A Chapter of The American Association of Woodturners

OCTOBER 2012 THE WOODTURNERS’ LOCAL RESOURCE

VOLUME 17, ISSUE 18

Northwest Woodturners meet-ings are held on the 1st Thursday of each month 7:00PM www.northwestwoodturners.com ... details and map for. October Challenge: Preview of holiday ornaments & toys November Challenge: fun stuff for the Holidays President Richard Hall diwest@ix.netcom.com phone 503 649 5582 V. President David Williams Secretary Roger Crooks Treasurer Mike Meredith Members-at- Large Joe Jedrychowski Scott Blackman Bob Mach Stan Postma Chris Nilluka Max McBurnett Gary Sundquist Joe Escriva Librarian Lynne Hemmert Bill Rufener Raffle Tom Willing Supplies Tom Helzer Newsletter & Web Barbara Hall Official Greeters Jim Moore MyFamily Administrator Owen Lowe

QUICK UPDATES PRESIDENTS MESSAGE

We're getting close to November and our annual elections. Our club is all voluntary, everything that happens is due to one of our members contributing some time and effort on the club's behalf. We are also a club of talented and generous people. We support each other to get the club business done. I really encourage each and every member to consider volunteering for a position in the organization. You can give what time and effort you have, no position demands so much time and effort that you wouldn't be able to do it. Of course, some jobs take more time and effort than others, but even the most time consuming jobs rarely take but a few hours each week to accomplish. We have four officer positions, President, Vice President, Secretary and Treasurer. The by-laws call for at least four board members at large, that is in addition to the officers. We cur-rently have eight at large board members. We also have several positions that are not board positions; but nonetheless are critical to our success at being a club and meeting our member's needs. These are librarian and newsletter editor. Two other positions that have gone unfilled this year are raffle coordinator and supplies coordinator. We dropped the supplies position while we were hosted by Rockler, but there are supplies we all use that Rockler doesn't carry, and since we are no longer hosted, I would like to see our supplies position reactivated. We also instituted official greeter positions last year, and I think those positions are really im-portant for new members and guests, giving them a person they can contact and talk to regard-ing the club and it's functions. Again, please consider volunteering to take one of the positions of the club. The club survives on the volunteer efforts of its members, and becoming a con-tributor not only helps the club, but is also quite satisfying. Newer members are especially encouraged to join in by participating. Next month we have Stephen Hatcher coming from Washington. Steve is a well known turner who is known for his inlay work. We will be presenting shop tips and tricks for the Thursday evening meeting. As part of this instruction he will also teach using wood banding as inlay, usually for the purposes of disguising the magnets, but the technique can be used any-where on a turning as an alternate method for surface treatment and decoration. Signup sheets will be available Thursday for the classes which will be $100 (including $50 worth of provided tools and supplies), very reasonable and affordable for instruction from one of the best well respected turners in the country. This month we have Steve Newberry giving a presentation. Both Steve’s design and techniques are outstanding. You can read on page 5 Steve’s agenda. His talk on tools should inspire us all to try making our own endgrain hook, a tool we can take pride in using; not only because it does the job; but feels right in our hand as we use it. Steve’s hollowing hook might well become one of our well used tools. Richard

PAGE 2 VOLUME 17, ISSUE 18

September Show and Tell and Challenges

Bruce Jackson

Bruce Jackson

Bill Giffen

Phil Lapp

Bill Giffen

Thanks to Mike Meredith our Challenge judge; Congratulations to our challenge winner Bill Giffen

Photographer: VP David Williams

PAGE 3 PAGE 3 VOLUME 17, ISSUE 9

FROG BUMPS … UKIBORI … THANKS TO CHARLIE BELDEN

"Frog Bumps Texture" - It's EASY

I have described an old method of exploiting two of wood's characteristics - that its grain can be compressed/crushed and that it expands as it absorbs moisture. If you compress/crush the wood's grain- such that you create a depressed pattern - then re-move wood down to near the bottom of the depressed pattern- then steam the wood your pattern becomes raised above its background.

Turns out the Japanese woodworkers have been exploiting this idea for quite a while, long enough to give it a name - Ukibori. Ukibori is often used in creating netsuke - it is the technique of leaving a raised pattern behind by removing wood around the pattern. (see photos fig.2, fig.3) Thought I'd give it a try - since I had the chasing hammer and ball end metal punches. I found the bottom of a small lidded box I never finished. Chucked it up, punched some hemispherical depressions, turned the surface down to near the bottom of the depressions and put the piece in a little vegetable steamer. Here's what I got, along with a picture of the "punches" and chasing hammer used. The process took about 5 minutes of tapping and really should have only taken a minute or so with the wood exposed to steam.

I should have: a) I sanded to at least 600 rather than stopping at 320. Better yet, I should have done a light shear cut on the last pass rather than scraping b) I steamed the piece just long enough for the "frog bumps to rise" instead of steaming for 10 minutes and having the grain split apart in some places. The "frog bumps" appeared within less than a minute of encountering steam - but I figured More Is Better (which often is totally not true) I've since taken a curved, polished agate burnisher to the surfaces and smoothed the raised grain. The piece got shinier - without losing the bumps.

There are some interesting possibilities with this thing. Tear dropped punches, with rounded edges, concentric circular ridges punch, flat cone punches, heart shaped punches. Lots of possibilities for you to experiment with.

http://web.hypersurf.com/~charlie2/

Ukibiri fig.1 Ukibiri fig.2 Charlie’s Frog Bumps

I want to talk briefly about the source of my design. As part of this series, I decided to go through the exercise of creating a design from scratch, so I could discuss various design decisions freely without any overriding design considerations. But in reality, this is not how most people come up with a design. Short of copying or using existing designs as a basis for a creation, most people use inspiration as a basis for design. Successful designers often use their daily encounters as fodder for inspiration - a cloud shape, a seashell, a rock ... something they encounter in life that makes them stop and SEE the thing that is inspiring them. For these designers, the process then simplifies to how they want to best represent what they saw (not necessarily visu-ally - but emotionally). They use the same techniques I'm discussing here, either intuitively or intentionally, but they have an overriding concept they are trying to convey or represent, which places additional design constraints I do not have here. So either way you go, the same decisions need to be made and the same understanding of how design decisions impact the view-er's response to your piece need to be kept in mind.

(Continued on page 8)

DESIGN WORKSHOP

PAGE 4 VOLUME 17, ISSUE 18

The first page, 4, in a grouping of articles on the dangers of working with wood: See the following pages: 6, and 7. You are encouraged to read the chart (page 4 reference with an extraordinary grouping of wood and their potential dangers by Eric Mei-er.

What is a Sensitizer?

You’ve probably already heard the term desensitized—usually in reference to violent movies or images—meaning that we start off as naturally being sensitive to something, and upon more and frequent exposure, we become less and less sensitive to its effects.

Well, with some woods that have been classified as being a sensitizer, the opposite is true: the more we are exposed to a wood’s sawdust or other fine particles, the more sensitive we get to its exposure, and the more severe and adverse the reactions be-come.

If you ever have an allergic reaction to any wood that has been identified as a sensitizer, use extreme caution in handling or using that species (and related species) in future instances. Some have reactions so severe that they simply have had to stop and discon-tinue using certain wood species altogether. (Cocobolo is notorious in this regard.)

What is HP? Hypersensitivity pneumonitis (also called extrinsic allergic alveolitis, EAA) is an inflammation of the alveoli within the lung caused by hypersensitivity to inhaled organic dusts. HP on PubMedHealth.

What is NPC? Nasopharyngeal carcinoma, or sometimes called nasopharyngeal cancer. Basically, it is a cancer of the upper area of the phar-ynx, or “throat,” where the nasal passages and auditory tubes join the remainder of the upper respiratory tract. NPC on Mayo-Clinic.com. All inhaled wood dust is hazardous to your long-term health. The chart compiled by Eric Meier simply lists specific woods that can aggravate symptoms through allergic reactions, or woods that are outright toxic in and of themselves. However, all woods produce fine dust when worked, which in turn can damage your lungs and cause a number of other adverse health reactions. (This particular health issue—and the unhealthy buildup of such dusts in small woodworking or hobbyist shops—has been dealt with at length on Bill Pentz’ website.)

OUR SEPTEMBER DEMONSTRATION … PHIL LAPP … STROBE LIGHTING

Phil showed us the amazing effect achieved to clearly define the surface features of our turnings using strobe lighting. Phil con-nected the lathe to the strobe light so that it automatically was in sync with the lathe revolutions. It's very bizarre to see a piece ‘stand still’, yet have curls of wood come off it. Turnings can often be best with strobe turning, as they let you see the inside of the vessel as you turn. Very cool...

WOOD TOXIXITY WORKSHOP … THANKS TO ERIC MEIER

The Eagle

VOLUME 17, ISSUE 18 PAGE 5

WE THANK OUR BUSINESS MEM-

BERS FOR THEIR GREAT SERVICE

TO THE NORTHWEST WOOD

TURNER MEMBERS

10% off purchases of $100 15% off purchases of $250 20% off purchases of $500

Turning Demonstrations Mike Meredith & Tom Hasting

Refreshments and Plum Hill Wine Tasting North Woods Warehouse 56752 SW Sain Creek Road Gaston, Oregon 97119 (503) 357-4844

OCTOBER DEMONSTRATOR… STEVE NEWBERRY … ENDGRAIN HOLLOW

North Woods Warehouse Sale and Open House

Saturday, October 20, 9-5 Sunday, October 21, 11-5 Turning blanks, slabs, burls, lumber, figured wood

and more. Big Leaf Maple-Black Walnut-Yew-Silver Maple-Dutch Elm-Black Cherry-Locust-Myrtle-Madrone-

Hi, my name is Steve, and I’m a tool addict. Yet it seems that the more tools I buy, the fewer I use. I was very enthused by Soren Berger’s recent visit and immediately bought the stainless steel ring which allows me to hold a spherical shape on my scroll chuck. I hurried home, eager to try my newest toy, only to find I had bought the exact same tool the last time he was in town and hadn’t tried it yet. Happily I can now say that I’ve enjoyed using the sphere chuck, but I still haven’t figured out how I can use two.

Woodturning has been around for many hundreds of years, and yet many of today’s woodturn-ing tools may not bear much resemblance to those of the past. Traditionally woodturning ap-prentices would learn to manufacture and sharpen their tools as part of their training. Today we usually buy multiple tools capable of the same task, and when we’re new to turning we struggle as the tools aren’t properly shaped when we buy them, and we don’t know how to properly sharpen them.

This month I plan on giving a brief demonstration on endgrain hollowing techniques, followed by manufacturing a traditional endgrain hollowing hook tool using readily available materials and with tools you may already own. I can’t claim to be a hook tool expert, but I’ve been experimenting with these for several months, and hope to stimulate your in-terest in making some of your tools. I hope to see you there. Steve Newberry.

VOLUME 17, ISSUE 18 PAGE 6

The health and safety hazards of wood dust can be often ignored as turners lay aside masks and forget to turn on their dust collection systems and clean up their work sites.

Airborne sawdust and sawdust accumulations present a number of health and safety hazards. Wood dust becomes a potential health problem when, for example, the wood particles, from processes such as sanding, become airborne and are inhaled. Wood dust is a known human carcinogen as Bill learned too late. Certain woods and their dust contain toxins that can also produce severe allergic reactions. Wood dust is not just dust! Wood dust is tiny particles of wood produced during the pro-cessing and handling of wood, chipboard, and/or hardwood. While exposure to wood dust occurs in many industries, includ-ing furniture manufacturing, hobby workers are potentially exposed when wood is sawn, chipped, turned, routed or sanded. Health Hazards Exposure to wood dust may cause negative health effects that include dermatitis and/or allergic respiratory effects. When a turner becomes sensitized to wood dust, he or she can suffer an allergic reaction after repeated exposures. The degree and type of reaction depends on an individual’s susceptibility to certain allergies, as well as the concentration of dust and the amount of time exposed to dust. The same reactions from person to person are not always a certainty. In general, toxicity is in one of three categories: irritation, sensitization, and poisoning. Itchy skin and sneezing are examples of basic irritation thanks to wood dust. Woods like walnut and rosewood emit pleasant odors with low levels of dust, which most woodwork-ers equate with being one of the benefits of working with woods. However, the natural substances in these woods that cause the scents are also potentially toxic with greater dosage exposure and concentration. Long term effects of exposure to wood dust can include developing an allergic reaction to the dust or possibly nasal cancer.

Substances in wood that cause an emerging (and potentially serious) allergic reaction after repeated exposure are called sensi-tizers. Reactions may occur at first exposure or over time.

Be aware of your personal allergies. Those who have an allergic reaction to aspirin should avoid using woods from birch and willow trees (Betula spp. and Salix spp.) because these contain good concentrations of salicylic acid, the key ingredient in aspi-rin.

Hardwoods and softwoods have different airborne levels of Permissible Exposure Limits. Hardwoods, such as beech and oak, are listed as having more severe health hazards associated with them than softwoods. Western Red Cedar was placed in a cate-gory by itself as an allergic species of wood. Other health effects from wood dust are eye irritation, asthma, nasal dryness and obstruction, and frequent headaches. The natural chemicals in the wood that appear to be associated with allergic reactions are found in the inner parts of the tree or heartwood. Wood may also contain biological or chemical contaminants including molds and fungi, which often grow on the bark of the tree. Wood may also be treated with chemicals to assist in preservation. Common wood preservatives are arsenic, chromi-um, copper, and creosote.

Safety Hazards Concentrations of small dust particles in the air can form a mixture that will explode if ignited. This type of situation may occur in dust collection equipment. Wood dust will also burn easily if ignited. Overheated motors or sparks can start wood dust fires.

Wood dust is classified by the Occupational Safety and Health Administration (OSHA) as a hazardous chemical and is subject to the Hazard Communication Standard. http://www.osha-slc.gov/SLTC/wooddust.

Safe Work Practices Some possible methods to reduce and/or minimize wood dust levels are: Use vacuum dust collection in your shop, and keep your shop ventilated with fresh air. Use protective equipment while woodworking: dust mask, goggles or a full-face respira-tor, and a protective barrier cream on your arms or exposed skin. Immediately after woodworking change your clothes, wash them, and take a shower. This will prevent transferring wood dust to your house where you or your family may be repeated-ly exposed to it. Check out this comprehensive Wood Toxicity and Allergen Chart: Wood Allergies and Toxicity by Eric Meier www.wood-database.com/wood-articles/wood-allergies-and-toxicity/

HEALTH & SAFETY HAZARDS OF TURNING WOOD

PAGE 7 VOLUME 17, ISSUE 18

L IBRARY NOOK NEWS … BILL RUFENER

The Library news this month is going to be a bit different. Instead of writing generally for the whole Committee, I'm switching to first-person-singular to let you know I've begun treatments for lung cancer that has advanced to Stage IV. Given this new situation, I feel a need to write a few words about its cause and its effects on the Library.

There is no certainty as to the identity of the triggering agent—the cause—of my cancer, but wood dust and finishing fumes have to be high on my suspect list because these have been my environment so often out in the woodshop. I have a decent dust collection system, and three fans for exhausting stuff outside, and just about every kind of face mask/filter/helmet on the mar-ket. But I definitely wasn’t protected every moment I was in the shop, and that is apparently the level of discipline needed to stay healthy.

As to the effect this condition will have on my work in the Library, it’s obvious that I must taper off activities, but concentrate on getting done those things that are most important. Seeing that our Library can go forward and develop further, in new and capable hands, is important now.

Many times over the past months my wife would demand to know why I was spending so much time and effort on the Library when there were so many other things she thought I should be doing. “Well….” I’d answer (under my breath, as I knew the-se reasons would make no sense to her), I’m doing this because of Tom Reimann, and Owen, and Scott, and… (these were some of the people who so impressed me with their service to the Club and thereby to me when I was new here, but the list of people would lengthen to include all who, up to the present, do continuously, selflessly, extraordinarily contribute their abilities to the functioning of our group of turners. It feels good to imagine that I’m finally getting in step with them.)

“And furthermore…”, I’d answer my incredulous wife, It’s fun and challenging to bring order and accessibility to a Library that needed it. And, it’s something that I know I can do. I do happen to have the time to give to it, and if I don’t do it, I don’t think it’s going to get done.

“But why? Why is it so important”, I can barely hear my wife mutter under her breath. “Well…” (I’m searching for words) If the Club has a good Library of knowledge, it’ll help the new people get up to speed—up to their potential—on the technical aspects of the craft, and then our good Library will open to them a huge gallery of ideas on what they can make with their skill, and members can go on from there to create their own artistic pieces. So I hope you can see, Sweetheart, that I’m really doing this for you. I just want to be able to turn a vase for you with a line—a profile—so true and graceful, with a texture and grain pattern so interesting that you’ll feel good and at peace just holding it and it’ll complement your own serene beau… OH!! And if we can achieve a great Library someday, maybe it could not only do those good things for you and me, but also help re-mind slow-learners like me how to work with wood…….. safely.

If any of the above strikes a common chord, or if you’d care for a taste of the pleasures and satisfactions I’ve experi-enced, there’s a vacancy in the Library committee that needs filling.

I do intend to see you again in the Library (with your armload of overdue DVDs, I hope),

Bill

(Editor comment): Our thanks and our compliments to Bill and his crew for establishing one of the finest wood turners’ librar-ies in the country. We encourage you to join the construction as the library continues to grow and progress. It is only with you, our members dedicated efforts, that Bill’s efforts can achieve THE Northwest Woodturners Library that he has given so much time and thought to bring into fruition. Think through your personal schedules. Dedicate a time allotment that is worka-ble to enable you to pursue library growth. It’s creative and more than that, it’s fun to be a part of this exciting project with your fellow turners. Talk with Bill, share his vision and see how you can do your part.

Bill, our positive thoughts are with you.

PAGE 8 VOLUME 17, ISSUE 18

We talked about the top of the vessel last month. Let's talk about the bottom of the vessel this month. Being the bottom of the vessel, this area has a great impact on the sense of weightiness of the vessel. Visually, we expect the "weight" of a stable vessel to be low, since we all know that the higher we move the weight of an object the less stable it becomes - the higher the weight is moved (higher center of gravity) makes it easier to push the object over. This is our kinesthetic sense, and we need to be aware of it as we contemplate our shape. The bottom of the vessel is also where it contacts it's world, where it sits on some surface (unless we are planning on hanging it somehow). The manner in which the bottom contacts the surface on which it sits has a great impact on the overall sense of the vessel. Along with the visual sense of the center of gravity, the width of the base imparts a sense as to the stability of the vessel, so that a narrower base seems less stable than a wider base. We can associate the sense of instability with tension and action (or potential action), so that if we want to impart a sense of action, if we want the vessel to make the viewer feel tense, we can raise the center of gravity or narrow the base. If we want the vessel to impart a sense of serenity, relaxedness we should be wary of introducing too much tension into the design. There is another aspect to the design of the base, and that is how it meets the surface on which it sits. If the sides of the vessel meet the resting surface abruptly, just running into it, the viewer gets a sense that the vessel is "stuck" to the surface. If the sides sweep under to meet the surface smoothly and gradually, the vessel seems "lighter", separate from the surface. One might think from our discussion so far that a wide and flat base, feeling stuck, would impart a more serene sense, being that it would impart a sense of stability. Yet such as design more often imparts a sense of excess weightiness, of immobility, which is in fact not serene and relaxing at all but heavy and burdensome. A base that sweeps gently in to meet the surface feels lighter, the vessel seems more easily lifted (even though this sense has no bearing on actual weight), and the viewer feels similarly uplifted and light of heart. Now again I'm not trying to imply any one design is superior to any other. Many fine cut glass vases for flowers have wide flat bases, many well used moonshine jugs are similarly blessed with a sturdy and stable wide base. So here we have competing sens-es, a sense of tension derived from the perceived instability of a narrow, sweeping base, and a sense of tension derived from the excess weightiness implied by a wide and flat base. I would argue though, that the two senses of tension differ, and their psycho-logical effects on the viewer differ, because one tension is derived from a sense of instability and lightness, where as the other tension derives from excess weightiness and a sense of being stuck. I would suggest that a designer seeking a sense of tranquility settle on a middle road approach, using a base that is not too wide or too narrow, and one that sweeps gently into the base but leaves plenty of contact area with the surface. Increasing the amount of surface devoted to the sweep, reducing the sweep to-ward no sweep, or narrowing the base, or widening the base will all begin to increase the sense of tension. In my design, I've been consistently going for some tension, and a feeling of lightness, so I will settle on a slightly narrower base with a pleasing

sweep that will impart a nice sense of uplift without making the viewer feel like the vessel will top-ple over any minute (too much tension). Now we can play with some other ideas that will impact the sense of the base as well. Color of course can impact the impression of the base. If we darken the color, we impart more "weight", and we might be able to offset that with a slight narrowing. If we use a "base" on the vessel, either separate as a cradle or integral as perhaps legs, we can significantly impact the sense of stability. If you view David Marks' recent vessel, it comes to a narrow rounded point on the base, but it sits on a cradle that gives the piece the requisite sense of balance to reduce any tension imparted by that super narrow bottom. We can do a similar thing by sweeping the base back out as it meets to sur-face, as if it were sitting on a small plate. If we use a dark color just on the underside of the vessel, we can imply a cradle or base and therefore ease tension - and give ourselves leeway to play with width or curve without imparting too much tension in the design.

(Continued from page 3)

DESIGN WORKSHOP … CONTINUED

PAGE 9 VOLUME 17, ISSUE 9

EDITOR’S NOTE

Date Class /Demo Location Time

10/06 10/06

Beginning Lathe Turn Large Objects

Woodcraft Woodcrafters

*10:00AM-4:00PM 10:0AM-3:00PM

10/10 Pen Turning Woodcraft *1:00AM-4:00PM

10/13 10/13

Electric Guitar Bottle Opener Lit

Woodcrafters Rockler

10:0AM-3:00PM

10/20 10/20

Pen Turning Relief Carving

Woodcraft Woodcrafters

*1:00PM-4:00PM 10:0AM-3:00PM

10/23 Basic Bowl Turning Woodcraft *10AM:00-4:00PM

10/24 Wood Carving Woodcrafters *10:00AM-3:00PM

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.

LOCAL EVENTS, CLASSES, AND DEMO ’S

Key: H1 Hands-on class Friday H2 Hands-on classes Friday and Sunday H3 Three day Hands-on class D Saturday Demo

Jan 2012 Annual Swap Meet July 2012 Terry Gerros Salt Shakers

Feb 2012 D-H2 Sorby Tools /Ashley Harwood Aug 2012 Picnic/Wood Auction/barbecue

Mar 2012 Meeting Cancelled Sep 2012 Phil Lapp/Strobe Light Turning

Apr 2012 Dale Larson (Spheres) Oct 2012 Steve Newberry/Endgrain hollowtechniques

May 2012 H2-D Soren Berger Nov 2012H2-D Stephen Hatcher

June 2012 James Lynn Segmented Turning Dec 2012 Christmas Party

The wood auction will be our October meeting. This includes wood, tools, and artwork. GarySundquist@gmail.com or call 503-645-2231

October: Stuart Batty with an all day demo on Friday, space available. Saturday and Sunday are filled.

November: Dean Jordan, Surface Coloring. December: Christmas Auction.

W ILLAMETTE VALLEY ’S DEMONSTRATORS

CASCADE WOODTURNERS DEMONSTRATORS

If you did not receive an email from me that the June Newsletter was on line, please email your corrected email address to me. Barbara@iwci.com Members only who do not have email ac-cess; please give me your address for mail-ing your Newsletter to you September

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/Website 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

2012 NORTHWEST WOOD TURNERS MEETING SCHEDULE

PAGE 10 VOLUME 17, ISSUE 9

13500 SW Pacific Hwy, #185

Tigard, OR 97223

Show your NWWT Membership Card to receive a discount of your purchase at Gilmer’s, Rockler, Woodcraft, Woodcrafters, NorthWoods and Crosscut Hardwoods. Membership has benefits. (Plus great demos)

Segmenting Symposium

Segmenting Symposium

Thursday, October 18, 2012

he 3rd Segmenting Symposium, October 18-20, Horizon Resort & Casino, Lake Tahoe, NV Demonstrators: John Beaver, Andy Chen, Dennis Daudelin, Ray Feltz, Lloyd Johnson, Bill Kandler, Dennis Keeling, Craig Kirks, Phil Miller, Michael Mode, Dave Peck, Jim Rogers, Mike Shuler, Malcolm Tibbetts

Sale of all Bob Tuck's wood working machinery and tools. The correct address for Bob's house is 2180 NW 111th, Port-land. Several, but not all of the large tools have been sold. The sale will focus on the turning tools, gouges and such. If it’s a turning tool, Bob probably has at least one. Bob has asked that the tools and wood be paid for in cash, no checks.

SALE: BOB TUCK … SATURDAY OCTOBER 6, 2012.

DESIGN WORKSHOP CONTINUED

In my design, I have already introduced the idea of using "ribs" as part of the design. I talked about the idea while discussing the top. Ribs could be extended to the base to act as legs, and as such would free me to narrow the vessel base quite a bit without overwhelming the viewer with too much tension. But I'm not there yet. First off, I'm not sure about ribs in the first place, and second I have a palate of techniques that I can employ (color, carving, inlaying etc) that could have a strong influence on the final design. For now I'm satisfied with my decision to use a semi narrow, gently sweeping base. This is consistent with my design criteria of lightness and pleasing tension. Barb

(Continued from page 8)