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 August: Turn the first 2010 Christmas ornament using your wood purchase from the auction

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

It‟s August already, or will be pretty soon, and the annual wood auction is coming up again. I don‟t think I need to remind you how important the auction is to the club. This is the major source of funds for the year; the money we use to bring in demonstra-tors, buy the audio and video equipment we need to make our meetings more useful and cover the clubs expenses. I also don‟t have to remind you how much fun the auction is. Beyond getting bargains on outstanding pieces of wood and equipment, Joe‟s sau-erkraut makes the event too good to pass up. So gather your items to be donated and plan to be there. A good cause, good food and, oh please, good weather.

I just finished a three-day class with Eli Avisera, along with several other NWWTurners. This is the second time I‟ve done this class with him. One of these days I‟ll get it right. Eli is an excellent teacher and proof the skill transcends language; although his English is much improved over the last three years. I am always impressed by his complete mastery of the tools; his seemingly effortless transfer of his vision to the wood. I‟m not forgetting that when you do something every day for 35 years you acquire some skills, but Eli‟s ease at the lathe is still impressive. Anyone that can reinvent the skew chisel must be taken very seri-ously. Eli is in the US every year and I hope we can get him to NWWT in the near future. We have a couple of his videos in the library and should acquire more. I can recommend them to all turners, regardless of skill level.

Here‟s an update on the move to Sherwood High School. Things seem to be moving along; forms have been filed out and insurance documents updated. We‟ve found a camera gantry for a surprisingly reasonable price. Bob Fredericksen is taking care of the lathe mobility is-sue. We have decided to meet in the large common area instead of the classroom. The area is big enough to hold a track meet (someday we may have to discus whether to limit mem-bership to 500) and the audio system and projection screen are right there. I have commit-ted to one day a week in the shop class. Bill Rufener has decided to donate a lathe to the shop and we are gathering a good supply of old but serviceable tools. September will be the first meeting at SHS and I‟m sure there will be more than a few bumps along the road but we‟ll get it done. I hope Marilyn Campbell appreciates an adventure.

The last thing I want to bring up, and among the last things I thought I would ever have to discuss, is the current flap with the AAW. Kathleen Duncan, president of Cascade Wood-turners and I share our continued support of our elected board of directors. As you know by now, Mary Lacer was relieved of her duties as Executive Director by a vote of the AAW board of directors (7 to 2 with the president not voting but supporting the dismissal). There was an immediate outcry of foul play, power grabbing and malfeasance on the part of the

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PRESIDENT ’S MESSAGE

AUGUST, 2010 THE WOODTURNERS’ LOCAL RESOURCE

VOLUME 15, ISSUE 8 WWW.NORTHWESTWOODTURNERS.COM

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majority of the board. As part of a more than generous offer to Mary Lacer, the board allowed her 21 days to resign, without comment by the board, thus retaining some vestige of dignity and employability. Instead of honoring the 21-day agreement, two of the board members immediately went public with their disingenuous charges about the board‟s actions that have cov-ered the AAW forum. In truth, what they have done is strip away any future prospect of high-level employment for Mary Lacer. The board was significantly more generous than I would have been. A wise old geezer once offered the reproof that malice should never be presumed when incompetence would explain the same actions. Which of these adjectives, malicious or incompetent, could best be applied to Lacer is unimportant. The facts are that the former Executive Director violated, on several occasions, the conflict of interest regulation in the AAW charter and has agreed to contracts for the San Jose Symposium (2012) that will be devastating to the AAW treasury. I would have dismissed her for cause without the slightest hesitation or even given her a chance to resign. A family fight is the saddest of all conflicts and that‟s what this is becoming. A proxy fight has been initiated. A proxy site will be made public in the next few days and paper proxies will also be available. AAW mem-bers will be asked to support the board (for the board, I read Dale Larson and Binh Pho, in whose judgment I have great confi-dence) or Malcolm Tibbits and Alan Lacer in their bid to take over the AAW. I have confidence in Dale and Binh. To me, it‟s really that simple.

Paper proxy forms will be available at the August club meeting. The AAW forum has already suffered one cyber attack. I am not confident that electronically placed proxies will be secure, though it‟s probably just the conspiracy theorist in me. If you are an AAW member, please make sure you have your membership number with you at the August meeting. Proxies can be filled out at that time. We never stop to think about it but AAW is a $1.5 million per year endeavor. Perhaps incompetence isn‟t always the seat of trouble. - Mike

JULY MINI - DEMOS Lloyd Johnson and Associates

Lloyd's presentation was on 'Technology and the Woodturner'. A portion covered beginning and advanced topics using his Woodturner PRO suite of software. Next, Lloyd showed how SketchUp can be used to model simple or complex woodturn-ing projects. Finally, Lloyd showed shop-built sleds and tools that you can build to make segmented sculptures. These tech-niques can make projects that would appear to be very difficult into projects that can be made by any intermediate wood-turner/woodworker.

We had checked out SketchUp when it was first introduced. I had done much of my 3-d modeling in 3-d software packages such as 3D Studio Max and 3D Lightwave among others which are very complicated with long learning curves. But what a sim-ple solution to seeing a design in 3-d easily rendered with minimal effort. Not only that but you can rotate designs and look at them inside out! What this package does not offer is the ability to draw designs that are on multiple axes. Off center turners will need to combine designs to accommodate the total structure they wish to turn. Maybe Lloyd will add this facility to his

excellent software package in the future.

Try out this design software. It‟s a lot of fun and you can save and/or print your original designs for future reference!

AUGUST CHALLENGE

For the August challenge, Choose some wood at the auction that you believe would make a great Christmas ornament. Com-plete your piece and show it at the September Meeting.

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Jim Gentry demonstrated his process to create these candlesticks. In addition he brought an article from the December 2001 Woodworker‟s Journal by Rick Christopherson with detailed instructions so we can all read about the process.

Choose the number of flutes you want for your design. The number of divisions around the spindle needs to be a multiple of the number of flutes. For example if four flutes are used, the circumference of the spindle needs to be divided by four, eight, twelve, etc. divisions. To achieve a 7/8th pitch ratio, the circumference is divided into eight segments, the length is divided into seven segments. Draw your cut-ting guides so that they go from point to point where the length and circumferential lines cross, moving one line in each direction. Don‟t forget to make the spiral in opposite directions for each of the two candlesticks.

Using a Forstner bit, bore the beginning and ending holes first, right on the line. Jim bores overlapping holes the length of the spiral. The lap of the bit creates a hollow area in the center.

Jim cleans up the edges with a drill bit. Drill precisely 1/2 way through the center of the turning. Do not drill all the way through in case the lines are not perfectly aligned with each other. It is critical to use a V-carriage to hold your piece steady while you slowly rotate the work piece past the drill bit . This helps ensure each drill hole is perpendicular to the piece. Always work in a clockwise direction. Hold the piece firmly.

Shape the flutes so they are smooth and have rounded edges using chisels and sandpaper. Round over the outside corners of the flutes.

Mike Meredith demonstrated The GRIP-ALL JAWS SYSTEM

The GRIP-ALL JAWS SYSTEM was developed by Bob Myers out of a need for a holding device that would secure an irregular three dimensional object and not leave holes from the face plate or scars from attached tenons or be affected by the impact of power tools or chisels moving the work piece. Thus affecting both the accuracy of the cut and the safety of the pro-cedure.

The GRIP-ALL JAWS SYSTEM is so versatile that it will work on bench front vises and tail vises. It can be an indispensable tool for carvers, sculptors, wood turners and woodworkers. No more mistakes from slipped pieces!

Lloyd Johnson also displayed various jigs he uses when cut-ting and assembling segmented turnings.

Here he shows a jig used to help assemble rings. The matching length helps insure the rings are centered exactly, and the adjustable fitting can be rotated any desired amount to rotate one ring compared to its neighbor. The rotation angle you choose is critical since how each ring lines up with it‟s neighbors will have a definitive effect on the overall visual appearance of the finished piece. Usually you will want to choose a rotation such that rings realign regu-larly, every second third or fifth ring. For this example, using a six piece ring, Lloyd has rotated one ring by 30 degrees (or half of the 60 degrees each part of a ring takes). In this way, every other ring will align.

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It's now time to revisit color in design. The traditional circular diagram of colors was developed by Sir Isaac Newton in 1666. Since that time scientists and artists have designed numerous variations of the color wheel. Of critical importance in the ar-rangement is the logical sequence of pure hues. Artists use pigments, scientists use a system based on light. Red, green, and blue lights are used by scientists as the primary set of color. An example of this color set is generated on our computer screen monitors. We will limit our talk to the use of color pigments; which is primarily what we do with wood turnings.

The color wheel has several basic rules to make using it easier to understand. First, it is divided into two general parts - a warm side and a cool side. The warm side features reds, oranges, and yellows. These colors are considered active and excit-ing. The cool color side consists of green, blue to the coolest violet hues. These are more calming colors. The next rule states that there are three main pigment colors that cannot be created by mixing other colors - these are the primary colors red, yellow, and blue. All the other colors come from the mixtures of these three primary colors. The next rule defines secondary colors: green, orange and purple which are formed from mix-ing primary colors. Tertiary colors blue-green, yellow-green, yellow-orange, red-orange, red-purple, and blue-purple are mixed from a pri-mary plus a secondary color. Use the color to the immediate left or right of its complement to create this sophisticated mix. Combine any bright hue with the color directly opposite on the color wheel for a basic color scheme that is called 'complementary'. Note that mixing complementary colors together always results in a gray result. Selecting similar hues in your composition (side by side colors) will create an „analogous‟ scheme. As you understand the structure of the color wheel you can begin to se-lect the colors, using one or more hues to create and mix successful pal-ettes to create a particular emotional response from the viewer. As a hint - it is generally a good idea to choose one color as the main color, from which the palate derives it‟s main influence, and then add smaller areas of additional colors using the combination style you want, to create the feeling you are trying to portray. One caveat—be careful in color selection that you don‟t evoke a negative connotation within the culture you are targeting. For example, black is the color of mourning in western cultures, but white is the color of mourning in some eastern cultures. Also be aware of cultural color associations. In America for example, orange and black might infer Halloween. Overall, an individuals response to color is highly personal and dependent on that individ-ual‟s life experiences. Therefore, in the end you must trust your own sense of color - and let the chips fall where they may.

As you probably have guessed, red is the most energetic color of the color wheel. Red and black is the classic power combo for corporate identity. Used by artists and designers worldwide when maximum impact is desired. (Rarely seen in the financial section of corporate reports probably due to the superstition of 'being in the red'). Use red sparingly; overuse can feel chaotic and overpowering to the viewer. Red-orange is often used for action oriented products from surf boards to parasails. A bright red-orange often rivals red as a moving high contrast color that's full of energy. Try pairing it with aquamarine or lemon yel-low for a screaming energy-packed combo. Orange is a highly visible color that is both bold and appealing. Orange can have a joyous aura. Yellow blended with orange is dynamic and adds vitality to your color scheme. When combined with its comple-ment, blue-violet, it makes an immediate and lasting impression on the eye. Chrome yellow was first manufactured at the be-ginning of the nineteenth century. It was considered a regal color in the West and a holy color in the East where it is associated with the sun. Add white to yellow to enhance its brightness and luminescence.

When the two primaries blue and yellow are combined, the result is yellow-green. It's crisp, cool and invigorating look is of-ten used for trendy youthful fashions. It brings its bright intensity to breakfast nooks. If your target audience includes a youth-ful age group you might consider this color.

Yellow, yellow-green and green symbolizes the environment. Sunny yellow adds brightness, green balances and brings har-mony. Experiment and add touches of violet, red-violet and red. Green, symbolic of health and prosperity has cooling and soothing properties. Intensify by adding touches of red, coral and orange. Use blue-green at its fullest saturation to emulate sunny locations by the sea. Blend brilliant blues and greens to create tropical colors.

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PRINCIPLES OF DESIGN : MORE ON COLOR

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The fair was born in 1969. It is located in Veneta in a refuge of fields, forest and seasonal wetlands between the Willamette Val-ley and the Coast Range. For three days each year Oregonians enjoy its natural setting and diversity of people . We used to fondly call it „Tie Dye Heaven‟, a sort of hold over from the days of the flower children. Smiling costumed people on horseback used to greet us and direct the way to parking. This year there were fewer horses; but the same smiling faces and hearty greet-ings were ever present. People, young and old, some dressed in costumes of all sorts, nubile young nymphs with flower painted breasts and others in wheel chairs all enjoy participating in this unique event. Paths wander between craft booths, artists perform on the six+ stages, and the „marching band‟, complete with giant figures (on stilts) salutes us with a medley of sounds. People dance to the percussive beats of drums and the enticing aroma of food fills the air. Crafts of all sorts, including our own beloved wood turning are represented in this unique environment. An energy area demonstrates alternative forms of energy we can use … the goal of the fair designers is to achieve meaningful sustainability. Enter into this retreat and participate in the fun and enjoy the excitement or just sit in the shade, feel good and watch the stream of people pass by.

THE OREGON COUNTRY FAIR … AN OREGON TRADITION

Gene Shaw

July Show and Tell

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This is a special reminder to you of the upcoming one-day demo and two-day workshop with Marilyn Campbell in September 2010. Marilyn Campbell, a very accomplished and very sought after instructor, begins by turning various shapes from platters to bowls. She then cuts them apart along attractive curves. Next she positions the pieces in various configurations until pleased with the result, holds them with tape, and fills the voids and builds edges with epoxy. She completes the piece with paint and surface patterns done with a Dremel tool and various cutting bits. Her work is unique and her technique could definitely be incorporated into your turnings. This is a GREAT opportunity to experience thinking and working outside the box!

The two day class will be held at Tom Reiman's workshop; the Demo at our new Club location, Sherwood High School. The cost of the day long demo is $35.00, the two day workshop is $200 ... either is a real bargain! Payment should be received by two weeks

prior to Marilyn's demo. Owen and Richard are setting up a paypal link on our website for your convenience.

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M IKE JACKOFSKY … OUR OCTOBER DEMONSTRATOR

MARILYN CAMPBELL … OUR SEPTEMBER DEMONSTRATOR

Mike Jackofsky specializes in hollow forms, most of which are natural edge pieces made from unique burls, but he also turns bowls, including thin natural edge open bowls, off-balance asymmetrical pieces, hollow forms with “wings,” and sculptural forms. He was the subject of a feature article in the January 2008 issue of Woodturning magazine.

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PRINCIPLES OF DESIGN : CONTINUED

Blue is only second to red as one of the strongest colors. It has pleasing hypnotic qualities when combined with blue-violet and blue-green. Use it as a base color. Heighten blue's intensity with emerald, aquamarine, lime and citron hues. Blue-violet or "royal-purple" is regal with a stately presence. Add touches of its cherry complement yellow-orange and lots of gilded gold.

Play with your colors to find the best mix to enhance your work. Attract the people (your target audience) with the right colors that they can more readily enjoy and even purchase your work. A suggested playful color mixture from the warm side of the color wheel is red-violet and yellow-orange. Give added depth with a black background. Brighten with a third tertiary color such as red-orange. Spice up a basic terra cotta and cream scheme by adding a little chili pepper red and an intense tangerine orange. A magenta pairs well with a pale pinky purple hue, or combine a vivid yellow-orange with a warm butter cream shade. Mix metallics for a futuristic look. Use your wood tones to stabilize and ground your colors, but realize when using transparent colors that the wood will darken your color selections, and the wood color will shift both the resulting hue and the intensity.

Barbara Hall

VOLUME 15, ISSUE 8 PAGE 7

BUSINESS ADS

MEETING SCHEDULE FOR 2010

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

Jan Annual Swap Meet July Mini-Demos :Lloyd software & Jim Gentry

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) H3

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

Jun Jim MacDermot (Gilmer Wood) Dec Christmas Party

ELI AVISERA … CASCADE JULY DEMONSTRATOR

We were very fortunate to take the Eli Avisera class offered by Cascade at Dale Larson's shop in Gresham. This three day class gave us essentials for turning that we can apply to many if not all of our future projects. Eli is an incredible teacher. He is also a fine wood turner. Often when a person has superior skills in a craft and produces incredible products, he lacks the ability to really teach. Eli travels all over the world teaching woodturning and with good reason. Eli is one of the finest teachers I have ever known. He has analyzed the needed skills, knows the mistakes we students are likely to make and corrects us as we start to go astray.

He is very safety conscious and the first day we learned the safe way to use the skew to produce smooth surfaces. No cuts, or bloody fingers using the Avisera essentials for safe and correct tool handling and espe-cially sharpening.

Eli Avisera reassures us:

When you make mistakes on your piece:

“It’s just wood”

(i.e. Don’t sweat it) Every mistake is an opportunity!

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WWW .NORTHWESTWOODTURNERS .COM HALLOWED HALLS … THE SECOND OF MANY … JOE JEDRYCHOWSKI ’S SHOP

We moved to Portland five years ago and had a typical Portland basement with beams, supports, dirt covered with plastic, and a floor area of about 600 square feet. I hired an architect to get me through the permit process, punched five windows and a separate entrance to the shop and hired a contractor. The new floor space increased total basement space to three rooms covering about 1500 square feet. The rooms can easily be converted to a mother in law suite, bed-rooms, or other living spaces.

The best features are more room than I deserve, insulated, heat and AC [although its always cool down there], dedicated electrical breaker box located in basement, 110 v and 220 v in each room, more than enough T-8 fluorescent lights, remotes for dust collectors and compressor.

A bad feature is 8'1" ceilings... not that I swing many full sheets of plywood around, but I have.

The dental light is good for looking in a deep bowl bottom or down the barrel of a pepper mill. Available on eBay. The 500 watt halogen throws plenty of light, is cheap

to buy, and will heat the shop. Available at discount stores or auto supply stores for $10-15.

Tool rack

Dust Collector and Compressor in storage area. Very quiet when door is closed. I have remotes for both and overhead dust col-lector.

Table saw, Joiner/planer and Router Table

Bandsaw

Joe as do many of our members also uses his tools to makes furni-ture.

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EDITOR ’S NOTE

Date Class/Demo Location Time

8/01

8/14

Basic bowl turning

Platters, Spheres

Woodcraft

Woodcrafters

*10:00AM-4:00PM

*10:00AM-3:00PM

8/21 Colt Forsner bit system adapter

For lathes demo

Woodcraft 1:00PM-2:00PM

8/21

8/21

Pen Turning

Bowls

Rockler

Woodcrafters

*9:30AM-11:30AM

*10:00AM-3:00PM

8/28 Beginning Lathe Turning Woodcraft *10:00 AM-4:00PM

8/29 Turning small boxes Woodcraft *1:00AM-2:00PM

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

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

Dental light & Halogen light Bowl storage in closet with dust collector

I like the sharpener at chest height. It also stores lathe accessories.

Work benches in the assembly room

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: Rockwell woodworker's lathe. $150.00 cash, firm and - haul. The lathe has a 3/4 hp motor, good belts, and runs well. If you or any woodworker you know is interested, please e-mail or call me at 360-887-3113 in Ridgefield, WA.

Fred Guinasso

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

The Greater Vancouver Woodturners Guild invites you to West Coast Round-up 2010 on September 10, 11, 12 in beautiful British Columbia, Canada. Every three years we produce an event that offers top-level presenters, excellent food, comfort-able accommodations and a relaxing, friendly atmosphere. Whether you come just for the symposium or as part of a longer vacation, this is an excellent way to enjoy one of the most beautiful places on earth. The International Woodturning Sympo-sium features world-renowned instructors & authors: Alain Mailland, Art Liestman, Nick Cook, Michael Hosaluk, Graeme Priddle, Marilyn Campbell, Jason Marlow and Dale Larson. For information: www.gvwg.ca or email: syminfo@gvwg.ca

For Sale: Nova 1624 lathe, supernova chuck, and assorted Sorbey tools. Anybody interested in these items? Everything is a little over a year old, and in excellent condition.

Brian Waddell