A Chapter of The American Association of Woodturners

Northwest Woodturners meetings are held on the 1st Thursday of each month at 7:00 PM. See www.northwestwoodturners.com for details and map. Turning Challenge for July: Sketch your piece before turning; bring the sketch and your turned piece.

STAFF

President Mike Meredith (503) 522-0531 mmeredith23@comcast.net V. President Richard Hall Secretary Bill Rufener Treasurer Tom Reiman Board of Directors Jim Gentry Bob Tuck Fred Kline Scott Blackman Librarian Lynne Hemmert Raffle Tom Willing Supplies Tom Helzer Newsletter & Web Barbara Hall

QUICK UPDATES

All of those members who were at one of Nick Cook's demonstra-tions will agree that bringing him here was a worthwhile effort. Not only was Nick a gracious guest and very good company we found that his reputation as an instructor was well earned. The pile of projects he completed during the Saturday demonstration is impressive. I'm in the process of finishing several other pieces (completing the bottom of the platters, standing and applying finishes) so that they can be available for purchase during the Au-gust wood auction.

On Friday, May 21, Jim Hall and Phil Lapp joined me at Sherwood High School to represent Northwest Woodturners in the school's art show. Phil turned, Jim carved, and I talked. We all seem to achieve our natural status in life. The response from the students was en-thusiastic. Most had never seen a wood lathe. The pieces that Jim and Phil brought with them displayed the range and variety of expression possible with turned art. We met several of the students involved in the wood shop program currently and it was clear that they would welcome enhanced instruction in turning as part of their curriculum. I saw lots of pens, some good, some not so good, and heard projects about other projects they were at-tempting. I think the most interesting interaction that we had was with the faculty. They were enthusiastic and supportive of bringing Northwest Woodturners into the shop curricu-lum. They appreciated the pieces on display as art, as craft, and as a potential opportunity for students to express themselves. We have received the blessing of the administration, so we will plan on NWWT meeting at Sherwood high school beginning in September.

This week, I will be sending a list of our meeting dates to Jon Dickover, the shop teacher, to reserve the room for our monthly meeting. There was no objection to the possibility of our having demonstrations on Saturday at the school. Some work is needed to make the facility at SHS ready for us. We will need to move the cabinets and devise ways to use our camera system. Our materials and lathes would be stored in the wood shop, a floor below the room where we would meet. However, an elevator is there and moving materials will not be a problem. I don't think it is likely that we will be able to put permanent camera installa-tions in the room. I think it's more likely we will have to build camera stands that can be broken down and stored after the meeting. These are things that we will have to decide through the summer. This also means the obligatory work parties, so and eye on the news-letter and website for details of those opportunities to help the club.

The remaining segment of our agreement with Sherwood High School is defining our par-ticipation in the wood shop class. It will be necessary for Northwest Woodturners to supply mentors to go into the school and actually do demonstrations and conduct classes on wood turning.

(Continued on page 2)

PRESIDENT ’S MESSAGE

JUNE, 2010 THE WOODTURNERS’ LOCAL RESOURCE

VOLUME 15, ISSUE 6 WWW.NORTHWESTWOODTURNERS.COM

PAGE 2 VOLUME 15, ISSUE 6

WWW .NORTHWESTWOODTURNERS .COM

Artistic and functional describe the many different pieces created and sold by Nick Cook. A production turner, he demon-strated an inordinate number of beautifully turned pieces in a very short time at the Saturday demo. When asked how he was able to turn a large number of the same piece, time and again ... he replied, ―I see how quickly I can turn the next one .‖ A lesson we can all follow if we decide to enter the commercial world and sell our work without becoming bored and losing momentum. I am truly in awe of Nick Cook‘s ability to handle the tasks of being a production turner with grace and enthusiasm. His finesse and gentle-ness in turning are to be emulated. He‘s certainly given us new confidence to approach the many ways we can use the skew in our turnings.

Nick punctuated his demo with insightful comments: For example: Make it easy. Conserve the material. Anything I can do out of scrap is a bonus and repetition is the best teacher there is. Ash is Nick‘s favorite turning wood. His turning hints included: Watch the profile on the horizon. Worry about high spots; do not worry about low spots. A 4 prong drive center is preferred over a 2 prong center on a natural edge bowl. Always separate tail stock first. When making a goblet, do the cup first and then the stem. Support the wood surface with your finger to reduce the vibration. We really enjoyed Nick‘s demos and the class was every turner‘s dream!

N ICK COOK , OUR MAY DEMONSTRATOR AND INSTRUCTOR

PAGE 2 VOLUME 15, ISSUE 6

In that this is what I do for a living, woodturning instruction being a lot more fun than biochemistry and pharmacology and gen-erally better received, I will be happy to do this but others will need to step forward, too. Moreover, the broader the partici-pation of club members, the more successful the program is going to be.

We've already begun the process by directing the purchase of equipment for the shop. Currently, they have two mini-lathes and an old Powermatic that work fine but need some adjustment to be brought back into specifications. Whether our lathe would be available for student use is yet to be determined. The first purchases will address the sharpening needs of the shop as well as the woeful state of turning tools available to the students. I think a tool donation drive by NWWT might get them along the way toward an appropriate selection of tools, as well as saving the program some money. Beginning in June, there will be a white plastic bucket at the meeting with the label "Tool Donations". If you have a tool that you just don't use anymore (and who among us doesn‘t) and feel like getting it in the younger hands, bring it along and drop in that bucket. I'll see it gets where it can do to some good.

In the words of the old Chinese curse "May you live in interesting times", these may be interesting times for Northwest Wood-turners. Transition is never easy; change never comes without effort. The new room will allow us to grow to, at least, 150 members if that is our destiny. Adding our expertise to one of the few remaining industrial arts programs may be the most im-portant benefit of this change, and might assure that there will be a Northwest Woodturners in 20 years. Lottery winners: don‘t forget Lynne Hemmert‘s Portuguese laurel challenge. The ever-punctual Steve Newberry already has his in but the rest of us need to complete the task too. See you at the June meeting Mike

Turning the famous pepper mill

Friday Class with Nick Cook

Photo by Bill Rufener

Saturday Demo

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N ICK COOK ‘ON TURNING A SPINDLE ’

In the hands of an expert, turning a spindle looks effortless. But there are plenty of pitfalls to avoid on the journey to expertise. Here are 20 tips to help you become a spindle master.

Spindle turning may seem easy for production turners and others who have stood in front of a lathe for few decades. Many of us simply turn on the machine, mount the blank between centers, and start cutting. Those who watch - either in demos or as stu-dents and even clients - are amazed at the speed and accuracy with which we perform what we consider the mundane task of turning spindles. But for the beginner, there are so many things to think about!

Let‘s start with mounting the blank. Should we use a safety center or a spur-drive center? A two- or four-prong spur center? Should I use a mini-spur? Should it be spring-loaded or not? See what I mean? This may be too much for the average student. Most beginners don‘t really have to think about all that much. The lathe they just purchased came with a drive center and a four prong spur center without a spring loaded center, and is large enough to drive most anything that will fit on it. Here are some do‘s and don‘ts to improve your spindle work.

1. Mount your stock. Choose your turning stock carefully. Avoid knots, checks, and other defects. Straight-grain blanks pro-duce the best results. Poplar is inexpensive, easy to turn, and readily available. For projects requiring detail, maple is my favor-ite light colored hardwood; walnut and cherry are ideal when dark woods are preferred.

2. Always use a center finder or a straight edge across the corners of the blank to find the cen-ter. This is especially true if you are going to leave squares on the final turning. It is also neces-sary to make sure the blank is truly square when preparing the material. On fully rounded work, this is not as critical.

3. Never mount the blank with the lathe running. It is dangerous and can cause you harm. Don‘t do that!

4. Never drive the blank onto the spur center while it is mounted in the spindle. This can damage the Morse taper and stress the lathe bearings.

5. Never drive the spur center into the blank with a steel-faced hammer. This will damage the Morse taper, preventing it from fitting properly. Always drive the spur with a wooden mallet, dead blow, or other soft-faced hammer.

6. Never apply excessive pressure on the blank with the tailstock. Slide the tailstock forward, lock it in place, and run the live center into the end of the blank. Be sure to lock the quill in place once you‘ve snugged up the tail center. At the tailstock, use a good-quality live or ball bearing center; one with interchangeable tips to accommodate different applications is worth the extra expense. A cup-shaped tip on the live center will be less likely to split smaller blanks.

7. Maintain your tool rest. All turning tools are harder steel than the tool rest. Nicks and dings in the tool rest will be reflected in the work piece. Use a mill file to keep the tool rest smooth. Some turners even wax the tool rest with paraffin (sometimes called canning wax).

8. Position the tool rest parallel to the blank and as close as possible - 1/4" is adequate clearance. Be sure to lock the tool rest to the support and the support to the lathe bed. Always rotate the work piece by hand before turning on the machine. No matter how many times you have seen it done in demos, never move the tool rest with the machine running. Always move the tool rest

closer after removing the corners from the blank - excessive overhang of the tool will cause chatter.

9. Adjust the height of the tool rest to match the tool you are using. You should cut above cen-ter for most lathe tools. If you switch from a thick tool (like a spindle roughing gouge) to a thinner tool (like a skew) you will need to raise the tool rest.

10. Always cut downhill, from large diameter to small diameter on spindles. Attempting to cut uphill on some woods will produce disastrous results—expect a lot of catches.

11. Never work with dull turning tools. If in doubt, sharpen the tool. The skew in particular

(Continued on page 5)

PAGE 4 VOLUME 15, ISSUE 6

June Show and Tell

Tom Helzer

Don Woodward

Steve Newberry

Stan Postma Tom Helzer

Roy Ackley

Betty Fox

PAGE 5 VOLUME 15, ISSUE 6

.

June Show and Tell

Kathleen Duncan Ron Fox

needs to be razor sharp. Honing is required to maintain the edge of the skew; other tools may be used straight off the grinding wheel. Sharpening jigs or fixtures will ensure that you get a consistent bevel angle on your tools.

12. Never turn on the lathe without first checking the speed. Step pulleys are easy to check visually. Variable-speed lathes that utilize an adjustable pulley system do not allow you to change the speed without the machine running. Turn on the lathe before mounting the blank, adjust the speed, then turn it off and mount the work piece. Some of the electronic lathes are equipped with digital readouts so you can see the RPM as you make adjustments. Here are speed guidelines (wood species and experience are key variables): For 1"- to 3"-diameter stock, I recommend roughing out at 1,200 rpm and moving up to 2,000 rpm for fin-ishing cuts. For stock 5" in diameter or larger, rough out at 800; finish at 1,500.

13. Use your body - not just your hands - as you move the tool along the tool rest. This will provide more support and better control.

14. When turning furniture parts or architectural elements with square ends or pommels, make sure your blanks start out perfectly square. It is also critical that you accurately locate the centers on this type of work.

15. Take your time; rushing through a project will probably create less than satisfactory results.

16. If duplicating two or more spindles, make a pencil gauge or story stick. Use your template to mark each blank once it is roughed out. The marks will identify where details are located along the spindles. Use a parting tool or bedan and a vernier scale to cut down to the appropriate diameters. Always measure from the same end to provide consistent results.

17. Vernier scales and spring calipers can get caught in the workpiece and snatched from your hands. Always round over the tips of your measuring tool before using them on spinning stock. Or even safer: Stop the machine to take measurements.

18. For additional support and better control of your spindle turning, wrap your index finger around the tool rest.

19. Remove the tool rest prior to sanding. It‘s too easy for fingers to get caught between the tool rest and the turning stock.

20. Never use cloth rags for applying finish, only paper towels. In an instant, the spinning lathe can grab a thread and your finger. It‘s false economy to use cast-off T-shirts if doing so leads to a trip to the emergency room.

N ICK COOK ‘ON TURNING A SPINDLE ’ -CONTINUED

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PRINCIPLES OF DESIGN : SKETCH AND EMOTIONAL RESPONSE TO ART

Some are able to design in their heads, visualizing a three dimensional piece. For the rest of us … sketch. Sketching is a valu-able tool for developing and visualizing a design, and even the most accomplished among us use this method. I suggest that you purchase a blank bound sketch book. Why bound and not loose leaf? The drawings we make seem to have added value when they can not be simply balled up and thrown at the waste can before we have really thought through the sketch and experi-mented. I had an instructor from Finland who insisted each class member use a bound sketch book. I remember thinking at the time , "I hope the paper is strong" because I am going to do a lot of erasing. I treasure these books now because they present a learning process that eliminated a lot of potential problems faced then and even now. Many of the designs show a step by step process that I can pick up and continue developing even 20 years later. I also learned by laying tracing paper on top of questionable parts, I could modify the sketch and compare different areas. I also drew dimen-sional lines like railroad tracks that converge giving the impression of receding into the back-ground to help me visualize a 3D effect. I readily admit that when the design was more com-plicated I was obliged to make a clay or wax model to give a true value of what would work and what wouldn't. Some designs that looked great on paper were dismal failures in the 3D model; but others were great! Use paper as your practice ground and really learn to think through your designs. You can achieve balance and dimension and have a feeling of what the piece will really look like before you cut into the wood.

So my suggestion is to design on paper before cutting into your material. It's much easier and cheaper! Of course, if you are someone who believes there are no failures - only opportunities … then cut away. Spontaneity has virtue, and can yield won-derful results, but it is fraught with difficulty and often leads to lost material. It is a great opportunity to let a piece of wood lead you to a result, rather than imposing a design. I believe that it is not easy to do. I carved a sort of human figure out of a 5' black walnut log and unpredictably the head shape broke away. The resulting 'Picasso effigy' is a bit weird; but the wood is beautiful. Even if you are this type of turner - go with the flow - but still use a sketch book to work out designs in your head. You will get practice at visualizing in 3D, working design problems into successful solutions, and it will generally improve your ability to let spontaneity guide your work - even if you never actually turn any of your paper designs.

Some basic rules to think about as you sketch are:

1. Curves are soft, straight lines are hard. In other words, if you use a straight line in a design rather than a curve, your piece will have a harder feel and greater impact.

2. Simple geometric shapes are harder - they carry more impact - than graduating shapes. For example, a circle has more en-ergy and impact than an egg form. The constantly changing radius of the egg form eases the tension.

3. A high center of gravity gives a feeling of greater energy; it also produces tension. We discussed this earlier, as the higher the center of gravity the more we feel instability in the piece, as we expect gravity to want to topple it. I believe this is part of our learned response to our environment.

4. Imbalance also creates tension. This rule works similarly to the previous rule, because imbalance takes a piece out of rest and adds energy to it.

5. Height works opposite width for achieving balance. You can use height on one side to balance width on another side, balance is achieved by total volume as well as by shape. So if you have a large volume low on one side, you can balance with a thinner but higher volume opposite.

6. Symmetry is calmer than non-symmetry. This is similar to rule 4. Symmetry creates an automatic sense of balance (although it doesn‘t deal with shape and volume issues, or center of gravity issues). Non symmetry requires achieving balance by using different mechanisms, the use of negative space to balance positive space, or height to balance width - rules that require balancing one shape or volume with a differ-ent shape or volume , generally in different positions. But no matter how much you try to create balance in a non-symmetrical piece, there will always be more action, more interest, more energy in such a piece than in a symmetrical piece. This is particularly challenging for us turners, since the lathe naturally gives us

(Continued on page 7)

Christian Burchard‘s Sketch for Contemporary Works in Wood

Ed Kelle Portal

VOLUME 15, ISSUE 6 PAGE 7

BUSINESS ADS

perfect symmetry about one axis. Enter off - center turning, carving, inlay and other techniques used to modify the symmetry of the turning to add interest and energy.

7 Add your own rules as you sketch your designs. Remember, rules to not give you a do/don‘t do or a right/wrong answer. Rules give guidance as you seek to invoke a particular emotion or visual impact for your design.

We spoke of emotion before. The emotion you feel in the process of creation and the emotions your pieces generate in view-ers. I believe emotion is the key to response, positive or negative, to design. Therefore successful design evokes a response. Many successful turners use carving and other surface embellishments to have a wider palate from which to evoke emotion in the viewer. Don't forget your utilitarian pieces can use design to help generate sales. Use the ‗generate interest effect‘: con-sider form before function as the shape and feel of the piece to generate a positive response in the viewer before they examine it to see if it functions. A stylish pepper mill might function just so-so; but if it looks good it often finds a place on the table anyway.

Unfortunately the formative question by the viewer is ―Do I like this". As Jeanette Winterson in her ‗Essays on Ecstasy and Ef-frontery states ‗There are no commandments in art and no easy axioms for art appreciation. The obvious direct emotional re-sponse is never simple, and ninety-nine times out of a hundred, the 'yes' or 'no' has nothing at all to do with the piece in its own right; but is our own subjectivity.‘ Jeanette talks of a painting that she passed in a little gallery that had more power to stop her than she had power to walk on. That‘s the epitome of an emotional response from the viewer to our creations that we all hope for and seldom get!

Barb Hall

PRINCIPLES OF DESIGN—CONTINUED

northwest artists and craftsman show

The last weekend in April we attended an extensive craft show with some really superb work at the Convention Center. The Oregon Potters Association Show is the anchor and other crafts have joined in. David Williams informs me that the other crafts 'coincidentally' rent the adjacent rooms from the convention center which obviously works to the benefit of all ... Splendid exposure for many artists and craftsmen all under one roof and great fun for the viewers to see Oregon work at its best. The Metal Arts Guild (MAG), Weavers Guild, Bead Show, Wood-workers Show (hosted by the Oregon Woodworkers Guild), and the Glassworkers Guild members displayed their wares.

We saw fine work by David Williams, Kathleen Duncan and John Wirth and oth-ers representing the Pacific Northwest Woodturners Guild. This was the best (most profitable) show in many years-- for a lot of the artists (if you had items for sale under $100).

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MEETING SCHEDULE FOR 2010

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

Jan Annual Swap Meet

Feb William Moore (Metal Spinning) Aug Auction

Mar Mike Meredith (Sharpening) Sep Marilyn Campbell (Epoxy Inlay) H2 D

Apr Mike Wonser (Design/Photography) Oct Mike Jackofsky (Turning) H2 D

May Nick Cook (Turning) H1 D Nov Member Turned-wood Auction

Jun Jim MacDermot (Gilmer Wood) Dec Christmas Party

Jul Mini Demos

When Scott Blackman handed over the reins of the Newsletter and Website after a successful 2 year sojourn, he emphasized, ―Lots of work with no payment; but … and his face lighted up with a big smile ―You get to choose the Challenge Topic each month‖.

How do I choose the Challenge topic. I try to base the selections on items covered in the Newsletter, activities from the World of Wood Turners (WOW) and ideas generated by our demonstrators. The choices may seem to be ‗off the wall‘ but there is really a tangible relationship to our Challenge activities.

For example: January‘s Challenge was ―Incorporate another type of material with your turned wood piece‖. An article featured pictures of William Moore‘s metal spinning and a metal teapot at the OCAC faculty exhibit and an elegant turning from Ed Kelle in WOW. Bill Moore was the February demonstrator and his work reinforced the increased interest a multi-type-material piece can bring. February‘s challenge was to design a ―Pourer‖. The ‗In Thing‘ at WOW, galleries and competitions at that time was teapots. The Newsletter featured a teapot by Cindy Drozda, and a ―How to‖ on teapot turning article by Ray-mond Overman. A pourer was a simpler concept than the teapot; but the required pouring surface had to funnel the liquid to go where you wanted it i.e. not drip down the sides of the vessel or spray your neighbor.

The March challenge required you to ―Color It‖. This was supposed to be ―pen month‖ in tribute to our planned demonstra-tor. It also was the beginning of the Vancouver Olympics. The opening ceremony featured a simulated 3D light show with virtual falling colored leaves and orange fish that leaped in the air. Phil Lapp turned a piece with real colored leaves. What a classy innovation in response to the Olympics and this Challenge.

The April and May challenges required the use of the ―Golden Rule (Golden Mean)‖ to check the proportions of your turned pieces from the dissertation in the Design article. You may not be able to ‗feel‘ proportion; but it‘s easy to measure using the mathematical formulae provided in the design article.

The current challenge for this month asks you to turn a new shape . Purely for decoration, it should not have to accomplish any task except be satisfying emotionally just to look at. I was inspired to issue this challenge because of the simple beauty of the marbling and the editorial which emphasized the beauty inherent in good design. I wanted you to be inspired by the design process and not be tied to feeling that you had to make a piece that was actually useful for something.

Our new challenge for July asks you to sketch your piece before turning. The idea for this challenge is taken directly from the ideas expressed in the Design article; a sketch by Christian Burchard and an elegant piece with simple lines by Ed Kelle. This is the challenge to work on this month and bring to the Design Challenge at the July meeting. Try it, You really might like sketching your proposed piece in advance of turning and find it to be a useful addition to the collection of your many skills. Bring your design and the piece you‘ve turned for this challenge.

If you want to show what you are doing, inspire others and receive some good criticism enter the Show and Tell and Chal-lenge contest. The latter is rewarded with a winners prize. I am asking Mike to provide one of the special prizes from our sup-pliers for the piece that best expresses the Challenge ideal each month. Show and Tell is to show others what we are turning!

EDITORIAL - The Northwest Wood Turners Challenge: The Editors VIEWPOINT

PAGE 9 VOLUME 15, ISSUE 6

EDITOR ’S NOTE

Date Class/Demo Location Time

5/05 Demo Segmented Turning Woodcraft 1:00AM-2.00PM

5/06 Pen Turning Rockler *1:00PM-4:00PM

5/06 Pen Turning Woodcraft *1:00AM-4:00PM

5/12 Beginning Lathe Turning Woodcraft *10:00 AM-4:00AM

5/13 Off Center Turning Woodcraft *10:00AM-4:00PM

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

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

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

Northwest Woodturners

13500 SW Pacific Hwy #185 Tigard, OR 97223

LOCAL EVENTS , CLASSES , AND DEMO ’S

The Laurel Challenge. The June meeting will see the results of the ten members that won the lottery. Phil Lapp will head up the panel of Judges. If you accepted the piece of wood for the Laurel Challenge, please bring your piece to the June meeting. Thanks, Lynne Hemmert

The Northwest Turners Members June Challenge and Show and Tell is of course open for all members: The June Challenge is to turn a non-utilitarian shape that you have never tried before … Experiment, learn and have fun!

Current northwest woodturners challenges

The Northwest Turners Members July Challenge for all members: Sketch your piece in preparation for turning. Experiment and save money before you cut into that precious wood. I realize this may be working out of the ‗box for you‘ but try it! Bring your piece WITH the sketch. The July Challenge is taken from the Design article on pp. 6 and 7. Be sure to also bring your Show and Tell items even if you do not have a piece you want to enter in the Challenge.

Eli Avisera will be doing a three day hands on class in Dale Larson's shop in Gresham. There are only two places left for July 25 –27. The cost will be $225. Eli is a great teacher. He travels all over the world teaching woodturning. The maximum for the class will be 10 turners. If you are interested call or email Dale. 503-661-7793

Dale Larsen woodbowl@verizon.net

13500 SW Pacific Hwy, #185

Tigard, OR 97223

CLASSIFIED ADS

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

For Sale: Long time turner Ollie Murray is selling his tools, wood and supplies. We will have an open shop day at his place on April 24th (Saturday). Here is a list of the major tools Ollie has for sale: Rockwell Radial arm saw 110 vt., $150 Rock-well bandsaw 14"side clearance, $75 Baldor 6" grinder $150, Delta 9" disk and 6" belt sander $150, Wood Fast wood lathe, long bed, 4 pulley (on casters) $750, Dayton air compressor 20 gal tank $130, Belsaw shaper and plainer on stand $200.Contact Ollie if you are interested. 503-253-9242. 9704 SE Ash St, Portland (just north of Stark St).

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

For Sale: Wood: Desert ironwood, Log sections, Yew and other turnable wood. Contact Jim MacDermot if interested. call 503-329-6188

Our june Demonstration with Jim Macdermot; Gilmer Wood

Jim will talk to us about wood using the expertise and experience he has accumulated over twenty plus years. He started his career with wood after making marshal arts weaponry. He became interested in the IWCS, the International Wood Collectors a non-profit Society devoted to

distributing information on collecting wood, correctly identifying and naming wood specimens, and using wood in creative crafts. He has lectured to the international members of this society.

He is a member of the staff of Gilmer Wood. A company that has one of the best selections of rare, exotic and specialty woods in the country. Jim will talk to us on ‗How to buy wood‘ and other related wood topics. He is a turner as are most of the staff at Gilmer and understands our wood needs. Come to the NWWT meeting with your questions for Jim. He has graciously offered to devote a large part of his talk to answering these questions.