spent six years as Program Director at Colorado’s AndersonRanch Arts Center and four years as adjunct AssociateProfessor at Drexel University. His award-winning furniture has been exhibited nationally in galleriesand museums.

GERALD CURRY hasbeen a professionalfurniture maker for more thantwenty-five years.Based in Union,Maine, Jerry has anunusually broadrange of experience,from replicatingEighteenth CenturyAmerican furniture to designing andbuilding contempo-rary furniture.

TIM ROUSSEAU divides his time between teaching atthe Center and building furniture on commission in Appleton, Maine. He has worked as a professionalfurniture maker since completing the Center’sTwelve-week Intensive in May, 1998, and has succes-

sively returnedto the school in the capacitiesof workshopassistant, artist-in-residence,and instructor.

COURSES

Crossbow Chairs by Andrew Garton, steam-bent English oakwith laminated, upholstered seats

Chest of Drawers by Tim Rousseau, cherryand ebonized cherry (41"x22"x72"), 2001

Hall Table by Peter Korn, cherry top, ebonized maple base

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Splayed Chest of Drawers by GeraldCurry, curly maple and bocote,(32"x19"x49"), 2001

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BASIC WOODWORKINGPETER KORN & FACULTY

June 2 – 13 CRAIG SATTERLEE

June 30 – July 11 PETER TURNER

July 28 – Aug. 8 OWEN EDWARDS

Aug. 25 – Sept. 5 BRIAN REID

October 6 – 17 ASHLEY ERIKSMOEN

This workshop is a thorough introduction to furni-ture making, with a focus on traditional hand skills.Participants range from absolute beginners to moreexperienced woodworkers who want to improvetheir craftsmanship.

After milling a piece of wood four-square and hand-cutting mortise-and-tenon and dovetail joints, eachparticipant makes a simple piece of furniture. A smallbench with dovetails and through-wedged tenons issuggested, although participants may choose otherdesigns.

The workshop startswith instruction in thesafe use of power toolssuch as the table saw,jointer, planer, andbandsaw. Throughdaily lectures anddemonstrations, Peterand his co-teachersintroduce skills such as lumber selection,milling, joinery, scrap-ing, sanding, assembly,and finishing. Theyoffer extensive instruc-tion in the sharpening, tuning and use ofplanes, chisels, andother hand tools.

Peter Korn’s book,Working With Wood: The Basics of Craftsmanship (Taunton Press, 1993) is the text forthis course. The small class size allows Peter and hisco-instructors to give each participant extensive individual guidance throughout.

Open to novice and intermediate woodworkers.Tuition: $930

FACULTY:PETER KORN, the Center’s Director, has been a furni-ture maker since 1974. He is the author of Working

With Wood: The Basics of Craftsmanship (TauntonPress, 1993) and The Woodworker’s Guide to HandTools (Taunton Press, 1998). Prior to founding theCenter For Furniture Craftsmanship in 1992, Peterspent six years as Program Director at Colorado’sAnderson Ranch Arts Center and four years asadjunct Associate Professor at Drexel University. His award-winning furniture has been exhibitednationally in galleries and museums.

Peter’s approach to woodworking calls for a balance between traditional hand skills andeffective machine use. “Craftsmanship,” says Peter,“is more than a set of skills; through the process ofcreating an object, wetransform ourselves.”

COURSES

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Projects by Basic Woodworking students, October 1999

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Detail of the suggested project forBasic Woodworking

Walnut dictionary stand by Peter Korn

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CRAIG SATTERLEE

builds furnitureon commission,offers privateinstruction in hisMarietta, Georgiaworkshop, andhas taught exten-sively at themetro-AtlantaWoodcraft store.Craig has beenmaking furniture for sixteen years, following an earlyretirement from corporate healthcare. He is a gradu-ate of our Twelve-week Intensive and has worked atthe Center as a teaching assistant and instructor forthe past six years.

PETER TURNER

is a SouthPortland,Maine furni-ture makerwith thirteenyears’ profes-sional experi-ence. He writesfor FineWoodworking

(issues 126, 128, 129, and 139) and his work may beseen in four books from Taunton Press: The CustomFurniture Source Book, Bookcases, Dining Tables and Inthe Shaker Style. In recent years Peter has exhibitedhis furniture internationally, from the PhiladelphiaFurniture Show to the Tullie House Museum inCarlisle, England.

OWEN EDWARDS designs and builds commissioned furniture in Mendocino, California, where he is furniture curator for the Highlight Gallery. He has a Masters Degree in Arts Education from New YorkUniversity, and is a 1988 graduate of the FineWoodworking Program at the College of theRedwoods.

BRIAN REID is a 1995 honors graduate of England’sParnham College and currently maintains his furni-ture making studio in Carbondale, Colorado. He hastwice been awarded artist-in-residencies at Colorado’sAnderson Ranch Arts Center, where he has taught onmany occasions. Recently, Brian served as VisitingLecturer in the Furniture Program at San Diego StateUniversity. In Spring 2003, he will teach in theFurniture Program at the University of Wisconsin,Madison.

ASHLEY ERIKSMOEN graduated from the FineWoodworking Program at the College of theRedwoods in 1998 and subsequently earned herM.F.A. in Furniture Design at Rhode Island School of Design. Based in Oakland, California, Ashley’steaching experienceincludes workshops at theCollege of the Redwoodsand the California Collegeof Art and Craft. Sheexhibits nationally and isrepresented in the FurnitureSociety’s current travelingexhibition, “The RightStuff.”

COURSES

BASIC WOODWORKINGFACULTY, CONTINUED

Coffee Table by Craig Satterlee, mahogany andmahogany veneer, 1997

Black as Night by Brian Reid, iron-stained and white-washed oak (57"x20"x23"), 1997

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Table 49 by Peter Turner, cherry (42"x42"x18"),2002

Port Cabinet by AshleyEriksmoen, Claro walnut andlilac (10"x10"x16"), 1997

Detail of Orion’s Study by OwenEdwards, Douglas fir, 1999


INTERMEDIATE FURNITURE MAKINGLYNETTE BRETON & KEVIN RODELJune 16 – 27

The focus of this workshop is solid-wood furniture,with an emphasis on design and construction typi-fied by the Arts & Crafts style. Through lecture anddemonstration, Lynette and Kevin cover machineand hand techniques for joinery; casepiece construc-tion; fitting of doors and drawers; inlay; fuming andother finishing techniques; and incorporation ofmaterials such as tile and art glass.

Participants design and build modestly-sized projectssuch as small tables or cabinets. The course beginswith a slide presentation on Arts & Crafts furnitureand the first few days are given to design develop-ment, including use of scale drawings.

LYNETTE BRETON is a professional furniture maker inHarpswell, Maine with over twenty years’ experiencedesigning and building custom furniture and archi-tectural interiors. Lynette’s work is featured in theFurniture Society’s recent publication, Tradition inContemporary Furniture.

KEVIN RODEL has gained national recognition as oneof the foremost designer/makers working in the Arts& Crafts style. Mack & Rodel, which he co-foundedin 1986, is a custom shop located in Pownal, Maine.For more on Kevin, see: www.neaguild.com/macrodel.

Open to intermedi-ate and advancedwoodworkers.Tuition: $930

TRADITIONAL HAND TOOLS:TUNING AND USEMARIO RODRIGUEZJune 16 – 20

Developing confi-dence in the use of hand tools isessential to acraftsman’s person-al developmentand the evolutionof his or her work.In this class, Marioteaches partici-pants how to tune up their hand tools formaximum perfor-mance, determinewhich is the righttool for the job,and select goodtools from the vastassortment available.

Hands-on experience includes: tuning and sharpen-ing of bench, block, and shoulder planes; modifica-tion, tuning, and sharpening of hand saws; prepara-tion of marking and cutting gauges; sharpening ofchisels and knives; and burnishing scrapers. Studentshave the opportunity to put their kit to work by exe-cuting several traditional woodworking joints entire-ly by hand.

MARIO RODRIGUEZ is a woodworker, author, andteacher specializing in traditional tools and tech-niques. Currently, he is an assistant professor in theRestoration Program at Fashion Institute ofTechnology in New York. Mario is a ContributingEditor of Fine Woodworking, author of TraditionalWoodwork (Taunton Press, 1998) and BuildingFireplace Mantles (Taunton Press, 2002), and a specialconsultant to Lie-Nielsen Toolworks.


COURSES

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Mario Rodriguez

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Meditation Table byLynette Breton, cherry,maple, abalone, 1997

Cerridwen Bookcase by Mack & Rodel,cherry (17-1/2"x72"x38"), 2000

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ORNAMENTAL CARVINGCHRIS PYEJune 23 – 27

This introduction to incised decoration starts withclear exercises in the holding and manipulation ofcarving tools, and the making of smooth, precise andflowing cuts which characterize good woodcarving.From here, elementary patterns build into adaptableand effective leaf and flower designs which can read-ily be used to embellish interior woodwork and fur-niture. Chris gives particular attention to carving the classic acanthus leaf, teaching students how it‘works’: how to carve eyes, pipes and veins.

Participants learn traditional woodcarving tech-niques, how to carve with regard to the grain andleave work straight from the chisel. They also gainan understanding of how carving tools function andthe essential skill of sharpening.

From his studio in Herefordshire, England, CHRIS PYE

works on a broad spectrum of commissions includ-ing lettering, heraldry, furniture ornamentation,architectural carving, and sculpture. Clients includeHRH the Prince of Wales. Chris has more than twen-ty years of experience as a carver, and is the authorof five books published by GMC Publications Ltd.:Woodcarving Tools, Materials, and Equipment (1994),Carving on Turning (1995), Lettercarving in Wood(1997), Relief Carving: A Practical Introduction (1998)and Elements of Woodcarving (2000). For more infor-mation, visit: www.chrispye-woodcarving.com.

Open to novice and intermediate carvers.Tuition: $500

RELIEF CARVING CHRIS PYEJune 30 – July 4

Chris developed thiscourse over years ofteaching beginners inhis Herefordshire stu-dio. Then he put itinto a book, ReliefCarving: A PracticalIntroduction (GMCPublications, 1998),which serves as thecourse text. Duringthe week, Chris leadsstudents step-by-stepthrough two projectsdesigned to give thema thorough grounding in low-relief and high-reliefcarving.

Chris teaches the functions of the various carvingtools; how to sharpen and handle them; relief designand working wood grain; lining in, grounding out,setting in, modeling, and undercutting; finishingfrom the chisel; and many other aspects of the carving process.

Participants gain a strong base of carving skillsapplicable to traditional and contemporary work.Those who would like a second week to consolidatewhat they have learned may enroll in the CarvingTutorial.

For biographical information on CHRIS PYE, see theprevious course description.

Open to novice and intermediate carvers.Tuition: $500

COURSES

Detail of limewood bedstead by Chris Pye

Detail of fireplace surround by Chris Pye, relief carving, 1999 (Height of mouse is one inch.)

Guilloche molding for a staircase carved by Chris Pye, English oak (8" wide panels), 1994


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CARVING TUTORIALCHRIS PYEJuly 7 – 11

This course is formore experiencedcarvers, includingany of Chris’ paststudents. Partici-pants developtheir carving skillswith Chris’ expertguidance. Anyaspect of carving isfair game, includ-

ing relief carving, carving-in-the-round, and letter-ing. Participants may embark upon new projects, follow a series of exercises, or bring work in progress.

Through personal supervision, demonstrations,shared class ‘problems’ and individual exercises, students deepen their understanding of woodcarv-ing. Correct tool selection, sharpening and handlingtechniques are presented as integral parts of theworkshop. Participants discuss their projects withChris in advance so they can be sure to bring theright tools and materials.

This is a particularly good opportunity for studentswho have completed the previous week’s ReliefCarving course to consolidate what they havelearned by carving a larger relief of their own design.This completes the work described in Chris’ bookRelief Carving: A Practical Introduction.

For biographical information on CHRIS PYE, see previous page.

Open to intermediate and advanced carvers.Tuition: $500

CABINETS & CASEPIECESJERRY CURRY & ROD WALESJuly 14 – 25

This intermediate-level course focuses on design andconstruction of casepieces, such as cabinets, tables,and chests. Rod and Jerry teach all aspects of solid-wood carcase construction, from general principlesto the fine points of fitting drawers and hangingdoors. They also address the use of veneered compo-nents, such as panels and drawer fronts.

Every participant builds an individual project withextensive one-on-one guidance from the instructors.Students are encouraged to explore new design ideasand improve their versatility with the design process.

ROD WALES is a principal in Wales & Wales, a furni-ture making and design firm in East Sussex, England.He trained as a craftsman at Rycotewood Collegebefore studying design at Parnham College, to whichhe has returned over the years as Design Tutor. Hiswork is in numerous public collections, includingthat of the Victoria and Albert Museum.

GERALD CURRY has been a professional furnituremaker for more than twenty-five years. Based inUnion, Maine, Jerry has an unusually broad range of experience, fromreplicating EighteenthCentury Americanfurniture to designingand building contem-porary furniture.

Open to intermediateand advanced wood-workers.Tuition: $930

COURSES

Phoenix Rising carved by Chris Pye, English oak(width 28"), 2002

Chris Pye carving the beak of an eaglelectern

Splayed Chest ofDrawers by GeraldCurry, curly maple

and bocote(32"x19"x49"), 2001

Cabinet in fumed andlimed oak by Wales &Wales (52"x18"x60"),1989

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REALLY BASIC WOODWORKING JULIE MORRINGELLOJuly 14 – 18

This course is for beginners who want to build simple, attractive furniture for the garden, patio, or house using tools and materials readily availablefrom their local lumberyard. Garden benches andchairs, plant stands, and patio tables are some of the pieces that participants can learn to build usingdimensioned lumber, common hand and powertools, and screws for fastening.

Julie’s instruc-tion focuses onchoice of mate-rials, cuttingtechniques, simple fasteningmethods, andsafe use of tools.Participants usehand tools formeasuring, lay-out and cutting.They also havethe opportunityto use powertools, such asthe chop saw,

jigsaw, electric drill and router. Julie teaches thiscourse so that anybody can enjoy designing andmaking simple furniture while gaining basic skillsthat are useful for all woodworking.

JULIE MORRINGELLO is a furniture maker and freelancefurniture designer working in Stonington, Maine.She began her woodworking career in 1991 andholds an MFA with Honors in Furniture Design fromthe Rhode Island School of Design. Currently, herwork may be seen in the Furniture Society’s travelingexhibition, “The Right Stuff.” In addition to high-end furniture work, Julie is constantly involved inhouse carpentry projects which, she says, “. . . getright at the core of the pleasure I have in makingthings.”

Open to all.Tuition: $500

DRAWING/DRAFTING/RENDERINGALISON WALESJuly 21 – 25

This workshop is for furniture makers at all skill lev-els who want to improve their drawing skills in orderto become better designers. The curriculum covers: • sketching for inspiration and to explore concepts• drafting to refine ideas and create construction

documents• perspective rendering for presentation of designs

Students learn through a series of hands-on drawingexercises and by developing designs of their own.Alison’s professional furniture-making backgroundmeans that full consideration is given to structural,as well as aesthetic, considerations throughout thedesign process.

ALISON WALES is a principal in Wales & Wales, a furni-ture making and design firm in East Sussex, England,which she founded with her husband, Rod, in 1981.She is involved in all aspects of furniture design,from one-off to limited-batch and commercial pro-duction and is the person primarily responsible forcreating presentation drawings for clients and work-ing drawings for the workshop. Alison originallytrained as a furniture maker at Rycotewood Collegeafter gaining a BA Honours degree in Fine Art, thenbuilt furniture in John Makepeace’s workshop beforeco-founding Wales & Wales.


COURSES

Presentation drawing in pencil and colored pencilby Alison Wales, 1989

Seachair by Julie Morringello, Spanish cedar,2000


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SCULPTURAL CLOCKSCARTER SIOJuly 28 – August 1

This is an opportunity to experiment with a moresculptural approach to woodworking. Carter encour-ages participants to think of clocks as three-dimen-sional, playful and expressive objects that conveymore than the time of day. His approach combinestraditional woodworking methods with the use ofother materials and found objects, and with tech-niques for texturing surfaces and applying color.Instruction covers techniques as varied as turning,bending, and veneering, as they become appropriateto individual projects.

After making an intro-ductory project, partici-pants design and buildtheir own timepieces,using high quality, bat-tery-powered clockmotors. Wall-hungclocks, desk-top clocksand free-standing clocksare all fair game.

CARTER SIO has beenDirector of the GeorgeSchool Woodworking and Design Program inNewtown, Pennsylvaniasince 1984. He originallystudied woodworking at Marlboro College and subsequently trained for three years at Kirby Studios.Along with teaching, Carter produces one-of-a-kindfurniture in his studio, Sio Shapes. An excellent article on Carter and his program at George Schoolmay be found in the Jan./Feb. 2001 issue ofWoodwork magazine.

Open to intermediate and advanced woodworkers.Tuition: $500

JAPANESE HAND TOOLSJOHN FOXAugust 4 – 8

Participants learnthe practical applica-tion of Japanesehand tools. Johnteaches the selec-tion, tuning, anduse of Japanese chisels, dozuki saws,smoothing planes,dovetail planes, andspokeshaves, includ-ing sharpening tech-niques with naturaland manufacturedwater stones.Discussion alsofocuses on the difference between

Japanese and Western woodworking traditions.

In addition to tuning up their tools, students prac-tice planing and fitting by making a sharpeningstone stand and a Japanese-style marking gauge.Further projects are possible as time permits.

JOHN FOX is an Acton, Massachusetts furniture makerwho has mastered Japanese hand tools over twenty-plus years of use. He exhibits his work nationally in such prestigious venues as the Smithsonian,Philadelphia, and Baltimore craft shows. Articles onJohn’s work have appeared in Woodwork (August,1997) and Home Furniture (Summer, 1996).


COURSES

Enough by Carter Sio, mahogany,purple dye, gold leaf (4"x4"x12"),1994

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John Fox adjusting a plane blade

Kusaka Sideboard by John Fox, walnut

with bubinga drawers

Julie’s Clock by Carter Sio,maple (6"x1-1/2"x9")


ADVANCED FURNITUREMAKINGJO H N FO X AND CRAIG STEVENSAugust 11 – 22

This course is for more experienced intermediate and advanced furniture makers. John and Craigshare their separate (and complementary) methodsof work, approaches to design, and extraordinaryexpertise with hand tools. Each participant creates apiece of furniture with the goals of improving theirdesign process, perfecting their hand and machineskills, and making furniture which is a singular andpersonal expression of the individual.

Topics include hand-planed surfaces, tuning andusing Japanese and wooden planes, the challenges of making and fitting drawers and doors, and work-ing with solid wood and sawn veneers, as well asdesign evolution, organizing your work, and makinga living with one-of-a-kind furniture.

JOHN FOX’s bio appears on the previous page.

CRAIG STEVENS studied with James Krenov at theCollege of the Redwoods prior to opening his workshop in Sunbury, Ohio, nine years ago. He haswritten four books for Schiffer Publishing on the subjects of chip carving, marquetry, and coffeetables. Craig has received several awards, includingAmerican Woodworker’s 1998 “Excellence inCraftsmanship” award and an “Individual ArtistFellowship” from the Ohio Arts Council. He wasrecently featured on the Home & Garden Televisionprogram, “Modern Masters”.


EXQUISITE SURFACES ANDDETAILSGARRETT HACKAugust 11 – 15

Delight is in the details. Participants learn to incor-porate a range of alluring detail in their work, frombold patterned bandings to subtle, tactile surfacesright off a plane. Garrett offers instruction in the useof: inlays of wood and precious materials such asshell and silver; patterned bandings, flush beads andproud cockbeads used to highlight table aprons anddrawers; and bevels, chamfers, and other decorativeedges.

Work is donealmost entirely byhand using stan-dard bench tools,such as smooth-ing planes, andspecial toolsmade in class,such as smallchisels andscratch stocks.Tool sharpening,tuning and tech-niques areemphasized.Students work onsample boards ordevelop simpleprojects in orderto practicedesigning andusing decorativetechniques.

GARRETT HACK builds contemporary interpretations ofFederal and other classic American styles on his farmin Thetford Center, Vermont. A furniture maker foralmost 30 years, Garrett originally trained at BostonUniversity’s Program in Artisanry. He is the author ofThe Handplane Book (Taunton Press, 1997) and ClassicHand Tools (Taunton Press, 1999). His articles appearfrequently in Fine Woodworking, of which he is aContributing Editor.


COURSES

Inlaid details on demilune table by GarrettHack, 2000

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Autumn Leaf Table by Craig Stevens, fiddleback and hardmaple with marquetry, 2000

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HAND TOOL SKILLSPHILIP LOWEAugust 18 – 22

Chisels, hand planes, scrapers, marking tools, anddovetail saws are basic hand tools essential to con-struction of the finest furniture. Phil’s goal is to showparticipants how to tune, sharpen, and adjust thesetools so that working with them becomes a pleasureinstead of a chore. After students have tuned uptheir tools and Phil has presented principles of “flat and square,” participants put their tools to use by laying out and cutting mortise-and-tenon and dovetail joints.

PHILIP LOWE is a noted maker, conservator,and restorer of period furniture in Beverly,Massachusetts. He is the author of numerousarticles and videos for Fine Woodworking. Hisprevious teaching experience includes a decade as instructor and department headat Boston’s prestigious North Bennet St.School, from 1975–1985. In addition tohigh-end commission work, Phil currentlyruns The Furniture Institute of Massa-chusetts, which he founded in 1998.


SURFACE DESIGNJENNA GOLDBERG & JO STONEAugust 25 – 29

Participants explore sur-face decoration and formwith two masters of theart. Jenna and Jo teachtexturing and dimensionaland intaglio carving withhand and power tools.Techniques for paintedfinishes include mixing,blending, and applicationof environmentally friend-ly milk paints and acrylics.Students may also experi-ment with other types of paints and stains.Participants may bringsimple objects, such as

picture frames, to carve and embellish or make modest projects out of wood during the course.

JENNA GOLDBERG holds a BFA in Illustration from the Univ. of the Arts in Philadelphia and an MFA in Furniture Design from the Rhode Island School of Design. From her studio in Providence, she works on commission and exhibits nationally in museumsand galleries. Jenna’s teaching experience includesworkshops at Penland School of Crafts and AndersonRanch Arts Center. Her work may be seen in publica-tions such as Scratching the Surface by MichaelHosaluk (Guild, 2002) and Furniture Studio: Traditionin Contemporary Furniture (Furniture Society, 2002).

JO STONE has been a studio furni-ture maker for the past decade,holds an MFA from San DiegoState University, and teaches furni-ture making and sculpture at theUniversity of New Hampshire,Durham, where she is AssistantProfessor. Jo exhibits nationallyand has taught previous work-shops at Haystack MountainSchool of Crafts and AndersonRanch Arts Center. She is a juriedmember of the League of NewHampshire Craftsmen and theNew Hampshire Furniture MastersAssociation.


COURSES

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Deb’s Dresser by JennaGoldberg, painted and carvedmaple (36"x19"x56"), 2002

Offering Cabinet by Jo Stone,basswood, mahogany, and paint(16"x5"x56")

Instructor Philip Lowe in his Beverly,Massachusetts workshop

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COURSES

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FINISHINGTERI MASASCHISeptember 1 – 5

Participants learn all aspects of the finishing processas practiced in the non-industrial furniture shop. Bythe end of the course, each participant knows howto fill grain, apply dyes, pigments, and chemicalstains, and put on hand-rubbed varnish, shellac, andoil finishes. Work is done on sample panels andturnings. Students are encouraged to bring specialpieces of their own wood to experiment upon.

Through lecture and demonstration Teri explainseverything from wood preparation to rubbing out.This includes selecting the proper abrasives, sanders,and fillers, layering of colorants, bleaching, glazing,brushing, French Polishing and, of course, tech-niques for rubbing the final finish to perfection.

TERI MASASCH worked as a professional finisher/refinisher in New Hampshire for 29 years, specializ-ing in antique restoration and reproduction. Shemoved to New Mexico, in 1995, to become FinishingSpecialist/Product Manager for Woodworker’s Supply.Currently, she runs her own finishing and restora-tion business in Tijeras, New Mexico. Teri writesextensively for Fine Woodworking and is a walkingencyclopedia of finishing products and techniques,from the traditional to the cutting edge.


REPAIR & REFINISHINGTERI MASASCHISeptember 8 – 12

In this work-shop, Teriteaches mostaspects ofantique furni-ture repair,restoration,refinishing,and care.Students bringsmall pieces offurniture towork on, theselection ofwhich is coor-dinated withTeri inadvance.

Topics addressed through demonstration and hands-on exercises include: • Adhesives, including hide glue, epoxy, and

polyurethane;• Regluing loose joints;• Drawer and carcase repair;• Regluing and replacing loose and missing veneer;• Regluing and replacing moldings;• French polishing and padding;• Color matching;• Stripping;• Use of brushes and spray guns;• Removing white and black water rings; and• Touch up and refinishing with shellac and lacquer.

Teri also touches upon the difference betweenrestoration and conservation and the importance of appraisals.

For information about TERI MASASCHI see previouscourse description.

Teri strongly recommends that participants either haveprevious finishing experience or that they take the preceding week’s Finishing class.Tuition: $500

Teri Masaschi

Teri Masaschi doing a final rub-out on a varnish finish

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COURSESCHAIR MAKINGBOB DEFUCCIOSeptember 8 – 19

Chairs can be the most challenging and rewardingaspect of furniture making.Sharing his forty-plus yearsof experience, Bob guideseach participant through the design and constructionprocess, with an emphasis on comfort, ergonomics, aesthetics, structure, anddemystifying the designprocess. Each student createsa functional chair prototypeof their own design or anadaptation of an existingdesign.

Instruction includes the history of the wood chair,design development through drafting and modelmaking, and a wide variety of techniques such asbent lamination with solid wood and plywood,steam bending, wood joinery, use of mechanical fasteners, and simple upholstering with poly-urethane foam, webbing, and fabrics.

BOB DEFUCCIO (pronounced Day-Foo-Cho) is a freelance furniture designer in Spinnerstown,Pennsylvania with extensive experience in contractfurniture design, design engineering, and productdevelopment. His chair designs have been manufac-tured by prestigious companies such as KnollInternational, Castelli, Thonet, and Gunlocke. Hehas taught numerous workshops and for many yearswas adjunct professor of furniture design and wood-working at the Philadelphia University of the Arts.

Open to intermedi-ate and advancedwoodworkers.Tuition: $930

INTRODUCTION TOLETTER CARVINGMICHAEL RUSTSeptember 15 – 19

This course is for carvers and woodworkers whowould like to use incised lettering in their work.Michael’s dual background (see below) enables himto impart a sound understanding of letterforms, aswell as a strong foundation in carving skills.

Instruction covers principles of letter design, selec-tion and sharpening of carving tools, choice of materials, and effective carving techniques. Studentsgain extensive hands-on experience with Michael’sone-on-one tutelage.

MICHAEL RUST is a British carver, based near Canter-bury in East Kent. His broad-ranging practice encom-passes public and private commissions in lettering,heraldry, decorative architectural elements, andsculpture. A professional carver since 1985, Michaelalso has a strong background in drawn lettering andcalligraphy and has been awarded the Associateshipof the Calligraphy and Lettering Arts Society ofBritain, its highest rating. Public commissionsinclude carvings for the Palace of Westminster, the University of London, and The National Trust.


Quotation from William Blake, carved in English Boxwood byMichael Rust, 1995

Alpina chair, designed byRobert DeFuccio for Jack Lenor Larsen,

white ash, steam-bent

Bob DeFuccio teaching how to upholster aslip seat

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COURSESDESIGN & CRAFTSMANSHIPTED BLACHLY & ROSS STRAKERSeptember 22 – October 3

Participants explore newskills through the processof designing and building.Instruction is available invirtually all aspects of furniture construction,with an emphasis oncurved work, particularlysteam and laminate bend-ing. Ted and Ross encour-age students to engage in a thorough design processwhich includes full-scaledrawings and mock-ups.Demonstrations are com-plemented by extensiveone-on-one instruction.

TED BLACHLY builds furni-ture on commission inWarner, New Hampshire.A woodworker for 30 years, he is a member of theNew Hampshire Furniture Masters Association. Ted’swork has appeared in Architectural Digest and FineWoodworking and he is a recipient of the Guild of N.H. Woodworkers’ “Design Award” and the League of N.H. Craftsmen’s “Furniture Excellence Award.”

ROSS STRAKER is a furniture maker in Tasmania,Australia whose design practice has developed over the past fifteen years to include private andpublic commissions, exhibition pieces, and productdevelopment. He holds an MFA from the Centre forFurniture Design, University of Tasmania and is thedirector of Designer Makers Co-operative Tasmania.Ross’s work has been widely exhibited acrossAustralia and in the U.S.A.

Open to intermediatewoodworkers.Tuition: $930

VENEERINGDARRYL KEILSeptember 22 – 26

Veneer is increasingly popular for the wide selectionof wood species and figures it offers the furnituremaker, and for the design freedom it brings bydiminishing the constraints of wood movement. Inthis course, students acquire the skill to transformveneer from its raw state into beautiful, finished pan-els. Darryl teaches basic book matching, four-wayand radial matching, and short-grain borders instraight and circular patterns. He also covers curvedpanel construction and veneering of curved andshaped parts using a vacuum press. In addition,Darryl presents the tools and techniques involved increating different types of inlay. Participants learn bybuilding one or more small, veneered and inlaidpanels, doors, or table tops.

DARRYL KEIL is a leading expert on veneer work. Hehas made two excellent videotapes on the subject,Working With Veneer and Working in a Vacuum, andwrites for Fine Woodworking. Darryl began making

furniture in 1976 and was a pioneer in theapplication of vacuum pressing technology to woodworking. His company, Vacu-PressingSystems, operates out of Brunswick, Maine.

Open to all woodworkers.Tuition: $500

Myrtle Writing Desk by Ross Straker,Tasmanian myrtle, leather, brass, ebony handles, poplar inlay (48"x30"x35"), 1985

Music stand by Ted Blachly, curlycherry and ash (54" tall), 1999

Veneered and inlaid demilune table by Darryl Keil, East Indianrosewood, lacewood, and maple, 1987

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ANNUAL GIVINGWe would like to thank all thosewho so generously support theCenter for Furniture Craftsmanshipthrough Annual Giving.

The following names represent giftsreceived between December 9, 2001and December 4, 2002

PEAR: gifts of $1000 or moreCHERRY: gifts of $500 to $999 MAPLE: gifts of $100 to $499 PINE: gifts up to $99

PEAR Joseph CarrCaulkins Family PartnershipLouis ClarkNathaniel B. EmeryMartin EverettRobert FippingerJoyce & Robert HamiltonMark HorowitzRobert C. JacksonJanet & Charles MorecraftJeremy R. MortonConnie & Ernie RoseCraig Satterlee

CHERRY Anonymous giftEd HagensteinBarbarina & Aaron J. HeyerdahlDorothy & Alan HumeMichael D. MossSteven A. RoachNancy I. SimpsonKarin Thomas

MAPLE Charles & Kathleen C. AmesMary E. & Arnold AugerFrancis W. BaileyRobert BeachyEllen BenkinPeter BlakeByron BlomquistThomas B. BoydDavid BrendelJames R. BrightAlan C. Brown, M.D.Blake Brown

Clive & Odi BrownMichael BrownStephen “Toof” Brown, Jr.Elizabeth & Eric BruemmerHilton Bruch &

Janet Bailey-BruchRobert BurnhamRichard J. CampbellRita & Jim CassidyRonald K. CulbertsonWalter Davis, M.D.Kami & Bill DellingerJames DeWittDavid DutyStephen EckstromRichard FinkAlan FishmanJames GilmoreMichel GirardJohn GlennXavier GoninWilliam M. GreenwoodWalt GreinerLimond & Kim GrindstaffJim HeardThomas R. HellmichPriscilla & Lee HendersonJohn P. HerndonRobert & Theodora HottentotRusti IcenogleE. L. JacobsJohnson’s Arborculture,

TreekeepersKim & Sam JonesKay & Phil Karsell

Gary N. KennedyLuther KinneyAndrew D. LenneyRobert L. LoweryDeborah MarketteLawrence G. MartinMardi McTeerAnthony R. Merlis, M.D.James MitchellBill MonteforteMarcia & Hugh MontgomeryRichard MuirAmy & James MurphyOwen OlpinNate PodkaminerDan PopeRichard M. PowellErica RandJerome Rogoff, M.D.Russell ShayMark W. SchleicherSusan SchmaltzTed SmallRod SmartLaura Smith, Seattle WoodworksJohn F. SteeleFred R. StehmanMichael StieglitzGreg VranaCharles R. WarnerDonald R. WeaverNewton WileyDick Wilson &

Gina Gaurisas-WilsonWoodcraft Supply Corporation

DONORS


PINE Becca AbelsonAnonymous giftFrederick C. BarstowBob Bein Scott BizilyByron Blomquist Allan M. BrownDennis Capodestria Stanford E. CarverDeborah Churchill Peter Cocks, P.C. Fine Woodworks Barrett CookeWoodward W. CorkranMarc Craig Pat Crosby Alex DasherJohn DeMott C. Paul Denckla, Jr.Norma DitriMarilyn EcclesJay EricksonJohn H. FennesseyFred FullerRick GallionSamuel K. GilmoreMichael & Lenora GoldmanBrent GroceEdward HarrowDavid B. HastingsRussell HeisingerWill Gagne HolmesKennebec Valley Woodworkers

AssociationJessica & Reid KinneyRobert KleinChris Kovacs DesignsMary Ellen KranzGregg Lipton Furniture, Inc.Ruth & Alfred LundMaine Woodworkers AssociationMiguel MarcanoSpore MeuwissenTeresa MeyerCarol MontgomeryAbby & Mark MoskovitzKenneth NorthropDavid OrdwayBill PalmerJames PattersonTony PietrzykowskiJim PioEllen & Phil RechtPeter RowleyClaire & John SanfordBrian L. SargentLowrie Sargent

Skip & Julie SchirmerCaryn SchneiderDaniel Schwartz & Alison AriansRoss D. Shonat &

Laura J. WintonKathy SizelerRoy Alan SlammMichael SlevaMolly StrattonCharles R. TourtualSusan TownshendBob VaughanWarner VaughanAlec VincitorioErich Von RufferGreg WandlessMichael WashkoMichael WayneLeo Weber, Mountain

Woodworks, Inc.R. D. WinchesterJim WilliamsHerbert C. Yost, C.S.C.Jack Zimmerman

VOLUNTEERSWe thank the following individualsfor generosity with their time and skills.

Connie BeasleyMary Alice ByrdDavid CadburyJohn CollinsMichelle DeeJackie and Richard DunhamWayne HallMike Moss

Paul ParisiJoyce SteelBarbara TalleyMike TaylorBetsy Welch

IN-KIND GIFTSWe thank the following companiesand individuals for their generosityin donating products, tools, andprofessional services.

David AlexanderBIESEMEYERMark BromleyVincent Cafiero CMT USA, Inc.DMT Richard DunhamH. Alan Hume John Levitties Parker LaiteSteve Loar Dyke MesslerJerry MortonAndy Rae/

Sterling Publishing Co., Inc.Jack SanfordBetsy and George WelchDavid WelterRichard Winchester WOODCRAFT

DONORS

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LOCALECenter For Furniture Craftsman-ship is located in the coastal village of Rockport, Maine,between Camden and Rockland.This is a wonderful vacation area.Explore Penobscot Bay from thedeck of an historic windjammeror the intimacy of an oceankayak. Canoe, fish, and swim in our many lakes and rivers,including famous Megunticookand our favorite swimming hole,Rocky Pond. Hike in CamdenHills State Park, or drive to spec-tacular Mt. Desert Island. Visitthe lovely fishing villages ofTenants Harbor and Port Clyde.Take a ferry to the quiet islandsof North Haven, Vinalhaven, and Isleboro.

The Camden/Rockport area isblessed with excellent restau-rants, Bay Chamber Concerts,Center For Maine ContemporaryArt and numerous other galleries,and the renowned FarnsworthMuseum in Rockland. Those wholike to shop will find an abun-dance of antique stores and fleamarkets, not to mention L.L.Bean and Freeport just over anhour away. For more informationcontact the Camden Chamber ofCommerce at (207) 236-4404 [email protected].

MATERIALSParticipants may purchase lumberand sandpaper from the Centerat normal retail prices, or providetheir own. We stock cherry,poplar, ash, and maple. Studentsin more specialized courses maybe charged a flat fee to cover thecost of materials.

LODGINGThe best deal during the work-shop season, from June throughOctober, is a private room in ashared house, usually with ashared bath, for $230./week/person. These rooms are in

private houses whose owners rent only to our workshop partic-ipants. All are clean, attractive,friendly situations between fiveand ten miles from the school.You can reserve a room when you register for your workshop oryou may contact us later. Roomsare available on a first-come, first-served basis.

Also, we can refer you to privateapartments, cottages, motels, bedand breakfasts, and campsites.They are plentiful throughout themid-coast area. However, we sug-gest you book your housing with-out delay, as this is a popularvacation area. We are alwaysavailable to help you find whatyou need.

To reserve a private room/sharedhouse, send us a $100 deposit.The balance will be due thirtydays in advance. If you cancelmore than 30 days in advanceyour full deposit will be refund-ed. If you cancel less than 30days in advance, your depositwill be forfeit and the full bal-ance will be due.

Participants in the Twelve-WeekIntensive will find that winterrentals cost less.

ASSISTANTSHIPSAssistantships provide emergingwoodworkers with an unsur-passed opportunity to learn fromoutstanding master craftsmenand acquire teaching experience.Assistants’ responsibilities includemachine room supervision, work-ing with students one-on-one,shop maintenance, errands, andso forth. Assistantships are award-ed for periods of eight to tenweeks from June throughOctober. We provide assistantswith lodging and a small stipend.Contact the Center for applica-tion information.

GENERAL INFORMATIONPh

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EVENTSMonday evenings we meet fordessert and a faculty slide showat 7:00 p.m. Thursday nights wehold potluck class dinners andthe weekly croquet tournament,starting at 6:00 p.m. Family andfriends are welcome at bothevents.

SCHEDULE• Workshops begin at 9:00 a.m.

Monday morning and endFriday at 5:00 p.m.

• Instruction is offered weekdaysfrom 9:00 a.m. to 4:30 p.m.

• We break for lunch from twelveto one.

• The shop is open to studentsevenings and on the middleweekends of two-week work-shops.

SKILL LEVELSEvery workshop description indi-cates the appropriate experiencelevel for participation. If youhave questions, please call.

AIR TRAVELMost workshop participants flyinto Portland (a 1 1/2-hour driveaway). It is also possible to flyinto Knox County/RocklandAirport (15 minutes away),Boston (3 1/2 hours) or Bangor (1 3/4 hours). Automobile rentalsare available at all airports.

SMOKINGNo smoking is permitted in theworkshop.

PETSKindly leave your pets at home.

GENERAL INFORMATION

DIRECTIONS TO THE CENTER

Driving from Portland

• I-95 North from Portland

• Exit 9 (leave Maine

Turnpike, stay on I-95)

• Exit 22 to Brunswick/

Route 1 North

• Follow Route 1 North to

Warren (about 45 miles)

• Left on Route 90 at

blinking light

• Go 6.5 miles

• Turn right on Mill Street

• First entrance on right.

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REGISTRATIONPlease complete the registration form and return it withthe application fee, your tuition deposit, and any housingdeposit. Many workshops fill quickly. We suggest you callto check availability.

ACCEPTANCE• Participants must be at least 17 years old.• First-come, first-served, except as follows:

Those who want to repeat a course may enroll if there are still openings 90 days in advance.

• Upon registration you will be sent a supply list, housing information, and directions to the Center.

FEES• Tuition for a one-week workshop $500• Tuition for a two-week workshop $930• Tuition for Twelve-Week Intensive $5100• Non-refundable application fee $50 per person

• Private room/shared house $230 per week

DEPOSITS• The deposit for the Twelve-week Intensive is $400. • The deposit for all other courses is $200 per course.

PAYMENT• Full payment of tuition and housing is due

30 days prior to the first day of class. • We accept personal checks, Visa or MasterCard.

REFUNDS AND CANCELLATIONS• If you withdraw from a workshop more than

30 days in advance, we will refund your deposits, less the $50 application fee.

• No refunds will be given for withdrawal within 30 days of your workshop and full payment will be due.

• For the Twelve-Week Intensive, half of the $400 depositis non-refundable.

• If the Center for Furniture Craftsmanship must cancel aworkshop, deposits and fees will be promptly refunded.

REGISTRATIONName _______________________________________________

Address _____________________________________________

____________________________________________________

Telephone DAY____________________ EVE________________

e-mail ______________________________________________

WORKSHOP & DATE DEPOSIT

Non-refundable application fee $ 50

HOUSING (CHECK ONE)

■■ Private room/shared house ($100 deposit) $■■ Please send me information about

other housing options.■■ I already have housing.

TOTAL ENCLOSED $

METHOD OF PAYMENT ■■ VISA ■■ MASTERCARD ■■ CHECK

Card # ______________________________________________

Expires ________________

Cardholder __________________________________________

Permission to charge remainingbalance to card 30 days prior?

■■ YES ■■ NO

Signature____________________________________________

CENTER for FURNITURE CRAFTSMANSHIP25 Mill Street Rockport, Maine 04856

Phone: 207-594-5611 Fax: 207-594-7511 e-mail: [email protected]

CENTERforFURNITURECRAFTSMANSHIP25 Mill Street Rockport, Maine 04856

www.woodschool.org

Address Service Requested

Non-profit org.US Postage

PAIDPermit No.76Camden, ME

04843

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