The Journal of The American Association of Woodtumers Volume I Number 4 June 1987 $5 .

00

Dedicated To Providing
Education Information Organization
Among Those Interested In Woodtuming
 Drawing For
The New Delta Lathe
In the March issue of The Journal, we asked you to tell us As before, in exchange for each voluntary contribution to the
how you felt about these drawings. Of the many replies, only Education Fund - that we would like to suggest would be
one single person said that he did not like them. So we are $5 - we will send you a ticket. The order form is on the back
leaving them in. We did have a number of interesting suggestions dust cover of the Journal; a return envelope is provided in the
for other things to offer as prizes. One person suggested offering center of The Joumal. As before, we will return V2 of your
a free registration fee at our Symposium. Good idea; we'll do ticket so that you know that we have received your contribution.
that next year. Another person suggested private instruction You needn't keep the ticket. We will have put your membership
from a professional turner. Also a good idea, and one that has number both on the ticket that we send you and on its mate,
been referred to the Board for consideration. A number of people the one we put in the drawing box.
asked whether we could offer five tickets for $20. That answer The actual drawing for this lathe will be held during our
is, "yes," and on the back dust cover you will see that we have National Symposium in Lexington, KY on October 1-3. Oh
folded that idea into this drawing. yes, if you contribute $20, we will send you FIVE tickets.
One member suggested that we offer a high-quality lathe as P.S.: For the record, Robyn Hom of Little Rock, AK was
a prize. I bet he/she is surprised to find such a wish coming the high bidder for David Ellsworth's bowl, offered in the Sep-
true so quickly. tember Joumal. Robert Heitman, of West Redding, Cf woo
Can you beleive this! Delta International has donated to AAW the lucky draw for AI Stirt's bowl-last issue. Congratulations
the lathe pictured on the cover of The Joumal. We are offering to both winners. We will announce the name of the person
it as a prize for contributions to our Education Fund. Thanks, drawing the prizes from the March issue in the next Joumal.
Delta.

More On The
International Turned Objects Show (ITOS)
Albert LeCoff

Well: when you stop and think about it, it J118kes sense - a Competition is open to all. Works must be original and not
truly major art exhibition takes YEARS to plan and to imple- done under supervision.
ment. Our ITOS is no exception. Here we are, now, some 15 In the JURIED section, Rude Osolnik, Uoyd Herman, and
months away from our opening and yet we have the pit-of-the- Johnathan Fairbanks will make the selections. Initially, they
stomach ache that we are running out of time. will review slides; their fmal decisions will be based on the
But let me go back a bit and explain what this is all about. works, themselves.
The International Turned Objects Show is a juried and invi- In the INVITED section, David Ellsworth, Albert LeCoff,
tational exhibition. Only lathe-turned objects will be accepted and Rude Osolnik will extend invitations based on an indi-
for the exhibit. It will open on September 17, 1988 in Philadel- vidual's lifetime commibnent to the field of woodtuming, and
phia at the Port of History Museum. It will close on November upon the total impact that their work has had upon that field.
13th, but then go on world tour. The show is co-organized by The exhibition wiD be located at the Port of History Museum
us (AAW) and by the Society of Philadelphia Woodworkers in Philadelphia. Slide entries are due by November 11 of THIS
and sponsored by the Port of History Museum, City of Philadel- year.
phia. Albert LeCoff is the exhibition's curator. For details of entry fees and requirements, please send a
There are a number of categories: furniture, bowls/vessels, self-addressed stamped envelope to our main AAW address.
sculpture, one-of-a-kind objects, utilitarian pieces, toys, produc-
tion objects, limited production objects, architectural works, NOTE: If you know of a museum that you think might be
small-scale turnings, mixed media turnings (e.g.: metal spin- interested in exhibiting this show, please have them contact the
ning, metal turning, ivory, etc), ornamental lathe objects, and International Sculpture Center, 1050 Potomac St. N.W.
musical instruments. Washington D.C. 20CXJ7.
 Contents
The Journal of The
American Association
of Woodtumers

Volume I Number 4
June 1987

The American Association of Woodtumers is a Presidents Page 2

non-profit corporation dedicated to the by David Ellsworth
advancement of woodtuming. It includes
hobbyists, professionals, gallery owners, Tips & T echniques 3
collectors and wood and equipment suppliers. T he New Delta Lathe 4
American Woodtumer is published quar- Production Turning 6
terly by the American Association Wood- l nMcmori um R
turners. Regular membership rates are $15 for
individuals and $50 for businesses. Supporting Potpourri 9
memberships are S IOOand$250, respectively. Practical Finance 10
Patron memberships are $ 1,000 and $1,500
respectively. $6 of any membership is allocated l .etter-; To The Ed itor II
for an American Woodtumer subscription.
Known office of publication and sales office is
Interv iew 12
The Smitherman Corporation, 9390 Research Questions & A nswers 14
Blvd., Austin , Texas 78759. Telephooe(512)
345-3827. Second class postage is pending at Chapter News 15
Austin, Texas. O rnamental T urning 16
Editor-in-Chief Shop Safety 17
Dan Kvitka Calendar IR
Managing Editor Reviews 21
Bob Rubel
A nnouncements 22
Art Direction
The Smitherman Corporation Wood & T ool Exchange 23
Publication
Committee Memben:
Rus Hurt
Alan Stin

AAW Board of Directors

Officers
President
David Ellswonh
Vice-President
Leo Doyle
Tnasurer
Ernie Conover
Secretary
Rus Hun
Members
Bill Hunter
Rude Osolnik
Palmer Sharpless
Al.an Stirt
Dick Gerard

AAW Boar d of Advisors

Edward Jacobson
Albert LeCoff
Ray Leier
Arthur Mason
Dale Nish
On The Cover
Delta DL-40 16'' Electrooic Lathe
has variable speed BDd is direct drive.
American Woodtumer
 Presidents Page
By David Ellsworth

The Passionate Woodtumer

The first time I realized that I had a passion for turning wood for learning is shared throughout the day on the lathe. and
was in 1958. The first time I realized that anyone else had this quenched throughout the night at the pub across the street. There
passion was in 1976 - coincidentally, the same year that I stuck is great humor in this band of lads and lasses. As the represent-
my nose out of my own workshop and began taking a good ative yank from "across the pond", I was naturally the brunt of
look around. a good bit of it. This turning seminar was no ordinary annual
Is this a unique experience? Hardly! If we take a moment to event. For many, if not most, it was the only trip they would
look at woodturners from throughout the world, we find that take all year.
something is unique to us all beyond the lathe as a machine, With 'mates' and 'lads' you can't forget the 'blokes', and
or even a love for the material of wood. . . something that English turners have given us much to look at, to read, and to
brings us together and holds us, as if bonded, with a tremendous think about over the years. Parnham House, John Makepeace's
desire to learn more about who we are and what we do. I will woodworking school in Beaminster. was the site of the first
call this bonding "passion," for I can think of no other word to European turning seminar in 1980. Turners came from around
describe the effect that woodturning has had on so many people the world in what can now be seen as a true assimilation of
from so many different cultures. styles in both design and technique. Within this seminar, wood-
The figure of 2,000 members in the AA W is a major break- turning suddenly became exposed - it even felt somewhat vul-
through for any craft organization, but a drop in the bucket to nerable. Some bubbles were broken, and in the green-wood
the total number of people working with the lathe today. What turnings of James Partridge, one could see an early signal that
do we know of woodturners beyond our personal horizons - the bonds which have long surrounded traditional English turnery
particularly beyond our borders? What type of work are we were beginning to break down.
doing? What do we share in common, and, do we all share this Like most other aspects of English life, woodturning can be
same passion? Here, then, is a synopsis of my own experi- a subject of great debate - and usually is - even when it
ences - you be the judge. . . comes to objects that have yet to be made. With this years'
A man travels for weeks into the outback of Australia search- seminar at Loughborough College (see Events Column), those
ing for wood. His quany are the rarest of the over 200 species early seeds will have bloomed in ways yet to be seen. I am
of Acacia, 700 of Eucalyptus, and an additional I ,000 in other sure the debates will continue. After all, it has been seven years.
native trees. Names like Sally Wattle, Tuckeroo, Rustyjacket, In Canada, where 90% of the population lives within a
But-But, Bull's Breath, and my favorite, Dead Finish- an apt hundred miles of the American border, the distance between
description of how one feels after having located, bucked, and individual turners is a definite challenge to personal interaction.
hauled this 90 lb/cubic foot tree. "Aye mate, 'Dryadodaphne And yet, there is no limit to the imagination of those who are
novoguineensis'- to you that's Sassafras." First he fills the directly involved. With the help of Michael Hosaluk and the
trailer, then the camper, and soon he is sleeping on the ground Saskatchewan Craft Council, workshops in Saskatoon have
and living off an Aboriginal diet of herbs, nuts, witchity grubs, become a nucleus of communication for turners and furniture
and fish. He retired last year at the age of 60 - World Champion makers from throughout Canada and the U.S. Gallery exhibi-
wood chopper - and he is a passionate woodturner. tions and craft shows in the major metropolitan areas are provid-
There is no national organization for woodturners in Aus- ing excellent exposure for turned objects, and government
tralia - at least not yet. But there are over a score of guilds grants -always favorable to the 'known' artists- do provide
and turning clubs throughout the country which meet on a regular incentives for exceptional work being done within the field.
basis -attendance is very high. Two of the largest, Queensland With the recent influence of AA W's local chapters in Canada,
and Canberra, hold annual international conferences in alternate we hope to learn more about each other's needs and too establish
years. By their own admission Australians are fiercely competi- closer communication.
tive, especially in the area of tool design. To avoid the expense Within our 50th state, Hawaii, turners have the advantage of
of importation from this continent and western Europe, they design influences from their native Hawaiian culture- primar-
have developed superior machinery and very creative tools and ily in the areas of functional bowls and wooden utensils. Tra-
jigs for the woodturner. And, yes, 40,000 commercial lathes ditional poi bowls appear to have been turned but instead, their
were sold in the past five years in Australia - to what is cer- interiors were burned out and then carved with an adz to complete
tainly the largest body of "national" woodturners outside the the form. These beautiful historic bowls are warm to feel, full
United States. in form, and the large collection at the Academy of Arts in
In Ireland, a hundred men and women gather at an old school Honolulu is not to be missed.
reformatory in the remote coastal town of L.etterfrack. They Today's woodturners in Hawaii compete mostly for the tourist
have come from the North and the South of Ireland, and from dollar with utilitarian ware, more than for exportation to the
England, Scotland, Denmark and more ... to meet the faces markets in the Mainland. But the emergence of purely decorative
behind the names, to share what they know and expose them-
selves to new ideas in design, form and technique. The thirst continued on p. 10
2 June 1987
 Tips & Teclmiques
R. W. (Bob) Krauss, Page Editor

Question: I recently bought a deep-fluted bowl turning gouge the gouge rotates counter-clockwise slightly, digs in even more,
and am having difficulty with it on kiln-dried wood. My books and skates to the left. If the lathe speed were 30 RPMs, you
on woodtuming shows this type of gouge being used almost would see this as a very orderly progression. But at hundreds
exclusively on green wood. Will it work on dry wood also? or thousands of RPMs, this cat-chasing-its-tail sequence is nearly
Are the techniques different? instantaneous. In spindle turning, it results in cork-screw or
barber pole gouges down the spindle. In bowl turning, it is - as
Answer by Bob Hansen, Madison, WI: Yes, your gouge should you say - snap, crackle, and pop.
work well on most dry hardwoods. Dry wood cuts much harder Remedy. Try these techniques: (I) cut from the rim to the
than green wood. lberefore, tool sharpening, cutting techniques, center, (2) lay the gouge well over on its right side; (3) cut with
and lathe rigidity are more critical with dry wood. I suggest the right wing of the gouge; (4) keep the handle down and the
you practice and experiment with your new gouge - both the bevel rubbing; and (5) practice as much as you can preferably
sharpening and handling - on the softest, most unifonn, green on soft and/or green wood. In a few hours, you'll be surprised
wood you can fmd. lben move on to progressively more difficult how slick it works.
challenges such as green hardwoods and fmally dry hardwoods.
I use the same techniques regardless of wood seasoning.
When hollowing the interior with a deep-fluted gouge, it is About the Collet
particularly important to cut from the rim to the center keeping By Bob Street
the handle down and the bevel rubbing so that the left wing of
the cutting edge does not catch. With dry wood, keep the tool ,fWD_.,N W000
A. USEFUL
rest close to the wood and well tightened, mount the piece WOODEN C.OL"ET
securely to the faceplate, sharpen more frequently, and take
lighter cuts.

Question: When using a deep gouge to shape the outside of a

bowl, should the gouge angle upward from the tool rest?

Answer by Bob Hansen, Madison, WI: Yes, the gouge should (Fig. I)
be angled upward for several reasons. First, it removes wood
much faster. Second, it produces a smoother surface finish. SECTION END VIEW
Third, it preserves the cutting edge.
I begin with the cutting edge high on the piece of rotating I have found the wooden collet to be an excellent method
wood- too high to cut. Then, I slowly draw the cutting edge of holding a turning that must be re-chucked. The workpiece
back toward the tool rest and raise the handle until the edge can be removed from the lathe and re-turned with far greater
begins to cut. A sharp edge will cut quietly with a hissing sound, accuracy than when using a 3-jaw chuck, and without blemish-
and the wood will burnish both sides of the cutting edge, pre- ing the work in any way.
serving it. The illustration (fig. I) is of a cover of a closed box and
As the edge dulls, the handle must be mised higher and higher suggests that the interior of the cover is being turned after
to make the gouge cut. As this happens, the bottom side of the being shaped in the first phase. By reversing the workpiece
cutting edge is no longer burnished, and the rotating wood drags the same collet can be used to tum the outside. It is often
across the edge, quickly dulling it. desirable to make refinements in shape or fit, and the collet
allows you to do this.

About the Author: Long before Bob Street became an architect

Question: Until recently. I turned bowls using a shallow spindle he was doing production work on the lathe. That was 50 years
gouge to hollow the interior. The cutting edge wa'> ground to ago last June. His first exposure to international woodturning
a fingertip contour, and I worked from the center of the bowl competition was in London in 1979 where he won second
outward to the rim. Recently. however, I bought a deep-fluted prize. Three years later his submission of a "Translucent
bowl gouge, and tried this approach with very poor results. In Goblet in Wood" for the 100 Turned Objects Competition
a nutshell, it was snap, crackle, and pop! Any suggestions? earned him a Merit award. (Fine Woodworking #32 pp 60)
In recent years Bob has had several one-man shows. He
Answer by Bob Hansen, Madison, WI: Cause. As you move is currently producing jewelry boxes with a continuous con-
the gouge from the center toward the rim, the left wing of the cealed wooden hinge made with turned segments. The boxes
cutting edge catches in the wood. As soon as it catches a little, have shown in several ga/Jeries on the West coast. @
American Woodtumer 3
 Delta's
You are all woodtumers. You are all
striving to master your art form and to
push your skills and techniques to new
limits. It is no different for us, here at
Delta International. We are constantly

New lathe striving to improve our tools and equip-

ment; constantly striving to produce
products that will help you - the
users- be more productive.
We feel that our new DL-40 Electronic
Variable Speed Wood Lathe represents a
perfect blend of reliable mechanics and
state-of-the-art electronics. The beauty
of this electronically controlled lathe is
that it is easier and more convenient to
operate - despite the inherent com-
plexities of the electronics.
Now, unless you're an electronics
expert, some of the fmer points of this
microprocessing unit may need some
explanation. This is actually a 2-in-1 pro-
cessor. The "master" processor is tied
directly into the control box, while the
"slave" processor interprets commands
for the motor drive. The advantage of
this division of labor lies in the continuous
communication between the two proces-
sor units and their closed loop configura-
tion (see figure 1- 1).
For example, lets look at what hap-
pens every time a speed is set to run on
the control box. The master sends the
impulse to the slave. The slave processor
takes the information it receives from the
master and evaluates it along with the
electronic feedback it gets from the
motor. If the spindle is operating under
a heavy load, the slave processor may
send additional power so that the resul-
tant speed remains constant. When
operating under a normal load the
slave processor will probably send
the exact speed dictated by the mas-
ter. The motor speed is evaluated 120
times/second; this assures the operator
consistent torque and a more precise
turning.
The real benefit to the operator is the
repeatability found with this system.
Speed adjustment is literally at the
operators' fingertips. The microproces-
sing unit is turned on by pulling the red
mushroom button (see Fig.l-2). This
button also serves as the emergency stop.
The built in soft start feature limits the
spindle rotation to 300 rpm when the
machine is turned on initially (soft start
reduces brush wear and the mechanical
stresses on the motor). Speed is set using
the increasing and decrea<;ing speed
arrows. A single touch adjusts the speed
4 June 1987
in increments of 10 rpms, steady pressure Fig. 1-1 Cloaed Loop Configuration
accelerates the rate of speed change to
100 rpm units. Once the desired speed
is reflected on the LED readout, the
operator presses the "run" button. The
motor immediately ramps to the set
speed. 1be operator can then return to
that speed after stopping for measure-
ments etc. The entire speed setting pro-
cess takes secondsand the motor response Electronic Feedback from llotor
time is nearly instantaneous. For exam-
ple, when set to run, the motor can ramp
from 0 to a maximum of 2200 rpms In
2 seconds - without complicated pul-
ley changes.
For school use, or in cases where the
lathe may be in use by several different
operators, the lathe can be set in the slow
start mode by flipping a toggle switch
.G
POWER
MOTOR
RPM
. I
SPEED
in the rear of the machine. This means

that each time the lathe is set to "run,"
it will start at 300 rpm. When in the
Slow Start mode, speed must be adjusted
after the spindle is running. If desired,
the toggle switch can be locked down
permanently in either the normal or Slow
Start mode with a standard padlock.

CELTA ~

Because the personality of the lathe is rides and shuts down operation if The large 52" cast iron bed facilities
contained in its electronics, the system information is processed out of work on long pieces. It has been cast
is programmed to protect itself through order. If for any reason the control with the headstock for optimum strength,
various safety features: box becomes damaged, the lathe minimum vibration and chatter. 1be DL-
Locked lathe head detection pro- cannot be manually controlled -so 40 hac; a full 16" diameter turning capac-
tects both the system and the it automatically turns iL<>elf off. ity over bed - up to a 24" diameter on
operator. 1be controller can detect Superior electronics alone won't tum the outboard spindle.
a lack of motor rotation when the wood without dedicated mechanics. The We have designed this lathe with a
run switch is depressed. If, for Delta DL-40 16" Electronic Variable 36-point indexing mechanism in the
instance, an indexing pin is left in Speed Lathe has both. Designed to offer headstock for quick and accurate division
place, the motor will sense the resis- simple operation to the amateur, versatil- for reeding and fluting. Spring-loaded
tance, wait a second for it to release ity to the experienced, and durability to lockhandles save time and eliminate the
and then either stop or reset. the professional. need for wrenches.
Reverse speeds up to I000 rpm for A powerful 1 1/2 HP DC motor So there it is. Our newest and finest
sanding and finishing. assures constant torque on the work- lathe. We hope that many of you can
Programmed current limit prevents piece whether turning at 300 rpm for come to the AAW Symposium in
nuisance breaker tripping, allowing large and rough turnings or 2200 rpm Lexington, KY in October and see it
full use of a standard 20 amp for miniatures. Speed range in reverse yourselves. We look forward to meeting
breaker. from 300 to I000 rpm for sanding, finish- you there.
The system is impervious to power ing or special detailing.
surges and the limiting feature prevents All spindles have #2 Morse Tapers Note: Del13 has demonstrated their
the motor from demagnetizing itself and standard I" 8RH threadings. Spindle strong support for AA W by donating one
by exceeding the current limit. locks to facilitate faceplate changing. A of these lathes to us to usc as a fundraiser
Built-in LVC (Low Voltage Con- wide variety of accessories are provided for our Education fund. The details are
trol) is internally controlled by the as standard equipment, including inside listed inside the front page of this Jour-
electronics and provides low volt- and outside tool supports, French curl nal. When Delta made that offer, we
age, no voltage, and accurate over- inside tool support, drive and cup cen- asked them to write a technical article
load protection. ters, and two faceplates (3" and 6" about the DL-40 that could be published
Movable control box is attached to diameter). Also standard is the two-part along with the cover photo. This is that
the head stock and tail stock areas safety shield offering operator protection article. On behalfof all the AA W mem-
of the lathe for operator conveni- with full visibility. The shield ha~ an bers. a warm THANKS to Del13 for their
ence. Complete removable prevents adjustable mounting set-up so it can be continuing expressions of confidence in
authorized use. used over the inboard and/or outboard our Association and the many turners
Sequential guidance system over- spindles. who are its ve.ry lifeblood. @
American Woodlumer 5
 Production Tunling
Shawn Cbristman, Page Editor

Introducing the
Production Turner

Thming a big one:

one of six 24"
diameter X 14' logs turned
down to 13" diameft:l'.
lim hand turned.

In introducing this new page of the Journal, I would like to markedly from an artistic woodtumer. For the production turner,
acquaint our membership fll'Sl, with the concept of production art plays a much smaller role in his creations. Earning a living
woodtuming and second, with myself and my turning background. tends to be a basic goal of this woodtumer. For him, art is
In addition, I would like to hear from other AA W members who sublimated, but not extinguished; function and practically are
are production turners, in order to expand our network. This new emphasized, but not deified. His bedpost holds up the corner
page of the Journal is entitled "Turning Nine to Five." lt is for of the bed. It may do it in style, but its purpose (and the turner's
and about those of us who spend their working time standing in paycheck) comes from the bed's comer needing to be held up.
front of a lathe. Our concerns as production turners revolve around speed and
Whar is production turning? True production turning has gone accur.tey for duplication. My former boss used to say. "Anyone
the way of $50,<XX> automated Maaison lathes. In fact, most of can tum one of these, but can you tum 20 all the same? Can
us are inclined to think of ourselves as custom, 110( production you tum them fast enough to make any money at $5.00 per
woodtumers. Production turning carries the implication the we piece?" We are concerned about unwasted body motion and
spend 10 hours a day turning the same piece all year long. In staying relaxed for 8 hours while all our muscles are under
most cases, this is 110( so. tension. We want to know how to cut and shear the wood in
Alternative descriptions of our work come to mind. Titles such such a way as to minimize dulling the edge of the tool. We
as detail turning, architecturcll turning, technical turning, or speed need to tum well enough that we sand only one minute for
turning. But none seem to embody the essence of the work any every 8-10 minutes of turning.
better than does the old stand-by "production turning." Suffkeit For me, these skills began to be developed 15 years ago.
to say, the production turner earns a good portion of his income Providence, as much as any other factor, produced my first job
from completing pre-sold hand turned pieces. For lack of a better as a wood turner. After high school I took a job at Sheppard
term, as well as the current underslanding of its usage, I will refer Millwork , where my best friend and his father ran a turning
to this type of work as production wood turning. If you have a and millwork business. I worked for the Sheppards for six years
phrase that says it better, let me know. and acquired turning and woodworking skills that could be
From the outset, let me say that I have been extremely found in very few shops today.
impressed thus far with both the Journal and the AA W organi- Shortly after leavings Sheppard's, my wife and I traveled to
zation, itself. Upon seeing the caliber of both, l have determined India. I set up a woodtuming training program there and trained
to do what I can to help ensure a more broad representation for a capable young Indian to carry on the instruction once we
those of us who are not producing works of art. While I am returned home. India is a production tumers paradise, as there
quick to acknowledge that much of the woodtumed art today is no competition from automated lathes.
is simply gorgeous, much that is being presented in the Joumal Upon returning to the States. I opened Seanle Stair and Mill-
so far is of linle benefit to a production turner. A " Newel Post work. My current duties related to woodturning include instruc-
in Still Life" on display in a gallery will not sell a stair or keep tion and supervision of two turners, quoting turning jobs, refining
me or my turners busy for the next 30 minutes, let alone the production techniques and teaching our Saturday turning semi-
next 30 yean>. Similarly, our table pedestals, chair legs, stair nars We can tum and sand a 5 x 5 x 54.. red oak newel post
balusters and newel posts, architectural columns, armoire feet , in 30 minutes or a 2 x 2 x 31 .. oak baluster in seven minutes.
bedposts, coat rack pegs, etc., etc., are worth linle in and of In the seminars I teach, all students are convinced in a few
themselves. Yet. who will deny the beauty the production minutes that a pair of hando;, a set of tools and a no-frills lathe
turner's skill lends to a flowing balustrade, a stately four-poster easily beats a duplicator lathe that would cost two to three times
bed, or an antique dining table? as much.
The way in which the production turner views his work differs At Seattle Stair, the role of the production turner is central
6 June 1987
 WORKS OFF THE LATHE:
OLD AND NEW FACES,
Production Tuming Curated by Albert LeCoff, Philadelphia,
PA and organized by Craft Alliance, 6640
Delmar, St. Louis, Missouri 63130
July 5 -August 8, 1987
to the success of the company. 11te woodtumer is always the William Hunter
highest paid man in the shop and woodtuming is always the Giles Gilson
most profitable facet of the business. I began the company out Michael Hosaluk
of the back end of a 1962 Oldsmobile with a set of basic Buck Frank Cummings
turning tools and a box of woodworking tools. My skills as a Mike Shuler
woodturner provided a competitive edge that local stairbuilders Bruce Mitchell
still have a hard time matching. I could tum custom balusters Todd Hoyer
for less than others were paying for those made on automatic Stephen Paulsen
lathes. Skills honed through gouge and skew sharpening and Mark Sfirri
the transition to grinding pattern knives was an easy one. Event- Stephen Loar
ually I could offer a myriad of handrail, molding, and tread Michael Mode
R.W. (Bob) Kraus
details. I found the shapes I was accustomed to as a woodturner Michael N. Graham
(rounds, ellipses, cylinders, parabolas, partial turnings, etc.) Michael Brolly
enabled a three dimensional visualization of problems encount- Robert Sterba
ered in circular and spiral stairs. Millwork for stairs turned out Liz and Michael O'Donnell
to be little more than an expansion of the techniques I had used Lynne Hull
for years in preparing stock for the lathe. Christopher Weiland
In the course of a few years I had earned enough money to Charles Crowley
buy a shaper, planer, table saw, band saw and other essential Leo Doyle
woodworking tools. And when I finally had enough equipment John Nigh
to open a shop, it was made possible by one basic fact: the skill Stoney Lamar
Wayne Raab
I had developed as a production woodtumer were broad enough Ed Moulthrop
to develop and sustain a full service woodturning, stair-building Philip Moulthrop
and millwork business. David Ellsworth
Around the country there are hundreds of production turners AI Stirt
that need to be brought into our ranks. lbere are hundreds, Michelle S. Holzapfel
maybe thousands more, who earn only a small portion of their Dale Chase
income from this type of turning, but who have or need produc- Frank Knox
tion turning skills. Together, these two groups offer a tremen- Bud Latven
dous potential to our organization. They are a resouoce that Addie Draper
must be tapped if we are to build a balanced, professional Mark Lindquist
structure into the American Association of Woodtumers. Melvin Lindquist
Fletcher Cox
I need your help to accomplish this. Look up "Woodtumers" Michael Chinn
in your yellow pages. Most of these will be production turners Merryll Saylan
and most will be unfamiliar with the AAW. The minimum we Hap Sakwa
need is to have you send Bob Rubel a list of those in your area Don Kelly
(with zip codes please) and he will send them literature on the Peter Handler
AA W. Bob will send a copy of your list to me, too. Barbara Sattersield
If you have a local chapter, invite them to come and demon- Dennis Stewart
strate some of the things they do best. Ask if they would like Aspy J. Khambatta
to write for this new page. Perhaps they would like to write a Robert Leung
short article describing their business or an interesting project Bob Stocksdale
they have worked on. Tell them production turning will be on Jon Brooks
Skip Johnson
display at the AA W symposium in Lexington, (right, Ernie?) Rude Osolnik
and there may be a speed-turning competition to enter. Dale Nish
Production turners are not high gloss people and they may Wendell Castle
feel a bit intimidated or unsure of themselves around the "gallery John J. Straka
crowds." But for the strength of the trade and the organization, Edward Bosley
the two groups must be blended. Interaction, cross-training and Joanne Shima
a community spirit need to be fostered. Production turners'
A catalogue and slide ponfolio
skills need to be recognized and cultivated. If done so appro- is available for purchase.
priately, they will join us in great numbers and we will all
benefit tremendously. Production and artistic woodturners have Craft Alliance, Gallery Director, Barbara Jedda
a great deal to offer each other. Let's do what we can to make (314) 725-1151 (314) 725-1177
the Association one that helps them help each other. @
American Woodtumer 7
 lnMemorium

A Tnbute to John Megi.n, the lathe." He had now, and his gratitude emerged with a sen-
sitive, forever friendship that was shared equally by us all.
The friendship lives on, but Jan does not. From that farst
by Mart Sfir ri brief moment of discovery. and through twelve intense days of
looking and listening and doing, ten people learned to move
John Megin was from Yardly, PA. He went to Bucks County together as equals in a wonderful process of learning and growth.
Community College (in the school of Business). While there, Jan was not a 'name' in the Field, she was just herself - a
he studied woodtuming under Palmer Sharpless and David student and a teacher and an enormous pan of us all.
Ellsworth. He was living just outside of Boulder, CO where he There is no accurate measure of this loss beyond that which
supponed himself as a turner. He died a year ago. His parents, is very personal to her family and friends ...those who shared
Mr. and Mrs. Arthur Megin, contacted me and arranged to have in her moments of life. But there is a measure of spirit in which
a large quantity of turning blanks donated to the the Bucks we can all share - the spirit of learning. With the help of her
County Community College. close friend in Colorad9, Lin Hardin, the AA W has established
This year, from March 6-26, the College put on an exhibit the "Janice Carlisi Scholarship Fund." All the proceeds will be
of woodtumings. Twenty-thn:e of the wocts were John's. I just distributed through the AAW for "students of the lathe" in the
thought that some of our members would want to know. form of woctshop tuition at leading craft schools throughout
the country.
In Memorium ... Please make checks payable to: American Association of
Woodtumers. NO(e on each check - "Janice Carlisi Scholarship
Fund." Mail checks to:
Janice Carlisi was one of my students last summer at Penland
School in North Carolina. Bright. vital. she had travelled from Lin Harden
Denver to share this two-week event with the lathe. Jan had 1612 Bradley Drive
come for a purpose and oot without considerable experience as Boulder. Colorado 80303
she drew her bowls with the gouge instead of a pencil. As My personal thanks,
Archie said with nervous laughter, "I never saw a woman at David Ellsworth

REPRESENTING WOODTURNING,
LATHE TURNED FURNITURE
& SCULPTURE BY:
DRAPERILATVEN
HOLZAPFEL
HOSALUK
HOVER
HUNTER
KVITKA
LAMAR
UNDQUIST
MllCHELL
FWJLSEN
SAKWA
STIRT
SHULER
SlOCKSDALE

317 SOUTH STREEt PHILADELPHIA . ~ 19147 (215) 238-9576

8 June t 987
 Potpouni

(from kit) David Sachs, Director, School of Qalt ct Design, MilSIIpS Col.kge; Dan Overly, Director of Development, School of Oalt ct
Design, MilSIIpS College, Jaclcson, MS; Qaire Ve~. Exec Asst. Anvwmont School for Crafts, Gallinburg, TN; Sandra Blain, Director,
Anvwmont School; at American Craft Council's national conference for cratt educatotS held February ~9. New York City.

Report on the ACC Conference "Sharing Resources"

Albert LeCoff

"Sharing Resources," a conference sponsored by the Amer- fected by these two important issues. Programs in individual
ican Craft Council and held February 6-9, 1987, was attended gift-giving (both during one's life and after one dies) were
by 37 directors from some of the top craft schools in the country. discussed. The National Endowment for the Arts has available
During the four-day weekend there were discussions and insights many outright and matching grants. One must take a close look
on topics such as Marketing and Promotion, Management Issues, into the various types of grants and categories of eligibility for
Recruitment and Audience Development, and Tax Reform and which to apply for monies.
Charitable Giving. Thanks to the American Craft Council for sponsoring this
Most who attended agreed that conununication within and conference. It shows that they are interested in reaching out and
outside the organization was vital to the marketing and promotion assisting craft schools to become more aware of each other.
of the organization. It was suggested that to work with different This, in tum, will have a direct effect on individual artists/
levels of people one should focus on a wide segment of the craftsmen in this country. @
market. Get the community involved, form large conunittees.
This last point, about fanning large conunittees, is important,
for it helps to get the work out to a larger number of people
and also shares the burdens and responsibilities. They also urged Handmade furnishings of
us to issue press releases on all important activities. distinctive quality
Keep your board and membership informed. This is crucial
when it comes to management issues. Listen to your board and
give them recognition, love, and affection. Consider using the
Represereing the turning
barter system when paying, hiring personnel, and purchasing
of Michael Peter8on
services.
In recruitment and audience development, it is vital to culti- Canyon Spirit. 1987.
vate your future participants. Go into the schools, other organi- SpaJied Myrtle. s-xr
zations, the public and educate them about your field . Use
advertising, slide shows lectures, videos of your programs. and
tours of your facility to help develop future membership.
Tax reform and charitable giving was another important area
that was discussed. The future of all our organizations are af-
American Woodtumet' 9
 Presidents Page
continued from p. 2 Ron Kent, Page Editor

turnings is growing, as is the need to develop new sales oppor-

tunities other than on the Islands. Hawaiian turners do feel
Pricing your Work
somewhat isolated, for U.S. citizenship does not reduce the
miles between their turning workshops and the galleries and Don't you HATE setting prices on your work? It's difficult
classrooms found in the Continental U.S. Hopefully, mainland enough having to part with a nice piece, but almost physically
galleries will provide the initiative exhibitions and open a painful to have to price it. you've got to come up with a number
'pipeline' for those who seek the mainland market, and further that compromises between vanity and humility, greed and fear,
expose the exceptionally beautiful work being done in the selfishness and generosity. Oh, yes, and at least a small dose
Islands. of practicality.
This list is anything but complete. Gennany, Nepal, New I'm sure you' ve seen the standard discussions of the subject.
Zealand, Ethiopia, Japan, Sweden ...the list seems endless and How to figure overhead, time, materials, etc. I hope you've
a humbling indication of what we have yet to learn about this read and understood them. I'm going to talk about other, less
Field. It is more than just the countries, of course. It is the orthodox aspects of setting your price. See if these ideas make
people themselves, no different than American twners, who are sense to you.
feeling this 'passion for making'- this new sense of pride in 1. WHAT IS IT WORTH? Years ago I sought employment
the work that they do on the lathe. And like American turners, in California's highly competitive engineering marketplace.
~ are many questions: "How do I get started'r', "How can "How much are you worth?" a Lockheed executive asked me.
I learn more'r', " Is this any good'r' And then, as always, comes "I don't know," I replied, "but I do know what Aerojet has
the big one..."What is it worth?" offered to pay me." The same principle applies in the mar-
In future issues, I will explore these questions in depth with ketplace for crafts. Value is relative, not intrinsic. The very
particular emphasis on the turner who is just getting started. @ concept of "value" is meaningless until you add another factor:
To whom?
Our work, then has at least two distinct measures of value.
I. How much is it worth to us, the makers.
2. How much is it worth to some potential buyer.
Fifth National Only when the two coincide can a transaction occur. No one
Lathe Turned Objects Show but you can decide what each piece is worth to you, and of
course you won't sell it for any less than that. Sometimes we
August 8-30, 1987 learn, however, that it isn't worth that much to anyone else.
When that happens, and if your original valuation (to your selt)
We invite woodtumers with high was accurate, you are about to become a CoUector - of your
standards to contact us about exhibiting. own work.
For entry forms and information Some of us, at this stage, find that maybe we were a mite
contact Clyde Jones at address below. high in our original valuation. My suggestion: Be realistic from
the start. It is more advantageous to raise than to lower prices.
I have realized that, except for a few rare and special pieces,
my own finished work is worth very little to me, if I keep it.
My personal value was realized in the challenges and satisfac-
tions of the making. Thus when I discuss value, I implicitly
think in terms of what other people might pay to own it. When
I donate or make a gift of a bowl, I consider REALISTICALLY
what someone else would pay for that bowl, then recognize
that I'm giving up this much in the giving.
These are three special refinements to the concept of what-
someone-else-will-pay: ( 1) that other people might pay yet more;
(2) we might have to wait longer to find those other people;
and (3) there will be a smaller number of these people. These
considerations give rise to the major axiom of marketing:
If your work sells faster than you can make it, your price is
too low.
Corollary: If your work sells slower than you make it, your
price is to high.
In future issues I'll enlarge upon these concepts, try to answer
45052 MAIN ST. P.O. BOX 1515 MENDOCINO. CA 95460 7079373132 your questions, and describe money-oriented matters from my
own experience. @
10 June 1987
 Letters To The Editor
Well! We get dozens of letters in every week - but ome may also interest our readers.
They are variously addressed to Bob Rubel, Administrator of AA W. Dan Kvitka. Editor-in-Chief of the Journal.
or David Ellsworth, Pre ident of AA W. Feel free to write.

Dear Editor: Dear Alan Stirt. Woodtumer :

I would like to see an article in the Journal on various ways to I just received the AA W drawing prize, your magnificent Outed
dampen or reduce vibration in a wood lathe. vibration poses problems butternut bowl. What a beautiful piece of work, and from an unusually
for many woodtumers. and I think that many would welcome an article nice butternut blank of greater size than we see commonly around here.
on the subject. I sat on the couch. ruming the bowl over and over in my hands.
I am a professional woodtumer, and frequent.ly rough tum wet, running my fingers acros and up and down the n utes , feeling the
heavy bowl blanks. I use a General 260 lathe. interior texrure, sen ing the weight in general, admiring the run of
I am a member of the Seattle, WA chapter of AA W and am in grain. My god. I Jove it.
charge of planning programs for o ur monthly meetings. I plan to To know that it was turned by you. o ne of America's renowned
schedule a discussion on lathe vibration and possible solutions at the turners, just about overwhelms me .
club meeting in the near fu ture. My next door neighbor, Ke n Kurz, tells me he took a course with
I think Lhm you aredoingagrcat jobwith the Journal . Keep it up. you last year (if I remember correctly). I got him sta11ed on a Sears
lathe... and j~'t provided him with blanks of apple. sassafrass. and pine
Sincerely, last weekend ...
Wally Dickerman Again. my profound admiration for your grand craftsmanship and
21 26 169th N.E. artistry.
Bellevue W A 98008
Sincerely.
I Editor'sreply: To AA W members reading Wally's letter. If you feel Robert F. Heitman
that you have any tips or suggestio ns to make that we can tum in tu 84 Gallows Hill Road
un anicle. please send them to R. W. (Bob) Krauss , our Technical Tips West Redding, CT 06896 Continued on p. 20
editor at P.O. Box 96, Dinosaur, CO 816 10 .1

TURNED
WOOD '87
MAY 30 - JULY 8
DAVID 5. ARNAll JOHANNFS MICHELSEN
HERB BALOER!>O N BRUCE MITCHELL
ADDIE DRAPER PHILIP MOUl THROU P
lEO DOYLE PHR MURAD
DAVID EllSWO RTH RUD OSOLNIK
C llES C llSO "' STEVE PAUl!.EN
TO DD HOYER HAP SAKWA
MICHEllE HOLZAPFEl MERRYll SAYlAN
WilliAM HU"'TE R HEINRICH SCHillER OIU HUNTER
RON KENT ROLAND ~HICK
BO B KRAUSS MIKE !>HUlfR
DAN KVITKA RO BERT STERBA
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LOS ANGELES. CA 90049 DEMONSTRATION
AlBERT l t>COH
(2131. 76 8508 LrO DOYLE
WilliAM HUNTR

American WoodLumer II
 Inteniews
Merryl/ Say/an, Page Editor

An Interview with Gall Redman even if they did not need money because it was thought it would
give them discipline, patience, and obedience. One association,
the Home Arts & lndustty, trained artisans with the goal to
encourage the growth of handicraft and to raise the standards
of taste. It sponsored annual exhibitions where Charles Voysey
displayed furniture designs along side those of the Hon. Mabel
de Gray.
In the United States, women were thought better off and were
discouraged from education and career. We did not have the
population problems of England. Handicrafts became a popular
outlet for women. Tbe ideal of design and industry was similar
to England, resulting in the flourishing of art and design schools.
Woodworking - woodcarving in particular - was on the
curricula for women. Tbe American Architect and Building
News, in a review of the Women's Pavilion at the World's
Centennial, 1877, "the question was naturally asked, 'Have
women turned cabinet-makers?' It could be answered in the
afft.rmative, for several of these pieces were entirely made by
women." Tbe woodcarving program in the School of Design
in Cincinnati in the 1870s, played a big part in the Movement.
Tbe Master, Henry Fry, felt that women's hands are better
" fined for the development of the beautiful in art."
A few years back, I did research into the role women played The Art Journal, 1861 . "In the lowest classes, it [employment]
in the Arts and Crafts movement. Tbe Victorian era, the Arts has already been solved. There, the necessity of earning their
and Crafts, its connection to our recent crafts movement has own bread is so apparent from their earliest years that women
always fascinated me; to learn that women did woodworking accept their lot with patience, and are able and willing to work
and woodtuming over a 100 years ago is very gratifying. When at whatever offers itself. Rejecting nothing, and being competent
David Ellsworth, President's Page (Sept. 86) mentions with to most things, they fear nothing, except it be illness and that
tongue in cheek that he had not located any documentation "that only because it incapacitates them from their daily labor." Manu-
woodtuming has ever been anything but a totally male sport", facturers did not object to the wider employment of women in
I had my subject and farst interview for the American Wood- all kinds of work or the same kind of suitability required for
turner. the "gentlewomen." One manufacturer said, "Why object,
Tbe roles of women in the growth and development of the women work for lower wages than men." In a census report of
"Arts and Crafts Movement" was more involved than I had England in mid-century, over 4,000 women were employed in
realized. I had realized that the arts movement, itself, was a the woodworking trades: 2500 women were in the fields of
reaction to the Industrial Revolution, to the differences between cabinetmaking, chairmaking and upholstery. Tbere were over
products made by hand or by machine, between quality and 100 turners with fields such as umbrella makers, walking sticks,
individuality versus quantity and uniformity. Art and beauty and parasols employing over 500.
was thought to be a solution, tame the machine by applying One woman, Esther Tonkins, was a British entrepeneur and
design to its products. Schools of art and design were started; artisan. She specialized in turnery. Tbe shop was licensed in
clubs, guilds, exhibitions proliferated. her name in 1805 after taking over form Richard Tonkins. To
During this period, women gained social recognition, status, license a shop, one had to be a Master. Her shop specialized
or security through marriage. Ruskin thought women and the in finished products to supply building carpenters and furniture
home represented peace and shelter. William Morris believed makers. With this brief history - designed to connect the past
women enjoyed looking lovely, having children, and managing with the present, I should like to introduce tbe subject of this
a home skillfully. It was considered wrong for women to work; interview. Gail Redman runs a shop in San Francisco that is
work was considered disgraceful. But England had a population quite similar to that of Ester Tonkins.
crisis. The Art Journal said women outnwnbered men by a Gail Redman started as a second grade teacher working in a
million, creating a group of "destitute gentlewomen" who were tough neighborhood with a lot of stress. She took a high school
incapable of making a living. Tbe work they did must be "suit- evening woodshop class to relax, and started turning. She
able" and not be crass. It was "acceptable" to be a teacher or remained in these evening classes for three years. She quit
a governess; art became a "suitable" occupation. Women flocked teaching and traveled in Southeast Asia for 9 months. On her
to the new art and design schools. Tbey became involved in travels she studied woodcarving in Indonesia. A friend had
the clubs and guilds. Art education became popular for women emigrated to New Zealand and let her know that she could
12 June 1987
 lnteniews

probably get a woodtuming job there, so she moved to Auckland trained in Victorian architectural and decorative art, and resto-
in 1974. ration. She also did a lot of work for Preservation Park in
She got a job with Matloe Woodtuming under Master Dave Oakland. Gail is married and has an adorable 9 month old little
Wilcox . He came from a long line of English woodtumers. Gail girl. It was rather enjoyable seeing Gail in coveralls when preg-
told them she had turned at night for three years but she lacked nant - and still turning. @
shop experience. They liked her, kept her on and trained her.
When you start a.<; an apprentice, you start by sanding, then
move up to roughing out, then to the simpler mass produced 2nd ANNUAL

~t..~RLANO 7:
items. The firm specialized in very traditional items: parts for
furniture, such as coat stands. Gail remembers turning what

c,~\ "u ov~

seemed like thousands of salt and pepper shakers. She remained
there for 15 months before returning to San Francisco where
she got a job with Haas Wood & Ivory Works, one of the city's
oldest fll11ls. Victor Lauteri was the Master in the shop and for
took Gail under his wing. Victor spoke very little English so
TURNERS. CARVERS & WOODWORKERS
Gail enrolled in night school to learn Italian. Led by
In 1977. Gail decided to open her own business, a rather WAYNE & MARLIES BARTON
humble beginning in a large garage. She had brought back tools SPECTACULAR (t INFORMATIVE 15 DAYS
and a lathe from New Zealand. The lathe was the last one built For More Info:
by a machinist before he retired, and is still her favorite. A WOODWORKING ASSOCIATION OF NORTH AMERICA
friend of Gail's helped her set up the shop, but since he could P.O. Box 706. Plymouth. NH 03264 - (603) 5363876

only work on the bed for the lathe on the weekends, Gail could
not tum. She spent a few months "pounding the pavement"
going to every contractor and architect known to do Victorian
work a.o; well as to furniture makers. She would cruise the streets
and walk construction sites. This approach was so unusual that
many of these people did their best to help her and to refer
MIKE SHULER
work to her.
In 1984, Gail hired a woodtumer, Grant Jacobs, from New
Zealand. He had gone through the four year apprenticeship
program, and Gail's old Master tested him before she hired and
sponsored Grant in the U.S.
The work that comes out of the shop varies from week to
week, but the bread and butter items are balusters, comer blocks,
and table legs. She's turned juggles for jugglers, lots of drawer
knobs. and some rosewood drumsticks. Her favorite jobs are
the "mystery jobs;" items for inventors who never let on how
they're really to be used.
Gail has a number of lathes. One has an 8 1/2 foot capacity,
so she is often able to tum columns - particularly with the
current popularity of Post Modem design. Gail is able to com-
plete most balusters in 12 minutes or so, including the time for
marking, turning. and sanding. She has been known to do them
in 8 minutes. Corner blocks take about 3-4 minutes, complete.
Posts and caps, 5 112 feet by 6 feet, take about 30 minutes. CELEBRATING AMERICAN WCXJD ARTISTS
Grant can tum about 96 blocks a day and about 4 balusters an
hour. As with us all, the pace of her workshop is strongly JOANNE RAPP
affected by the coming and going of customers, and by frequent
phone calls.
In "The Art of Woodtuming" show at the American Craft
Museum, 1983, Gail had a whole balustrade there, consisting
of newel post, a whole row of balusters, and handrail, plus a GALLERY TELEPHONE ( 602) 949 1262
series of rosettes and finials. She is also a member of Artistic 4222 NORTH MARSHALL WAY SCOTTSDALE. AR IZONA 85251
License in San Francisco. a Guild of highly skilled artisans

American Woodrurner 13
 Questions &Answen
Cliff Schroeder, Page Editor

We welcome your questions. Send them to Cliff at 763 South St., Owatonna, MN 55060
and he will see that they are routed to our panel of experts for a response that will
then be printed in The Journal.

Question by Mrs. W. Williams, Santa Rosa, CA: At a wood- Question from Hugh Foster, Manitowoc, WI: What tools
turning demonstration, I watched a piece of spatted walnut wood should I buy if I'm just starting out and have a limited budget.
being worked. In addition to the definite lines of the wood itself
were areas where the wood had split and had been filled. The Answer from Ernie Conover, Parkman, OH: The tools you
demonstrator said that he had used an epoxy. 1be stores sell a buy depend largely on the type of turning you do. First, I don't
lot of different types of epoxy, and as a beginning woodturner, believe in sets. Sets are almost always carbon steel and contain
I wonder just which epoxy should be used for a filled area such tools that you will probably never use. 1be same money spent
as this. It appeared dark, like the lines of the figured part of for high quality open stock tools will yield fewer tools but much
the wood, but wider. greater satisfaction in the long run.
I insist on high speed steel (HSS). Although it does hold an
Answer by Del Stubbs: I have not worked much with epoxy. edge longer, its main advantage is it<> ability to maintain temper
I've noticed that the five minute type yellows with age and at high working temperatures. For a woodturner, grinding is a
either cracks or stays soft and moves in or out of it's depression, ubiquitous task. You can turn HSS cherry red on the grinder
both related to wood movement. I think using a high percentage with no effect on the temper.
of wood shavings or dust rather than pure epoxy will give it To start spindle turning, you really need only three tools. A
the needed resilience to surrounding wood movement. 112" spindle gouge (ground to a fingernail), a 3/4" to I" skew,
and a parting tool. A 3/8" or 1/2" round scraper is also nice to
have and is also great for faceplate work.
For faceplate work generally - and especially for bowl turn-
ing - you will need a l/2" deep fluted bowl gouge. The Henry

1heSot1rce Taylor Co. calls this tool a Super Flute. A large 1" or 1-1/4"
dome scraper rounds out the basic set. You can add to your set
as your needs and skills develop.

Tt1rners ~ Question by Hugh Foster, Manitowoc, WI: Discuss practical

Tt1rnTo
114 pages of Veneers, Wood parts.
woodturning chucks for the home shop.

Answer from Ernie Conover, Parkman, OH: I have a hard

time with chucks. Other than a three jaw engineer's chuck, I
Specialty Hardware. Tools, don't own one. I don't think the so-called "combination chucks"
Pulls. Fmishing Supplies. Books. will do anything better or faster than can be done by using
Kits. Plans & More. common faceplate chucks or even a simple wood chuck. Virtu-
ally anything can be held with a wood chuck. 1be simplest
Please Enclose: 0 $1.00 (3rd class)
wood chuck is a cup chuck. A wood billet is screwed to a face
0 $2.00 (1st class)
plate. A pocket is scraped in the billet with about a two-degree
taper to the walls. The mouth of the chuck should equal the
diameter of the work. The work is simply forced into the chuck
Name
with a mallet. A little chalk helps the holding ability.
Address A variation of the cup chuck is used for turning the bottom
of bowls. A plywood or fiberboard disk is mounted on a facep-
Cty!State!lrp
late. A groove is then scraped the diameter of the bowl rim.
Mall to: The Woodworkers' Store Dept. 940 The tricky part is that the groove has to be a pre.<>s fit with the
21801 Industrial Blvd
I bowl rim for it to work right. A tail stock can be used to
~------------------~.?-~~~.:-~~??_~~~------------------- advantage if the fit is a bit sloppy.
0, rilt your local tetall tore: Another great wood chuck for holding hollow work is a
Mpls: 3025 Lyndale Ave S
Seattle: 3823 Stone Way N mandrel. This can be made by drilling a block of wood mounted
Milwaukee: 27"'i S 108/h St on a faceplate and gluing a dowel in it. The dowel is then turned
Columbus: 2500 E Mam St
Denver: 340 S Broadway to the inside diameter of the work. It is usually best to put a
Cambridge: 2154 Mass Ave very slight taper to the madre) so that the work jams on it. Sorry
San Diego: 7876 Convoy Ct
to discourage the hardware but I am a traditionalist. @
14 June 1987
 LocalChapter News
Palmer Sharpless, Page Editor

We now have five Chapters either almost or actually "up and run- The Mid Cal Woodturners Association in Clovis, CA just sent in
ning." These are: North Coast Woodturners (Akron, OH), Seattle Chap- their By-laws. It shows that Bill Livingston is the president, Rick
ter, Minnesota Woodtumers' Association, Bucks County (PA), and Johnson is VP/secretary, and Jeff Otto is treasurer. This chapters has
Mid Cal Woodtumers (Clovis, CA). Here is what we are hearing from 23 initial members, and covers Fresno, Madera, Tulare, Kings, and
them. Kern Counties.
North Coast Woodtumers, has sent us their latest newsletter. lbey For more information. please contact Bill at 12309 E. Los Altos,
report that Dave Hoot is the President, Gary Lansinger is the Vice-Pres- Clovis CA 93612 (209)299-0538.
ident, Bruce Lance is Secretary, and Ray Brandon is Treasurer. They
are based out of Akron, OH and have about 36 members. In their Jon Alley in Newtown PA reports that they have the Bucks County
March newsletter, they congratulated Joe Hermann for having his article Woodturners up and running, but still have to get their formal papers
"Natural Top Wooden Bowls" accepted by Fine Woodworking. We in to the AAW Board of Directors.
second their sentiments. They also note that Dave Hout and Stan Stary,
Sr. had works accepted in the Houston Exhibition of Hollow and
Turned Vessels. Other local chapter notes....
Gary Lansinger just sent us another letter. In it, he discusses their
club's plans for the Lexington Symposium. They are planning to arrange From Dave Skinner in Chesterfield (St. Louis) MO ... "We are at-
for a block of rooms, and possibly a bus to take the club down to tempting to start an Affiliate Chapter with the St. Louis Woodworkers
Kentucky. If others in the area want to link up with them. Guild of which I am also a member. At the Woodworkers Show, held
Our second fully approved chapter is based out of Seattle, WA. in St. Louis this past weekend, we gave out AAW applications and
This is what they have written to us. talked to many people who seemed to have an interest in woodtuming.
The middle of last summer a few woodtumers wanted to start a We also had a display of our turned items. Some 6,000 people attended
chapter, but we were not certain how to get the word out. They decided the show, and we have great hopes this effort will increase our num-
to have a turning symposium, and get the word out as best they could. bers."
They assumed that the people that would come to this symposium From Richard Davis, San Diego County CA ... "I am trying to hold
would also be interested in forming a chapter of AAW. an AAW turning show July 18-19. If there are other AAW members
We were fortunate to have Liam O'Neill of Ireland and Richard in this area who want to help me get this organized, please let me
Raffan of Australia accept our invitations. What we were shooting for know. (619) 765-1908."
was a limit of 50 people to our Friday, Saturday, Sunday symposium, From Don Mitchell, Glendale AZ ... "I have five people committed
and eight people each of the three days to our hands-on instruction by for organizing. Hope to have something going by the first of June."
Richard RatTan. We met our limit in each case. This all occurred from From Thomas Klapheke, Ft. Wayne IN ... He sent us in a note
November 12 to 17, 1986. indicating that he was working to establish the Northeast Indiana Chap-
We are also very fortunate to have the ongoing cooperation and help ter of AAW. Anyone in that area who is interested might contact him
of the Northwest Gallery of Fine Woodworking in Seattle, and the at: 2401 Aorida Dr, Ft. Wayne 46805 (219) 429-5092.
facilities of the Overtake School, a fine private school in the area that From Hans Ludwigsen in Bartow FL ... His note says that he has a
has a shop with eight lathes, plus an abundance of meeting rooms. tentative commitment from nine people to form the "Woodturners of
Eight months later, we find ourselves the Second Official Chapter Polk County" chapter of AAW. If this interests you, contact him at
of AA W with 52 paid members. PO Box 1246 Bartow 33830.
We would like to extend an invitation to all those turners out there Three other members report that they are in the process of starting
that like to demonstrate and/or teach to let our president (Denver Ulery, local chapters. John Lindell from Corpus Christi, TX; Bruce
20301 N.W. 108th, Redmond WA 98053 (206) 868-5442) know when Shaughnessy from Portland OR; and Gary Adams from Hardy, VA.
you are comin_J)hroogh Seattle. We would enjoy meeting you and @
learning from you.
Thank you.

Rany Mackenzie
Secretary of Seattle Chapter of AAW Eureka Hardwood Supply
Our third Chapter is the Minnesota Woodturners' Association - Burls, Blanks 'n Boards -
(MW A). The MW A is an organization of artists and craftspeople whose o Redwood Lace Burl o Natural Surface Squares
goal is to provide educational opportunities for themselves as well as o Most Western Species o Whole Small Burls
educate the public about wood objects turned on a lathe. The Association
o Some Exotics o Custom Cutting
held its first meeting on January 26, 1987 at The Woodturners' Store;
a good turnout was welcomed by the organizer. Mary Redig. Common 6i Unusual Mbods In Common 6i
1be Minnesota Woodtumers' Association is pleased to announce Unusual Sizes - Write for FREE Ustlng
the upcoming workshop to be presented by Master Woodturner Liam
O'Neill of Ireland. This event will be held June 5-6 at Fine Woodwork- Give Us A Call- (707) 445-3371
ing Company and will be accompanied by a show and sale at The Guy Helmuth - OWner
Grand Avenue Frame and Gallery from June I through July 5.
EUREKA HARDWOOD SUPPLY
For more information, please contact MW A at PO Box 26065, 3346 D Street o Eureka, california 95501
Shoreview. MN 55126
American Woodtumer 15
 Richard Miller, Page Editor

If members have any questions that they would like to ask about ornamental turning,
or have experiences that they would like to share or articles that they would like published in 1be
Journal, please writetoRichardMillerat: 1661 S. Research Loop, Tuscon, AZ85710, (602) 722-0800.

Ornamental Lathe
Ray Lawler, who designed his new ornamental turning lathe, Other capabilities of the original Holtzapffellathe which have
took a different tack than did Walter Balliet. Lawler decided been retained are gears with the same number of teeth for spiral
that he would mass-produce his lathe if there was enough inter- wort and a curvilinear apparatus for spiraling and tracing, which,
est - enough response to feelers he put out. 1bere was and with the aid of the lead screw, can be worked the full length
the initial models are being built at this very moment. of the lathe.
This lathe differs from the Holtzapffel in some major respects When we talked recently to Ray Lawler in Raytown, Mo.,
although Lawler's ultimate goal was to retain the original we discovered that he had seriously considered eliminating the
capabilities while adding some advantages stemming from mod- overhead assembly, but decided against such a move after con-
em technology. Uppermost in Lawler's mind was the installation ducting a series of experiments. 1be system he installed finally
of a lead screw clear across the front of the lathe. This, he felt, is most efficient, and a decided improvement over the original
would increase there length of pieces that could be worked device. He incorporated a weighted take-up pulley to maintain
without valuable time being spent in setting up the lathe re- belt tension as the carriage moves along the bed.
peatedly. Motorization was also a must. Lawler chose not to retain the Holtzapffel "tool box" opting
to redesign it completely.
His carriage is similar to those on modem metal turning
New! lathes. However, he has incorporated devices on it that endow
it with added lateral flexibility. The slide rest can be manipulated
rSCULPTING WOOD so as to tum spherical objects. 1be toolholder is an original
design that accepts a universal cutting frame, an eccentric cutting
frame, and a drilling frame. He supplies a set of H.S. steel
~ By cutters, 114 inch and 3/8 inch square. Lawler did away with the
odd-ball thread on the spindle nose (the 9.45 TPI which plagued
Mark so many Holtzapffel owners when they tried to fit a modem
Lindquist chuck). He used a 1.25 inch diameter and a 1 inch 8 TPI nose
with roller bearings front and back. The main stepped pulley
One of today's foremost on the headstock is bronze rather than the soft brass with which
woodsculptors brings
you into his studio to the original lathes were fitted. This means that there is Jess
learn basic as well as scratching of the indexing pin is positioned.
advanced techniques full 8 inches over the carriage. Distance between centers is 38
for sculpting wood. inches. Additional changes from the original include a 180-tooth
With extensive coverage worm gear for slow motion drive and he used indexing holes
of techniques from
simple hand-carving to in increments of96, 112, 120, 144 and 192.
elaborate turning, hand Shipping of the first Lawler's lathes is scheduled for January,
and power tools, and 1987. Contact information: Lawler Gear Corp. I0220 East 65th
wood as an artistic Street, Raytown, MO 64133 (815) 356-4504. @
medium, this detailed
guide will be an
invaluable reference. A special
feature is the thorough coverage of working
with burls and spalted wood. Lavishly illustrated,
Sculpting Wood will inspire and instruct both
beginning and experienced wood enthusiasts!
304 pages, hardcover, just $.12.95. Publisher pays postage,
Visa and MC accepted. Register Now
For the First
dJ\? Davis Publications Inc.
Printers Bldg., Dept. W, Worcester, MA 01608 Annual AAW Symposium
16 June 1987
 Shop Safety
Alan Stitt, Page Editor

Like most woodtumers, I am familiar with the majority of small items have added up to one big benefit; a cleaner, brighter,
shop hazards - things like wearing eye protection, ear protec- healthier and safer shop.
tion, dust protection and keeping the floor reasonably clean to Sincerely, tro
prevent falls, using sharp tools, etc. But something I recently Dick Gerard ~
discovered makes me think that maybe we should examine the
"shop" itself - the walls and ceiling and floors.
My wife and I purchased our current house 2 years ago. At
that time, I asked that the builder prepare the 2-car garage as
a shop. I paid extra to have the garage/shop heated and air
~TTNTION: AAW MEMBERS
SAVE*25
'9
~
conditioned. The garage/shop was also supposed to be "ready
to paint." My plan was to close on the house, say on Friday,
and have the moving-in scheduled for the next Monday or
Tuesday. That way, I could get to the garage/shop and have it
all painted with no interference. The walls and ceiling were not
my main concern. In fact, at that time, I was more concerned
about the floor than anything else. I had heard that concrete Aak for your
~1-tary
dust could become a real problem. That problem could be decoy Mel WOOd
c.vii'IO 1001 Wid
minimized, if not eliminated, by applying a couple of coats of aupply catalOg.
any number of various concrete sealer/paint products. This
would also prevent the floor from being stained or discolored
from the inevitable spills, drips, and sundry "accidents." P.O. Box380
Dept. FKOS
Well , we did close on Friday - but we also moved in on
Friday! When I went to inspect my shop-to-be, I discovered
P. C . E nglish, Inc. ThombuJoi, VA 21565
that most of the joint tape and compound had been applied so
thickly that the compound had cracked and chipped as it dried.
The movers were remarbbly uninterested in waiting for me to
apply the planned two coats of paint, so we opted to just move-in!
The shop was used as a temporary holding area for boxes
and boxes of stuff. Then, as we unpacked, the shop was just A fl&fl BOOK by DALE L. NISH
used to hold empty boxes. Nearly two weeks later, we were
mostly finished unpacking. The overly massive, over-engineered
benches and cabinets I designed and built were in place, shelving
....,._,.__ .........
Trwii.-O..LNIIII .. . .

......,waa e.
LAarl' .... '"'"" lftd
was attached to the walls and the garage door opener was instal-
..... .........
..... ,"_ ueed by:

............
..,..,
led.
All of this happened Labor Day weekend, 1984. July of
1986, I suddenly decided to paint as much of the garage/shop
as I could reasonably get to. Of course, the garage floor has ""'" ...
...... lkhiU
already accumulated its share of drips, spills, splatters assorted
...............
...._OMIIIIII
oils, and stains. I vacuumed everything, including the walls and
ceilings. Then I painted. I concentrated oo the "shop" area fii'St.
Then, as long as the paint held out, I painted the rest of the
ceiling and walls. I applied three coats of an oil-base, pure ....................... ......... AIMirt

w..-. tMy wort! ftOIIII fOUIII

white glossy enamel. Soli c - 117.15 btocll of wooct tllrovtll to
- c - 1 2 1.15 tlftiiNd . . .
Since the paint went up, I !lave noticed some very interesting
results, some more predictable than others. The most predictable '--" ""' .... "*' 200 ......
of detellecl lftforMitiOft,
ICCOIIIPiftlecl ..y over 100

-.....
result was the marlced decrease in the dust. Evidently, bare Creattve Woodtumlng pt!atap..,.., lftcluclllll11 W
Soli c - 112.15
dry-wall contributes to the dust problem, whereas the paint seals - c - I 1 S.I5 oolof ..... Of ........ wort& Of
the dust in. Dust and shavings no longer stick to the walls and . . ......,waaY,.......
ceilings like they used to. Instead they stick to the floor, where Arttatlc Woodtumlng
they belong. I can see better, I can breath better, and I am
discovering that I can work longer hours with less fatigue. But
Soli c - 115.15
- c - l 1 t,.

Pvrctle" te.. " ' of three

.....
----'
.... , ........... "'
the biggest change has been in me. Now that the "shop" had ...,_.,._
uaa ... boobMil-10
(801 J 373-0817
gained a semi<ivilized appearance I take the extra few minutes
each time I work in the shop to sweep up the dust and shavings.
I also fmd myself getting a lot more organized. All of these
American Woodtumcr 17
 Everything
for the Letters To The Editor

Continued from p. II
bowl stock
bowl gouges (Editor's note: The following Jetter was quite long; we have excerpted
square stock sections. Also, we have not altered the syntax, as it is lovely the
turning tools way it was written.)
lathes
lathe duplicators Dear Mr. Rubel:
.. .1 have applied to the AAW. .. as a Founding Individual. I do
chucks enjoy to read two issues.. .delivered to date. I restarted my hobby
Everything from hardwood bowl stock, from 1980 after nearly 20 years of sleeping (glacial?) period. Since
spindle stock, carving stock to the finest then I have been hungry to collect any possible useful information
In lathes, duplicators, tools and many available for my wood working hobby ... .
specialty Items tor the tumer. . .. As you might know well, traditional Japanese bowl turning is
poorly alive as being called "Kiji-shi". I devote [spend ed) some
funds for the Kijishi Association, but I have not yet opportunity to
learn their technique directly at their workshop. The turning tools
FREE CATALOG of Kijishi are different to some extent from current European and/or
Hftd to:
American tools. I also apply to membership of Japan DIY club
which is mainly consisting of the hobbyists using hand tools. Power
Neme tools except portable circular saw, jig saw, sander, and drill are not
popular among the hobbyists, presumably because of small house
Adclrna size in average and of embarrassing noise to give troubles to neigh-
bors. I shall be, however, pleased to transfer any message of AAW
City State Zip to our DIY club.

-u
-~~~
~ --------------------
Yours sincerely,
Dr. F.K. Anan
25 Nakazato-cho
Shinjuku-ku
Tokyo 162 Japan

ARROYO HARDWOODS
ST. JOHNS WOOD Dear Mr. Rubel:
I have just received my first copy of American Woodturner. I am
Foreign-Domestic-Exotic delighted with the intent of your organization and with the content
Retail-Wholesale-Importers of the Journal. Best of luck in all your endeavor.;.
We specialize in rare woods for the Yours Sincerely,
Dennis Jutzi
serious turner and carver. RR I
Full Logs, Blocks, and Burls, Rosewood, Troy, Ontario
Canada LOR 280
Cocobolo, Tulipwood, Kingwood, Ebonies,
Lilac Burls, Pink Ivory, Snakewood, Vera
and Lignum, Fancy Walnuts and Maples, Dear Bob,
(Quilted, Burl and Curly), Desert Ironwood, Please fmd the checks enclosed for my membership renewal and the
African Blackwood, Honduras Rosewood, other items specified on your return form. My heartfelt thanks to you
and all the others who have given so much to our organization. I hope
Carob Burl, and other species. you all lind a place in woodturner's heaven for your efforts.
SASE For List.
Happy Turning,
ARROYO HARDWOODS Toby Winkler

2585 Nina Street, Pasadena, CA

P.O. Box 70781 , Pasadena, CA 91107
(818) 304-0021
Store Hours: Register Now
Monday thru Friday 8:30 a.m. - 5:30 p.m.
Saturday 9 a.m. -5:00p.m.
For the First
Sunday 10:00 a.m. - 3:00 p.m. Annual AAW Symposium
20 June 1987
 Renews
Peter Hutchinson, Page Editor

1be ..Ve.uels and Foam" Exhibition provision should be made for dropping work of inferior quality
By Liam O'Neill when the show is assembled, as slides can be deceptive. A good
slide can cause bad work to be chosen just as a bad one can
NOTE: The Vessels and Fonns exhibition, COI'Ieeived, curated, fail good work.
and completely managed by Pete Hutchinson, grew from There were very few functional pieces. This seems to indicate
regional beginnings to a national conclusion. In it's course, it that the movement is still almost exclusively caught up in the
generated about $2,500 for AA W, which was added to our decorative art side of woodtuming. I look forward to the day
Education Fund. Liam O'Neill was in Houston recendy from when the market for woodtuming will expand to include well
his home in County Clare, Ireland. He was asked to review this designed utility items that people can use to invest ceremony
exhibition as a professional woodtumer with some distance from and richness into their everyday lives. Overall it was a good
the American scene. This is what he wrote. show, and achieved its aims. The AAW education fund is richer
monetarily, and Houston is richer artistically. Lets hope that
the Association has a few more people as dedicated and as brave
as Pete Hutchinson. (Reviewed by Liam O'Neill) @
The conception, organizing and curating of the show was
done by local AA W member Pete Hutchinson, who mustered
the help of friends and acquaintances to put on a very good event.
Pete is very committed to AA W, and felt that the show should
achieve these aims: to raise money for AAW's education fund,
to give Houstonians a chance to experience the work of
America's top woodturners, and to give emerging talent a chance
to show their work.
He was very fortunate to obtain the use of exhibition space
on the first floor of the 1600 Smith building in downtown
Houston. The space has many windows that admits copious
natural light, high ceilings, and unobtrusive, natural polished
stone walls that complimented the works.
The show did not set out to be an event of great national
importance, but it almost became just that. It includes the work
of many of the best known U.S. turners. I particularly liked
Bill Hunter's piece "Mesa Aower" in Vera wood, and Michael
Brolly's very fine space age piece "Mother/Daughter-Hunter/
Prey".
I felt that some of the Top invited people did not put in their
best work, and the exhibition lost something as a result . I believe THE CONOVER
that the leaders of the movement should always give their best 16" LATHE PACKAGE
in these situations to pull the standards of newer people up with For t89~ tlk Conuvtt Lith~ Pacb~ includn lkadstock; Ull
them. stock; tool rat; hold down bollS. ~rs and ha ndwbr~ls; motor
mount and pulley: and compl~t~ Instructions. With heavy cast
It was exciting to see some of the emerging talent put their Iron constructiOn. prision Timkc:n rollC1" Marlngs. a 16" swing.
best foot forward. I was particularly impressed by the work of unllmlt~ crntC1" dl~~ and indexing- It is suitabk f01 heavy
be~ plat~ turning ( inboatd and outboard). m~tal spinning. and
James Johnson, Allen Ritzman, Mike Peterson, and Steve Loar.
'Pindl~ tuMing from tool handln to arcblttttural columns.
The intricacy of construction of Max Krimmel's laminated piece Once you build the bed from our dC1ail~ plans you hav~ a
"Magahomapleny" was amazing. machin~ !hat is worth wdl ovtt S2500. Or - for ~ S299
you can hav~ our Hnvy cast Iron 14 Set, which wel~lls 160
Lack of space prevents me from naming other favorites, but lbs. All you hav~ to do i5 attach bed timbns ol any lrngth you
I must pay special tribute to the lady turners. Virginia Dotson's wish and voila- the mast~rpl~ your grandchil~n will cherish.
piece in spalted curly wood was very fine, Robyn Hom's Jarrah Send SJ today for I~ clas5 ddiv.,ry ol our catalogu~ giving
cumpiC1., de1ails.
Vessel has a classic form, and Rita Stochosky has some beautiful
paper knives and crochet hooks, and some miniature vases less
than 112" tall with classic proportions and shape.
I have to say that there was a plethora of hollow vessels in
the show, and while most were well done on the outside, some
were appallingly turned on the inside. The jury may have been
:f[;oVER
WOODCRAF1' SPECIALTIES. INC
!IIJZ:J,\fntfi.~Oit Rotuf ftlriqtlllli"OIJIO -1-#060
too polite in a few cases. Its better to have fewer pieces and
Dept. C:S8706
better standards. I know that the show was juried on slides, but
American Woodtumer 21
 Announcements

Let Your Fingers Do Our Research Congratulations Are In Order:

Would each of you mind taking a few moments to look in First, we are delighted to join others congratulating Sam
your local phone books for WOODTURNERS or for cabinet Rosenfeld to the Board of Directors of the American Crafts
makers that might have lathes? If you would kindly send that Council in New York:. Mr. Rosenfeld, a Washington, D.C.-
information to us, we will send them an AAW brochure. Thanks. based developer and devoted collector of fine art and craft, is
a Founding Patron member of AAW .
Second, we have found out that Mark Sfuri has received a
Have A Spare? $2,500 fellowship in crafts for 1987 from the Pennsylvania
Council of the Arts. This is for his lathe-turned objects and
Our AA W office needs a "folder-inserter" machine. These furniture. Our wannest congratulations! Members may be in-
terested in knowing that Mark is an Associate Professor in the
are the snazzy little pieces that takes a sheet of paper, folds it
Fine Woodworking Program at Bucks county Community Col-
in thirds and inserts it into an envelope. Boy, are they expensive.
As we grow, and grow, and grow, this need will become increas- lege.
ingly strong. I wonder whether any of our members know of
a business that might be interested in donating one or have one
that could be purchased "reasonably." For leads, call our office.
Rocks and Hard Places
Thanks.
David Ellsworth

No, it was not a misprint, and ... Yes, we greatly regret that
the dates of our First Annual AAW Symposium, October 1-3 ,
also fall on Yom Kippur, the holiest of all Jewish holidays.
How do these things happen?
HARRISON LATHES Well, when you have your ftrst organized gathering - a
national symposium - you tty to find a part of the country
This fine E nglish made machine is the traditional where the greatest percentage of your members can attend.
favorite o f British turners. C leverly desig ned and Here, Lexington, Kentucky is the right location. Then you find
solidly built with fine castings a nd precision a conference center that can accommodate the needs of 500
machined parts people without having them feel like sardines. Again, the
Lexington Center is perfect. But when our organization is only
HSS 1\uning Tools a year old, and conference centers require a year-and-a-half to
book a space , you realize the impact of Murphy's Law and you
Scraping Tools take the dates that are available. Unfortunately, the alternative
was NOT HAVING the symposium at all.
Sizing Tool As President of AAW , part of my job is to see that things
like this don't happen . When they do happen, I feel the weight
Precision Combination of responsibility both personally and professionally - victim
Chuck of circumstance, or not. To our Jewish members, please accept
my sincere apology and rest assured that for future events, we
Sharpening Stones will make every effort to avoid coming between such rocks and
hard places. @
Sincerely,
CALL US FOR PRICES
David Ellsworth
m el}ltRl)LEfi u eo President - AA W
Fox Creek R .D . 3
WOODTURNING TOOLS AND SUPPLIES Quakertown, PA 1895 1
6005 MILWEE #709
HOUSTON, TEXAS 77092
(713) 683-8455
1-800-247-9213

22 June 1987