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. June Challenge for all mem-bers: turn a non-utilitarian shape that you have never tried before. Experiment and have fun! Lynn‟s winners: Your choice!

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 Dave McGuire Librarian Lynne Hemmert Raffle Tom Willing Supplies Tom Helzer Newsletter & Web Barbara Hall

QUICK UPDATES

First, a large thanks to all those NWWT members that turned out for the Guild Day event at Rockler‟s on Saturday, April 24th. Thanks to Dave Maguire and Jim Schoeffel for doing the lion‟s share of the meeting and greeting through the day. Thanks to Chris Nilluka for getting his lathe to us and to Rockler for letting us talk to their customers, those brave folks entering the store through the stream of shavings. These events are always fun, and a great opportunity to meet the woodworking if not woodturning public. If we can find one new member from every one of these outreach programs that we do, pretty soon we'll be a big club that has to move its meeting place because there's no more room. Wait a minute, I guess we already are one of those.

On the subject of needing new meeting digs, we continue to talk to Sherwood High School. We are dealing with the administration now, clearing up liability issues and I think setting the stage for a useful, long-term relationship with the high school. I think it is reasonable for us to plan on meeting in the new facility in September unless something completely unfore-seen arises. Jon Dickover, the industrial arts teacher, and Sherwood high school are trying to arrange for us to do turning demonstrations on the day of May 24. This is the day the art department set aside for arts demonstrations. Personally, I think between them Phil Lapp and Jim Hall could represent the artistic side of wood turning very effectively to the stu-dents of Sherwood High School and make a very important statement to them about the prospects for woodturning as an artistic venue. Of course, I‟ll ask for volunteers, no pres-sure Jim and Phil.

May is the month in which NWWT welcomes Nick Cook as our demonstrator. Nick is widely recognized as an exceptional instructor. His yearly youth tutorials at the AAW Sym-posium have been very successful. I'm looking forward to his club demonstration as well as the day-long demonstration. I've asked Nick to make a pepper mill, a project of recent inter-est for me, and a demonstration for which he is well known. If you've never made a pepper-mill, this is a good opportunity for you to see how it's done by one of the best. It may even be possible for you to tackle the peppermill as a class project if you are in the Friday hands-on class. We will have more details about the class and demonstrations at the May meeting. Please be prepared to pay for the class by that time. I believe the hands-on class is full for Friday however, since I've taken tutorials with Nick before I would be willing to give up my place in the class for someone who hasn't had the benefit of his instruction. Drop me an e-mail before the meeting if you are interested in that spot.

See you on May 6th.

Mike

PRESIDENT ’S MESSAGE

MAY, 2010 THE WOODTURNERS’ LOCAL RESOURCE

VOLUME 15, ISSUE 5 WWW.NORTHWESTWOODTURNERS.COM

PAGE 2 VOLUME 15, ISSUE 5

WWW .NORTHWESTWOODTURNERS .COM

Our April Demonstration with Mike Wonser

PAGE 2 VOLUME 15, ISSUE 5

Mike Wonser give us another of his fascinating lectures. Mike explored the influences on beauty beginning with the Greeks. He defined three major periods each with its own sense of beauty: Archaic - celebrating strength and power; Classical as a tran-sitional period came next and then Hellenistic - artistic, expressing feelings and emotions.

He described the Dorian influence as masculine, physical and heavy. The Ionian influence on the other hand was feminine, intellectual, on the soft side. The Greek Olympics brought people together in a competition of champions. It took the intellectual use of physical strength, the development of the mind to learn the techniques, to be able to become champion. For example: in today's Olympic games, speed skater Johnson maintained the same speed on the curves, and Apollo stayed in third place until the final curve when he moved to the outside and then cut in to gain first place. Both combined the intellectual, thinking and strategy with outstanding technique and exhibited beauty; this concept Mike defined as areté.

We, as wood turners must similarly have skillful technique, and master that technique with intelligence and artistry - feel confident and think of the beauty of wood. Balance and har-mony are the starting point. The journey is also important because it gives satisfaction when everything finally comes together. When it transcends itself, it is areté. Mike also said not everyone can easily use visual imagery to understand beauty; but I believe we should try to think that way. It's the form; form creates aesthetics - that is beauty. Transcend the thing itself and all parts come together and you can say, "Yes, I've done it."

Other concepts he touched upon were: The shape of the piece gives 'escape' and opposites can work together, one complements the other; glass and steel, wood and metal. The Greeks used 'escape' to show sensual-ness, suffering and unity … all the parts needed that belong together in the final piece as seen for example in Michelangelo's Pieta. The relationship of mother and son transcends the sculpture itself to become something else, areté. This IS ART.

OUR MAY DEMONSTRATION WITH NICK COOK

Nick Cook‟s presentation is on Thursday night May 6th. A sign up sheet is available on Our Family and will be available at the meeting. There will be a hands-on class May 7th and a day-long demonstration on Saturday May 8th, 2010. Classes are $140 hands on and $40 demo. Check out our My Family site for further info.

A nationally known woodturner, Nick Cook is a founding member of the American Association of Woodturners. He grew up around his father's wood working equipment. He became interested in wood turning in the mid-70s after several years in furniture design and manufacture. The primary materials that he now uses are maple, cocobolo, and tagua nuts. His work is marketed in gift shops and galleries from coast to coast and is included in many corporate and private collections.

Nick says, “Turning is the most spontaneous method of making something of wood. The lathe allows much more freedom in shaping wood than any other hand tool.”

PAGE 3 VOLUME 15, ISSUE 5

NOSTALGIA : BRUHN FAMILY BUSINESS IN MELBOURNE AUSTRALIA

Eli Avisera's classes. Eli is one of the best loved wood turn-ing teachers in the world. I still have one opening for the July 19-21 class (Monday-Wednesday) and three openings for the July 25-27 class (Sunday-Tuesday). The cost is $225 for the three days. Contact Dale Larson if you are interested.

woodbowl@verizon.net

Three generations of the Bruhn men operated the wood turning business; from 1897 to 1990. Adolf Bruhn (1855—1919), his son Sophus Christopher Bruhn (1885—1958) and his grandson (1919—1990). The business specialized in ivory turning until the 1920s and then continued with a wide range of wooden products. These included tables, architectural moldings and posts.

Specialized turning commissions included bases for the Melbourne Cup and other horse racing events; goblets for the Canter-bury Cathedral and wooden containers for TV stations in the 1950‟s and electric switch handles for the State Electricity Com-mission.

The business remained small with no more than six employees. In 1990, the Museum Victoria acquired its contents, including a lathe, cutting tools, hand tools, products and workshop fittings and more...a collection of 900 items.

LOCAL EVENTS , CLASSES , AND DEMO ’S

Date Class/Demo Location Time

5/02 Pen Turning Woodcraft *1:00-4.00PM

5/15 Beg. Lathe Turning (Bob Tuck) Woodcraft *10:00AM-4:00PM

5/16 Intermed Lathe Turning (Bob Tuck )

Woodcraft *10:00AM-4:00PM

5/15 Intarsia Demo Woodcraft 2:00 PM

5/23 Beg. Bowl Turning Rockler *7:30-10:30AM

5/22 Turning Salt & Pepper demo Rockler 9:30-11:30

Many other fine classes and demos are available from your local stores: Woodcraft Store at (503) 684-1428 Email portlandretail@woodcraft.com Woodcrafters Store at (503) 231-0226 Web page http://woodcrafters.us/ craft sup-plies Rockler Store at (503) 672-7266 Email store17@rockler.com *Fee: students should bring chucks, sharpened turning tools, safety gear. Turning mate-rials provided. Summer classes for pen turning for boy scouts call Rockler 503.672.7266 * Class Fee: Call for details

EDITOR ’S NOTE

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

PAGE 4 VOLUME 15, ISSUE 5

April Show and Tell

Betty Fox

Chris Nilluka

David Williams

Tom Helzer

Phil Lapp

Don Woodward

Phil Lapp

Don Woodward

PAGE 5 VOLUME 15, ISSUE 5

April Show and Tell

Chaos

Before a great vision can become reality there must be difficulty. Before a person begins a great endeavor, they may encounter chaos. As a new plant breaks the ground with great difficulty, foreshadowing the huge tree, so must we sometime push against difficulty in bringing forth our dreams. "Out of chaos, brilliant stars are born." Joe Escriva

Chaos by Joe Escriva David Williams

Jim Hall

David Williams

PAGE 6 VOLUME 15, ISSUE 5

PRINCIPLES OF DESIGN

Last month we learned about the Golden Mean (Golden Ratio), a measuring system we can use to check the balance of the pro-portions of our pieces. This month I want to discuss line and form.

I teach that we use line and form as a way to create design. If that creative process and the creation itself come together in our own eyes, we find a completeness and we view the piece as an integrated whole and not just its parts.

Line and form: Look at the directions (straight or curved) that the eye naturally fol-lows in your piece. Now look for parts of the design where the line of that part devi-ates from the flow first identified for the piece. Place an invisible line, sort of a clock hand that points along each of these subsidiary parts. Now ask yourself if the line complements or detracts from the line of the piece.

Make each line in this set of natural lines, and each deviation from this set count. Look at your inspirational ideas for areas that do not follow these lines. Answer the questions "Is this a cutesy area that I want to add that is only serving as an embellish-ment, perhaps a texture decoration?" "Does it take away from the line and block the flow throughout the whole piece?" If it does not add to seeing the piece as a complete whole, it does not belong.

Tough to put aside; I struggled for days with an area I wanted to add that I truly thought was inspired. When I decided I could not make this little area work, and realized it was a deviation that took away from the direction of the lines of the piece, order was restored. I learned an impor-tant lesson … little inspirational (labeled cutesy by my teacher) areas should not be used if they obstruct the line and flow of the piece. I want my pieces to flow as a total entity … to feel complete.

Test: Squint your eyes, stand back from your piece (as a painter looking at his canvas does) and you can recognize more easily the parts that don't work or fit. You can see if the parts flow or need reworking. This is what is so difficult about answering the questions where and how do I add texturing, or color. The answer is does your carv-ing, piercing, painting or burning really contribute to the beauty and completeness of the piece. If it is there only to add questionable interest and if viewers concentrate on the textures and do not see the piece as a whole; you've lost the important dynamic impact of your piece.

Turn your piece upside down, are the directional lines unencumbered? Look at the piece front, sides and top. If the lines still flow you have the makings of a well put together piece.

We recently had an amazing opportunity to see furniture designed and crafted by Sam Maloof thirty five plus years ago. Sam Maloof was a celebrated wood worker whose furniture has withstood the test of time; an artist and a wood worker whose furniture is owned by presidents and is in the permanent collection of major museums. From the beginning of his career, Sam Maloof's pieces were minimal with clean lines and blended sculpted edges. I found it impossible to simply touch the edges of the chairs. They are so sensual that one almost caresses the curvilinear surfaces. Each line was

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necessary, and defined the very essence of the piece. Do you run your fingers over the surfaces of your own turnings, feeling the subtle curves?

Turning a well balanced and well designed piece is not all that easy … a three dimen-sional work presents many obstacles and a major one is that both you and your viewers can sometimes get lost in the details. Make each part of your piece earn it‟s keep by belonging, making a contribution to the whole of the piece.

I included one of my design drawings (not necessarily a turning sketch) because I be-lieve this is the best way I can show you line and form so you can better understand what I am talking about. If I cannot mentally determine the 3 dimensional aspect, I make a 3-D model in clay or wax before I start the piece. You may find the inspiration for the design you want to create in the shape of a chunk of wood, or the grain pattern. You can begin your turning process by letting the wood dictate the form; but what happens when you want to change the shape and you‟ve removed a piece you need … into the fire wood pile goes what could have been a masterpiece. It may not be as spontaneous; but planning ahead with measurements or drawings really helps keep you on track, especially if you want to maintain balance or direction in your piece. Look around you. Find inspiration in the beauty of well crafted forms. Find grace of line in your own work.

Barbara Hall

VOLUME 15, ISSUE 5 PAGE 7

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PAGE 8 VOLUME 15, ISSUE 5

EDITORIAL - BEAUTY : ONE WOMAN ’S VIEWPOINT

At the April meeting we enjoyed Mike Wonser's excellent talk about beauty as the ultimate areté. You know, when you feel “in the groove” and things are just working, that‟s areté.

While listening I asked myself “what is beauty”? I see beauty as a way of life. Beauty is in everything around us: lace curtains in a dingy cafe; or a flower growing in the crack of the sidewalk. Each of us sees it, feels it in our own way. Beauty does not have to be beautiful „Ugly‟ can be beautiful too. I remember two skinny girls - all angles, elbows and knees in a school perform-ance. Suddenly what I termed ugly became incredibly beautiful as they danced. Beauty may be a cultural experience defined by society's norms; but when we become aware of beauty wherever it is or what form it is in; we can understand and appreciate simply by opening our eyes, or closing our eyes - and feeling it.

I believe we need beauty to pull us through the tough times in our lives. I believe children should learn to find beauty. Nature is a good place to start: My little girl, age six took me by the hand and led me to a spot in a creek in the woods that she found to be beautiful. I did not see it; but this was her vision. She found something there that worked for her.

A way in which my thoughts on design differ from Mike's is that I do not label a design as feminine or masculine because I am not sure what that is. I can see masculine as “strong” and feminine as “soft”, but that doesn‟t really mean anything to me in terms of design. I see design in terms of Line and Form. I want the lines to flow which is the very essence of the sculpture or the turning. I employ the same measure in teaching dance; the stretch that extends in an invisible line beyond the length of the arms or extended leg creates the vision. To me, Line and Form create beauty in a piece that is enhanced with color, texture, balance and material. Mike also mentioned that Michelangelo was the first person to create sculpture that needed to be placed in the middle of the room; so they could be viewed from all angles. We may not wish to place our work front and center; but since our works are 3-D; they should be viewable by us from all angles with no dead spots. Even though turning is by it‟s very nature balanced around the turning axis, Line and Form may still not flow well along the axis. Those of us that use the turning as a basis for further expression, Line and Form must also be expressed within the extended work.

The artist, turner, dancer, sculptor sees their work from their own perspective. For this reason, we as the designer/creator of our piece must take into account how others view our offering; especially if we want to exhibit or give or sell our work to sat-isfy another person. There is a reason we refer to the 'Starving Artist' - someone who follows his/her own path without heeding the views of another. (The governing choice really can be true to your own vision or true to someone else‟s vision). I believe that if you apply yourself to the point of losing yourself in an activity when time and even food become meaningless, you can reach arête no matter your ability to visualize. I find this state to be extremely satisfying - even giving a sense of peace and joy.

If you endure a certain monotony of sameness - turning too many salt and peppers, then do something for yourself and grow in the pleasure and joy of creating. Enjoy your turning, relish the experience. Practice and grow, feel and learn and reach that point where the piece transcends beauty. This is areté to me.

Barbara Hall

MEETING SCHEDULE FOR 2010 NOTE :CLASS FEES DUE 2 WEEKS PRIOR TO CLASS

Key: H1 Hands-on class Friday H2 Hands-on classes Friday and Sunday D Saturday Demo Current month 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 McDermott (Gilmers Wood) Dec Christmas Party

Jul Mini Demos

PAGE 9 VOLUME 15, ISSUE 5

MARBLING

Have you ever dyed Easter eggs by dripping a few drops of food coloring in a hot water bath and immersing your hard boiled egg? Some of you may remember admiring the elegant color patterns on the page edges of old books. Marbling is a very so-phisticated technique developed to color paper, fabric and even wood turnings.

It is advisable to begin your marbling experimenting on paper ... far less costly than wood and it may take you many sheets of paper not only to learn the basics; but to better predict the results. Although you can never really be sure of the pattern outcome because the process seems to often have a mind of its own.

Marbling on wood turnings requires you to master marbling on a 3-D object. This is far more complicated than marbling a sheet of paper. As experienced marbler Mary Thouin cautions, paints stretch and distort and even thin out as you lower your 3-D object into the bath. Other problems to anticipate are trapped air, wood as a background and the appropriate finishes.

Supplies

The basic supplies you will need are the size, a thickened "bath" that supports the floating paints. Use Carageenan, an extract of seaweed, called Irish Moss or methyl cellulose for the bath. If you are marbling wood, you will need alum to coat the wood to help the paint to stick. Note: alum is aluminum based and is readily absorbed into the skin and can remain in the body over time ... so wear rubber gloves. You will also need to seal the wood after marbling.

Paints

Mary uses "fluid" acrylics for both paper and wood. Her present preference is the "Creamcoat" brand made by Golden. You will need distilled water to make the size and to thin the paints. You may want to use Kodak Photo Flo 200 as paint but these paints do need to be thinned in order to float on the size. You may need to add a small amount of Photo Flo along with the water

Paper

For marbling on paper, purchase paper at the art store that is specifically sold for marbling; normally listed as aluminum sulfate. Popular choices are Classic Laid or Classic Linen, 70 lb. charcoal and water color papers. You will also need newspaper to clean (skim) the surface of the size. A skin will form on the surface of the size if it sets for a short period and must be removed before marbling.

Masking

If you are only coloring portions of your piece, use liquid frisket to protect the uncolored parts. Attach a dowel to the bottom of the piece with hot-melt glue to hold the piece as it is dipped into the bath.

Tools

You can use a stylus, knitting needle or dowel, rakes and combs of different sizes and eye drop-pers as tools to apply the paint.

Wood

Good wood choices are fine - grain hardwoods such as maple, cherry, birch and walnut. Soft woods such as pine resist the marbling, exotics are oily and are not suited for good paint adhe-sion. It's best to avoid large pored woods like oak and ash that will not lend themselves to the delicate look of the marbling. Retaining the look of the piece is an important part of the design process.

(Continued on page 10)

Binh Pho

Mary Celine Thouin

Mary Celine Thouin

PAGE 10 VOLUME 15, ISSUE 5

Pans

Marbling is messy, so prepare a spot that can be easily cleaned. The area, your work and you should be dust free. A tempera-ture below 60 degrees can be too cold and higher than 80 degrees is too warm. High humidity is desirable. Try to keep your paints and the size as close to the same temperature as possible.

Your pan must be deep enough to totally immerse your piece without the size overflowing. The pan diameter should be at least double the diameter of the wood turning. If you are only marbling the rim of your turning, you will only need a pan a little larger than the diameter of the piece itself.

Prepare the Wood Turning

Shape your piece so the marbling will contact all the desired surfaces. Sand with 400 grit—then wet it to raise the grain. Let dry and sand with 600 grit. You can also sand with steel wool. Apply a sanding sealer. Decide which way the piece will be immersed and glue a heavy dowel that you can hold onto where there will be no marbling. Now is the time to mask off areas you want to be free of paint with the liquid frisket. Plan how the piece is to be immersed

If you want to marble both the inside and the outside of an open bowl - carefully immerse from the side. The colors will be thinned out on the last side to be marbled. Rolling the piece across the surface of the bath will give a broken, hard edge where the pattern joins. Color stretching will occur as the marbling wraps around the piece. This is one reason why the pan needs to be deep enough to immerse the entire piece without the size flowing over the top of the pan.

Mixing Carageenan and alum

Jim Schroeer suggests the following technique. 1 day in advance mix carrageenan in a blender and store in the fridge. Mix alum and apply to the wood piece . Let dry thoroughly. Thin your acrylic paints with distilled water.

Marbling techniques

Pour the carrageenan into the container. Using a strip of newspaper, remove any dust or bubbles. Place drops of diluted paint on the surface of the size. The drops should disperse and maintain their shapes. If they sink, the paint is too thick … thin with water. Immerse your piece.

When the colors intermix or are used up, clean the surface of the size with newspaper. Reapply paints and continue to marble the next piece.

After use, discard the chemicals, as they cannot be saved more than a few days. Clean the tools with water, no deter-gent.

(Continued from page 9)

Mary Celine Thouin

Mary suggests reading the following books. Notice most are on paper marbling … a good place to begin your marbling experi-

mentation. References

To learn more about marbling and the techniques used in this article. Read any of the following:

The Art of Marbled Paper by Einen Miura

Marbled Designs by Patty and Mimi Schleicher

Traditional Marbling by Iris Nevins

Marbling Easy and Elegant Projects for Paper and Fabric by Laura Sims

Marbling Techniques by Wendy Addison Medeiros

Marbling -A complete Guide to Creating Beautiful Patterned Papers and Fabrics by Diane Vogel Maurer with Paul Maurer

Marbling Paper and Fabric by Carol Taylor

Beetle Box

PAGE 11 VOLUME 15, ISSUE 5

The Process

Mary spreads colors on the bath of size. She then manipulates the patterns until she has something that pleases her. She uses a dowel, hot-melt glued to the bottom of the turning to immerse the piece into the pattern.

I am asking for volunteer help once again at Hillsboro H S. I have asked for help from the membership each year and asked individual members since 2007 and will persist because I can't provide the continuity in instruction by myself. I have been a volunteer turning instructor since 2007 and have had a lot of help from Alain Bally. We could still use help to cover times when we are not there.

The concerns volunteers have are:

1. TIME. Your participation would not be entire days of teaching, but one or two periods per week [two periods this semes-ter, from 1:10 pm to 3:25 pm].

2. KNOWLEDGE BASE. There is no formal course of instruction in turning. It is entirely hands on and is very basic in scope. Therefore, you do not have to have experience or abilities approaching Bob Tuck's.

3. FEAR OF LARGE GROUPS OF STUDENTS. I usually work with 1-3 students at a time, since there are only three func-tioning lathes.

4. FEAR OF COMMITTMENT. Contact me at the next meeting or give me a call. Come out to the school with me and look at the facility, students, equipment. If you don't like it, no problem; but we hope you will join us.

Joseph Jedrychowski jjedro@comcast.net 1990 Ridgewood Road Lake Oswego, Oregon 97034-3639 phone 503 699 1990 cell 503 327 4384

Community Outreach Annual Request 4.0

1. Apply colors on the thickened size and allow them to spread.

2. Manipulate the colors with a stylus. Create a small indentation on one side.

3. Create a contrasting figure on the other side of the circle.

4. After the piece is fully immersed, slowly pull it out of the bath

5. Bring your piece over the sink and with minimal tepid water coming out of the faucet slowly and carefully let the water wash off the carageenan—leaving the printed pattern. Be careful not to smear the surface. Set aside to dry.

Many of the solvent-based finishes cause the dye or acrylic ink to bleed through the marbling pattern. Deft spray lacquer seems to keep the integrity of the marbling. It gives a very nice clear finish. Multiple coats are needed to give a smooth finish. Then very lightly rub out the surface until it is smooth. It is easy to sand through the lacquer and damage the marbling pattern. Mary uses an ultra-fine cloth abrasive sold by Rio Grand. 7500 Bluewater Road NW. Albuquerque, NM.

Finish with water based artist varnishes, interior water based urethane or Deft spray

Our thanks to the NE Florida Woodturners Association, Jim Schroeer and Mary C. Thouin for giving us the opportunity to present this material on Marbling to the members of the Northwest Turners Club.

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 had a good sale at Ollie Murrays on April 24th. Ollie still has his floor tools, lots of clamps, power hand tools, sanding disks and some wood left and is looking to sell them. I've listed the asking prices but he is open to talking about the prices. If you have any questions you can call Ollie or me. Ollie's phone is 503-253-9242 and the house is at 9704 SE Ash, Portland (just north of Stark).Radial arm saw, Delta/Rockwell model 990 110vt, 10", $150table saw, Rockwell 220vt 10" model 34-400 $300. Has lots of blades and a slide holder 6" belt and 9" disk sander, Delta model 31-695 $200Rockwell bandsaw 14" $375Baldor grinder 6" $300Drill press, Summit, 5/8" chuck $300planner, Belsaw, 12" 220vt $150 air compressor, Speedaire, 220 vt $150. Dale Larson 503-661-7793

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

THE JUNE CHALLENGE Turn a shape you have never tried before. It should be decorative and non-utilitarian. Really experiment. Lose yourself in your work and just have fun. Give your creation a name.

PAGE 12 VOLUME 15, ISSUE 5