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IWG News The Newsletter of the Island Woodturners Guild September, 2016

About the IWG : The Island Woodturners Guild

meets from 1:00 - 4:00 PM on the 4th Saturday of each

month (except for July and August) at the Central Saanich Senior Citizens’

Centre, 1229 Clarke Road, Brentwood Bay, BC. Visitors are welcome. Executive Committee President: Steve Werner Vice President: Peter Pardee Secretary: Michael McEwan Treasurer: John Carrelli Member at Large: John Bastedo Member at Large: Phil Cottell Member at Large: Bryan Kemper Past President: Gord Kifiak Newsletter Editor: John Kilcoyne The IWG gratefully

acknowledges the support of

the following companies: Craft supplies USA KMS Tools Richelieu Hardware

The President’s Turn

Welcome back to our Guild meetings. I trust everyone had a great summer and enjoyed our record warm weather. New members may not know about our Guild lunches, a few of us meet once a month usually the 3rd Wednesday, at a different restaurant. There is no compulsion of any sort. I send out an email a week before and you let me know if you will attend. Just email me if you would like to receive the emails. Safety is always a concern at the Guild and everyone is always encouraged to have and use Personal Protective Equipment. Whether turning or sanding I always use my Trend Airshield. It protects me from dust, but also is a safety shield and I highly recommend it. I was reading an article on the dangers of wood dust recently and saw that it is considered a Group 1 carcinogen; this puts it in the same category as plutonium, arsenic and asbestos. I expect you’re thinking as I immediately did: new materials to try turning! And no more dangerous than wood. They may not be practical though; arsenic is metallic and very brittle, asbestos is quite fibrous and stringy and I’m not sure where you get plutonium. Lee Valley doesn’t carry it. I heard from Trudy, a long term member, the other day. She advised that Craft Supplies in Utah is holding two workshops: Nick Agar from May 15th-19th and Jimmy Clewes from May 22nd – 26th. The information is all on the Craft Supplies website: www.woodturnerscatalogue.com. Jimmy is very proud of the fact that he has been voted the World’s most dangerous turner and those of us who attended his wonderful demonstration a few years back have little reason to dispute this claim. The wood was spinning so fast it sounded like a propeller driven airplane was in the room. Several of us went down to Utah a couple of years ago to the Craft Supplies symposium and had a lot of fun. I’m considering going again in 2017.

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A new website is being prepared thanks to Hew and Virginia. It needs to be tested before it replaces the current one and Hew is looking for three volunteers to play with the new site for a few hours. Preferably volunteers should know the difference between a mouse and a hard drive. While we’ll call for volunteers at the September meeting, feel free to contact me directly in advance of the meeting. This will be a very short term ad hoc committee and will require very little commitment on your part. This is a chance for newer members to get more directly involved with the Guild. A great year is planned for 2016-17, I know you will enjoy it. Steve _____________________________________________________________________________________________

REMINDER: DUES

For those who have not done so, a reminder that membership dues for 2016/17 are past due.

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NEW WEBSITE (AND “OLD” WEBMASTER)

As noted in the President’s Turn, October will see the launch of the Guild’s revamped website. For almost a year, Hew and Virginia have been working on an upgrade to the site as a result of a change in our website service provider.

The introduction of the new site will mark the end of Hew’s tenure as the Guild’s CCG (Chief Computer Guy). It was over six years ago that he and Donald Porter conceived and built the website. Since then, Hew has devoted an immense amount of time to its maintenance and monthly updating. He has done an outstanding job and has earned a very well-deserved “second” retirement. Thanks Hew!

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UPCOMING EVENTS

SEPTEMBER: Beginning at the Beginning

For the first meeting of the year, Andre, Tim and Phil will offer a presentation on working from tree to lathe.

Topics to be addressed include selection, cutting patterns, treatment and storage. There will also be demonstration of coring using the Wood Cut Bowl Saver system.

OCTOBER: Kurt Hertzog

As noted in the email to all members, our guest demonstrator on October 24th will be Kurt Hertzog. His work is noteworthy for its breadth (pens, vessels, ornaments, platters, bowls), superb technical skill and impressive artistry.

He has been a frequent demonstrator and instructor at AAW Symposia, the John C. Campbell Folk School and Utah Woodturning Symposia as well as numerous Guilds throughout North America.

A past President of the AAW and a Council Member of the Pen Makers Guild, Kurt is a prolific writer and his articles have been published in a variety of publications including Woodturning Design, Woodturner Magazine and American Woodturner.

His work can be found at his website: http://kurthertzog.com/index.php This will be an all-day session beginning at 9:00 a.m. and the fee for Guild members is $40 and $50 for non-members, payable at the door.

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NOVEMBER: Fall Challenge & Turning Hollow Forms

This session will begin with the results of the Fall Challenge. (See note below). This will be followed by a presentation on tools and techniques for turning a hollow form.

DECEMBER: Xmas Social The Social this year will be held on Saturday December 10th. _____________________________________________________________________________________

FALL CHALLENGE The challenge this fall is to Turn a Tube. While this topic is inspired by the work of Pascal Oudet, you are free to consider other styles of tubes. The following photos are provided for inspiration. (For instructions on how to turn “Pascal Oudet” tube, see Turning Straight Tubes, American Woodturner, Vol. 31(2).)

The results will be presented at the November meeting. ______________________________________________________________________________

Richard Raffan

Pascal Oudet

Bonita Smoke Shop Art Liestman

Matt Jones

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JUNE RECAP: ED PRETTY ON COLOURING For the final meeting before the summer break, we had a great presentation on colouring by Ed Pretty of Vancouver.

INTRODUCTORY POINTS Ed began with a slide show of his works accompanied by some general information. Highlights included the following: 1. Reference Material For a good source on various colouring techniques include dyeing, staining, ebonizing and gilding, he recommended a 1996 book by Jan Sanders entitled Colouring Techniques for Woodturners. While the book is out of print, a used copy in good condition is available from Abe Books (UK) for C$6.96 plus $8.25 shipping or Amazon.ca for C$19.58 plus $6.49 shipping. (Editor’s Rant: Of course it makes all the sense in the world that it would be cheaper to order the book from England than Toronto!). 2. WoW (World of Woodturners) He also recommended that members use the WOW website (http://www.thewows.com/ ) as a source of inspiration for colouring – as well as other aspects of turning. This is an interactive website where turners of all skill levels from around the world post photos of their work (and get feedback if desired) and comment on the works of others. There is no cost to join and you can obtain a membership invitation from either an existing WoW member or by contacting the administrator at wowadmin@shaw.ca. In the latter case, you need to include your name and a brief statement of your woodturning experience.

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3. Primary Colours Whether using dye or paint, Ed works exclusively with the 3 primary colours (Red, Yellow and Blue) plus Black. With these 4 colours, he is able to produce any colour he wants. 4. Two or more Colours

Ed endorsed the advice he received from Merryll Saylen that one should always use at least 2 tones (colours) when colouring.

5. Wood Colour Keep in mind that all wood has colour which will affect the look of any colourant. Always save a piece of your blank wood in order to test out your selected colours. 6. Masking For straight line masking, Ed uses Frog tape which is available at any hardware store.

For curved line masking, he cuts the Frog tape into narrow strips on lathe. He makes a small mandrel and, using a skew, cuts the tape to 1/8 – 3/16” in width. He finds that this width will deal with virtually any curve. For a more detailed explanation, see the following note on Ed’s website: http://www.edswoodturning.com/2012/05/09/masking-made-easy/

Merryll Saylen

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COLOURING PRODUCTS

STAINS Wood stains are primarily made of dirt – more specifically different coloured clays – which means that they are very colour fast. However, as the particles are relatively large, they tend to sit on the surface of a piece and block light. This means that the grain/figure is significantly obscured resulting in a “duller“ finish. For this reason, Ed very rarely uses stains.

DYES 1. Why use Dyes? While he uses all sorts of colourants, dyes are Ed’s preferred choice – especially in the case of burls or highly figured wood. Unlike stains, dyes will soak into the cells of the wood and are translucent. The result is a much deeper concentration of colour without obscuring the grain/figure. 2. Types of Dyes a. Aniline While historically aniline dyes referred to a specific form of dye, Ed stated that today the term is used by manufacturers to describe a wide range of dyes made in a variety of methods to the point where the term is essentially meaningless. b. Metalized While ALL dyes will fade, Ed noted that most commentators suggest that metalized dyes (aka premetalized or metal-complex) are the most colourfast. While he mentioned the best known brand which is TransTint, there are no Canadian dealers for this product. The cheapest U.S. source I could find is Veneer Supplies which sells 2 oz. containers for US$20.99 plus shipping of US$28.95!!!!. (http://www.veneersupplies.com/)

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If you are interested in trying this form of dye, you should consider ColourFX Dye Concentrates (metal-complex) from Wood Essence ($6.25 for 15 ml (0.5 oz.)) (http://www.woodessence.com/ColorFX-Dye-Individual-Bottles-P46C12.aspx)

c. Dichlorotriazine (Procion MX) The dyes that Ed uses are Procion MX which are a fiber reactive dye originally developed for dying “cellulose” fabrics and now used by many woodworkers. After years of using these, he finds that they are much more colourfast than traditional aniline dyes. (Ensure that you get Procion MX rather than Procion. Only Procion MX will work on cellulose (wood)). Sources While Ed gets his dyes from Maiwa Supply in Vancouver, you can purchase Jacquard Procion MX dyes (2/3 oz.) in Victoria from Island Blue Print ($6.95) (http://artstore.islandblue.com/products/jacquard-procion-mx-dyes) or Opus ($7.50) (https://store.opusartsupplies.com/sagro/storefront/store.php?mode=browsecategory&category=1457). If you wish larger amounts, these can be obtained from Maiwa Supply (3.6 oz.: $14.95 or 8.9 oz.: $26.95) http://www.maiwa.com/home/supply/fabric_dyes/procion_mx/index.html). As for black, the only “true” black he has found is ColourFX Dye Concentrates from Wood Essence. (15ml.: $6.25) (http://www.woodessence.com/ColorFX-Dye-Individual-Bottles-P46C12.aspx). (He cautioned that if you use Black India Ink, do not “slop” it on – it is very difficult to sand off.)

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Mixing Procion MX dyes come in powder form and are mixed with water. Grain raising is not a concern for Ed since much of the first coat is typically sanded off. He usually mixes up a small amount of strong concentration of the 4 dyes and then dilutes them to arrive at the desired strength for each individual turning. Distilled water is best and it should be warmed to help dissolve the powder. Sanding Ed noted the critical importance of ensuring that you do a good job of sanding. Dyes will “pop” everything including tear out and scratches. He routinely sprays with water to identify areas requiring more sanding. He also recommends vacuuming or blowing between grits since there will always be some coarser grit left over. Colour Selection: Colour Wheel If you are not familiar with colour theory, Ed recommended that you purchase a colour wheel to assist in selecting an attractive colour combination. _____________________________________________________________________________ Colour Wheels: Further Notes Most colour wheels are based on the three primary colours, three secondary colors (which are a combination of any two primary colours), and six intermediate or tertiary colours (which are a combination of a primary colour and its nearest secondary colour on the wheel).

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Beyond this, different wheels will provide you with different information depending your intended use. There are wheels for a wide range of applications including quilting, gardening and interior decorating. You should purchase one designed for artists which will assist you in selecting attractive colour combinations and provide information on how to mix colours. While there are many available, two of the most popular wheels are the Artist’s Color Wheel ($10.40: Opus) and the Grumbacher Color Computer ($9.95: Island Blue Print).

A good wheel will provide you with information on how to obtain one of the following five “classic” colour combinations. Monochromatic

This scheme uses variations in lightness and saturation of a single colour. It is said that this scheme looks clean and elegant. It produces a soothing effect and is very easy on the eyes.

Analogous

An analogous scheme uses colours that are beside one another on the colour wheel. While typically, one colour is used as the dominant one while

the other(s) is used to enrich the scheme, all 2 or 3 colours can be used equally in order to convey a sense of movement to the piece. Complementary

This scheme consists of two colours that are opposite each other on the colour wheel. This produces a high contrast scheme and is said to look best when a warm colour is placed against a cool colour (e.g. red and

green-blue).

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Split Complementary

As a variation on a complementary arrangement, this scheme uses a colour and the two colours beside its complementary. The result is a high contrast without the strong tension of a complementary scheme.

Triadic

This scheme uses 3 colours which are equally spaced around the wheel. It is one of the most popular schemes for painters since it offers strong visual contrast while retaining harmony and balance.

As is the case with any colouring, you should test your combinations on a scrap of the same wood, before applying them to your finished piece. ______________________________________________________________________________ Application Procedures Ed does all of his finishing off the lathe. This allows him to highlight selected areas of interest when sanding. In his handout Dye Procedure Options, he sets out the various steps that he takes depending upon the number and type of colours used. He indicated that his most common approach on figured wood is to use Black and two other colours. As a general rule, you should apply dyes starting with the darkest and working through to the lightest. Accordingly, Ed begins by applying black with a brush or rag. He recommends that you immediately wipe down this coat with a damp cloth which will reduce the amount of sanding considerably. Once dry, he sands the black coat aggressively using 120 or 150/180/220. The next colour is then applied using an air brush and is also sanded back (180/220). The final colour is also applied with an air brush. While rare, he will sometimes sand this final coat (320) in order to produce lighter highlights.

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Finishing On heavily figured woods, he generally uses a penetrating finish which serves to “pop” the figure. His preference is Mohawk Tung Oil (Richilieu Hardware) which is a blend of Tung oil and alkyd resin. Otherwise, he uses Minwax Wipe-on-Poly (WOP). WOP Applicator: Rubber

Ed applies WOP using a variation of a French Polisher’s “rubber”. His consists of a small “ball” of cotton fabric wrapped inside a piece of a woman’s nylon stocking. (The nylon reduces the chance of lint contaminating the surface.) He applies WOP to the pad using a

small squeeze bottle. ______________________________________________________________________________ Prolonging Shelf Life of Tung Oil/WOP Any one who has used Tung Oil is familiar with the frustration of losing much of the product due to premature polymerization in the container. The culprit is oxygen - every time you open the container fresh oxygen is introduced which triggers polymerization. While Ed found argon gas effective, it was also relatively expensive. (Finish Preserve from Lee Valley costs $17 plus tax and will provide approximately 75 two-second bursts which works out to roughly 25 cents every time it is used.) Ed’s solution is to replace the volume of oil removed from the container with an equal volume of water. The water sinks to the bottom while the oil floats to the top which means there is little room for any oxygen. He maintains a “log” on the outside of the container showing where the water/oil demarcation line is. He does the same thing with WOP. ______________________________________________________________________________

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Other Options to Prolong Shelf Life of Tung Oil

For years one of the most common techniques was to add marbles to a container to accomplish the same end of reducing the amount of air in the container. However, the task of cleaning the marbles makes this a messy option (and a waste of good marbles.)

One of the most popular techniques today is transfer a portion of the Tung Oil to a small mason jar which are available from any grocery store. This substantially reduces the amount of fresh air introduced into the primary container. (Graeme Evans reports very good results with this technique.) Note: Mason jars do not seal out air particularly well. A layer of kitchen plastic wrap under the lid will help the seal (and keep oil off the lid and threads).

Since most Tung Oil comes in metal containers, it is impossible to see where the demarcation line is between the water and oil. A variation on Ed’s solution is to transfer the Tung Oil to a glass container where the line will be easily visible. (Note: If you use a clear glass container, it should be stored in a dark location.)

A final option is to use a Finish Storage Bag ($4.95: LV) which allows you to expel air by compressing the bag. However, you should not return any unused oil to the bag and the bag must be cleaned immediately after it is emptied. For more information on this product, see the Tips section on the maker’s website at http://www.stoplossbags.com/tips.html.

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CHEMICAL REACTIONS Ed discussed a number of colour changes one can get by applying a chemical which reacts with the chemicals in the wood. Ebonizing Turnings can be ebonized by using a solution of iron acetate which will chemically react with the tannins in the wood. While this will work on any wood, it is particularly effective on woods high in tannic acid such as oak, black walnut, cherry and acacia. A solution of iron acetate can be made by placing one steel wool pad and 1 pint of white vinegar in a glass container and letting it sit for a day or two. The container should be left open in order to allow they hydrogen that is created to escape. The contents should then be strained through a paper coffee filter to remove the iron filings. ______________________________________________________________________________ Further Notes 1. For more information on this process, see the article by Alan Lacer in the October, 2015 Guild Newsletter. 2. You can enhance the ebonizing effect by adding tannin to your piece. Put a handful of (dark) tea bags – which are high in tannin - into a container of water and boil for a few minutes. After the solution has cooled, squeeze the tea bags and apply the solution. ______________________________________________________________________________ Fuming Fuming wood involves exposing the piece to ammonia fumes which react with tannins to produce a unique colour. It is particularly attractive on oak and can even be used to darken a piece after it has been stained or dyed.

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While Ed (and most finishers) recommend the use of commercial grade ammonia (around 25% concentration) on-line commentators report that they have successfully used household ammonia (3%) although it did take much longer and the results were not as dramatic. For more information on this technique, see the following note on the Lee Valley website: http://www.leevalley.com/en/shopping/techinfo.aspx?p=47277 Warning: Commercial ammonia is nasty stuff. You MUST use a cartridge respirator (with the appropriate cartridges), eye protection and heavy duty rubber gloves.

LIMING Liming involves using a coloured wax to highlight the grain lines between sap wood and heart wood by filling them with a colour. Ed recommended that this technique only be used on “ring-porous” species such as ash, oak, elm, hickory or chestnut. Liming Wax The conventional product to use is liming wax which contains a white pigment. (Liberon Liming Wax (250 ml) ($24.95: Wood Essence)

However, the wax is simply a carrier for the pigment and most of the wax is removed following application. Accordingly, it is a relatively simple matter to make your own liming wax using clear wax and whatever colour you want. Possible pigments include chalk paint (the best), acrylic paints or latex paint. You can also use mica powders to create a metallic effect (Left: Gold tint wax)

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Application 1. Sand and Finish your Turning Contrary to popular belief, liming wax is only applied after you have applied a finish to your piece. In this case, Ed prefers lacquer since it will not “fill up” the pores. He emphasized that a thorough sanding must be done. Liming will accentuate any flaws “exponentially”! 2. Open Pores Using a small brass brush, open the pores by brushing along each grain line. Ed emphasized that you must be consistent throughout in order to get a good effect. 3. Apply Liming Wax Apply the wax to the piece and then wipe off the surface, leaving the pigment in the grain. If any excess liming wax remains on the surface, it can be removed with clear wax. 4. Apply Topcoat You must apply a topcoat to seal in the pigment. While you can use an oil based finish, Ed prefers to use lacquer as his topcoat. Further Information For more information on liming, see Ed’s note on his website at: http://www.edswoodturning.com/2011/01/01/its-time-to-lime-but-not-your-lawn/

BLEACHING Bleaching can be used to remove colour from wood either for a final effect or prior to applying light coloured dyes (especially yellow) in order to get a truer colour effect. While there are a number of homemade bleaching formulas, the best course is to use a commercial product called Lite-N-Up by Wood Kote. (Lumberworld) It is a two-part wood bleach consisting of sodium hydroxide (caustic soda) and hydrogen peroxide.

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Application Procedure 1. You must raise the grain using water and then sand before using any bleach. It will raise the grain and you cannot sand afterwards or you will simply sand off the “bleached layer”. 2. In order to guard against an “unbleached” area, plan how you are going to “hold” the turning during bleaching. 3. For Lighten Up, you mix equal parts of the two liquid components. This must be done in a glass or plastic container: do NOT use metal. Do not mix up more than you can use since it loses its potency fairly quickly. 4. The bleach can be applied with a synthetic brush. There is no need to flood the item.

Tip: There are some finishers who recommend placing the bleached piece in sunlight in order to increase the “bleaching” effect. While I was unable to find an explanation for this, based on personal experience, it does seem to help.

5. In order to ensure that the chemical reaction is complete you should let the product dry completely. (It does not need a neutralizer). If more bleaching is desired, you can apply as many coats as you want. Safety: You MUST wear rubber gloves and eye protection when using this product. ______________________________________________________________________________ Postscript: Graeme Evans Inspired by Ed’s presentation, Graeme immediately tried out his dying technique. The following are the results. (Note: The photos do not do justice to remarkable colours in these pieces. Hopefully, we will have an opportunity to see them at the September Show and Tell.)

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They are both western maple burl. The dyes Graeme used were Artisan Blue followed by Mohawk Red and then Artisan Yellow. Both pieces were sanded on the lathe. The plate was finished with 10 coats of WOP. As he was not happy with the effect – looked “too plasticy” – he only applied 4 coats of WOP on the vase and then buffed with Carnauba wax. ______________________________________________________________________________ ______________________________________________________________________________

André Robin

Summer vacation is usually a time to slow down and enjoy leisure activities. While sitting on the porch of my vacation home in Qualicum Beach reading back issues of woodturning magazines I came across an editorial written by Mark Baker entitled DO YOU COPY? I found the article rather interesting. A subject that often comes up in group discussions. I have reprinted the article in hope that you will enjoy reading it as much as I did.

DO YOU COPY? I have been intrigued by the recent discussions on plagiarism. Let’s start off by explaining where I am coming from. During my varied training, I was often asked to create work from drawings or replicate pieces in order to repair something. Irrespective of what apprenticeship, this appears to be the norm. It is the way we learn, repetition of process and following patterns, etc., in order to learn the techniques involved. Woodturning either as a profession or hobby is no different. This magazine features projects which actively encourage the copying of them in order to learn the techniques used. Are we therefore propagating that copying is acceptable?

I think the answer is yes, in part. Nobody, for instance, can lay claim to shape such as an ogee, oval, torus or circle and most turnings are variants of these. In truth I can find most shapes produced within turning in other crafts/arts such as ceramics or glass in both modern or ancient objects, so where is the plagiarism occurring, or is there an element of protectionism gone mad?

It is true that certain people have popularized and pioneered certain techniques. David Ellsworth was one of the first to develop techniques to create turned forms through small openings, but this type of vessel has been available in ceramics or glass for many years. David Pye regularly used texture – carved techniques – but these have also been done on ceramics or glass. Bert Marsh was a major proponent of the natural - edged delicate ogee forms for which he is well known, but these also can be traced back to something similar in ceramic or glass.

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This no way denigrates the turners, but simply points out that they developed certain techniques, for which we should all be grateful, that enabled them to create things in wood that were not previously known for or common practice.

These are now common practice among turners, so is it copying or development of ideas? Other people’s innovative ideas often spark off claims of thought in others that they may not have thought without that other spark. It is here that we find an area of potential conflict. Take Binh Pho and Frank Sudol. Both produce pierced, thin-walled turnings, albeit on different scales and types of applied decoration, but they both use similar techniques to get there.

Is one copying the other? I do not believe so. I am unaware of who was first, but they use similar techniques to produce distinctly different work so the issue of plagiarism is moot. If it is not the shape that one can lay claim to, what is the potential problem? I think it is in the area of enhancement and development that we have to acknowledge people. The turners I have previously mentioned are but a few of the innovators of the turning world. There are many others who have sparked ideas and encouraged people to explore and they are, effectively, pioneers. I have seen thousands of images of turning in my years and cannot truly say now where some of my ideas came from. Some are readily identifiable, others are vague and may have been influenced by a myriad of things – who do I credit?

I think it is simple really. If you copy directly, credit the originator but do not sell it as they may be trying to make a living themselves. If you have expanded an idea to make it your own, it is nice in your CVs to comment on who inspires you, at least then you are acknowledging potential influences. If you sell work, make sure that it is not a direct copy of others; adjust a few things and make it your own but credit potential originators.

The great painters often copied their contemporaries’ and predecessors’ work in order to learn the techniques used, but invariably all went on to create unique works, although using similar techniques or modified versions of their own. It is to this end that we should all aspire. Be honest and strive to be different.

Mark Baker _________________________________________________________________________

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FOR SALE

Dremel Set (Never used): $25 (There are 3 sets available.) Richard Raffan CD: Turning Wood and Turning Projects: $10 each Contact: Andre Robin: 250-652-9677 or twolapins@shaw.ca

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Delta Industrial 28-276 Band saw, open base model, with a riser kit to allow for up to 12 inch depth of cut, an aftermarket Red Line fence and 2 blades (one 1/2 inch x 6 teeth per inch and one 5/8 inch x 3 teeth per inch. All new in box, never assembled and unused. $700.00

Delta Shopmaster DP300 12 inch drill press, accessory shelf, built in lamp, 5 speed. New in box, never assembled. $250.00. Contact: Mike McEwan at mmcewan@shaw.ca.

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A SMALL WORLD Hew Lines

Last June, two Guild members found out what a small world it really is. 407 Squadron is a Long Range Patrol and Reconnaissance squadron located at 17 Wing CFB Comox, and in June of this year it celebrated 75 years of operations during both peacetime and wartime periods with a Reunion from June 17th to the 20th. On Friday afternoon of the 17th I was with a group of other ex 407 squadron members at the Meet and Greet in the Comox Officers mess when I noticed another ex-member walk by that I recognized. I turned to Sandi and said “that guy is a member of the IWG!!” (It was Bill Munden). We then got together and you can imagine our surprise when we discovered that not only were we both previously members of the RCAF, but we were both Aircrew (Bill was a Flight Engineer and I was an Electronic Systems Officer), both were members of 407 Squadron, and both served on 407 during the same time period in the late 1960’s (1967-1970) but on different crews. I flew on the Lockheed P2V7 Neptune and the Canadair CP-107 Argus, and Bill flew on the Argus and the Lockheed CP-140 Aurora. An enjoyable weekend was had by all and lots of old friendships were rekindled.

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Lockheed P2V7 Neptune Canadair CP-107 Argus Lockheed CP-140 Aurora

Sandi, Hew, Nancy & Bill

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PARTING OFF

Thanks to Andre Robin and Hew Lines for their contributions and Stu Carmichael for the photos.

There are many members who make significant contributions that are not often noticed. This

month a “shout out” to Brian Hayes and Bob Pederson for their long service in storing the Guild’s

lathes and transporting them to various functions at “un-godly” hours of the morning.

And finally thanks to the hard work of the members of the Executive – without whom we would

just sit in silence for 3 hours once a month.

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CONCLUDING THOT

While Hew and Bill claim that they never flew together, this photograph makes it clear that they have simply forgotten.

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