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A Chapter of The American Association of Woodturners
Volume 19, Issue 7 The woodturners’ local resource July 2014
President’s Message
We finally have a meeting place that seems to be reliable for the foreseeable future. We have reached an agree-ment with the Multnomah Arts Center that will allow us to meet in the auditorium as well as store our equipment on the premises. We can look back on the ChemWest days with fondness, but it's time to move on. Our ar-rangement includes a $50 monthly membership fee in the MAC Arts Association, $84 rental fee for the auditorium plus a fee for storage. We still have to determine how much the storage fee will be. It depends on how much material we move into the Mac. Over that, at least, we have some control. The MAC have been good enough to give us a short grace time to sort out our equipment and determine what we actually need for our events in that building. I am greatly relieved that we have a place to meet that we can count on well into the future. The auditorium will be more than enough space for monthly meetings and even for the large crowds that we might draw for demonstrations. Should the need arise, we also have access to other rooms in the building, at a reduced cost, where we could host day-long demonstrations for smaller groups.
No doubt, it will take us a while to settle in but I think we will find this to be an ap-propriate venue for meetings and other functions. Keeping one of the turning clubs in Portland on the west side of the river was judged by many to be an important con-sideration. It was essential that we settle on a meeting place to encourage new mem-bers to attend and begin to develop our demonstrator programs. It would've been nice to find a free meeting space, but pay as you go is the way of the world these days. To my mind, a settled place to meet was more important than a free place to meet. Besides, easy access to parking, bathrooms right at hand and a Starbucks across the street; what else do we need.
Our demonstrator for July, Nick Stagg, has visited the club before. Nick is a con-summate technician, from meticulous sharpening to exactly placed cuts, every action is directed toward completing the project with a minimum of sanding. Previously, Nick demonstrated his bowl turning skills, which included freehand sharpening. This time he will show us his methods for turning boxes. We can look forward to per-fectly sharpened spindle gouges. Keep your eyes open and be prepared to ask ques-tions. Nick is one of the featured demonstrators at the 2014 Creativity in Wood-turning Symposium on 26 July in Lacey, Washington.
We will start setting up for our meeting at 6:30 PM, and we need to be cleaned up and out of the room by 9:30 PM. The first time it will be a little rocky but I'm sure we'll figure it out. See you Thursday. (continued on page 2)
Club info
Northwest Woodturners www.northwestwoodturners.com Meetings are held at 7:00PM on the 1st Thursday of each month at The Multnomah Arts Center 7688 SW Capitol Hwy, Portland, OR 97219 President Mike Meredith [email protected] phone 503-522-0531 Vice Presidents MikeWebb & Bill Giffin Secretary Open Treasurer Roger Crooks Directors Richard Hall Max McBurnett Bob Mach Steve Newberry Jim Schoeffel Librarians Denvy Larson & Lynne Hemmert Raffle Tom Willing Supplies Roger Crooks Official Greeter Jim Moore Newsletter Editor Jim Schoeffel [email protected] NWWT Web Site Barbara Hall MyFamily Administrator Owen Lowe
Page 2 Volume 19, Issue 7
august: picnic and auction
On Saturday, August 2 we will have our annual
family picnic and auction — no regular meeting on Thursday, August 7. The picnic and auction will be at David Williams’ home, 6675 SW 155th Ave. in Beaverton (155th is between SW Davis Rd and SW Hart Rd west of Murray Blvd). This auction is our major fund raiser for the year, so begin think-ing about what you can donate to be auctioned off. More details will be provided soon via e-mail. We hope to see you there!
Meeting programs
July: demonstration by Nick Stagg
Nick Stagg is a member of the Willamette Valley Woodturners. He started turning at the end of 2002 to make Christmas presents for his family. Now, the lathe dominates his free time, and his shop houses ten of them for students and club gatherings. Nick turns everything: lidded boxes, hollow forms, all kinds of bowls, and an array of treen. He specializes in teaching turn-ing techniques. When he demonstrates he’d rather teach the skills to make a piece so that those in attendance have time to watch and ask questions. Says Nick, “I’d like them to be able to go home and make one, that’s the biggest gratification I could receive.”
The Library is expanding. This month four new publications were added: Dick Sing returns with Unique & Unusual Pens from the Wood Lathe; Learn to Turn: A Beginner’s Guide to Woodturning from Start to Finish by Barry Gross (second copy); The Art of Segmented Wood Turning by Malcolm Tibbetts (a second copy), and Pen Turner's Workbook by Barry Gross. Now in review, in a publication that is in our library, I checked it out: American Woodturner's TECHNIQUES & PROJECTS III, selected from the “Journal of the American Association of Woodturners 1996-1998”. I found one article on pages 67-68 that especially interested me: “Cheap Bowl Lathes, One metal, one wood” by Ernst Kallenbach (originally published in the June 1996 Journal on pages 14-15). The wood bowl lathe is built from 3x4 skid materials, some supports were ripped thinner, and the shaft is a 12-inch heat treated steel rod running in self aligning pillow-block ball bearings. One end has 1 x 8 threads to accept standard Delta faceplates; the other end carries a step pulley. Pulleys were salvaged from a drill press. Wow, what a find, if you are into making something useful out of what others consider scrap lumber. Well, that's it for this month. Any suggestions? Email them to: [email protected]. Thanks. — Denvy Larson
Library News
President’s message (continued)
Next month is August, and August means would auction. We will be holding our annual picnic and auction David Wil-liams’ house. I guess we didn't do too much damage last year and they graciously agreed to host the auction again. We will have more information on the auction at our July meeting and we will keep you up-to-date by email.
On the subject of communication, you probably know that the MyFamily site is being discontinued. The process is un-derway to find and establish a new interactive club site with another host. The nwwoodturers.com site is not affected by these changes. — Mike Meredith
Volume 19, Issue 7
Mike Meredith, the “Doctor” at Doctor’s Woodshop, gave an excellent presentation on how to make and turn wood/Alumilite hybrid blanks. He brought along some fine examples of what can be made using them, and as shown in the photo, the blanks yield beautiful pieces. To make these beautiful pieces first requires making wood/Alumilite blanks, and that’s what Mike’s demo is all about. The photo on the right, shows a bowl blank, three pepper mill blanks and the mold used to make them, several stopper blanks, and some thin trimmings from the larger blanks that can be used to make small items such as pendants.
Making the Blank Because making wood/Alumilite hybrid turning blanks requires several pieces of equipment and several hours of time, Mike showed a video of how he does it in his shop. The video can be seen on YouTube at: http://youtu.be/ATPL2DadXp0.
The first step is to stabilize the wood. Mike uses a heat-cured resin called MesquiteMan’s Cactus Juice stabilizing resin that is made by Curtis Seebeck in Texas (TurnTex, www.turntex.com). The stabilization process requires a vacuum chamber that is either clear or has a clear window/viewport and a vacuum pump capable of pulling at least 25” Hg vac-uum — sorry, a shopvac won’t do. The wood blanks to be stabilized are placed in the vacuum chamber, the Cactus Juice is poured in to cover them, the lid of the vac-uum chamber is attached, and the vacuum pump turned on. The level of the Cactus Juice must be a bit above the tops of the blanks to insure they stay covered as the Cactus Juice is drawn into them. When the vacuum pump is turned on, the air in the blanks will be drawn out and will cause foaming of the Cactus Juice, so it’s important to have a valve between the vacuum chamber and the pump so the vacuum can be applied slowly. Once the foaming subsides, the valve is opened all the way to achieve the full vacuum of about 25” Hg. After about an hour, the valve is closed, the vac-uum pump switched off and disconnected from the chamber, and the valve opened to release the vacuum. The saturated wood blanks are then removed from the chamber, placed on a sheet of aluminum foil and put in an oven set at about 180°. Any excess Cactus Juice in the vacuum chamber should be saved for reuse. After about an hour, the blanks are removed from the oven and their surfaces cleaned up a bit with a brass brush. They are now ready for casting in the Alumilite. Not all woods (e.g., maple burl) need to be stabilized before cast-ing, but Mike has found that the stabilizing process significantly enhances the wood’s figure.
For casting, Mike uses Alumilite Clear. It is a two-part casting resin manufactured by Alumilite Corporation (http://www.alumilite.com/products.cfm) and available from a variety of sources. The casting process requires a mold of the appropriate size and a pressure vessel large enough for the mold and capable of 60 psi. The pressure vessel is
Page 3
Mike Meredith’s june demonstration:
Making & Turning Wood/Alumilite Hybrid Blanks
Page 4 Volume 19, Issue 7
needed to reduce the very tiny bubbles entrained in the resin during mixing. The one Mike uses was originally intended for paint spraying. The mold can be made from most any plastic and should have removable sides or ends to facilitate extracting the cast blank after it has cured. Half inch thick material works well. When making the mold, it would be prudent to keep in mind the cost of Alumilite — about $90/gal. which works out to about 40¢/cu.in. The one Mike uses in the video will make a blank that can be cut into three stopper blanks. However, the piece of maple burl he had was sized to make only two stopper blanks, so he inserted a piece of Plexiglas to reduce the interior volume of the mold. Once the mold has been selected and sized for the piece of wood, and the wood inserted, it is necessary to determine the volume of resin necessary to fill the mold. This can be easily done by pouring small glass beads (or rice, or some other granular material) into the mold, and then pouring them out of the mold into a measuring cup or graduated cylinder. This is the volume of the mixed resin needed, but it is a good idea to pre-pare a little extra. Half this volume each of resin Part A and resin Part B are meas-ured into plastic cups. If desired, Part A can be tinted. Mike uses Alumilite liquid dyes. They are easy to use, have excellent color saturation, and allow colors to be easily adjusted and to be reproduced very accurately.
The working (or open) time of the resin after mixing the two parts together is only about 7 minutes, so it is wise to have everything prepared and arranged for the remaining steps before mixing together the two parts of the resin. This includes spraying the mold with release agent (available from the sources of Alumilite), positioning the piece of wood in the mold and having the pressure vessel at hand and ready to use. With everything prepared, Part B is poured into Part A, very thoroughly mixed, and then poured into the mold. To prevent the wood from floating it should be secured with tape or hot melt glue. The filled mold is then placed in the pressure vessel, which is then pressurized to 60 psi. After a couple of hours, the pressure can be released, the mold taken out, and the cured casting removed from it. After final sizing and a little clean up, the blank is ready to be turned.
Turning the Blank Alumilite works/machines like most plastics, so sharp tools and attention to lathe speed are necessary to avoid melting. Typical spindle turning tools can be used, and Mike uses scrapers for most of the shaping. He has found that positioning the scrapers a little below center seems to work best. If lathe speed is too fast, the surface will melt. After the desired shape has been achieved, Mike begins sanding at 180, and steps up through the grits all the way to 7000. He uses walnut oil as a sanding lubricant with all grits. For the final finish Mike used Doctor’s Woodshop Walnut Oil Paste Wax, but as shown in the video, other polishing methods work well, too. The stopper shape Mike turned has a concaved top, which produces an interesting effect when a bright light shines on it – the light brightly illuminates the burl surface.
Page 5 Volume 19, Issue 7
june challenge — Thanks to Steve Newberry for judging the June Challenge pieces.
Winner in Multi-center Category Bill Giffin
Maple Sculpture
Khaya Figurines
Winner in Multi-axis Category Miguel Hernandez
june show-n-tell — Thanks to Steve Newberry for critiquing the June Show-n-Tell pieces.
Roy Ackley Roger Crooks
Maple
Page 6 Volume 19, Issue 7
june show-n-tell (continued)
Spalted Maple
Muhlberry
Miguel Hernandez
Maple
Bill Giffin
Maple
Page 7 Volume 19, Issue 7
june show-n-tell (continued)
Local events
Frogwood 2014 hosted by The Pacific Northwest Woodturning Guild August 14-17, 2014, at Dale Larson’s home and shop, 5010 SE Regner Road, Gresham, Oregon
The Pacific Northwest Woodturning Guild is hosting its 7th annual three-day collaborative event to explore the fusion of woodturning, metalworking, textiles, and other art mediums. This event is geared to artisans with solid skills and a good sense of design; those who are ready to explore new avenues of artistic expression by sharing their vision and their efforts with others who work in a different style or medium. You will meet new artists, open yourself to new ideas, and work with new materials. Overall, you will develop a greater creative diversity of knowledge, skills, and experience.
For more information contact: Tom Willing: (503) 891-7985, [email protected], Jerry Harris: (503) 244-6921, [email protected], or visit: http://woodturningguild.com/what-is-frogwood/
Brian Harte
Maple
Volume 19, Issue 7
Page 8
Last month we examined the psychological aspects of color...how it feels. We know that personal emotions can play a significant role in what we like. Let’s think through and understand our own emotional response and align color with a particular feeling. For example we’ll choose blue or gray as the base color to create an air of calm and maybe lower blood pressure. Then let’s choose a red or orange for energy or excitement and finally yellow to bring a little sunshine into our lives. We’ll experiment with using blue to calm down the strong effect of the more aggressive colors like the red, or-ange and bright yellow.
This month we can use the color wheel in three ways to help us choose col-ors for our turned form: This simple color wheel combines colors that are placed next to each other to give us intermediate colors; the combination of the two adjacent colors: for example red + orange becomes red orange.
The first combination is called Complementary: We choose two colors that are directly opposite each other on the color wheel: For example, orange and blue; or we might use our favorite Christmas colors of red and green; or even blue green and red orange. Note black and white can also be used. You might want to reserve the complementary color scheme for a bold look, as this combination has the most impact. An alternative is the split complementary, where you choose the two colors on either side of the actual complementary color. Using a split comple-mentary reduces the contrast between the colors, making this choice more harmonious. It also emphasizes the non-split color, giving you opportunities in adjusting the impact each color has.
Note that mixing two complementary colors yields a gray hue; that is what makes them “opposite”. Therefore grays can be used in this scheme to separate the colors which can act to enhance the perceived intensity of the main colors.
The second color scheme is called Analogous or the combining of any three adjacent colors. For example, blue, blue violet and violet. These colors harmonize well and so you might choose an analogous color scheme to create a relaxed mood. The blue combo is calming. A red, red-orange and orange combo feels warm and much more energetic, yet still relaxed. This scheme tends to produce the least impact of the three types. Choosing a primary color as the central color adds emphasis to the color set. Feel free to use more than three adjacent colors, but try to keep the spacing between colors consistent. With this scheme, contrast can be increased by varying the tint or hue between the colors. This color scheme is often employed in abstract art
(think for example of impressionism).
The third color scheme is called a Color Triad or Triangular color scheme. Choose any three col-ors that are an equal distance from each other on the color wheel. For example, yellow , red and blue. The base color or dominant color determines the effect of the combo. Using green as the base color, a touch of orange and violet is a pleasing warm combo. The differences are often subtle, but as you experiment you can see that each triad you create produces a slightly different spectrum of colors. Greens can shift from blue-green to yellow-green. Reds lean either towards orange or maroon. A modification of this is the tetrad, where you choose 4 equidistant colors. The triad offers the greatest versatility in color choice, has less impact than
complementary, but more than analogous, and tends to produce combinations that are clearly either warm or cool.
Design workshop … the mechanics of using color
Volume 19, Issue 7
Page 9
As a rule, complementary and triad/tetrad combinations are harmonious, so that they help foster a sense of comfort. You can adjust the impact by tinting the colors, or you can adjust the color balance by changing the amount of tint be-tween each of the base colors of your scheme.
Note that you don’t have to stick to specific colors. You can move around a target area to find just the color you want. These ‘rules’ are meant to offer assistance in finding the general color combinations, or areas on the color wheel that are important to explore. In general, you will produce tension by moving away from the suggested scheme colors.
For contrasting accents, choose one of the non-dominant colors. Make sure it has a tiny bit of the dominant base color mixed in to soften it a touch. Otherwise these accents will jump out to the eye a little too much. Of course, if you are using black to accent; it will dominate, even in a gray palette!
When we examine the yellow turning by Dale Cook displayed at an AAW International Sympo-sium, we notice touches of red and green in the yellow color. Nature does not use a series of solid colors, but adds subtle touches of many colors. Green is not all green; but a bit of orange, red, and brown.
Let’s use this more complete version of the color wheel to blend colors. Go-ing from full color (periphery of the wheel) to pastels (center of the wheel), we add white to our base color to lighten. The base color plus white is called a tint. The more white we add, the lighter the base color becomes. We add black to the base color (or to the tint) to darken it and again the more we add, the darker the color becomes. Many artists do not care for the starkness of black and use a dark blue or dark purple to darken.
As an example, let’s choose green as our base color. Put your pencil on the green dot on the perimeter and draw a straight line to the center of the circle. Notice the more white is added, the lighter our green base color becomes. Starting in the center and adding black or dark blue gives us multiple shades of green until we reach the darkest green at the outside perimeter of the cir-cle. The lightening white or darkening black have been added in precisely measured amounts so the colors are perfectly graduated in the diagram.
Note that adding gray (a combination of white and black) will move the color along the axis line, but will tend to dull the color (the same as if you first added white, then decided to add black to re-darken the color). It’s best to get where you want to go by traveling in one direction only.
We have not added the effect of light and shadow that operates to change our perception of color. You probably have noticed the difference light plays with the color of the walls in your house. The walls appear to be a different color dur-ing different parts of the day. We have already talked about light reflection and refraction operating on the curvilinear surfaces of your piece causing distinctive color changes.
This is the last of my design articles on color. Check out the May and June issues of the Northwest Wood turners News-letter for more on color. There is so much to learn about the effects and changes in color, we could study this fascinat-ing area forever as many artists do. I hope you experiment with color, it’s a lot of fun, it adds a new dimension to your turnings, and it opens a door to expressivity that can be very satisfying.
— Barbara Hall
Design workshop (continued)
Page 10 Volume 19, Issue 7
2014 Northwest WoodTurners Meeting Schedule and programs
MAP to the Multnomah arts center — 7688 SW Capitol Hwy, Portland, OR 97219
1st Thursday at 7:00 PM The Multnomah Arts Center, 7688 SW Capitol Hwy, Portland, OR 97219
Date Program Challenge
January 2, 2014 Annual Swap Meet none
February 6, 2014 Meeting Cancelled (snow) Spring – New Beginnings
March 6, 2014 Jim Hall (Carving and Embellishing) Eggs
April 3, 2014 Steve Newberry (Off-center Turning) Toys
May 1, 2014 Phil Lapp (TBA) Two-of-a-Kind (Matching Pieces)
June 5, 2014 Mike Meredith (Production & Turning Alumilite/wood hybrid blanks)
Off-center/Multi-axis Pieces
July 3, 2014 Nick Stagg (Small Boxes) Reassembled Bowls
August 7, 2014 Picnic TBA
September 4, 2014 Jim MacDermot (Exotic Woods) Winged Bowls
October 2, 2014 TBA Carved or Textured Pieces
November 6, 2014 TBA Holiday Pieces
December 4, 2014 TBA none
NOTE: Sign says “Multnomah Center”
Multnomah Arts Center 7688 SW Capitol Hwy Portland, OR 97219
Page 11 Volume 19, Issue 7
Symposia
2014 Creativity in Woodturning Symposium featuring Trent Bosch and Nick Stagg plus Workshops with Trent Bosch presented by Woodturners of Olympia, (NOTE: Trent Bosch has replaced Richard Raffan who had to withdraw for health reasons) July 26-30, 2014, Lacey, WA
Symposium, Saturday, July 26, 2014, Cost $100 Nick Stagg: Turning a Basic Bowl Made Easy Trent Bosch: Vessels of Illusion, Decorative Utility Bowl, Sunburst Platter, Vessels and Surfaces
Trent Bosch Workshops on July27-30, 2014 Workshop # 1: Sunday, July 27, 2014: Decorative Utility Bowls. Cost $150 Workshop # 2: Monday, July 28, 2014: Sunburst Platter. Cost $150 Workshop # 3: Tuesday & Wednesday, July 29 & 30, 2014: 2-Day Work Shop — Vessels and Surfaces. Cost $250 Note: (All workshops are currently filled). Register on-line at: http://www.woodturnersofolympia.org Or contact: Al Price, Program Director, 360-791-0396, [email protected]
Saskatoon Twenty Fourteen Woodturning Symposium July 25, 26 & 27, 2014 Walter Murray Collegiate 1905 Preston Avenue Saskatoon, Saskatchewan
Invited demonstrators include: Binh Pho, Douglas Fisher, Micheal Gibson, Cynthia Gibson, Bernie Bober, Andrew Glazebrook, and Paul Omilon.
Other Woodturner Club Meetings and programs
Beaver State Woodturners (Eugene, OR) (www.beaverstatewoodturners.com) 4th Thursday, 6:00 PM at the Woodcraft Store, 1052 Green Acres Rd, Eugene, OR 97408 Jack Dunham, [email protected]
July 24, 2014: TBA August 28, 2014: TBA
Southwest Washington Woodturners (Vancouver, WA) (www.southwestwashingtonwoodturners.com) 4th Wednesday, 7:00 PM at The Friends of the Carpenter’s Center, 1600 West 20th St, Vancouver, WA
July 23, 2014: TBA August 27, 2014: TBA
Woodturners of Olympia (Olympia, WA) (www.woodturnersofolympia.org) 4th Thursday, 6:30 PM at Thurston County Fairgrounds, Carpenter Road SE, Lacey, WA Al Price, [email protected]
June 26, 2014: Eric Lofstrom (Translucent Bowls and Spear-point Scrapers) July 26, 2014: Creativity in Woodworking Symposium with Trent Bosch and Nick Stagg (NOTE: Trent Bosch has replaced Richard Raffan) July 27-30, 2014: Hands-on Workshops with Trent Bosch; contact Al Price ([email protected]) for more information August 28, 2014: TBA
Cascade Woodturners (Portland, OR) (www.cascadewoodturners.com) 3rd Thursday, 6:45 PM at Frankilin High School, SE 52nd Ave & Woodward St, Portland, OR 97206 Pete Morrell, [email protected], 971-506-4770
July 17, 2014: Graeme Priddle (NOTE temporary meeting location: Carpenter Center, 4222 NE 158th Ave, Portland, OR 97230) August 21, 2014: Tool Swap
Willamette Valley Woodturners (Salem, OR) (www.willamettevalleywoodturners.com) 2nd Thursday, 6:30 PM, Salem Center 50+, 2615 Portland Rd, NE Salem, OR 97303 Terry Gerrost , [email protected]
July 10, 2014: TBA August 14, 2014: TBA
Page 12 Volume 19, Issue 7
Our Business Members
We encourage our Northwest Woodturners mem-bers to visit these business partners to find the many great products they carry and to stock up on the necessary items for your wood turning needs.
Be sure to remind the sales clerk that you are a member of Northwest Woodturners! Our business partners provide NWWT with generous gifts based on member purchases.
Page 13 Volume 19, Issue 7
This Page Intentionally Blank
Page 14 Volume 19, Issue 7
P.O. Box1157
Lake Oswego OR 97035
Membership has benefits! Show your NWWT Membership Card to receive a discount off your purchase at Gilmer Wood, Rockler, Woodcraft, Woodcrafters, North Woods, Crosscut Hardwoods and Klingspor.
Editor’s Notes Local woodworking store Demos
All Newsletters can be accessed from the NWWT website or the NWWT Members Forum web site. If you do not have internet access, provide me with your mailing address and news-letters will be sent via USPS.
If you do not receive a courtesy email from me by the beginning of the month indicating that a new newslet-ter is available on line, please send me your current email address.
Submissions to the newsletter are due by the 20th of the month. Articles, tips, web links, classified ads, or other woodturning-related items are welcome.
Jim Schoeffel 503-591-9066
For other business inquiries contact Northwest Woodturners at:
Northwest Woodturners P.O Box 1157
Lake Oswego, OR 97035
Date Demo Location Time
07/05 Rockler Taper Jig Rockler, Beaverton 11:00 AM
07/05 What’s New at Woodcraft? Woodcraft, Tigard 10:00 AM – 2:00 PM
07/05 Wood Burning with Dick Armstrong Woodcrafters, Portland 10:00 AM – 3:00 PM
07/12 Excelsior Lathe & Ice Cream Scoop Rockler, Beaverton 11:00 AM
07/12 Turning – Bottle Stoppers Woodcraft, Tigard 1:00 PM – 2:00 PM
07/12 Carving with Jim Tharp SawStop at 3:00 PM
Woodcrafters, Portland 10:00 AM – 3:00 PM
07/19 Rockler Box Joint Jig w/Glue Paddles Rockler, Beaverton 10:00 AM – 3:00 PM
07/19 Upcycling – Removing Old Paint Woodcraft, Tigard 1:00 PM – 2:00 PM
07/19 Carving Decorative Masks with Daniel Fagereng
Woodcrafters, Portland 10:00 AM – 3:00 PM
07/26 Soy Gel Paint Stripper Rockler, Beaverton 11:00 AM
07/26 Woodriver V3 Hand Plane Woodcraft, Tigard 1:00 PM – 2:00 PM
07/26 Wood Burning with Shirley Malar SawStop at 3:00 PM
Woodcrafters, Portland 10:00 AM – 3:00 PM
Many other fine classes and demos are available from these local stores: Rockler, Beaverton, 503-672-7266, http://rocklerprod.lcgosc.com/retail/stores/or/portland-store Woodcraft, Tigard, 503-684-1428, http://www.woodcraft.com/stores/store.aspx?id=312 Woodcrafters, Portland, 503-231-0226, http://www.woodcrafters.us/
