American Woodturner vol. 03 no 1 - September 1988.pdf

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The
Journal
of
The American
As~ociation
of
Woodtumers
Volume 3 Number I
September
1988 $5.00
•
.A
I
Dedicated To Providing
Education,
Information,
and Organization
Among Those Interested
in
W oodtuming
Stewart Tool and Delta Donate
to
Education
Fund Drawing
Delta Deluxe Super Chuck
IGt
A
unique
work-holding
system
for
vessel
or
faceplate
turn-
ing. Quickest
material
mounting method of its type.
Saves
time.
Easy
to use.
Features
a
patenred
positive
grip
expanding collet
mechanism that
works
in
conjunction
with
a
drilled
recess
to
securely
hold
stock
for face
and edge turning
operations. Entire
visible surface of
material
can
be turned
without
the need
to
remove, reverse and remount
the
work
.
Comes complete ready-to-use. No extras
to buy.
Kit includes
two
chucks (2"
and
3"
diameter)
complete
with
spring
and
clamp to handle
both
small
and
large
turnings, two
cutters (2"
and
3"
diameter)
to
drill
recess
holes in material
for
mounting
to
chuck;
backing
plate with
stud
and
wrench
to mount
loaded
chuck
to
lathe plus
complete
instructions.
Also
includes
Cup
and Pin Type
Screw
Chucks threaded
to
fit the Super
Chuck
backing plate. These
specialty chucks
are
ideal
for
fine,
cylindrical
and
deep hollow turnings
such
as
pepper
mills,
candle stick
holders and
similar
items.
There's
a
Delta Deluxe
Super
Chuck Kit
to
fit most
popular
wood lathes.
Kit
No.
46-270
46-271
46-272
46-273
46-274
46-275
46-293
46-294
For
Use On:
All
Delta
Lathes with
I"
8
RH thread
spindle
Powermatic Model
90
with
I
W'
8
RH
thread
spindle
Oliver Models 159 and
2159
with
I
Vs"
8
RH
thread
spindle
Shopsmith
Mark V
with
%"
8
RH thread
spindle
Sears
Model
2280N
with
W'
16 RH thread
spindle
Powermatic Model45
with
I"
8
RH
thread
spindle
All
Delta
Lathes
with
'Is''
14 RH
thread
spindle
General Model
260
with
I
W'
8
RH thread
spindle
Stewart
Tool
Component System
Our
thanks
to
Stewart Tool and
Delta
for
their generous
donations
to our
education fund.
These tools were
designed
and developed by professional
turner
Dennis Stewart.
He is well
known for
his innovative
approach
to turning. Before teaching himself to turn, he was
a
sculptor.
He has always made
most
of
the tools
for
his
own
use. Whenever he
wanted
to
create
a
turning
that was difficult
to do
with
traditional tools, he would
design a
new
tool
to
make the
job
easier.
Over the
years
his tools
became
more
efficient,
more
versatile ,
and
more
innovative.
As
otherrumers
teamed
of
these tools, they wanted them too. That
was
the
beginning of Stewart
Tool.
The tools have
evolved
rapidly, incorporating many
of
the
latest technologies
from other
fields.
All
these tools have
been
brought together to
form a
system of
interchangeable
pans
from which many differenr tools
can
be
made. When
Dennis
recently
toured
Australia
to
demonstrate and teach
workshops.
he
carried
all the tools he
needed in
one small
briefcase.
Stewart Tool
will
be donating a $250.00 gift
certificate
good
toward
the
purchase
of
any
combination of
tools in the
line. including
a
special
video
showing
how
each
tool
is
used
and
the
special
techniques involved.
Now
to the
details.
As before. in
exchange
for
each voluntary contribution
to
the Education Fund- that
we would
like
to
suggest
would
be
$5-we
will
send
you
a
ticket.
Again, we will
send
you
five
tickets for
a $20
contribution.
The
order
form
is
on
the
back
dust
cover of
The
Journal.
As before, we
will
return
half
of
your
ticket
so
that
you
know that we have
received
your
contribution.
You need not keep the ticket. We
will
have put
your
membership number both
on
the ticket that we
send
you
and
on
its mate, the
one
we
put
in the drawing
box.
Remember.
.
.
there
is
still
time to purchase
tickets
for
the
drawing
of
the
Shopsmith
Mark V. Drawing will
be
at the
2nd
Annual
Symposium, Sept.
15-17.
See
back
dust
jacket
for more information.
C2
September
1988
Contents
The Journal
of
The
American
Association
of
Woodtumers
The American Association of Woodtumers is a
non-profit corporation dedicated to the
advancement of woodtuming.
It
includes hobby-
ists, professionals, gallery owners, collectors
and
wood and equipment
suppliers.
American Woodtumeris
published quarterly by
the
American Association of
Woodtumers.
Regular
membership rates are
$20
for individuals
and
$50
fO! businesses. Supporting
memberships
are
$100
and
$250,
respectively.
Patron
memberships are
$1
,000
and
$1
,500
repectively.
Of any membership,
$6
is aUocated for an
American
Woodturnersubscription. Single copy
price is
$5.
Known
office
of publication
and
sales office
is
Smithennans,
4807
Spicewood
Springs
Rd.
,
Austin, Texas 78759. Telephone
(5
12)
343-6491. Second-class postage
paid at Austin,
Texas.
POSTMASTER: Send address changes to The
American Association of
Woodtumers, P.O.
Box
1059, Eastsound,
WA
98245.
Telephone
(206) 376-5390
NOTE:
AA
W
does not endO!Se any product
featured or advertised in this
Journal.
Editor-in-Chief
Dan
Kvitka
Managing Editor
Bob
Rubel
Art
Direction
Smithennans
Advertising
Sales
Smithennans
Publication
Committee
Members:
Rus
Hurt
AJanStirt
AAW Structure
Questions
&
Answers
Education Fund Drawing
Doodlin'
s
Alright
Tips
&
Techniques:
"S"
Shaped Scrapers
President's Page
Letters
to the Editor
Turning 9-5: Industrial Strength Woodturning
Nominations
Technical
Tips
Attention
All
Members: ITOS
Shop Safety: Solvents
Calendar
Thanks, Thanks, Thanks
Wood
&
Tool
Exchange
DJ2
DJ2
C2
2
4
6
7
8
9
10
12
14
15
C3
DJ3
DJ3
DJ4
Educational News
Individual Instruction
AAW Board of Directors
Officers
President
David Ellsworth
Vice-President
Leo
Doyle
Treasurer
Ernie Conover
Secretary
Rus Hun
Members
Bill Hunter
Rude
Osolnik
Palmer Sharpless
Alan Stirt
Dick
Gerard
AAW
Board
of Advisors
Edward Jacobson
Albert L.eCoff
Ray
Leier
Arthur
Mason
Dale Nish
"Falls/River
Bowl"
By Steve
Loar
15"
X
J8"
X
13"
Bowl is
spa/ted
maple
with lacquer
and
acrylic paints. Fins
are
If/'
plywood with
olive ash burl veneer
with dye
and
paint.
On The Cover
By first constructing a Foamboard model of his object,
Steve Loar
can
better plan to craft
the
final
piece.
American Woodtumer I
America has
a
fixation about drawing.
It's
something
that
"artists"
do.
They
can create
pictures and images that
generally
look like
a
particular
object
or scene;
and,
supposedly,
if
you
can 't do
that, well, you just
shouldn't embarrass
yourself by
trying, and most likely making a
mess
of
it!
Some
people can design
and
create extraordinary
works
of
art directly
in
a
media,
seemingly instantaneously
bridging the
gaps
between
the demands
of
utility,
aesthetics, and
the
poten-
tials
(or
limits)
of the
particular
lump
of
material in
front
of
them
at
the
moment.
In
this
regard,
the
names
of
many
of
the
world's best-known
woodtumers
come
to
mind.
There
are
parallels
among the masters
of virtually
all
of
the
fme
arts.
My
approach
to
design also
utilizes intuition, but mostly
in
the
early stages of
development. After
I
have
"intuited"
the
idea,
I
put
it in the back
of my mind for
a
time
while it
gets
further
"baking."
It
is at
this point that
I
need to
record,
play
with, alter,
expand,
and develop ideas
on
paper. Only
after
pushing
the idea around
for some
time do I arrive
at
a particular
form that I
wish
to pursue.
Designing
need not be
a time-consuming,
or even
a
regular
endeavor,
but it can create a rich
storehouse of
ideas
(which
can
de
drawn
upon later).
It
tends to make
your
in-shop
time
much
more
efficient
due
to
pre-planning
and
having
specific
goals, and it greatly
increases
your chances of
creating
a
totally
successful
piece
(although,
I
always
keep an
eye
out
for the
"happy accident!"
...
)
In
developing and
creating
a
form, I
have three
broad
steps:
I
.
doodling
and
sketching;
2. refining
an idea through
slower
and more rigid drawings
coupled
increasingly with the building of models; and
3.
making the piece.
It
is the first
stage
of recording what
is imagined
or
seen
by
your "mind 's
eye"
that
is
most
crucial. You
need not
be
working
towards
radical
or "art"
designs,
simply
personalized
designs
(versus
reproduction
or
direct
copy
work). As already
mentioned,
many
of
the Master
Turners
design
in
direct
re-
sponse
to
the medium,
whereas
my
way is a somewhat more
distant design process.
Doodling
and
sketching
is not
drawing.
Doodling
and
sketching
is
more
like
"talking
to
yourself," a
personal kind
of shorthand.
It's
only
important that
you
are
able
to interpret
what
is put
down,
and
it is
only
in the later
stages
of develop-
ment that
you
may want
to express
your
ideas
so
that
an
onlooker
might
understand
them.
Initially, the primary
goal of doodling and
sketching
is to
get something on
paper. Many
great
inventions,
productions,
and
structures
began
as seemingly
incoherent
scrawls
- that
only
the
designer
could
understand
.
Speed
is
important,
as
is
an
acceptance
that your
quick
strokes
may
result
in
a
somewhat
crude sketch
.
That crudeness
should
not
bother you; consider
them
a
means
to
an
end
-
a
method
that
you
can
use
in
order
that
you may
better keep up
with
the
fragmentary
and fast-
changing
first
impressions of
an
idea.
2
September
1988
Another
factor
in
doodling
and
sketching
might
be
called
"deferred
judgment."
Force
your-
self
to put
everything
that
comes
to mind
about your
idea,
no matter how
wacky, possibly
expensive,
time-consum-
ing, or
seemingly
off-base the
mental image
may seem.
Put
it
down no matter where
or when
it
comes.
Sort
it
out
later,
when you're feeling more
objective!
As part of this,
feel
free
to
make notes,
paste
down
photos
or
samples, add colors,
do
tracings
-
anything to
record
and develop your
first
impres-
sions
and
their
off-shoots.
The
very fact
that the
results of
this
sort of
"sketching"
are not
exact
and can be interpreted
in
several
ways
is
a
strength
-
not
a weakness.
Remember: a DRAWING depicts
a
finished
something,
whereas
a
SKETCH
is
the development
of
that
something.
This
sketch
can be seen
in
some
ways by you,
in
other ways
by
other
people. As
your skills
develop
both in turning
and
in
designing,
you
can
go
back
to
this
deposit of
"ore"
and
pull
entirely
new interpretations
from
it.
With
some simple
preparation
and exercises you can
develop
skills
that
will
allow
you
to
convey
ideas more rapidly and
effectively.
For materials,
I
suggest
that
you
forget
any
sort
of
bound
sketchbook.
They
are
restrictive and only enable
you
to
see one
page
(thus
one
idea)
at a
time.
Go and
get
yourself
a pile
of
typewriter or
photocopy paper.
Loose
paper lets
you
see
and scan your ideas
as you
put them down. Placed in this
way, they can work together
-
the ideas can interact instead
of
remaining
isolated
on
the
bound
pages
of a
sketchbook.
So far as
mechanics
are
concerned,
I
suggest
you
obtain
a
plain #2
pencil
,
select
a
place where
you
can
comfortably
work, and give yourself some quiet time
to
think.
Creativity
is a
sporadic
creature
and
you've got
to
grab it
when
it comes
around.
I
have
found
that
during movies
about
art, and
espe-
cially about
architecture,
I
can
barely
keep up
with my ideas.
So
I
make
frantic
scrawls
and notes
on
whatever is
at
hand
(including
my hand
on
occasion!).
To
decode those
scrawls,
I
go
to my dining room table
(without
onlookers)
and
refine
my ideas.
I
also suggest
that
you
forget
about
erasers.
They don't
exist. As
part
of
our
mania
about drawing,
most
of
us
will
draw a
thing,
and
then
go
through
a series of erasings and
alterations of
the
one
drawing;
eventually stopping at a point
that is several alterations beyond
the
best one
-
with
no
way
to return
to
it.
My
credo is,
'1f
you
have another
idea,
make
another sketch." Use tracings
to
play off of
that ftrst
idea, if
you
don't want to make
a whole
new
sketch.
In
terms of actual
sketching,
force
yourself
to put
down
lots
of
lines
-
your
eye
will
help
guide
you towards the
best
effects.
Practice making LIGHT lines
-
and
practice
them
as
strokes.
Remember,
you're
"talking
to
yourself',
not making
Figure
3
-
CI2\P-12l2lt\
-
........
.
.
;
,·, '(
c
--·
·'
l
~~ti-
lJ..o\9"
!
..
t',~~~
·
""
a coloring book! Beginners tend to
make
choppy
dark
lines;
these look
messy, are time-consuming, and
don't
enable you
to describe things very well. While
watching
yourself sketch,
there
are
two things
that you can
do by way
of self-improve-
ment. First, allow
your wrist and hand to touch
the paper
only
lightly. Force your hand
to
GLIDE across the swface.
Most
of
us
"draw"
form our knuckles
-
or at best
from
our wrists.
Unglue that
hand! Then,
force your
whole
arm
to
move, from
the
shoulder.
If
you can
do these
two things, you will automat-
ically make better and faster lines,
not to mention
getting away
from those teeny-tiny sketches
that
we so commonly
make.
There
are
three
actual sketching exercises you can do
that
will develop your sketching
skills
and enable you
to
sketch
most
anything. As
in
figure
1,
freehand
sketch
a circle.
Remember:
lots of
lines,
and
move
your whole arm from
the
shoulder.
If
you're
doing this, the
arm will act as a
"cam"
and automatically give you ovals, at
least! So
practice
some
circles.
When you
have
a feel for
that, move
down,
and
step-by-step shrink
only each circle's
height. Try for
consistent
steps,
moving
toward
a
flat
line.
You
will
probably
have
to
fight the
tendency to
get both
narrower and
darker as you
move
toward
the flat.
As an
analogy to what
you're
sketching,
take a
look
straight down
into
a cup (the circle)
that
you can
turn
in
space
until
you're
looking
straight
across
the rim
(the
straight
line)
.
Next, try
the
flip-flop
pattern
of
figure
2.
Do this in
strokes
and forget about exact corners. Your
Jines
will create visual
Figure
1
Figure 2
intersections.
Work
at
making
strokes (from
the
shoulder),
and at placing your
strokes so
that you
create
the modular
repeating pattern. Your
goal
is to make an
even
band that
goes
horizontally
across
the page.
The final
exercise
(figure
3)
is useful for basic
"shading"
where you want to suggest volume.
It
is an
exercise
that
should
help
you
to
gain
more
control of your
hand motions.
Start
moving
your pencil
back and
forth, as
dark
as you can. Now
slowly
move down the page
(still
making
your
motions from
the
shoulder),
trying
gradually
and
evenly to
lighten
your
touch. As was
the
case when you were
doing the
circle/oval
exercise, you will
initially tend to
make
awkward jumps
instead
of even change,
and
as
your pressure becomes lighter,
you'll
notice
a
tendency
to
make the
shaded
area
more
and
more
narrow. Once you gain control of these
three
basic
strokes,
you
should
be
able
not
only
to put
down
more ideas and plans,
but
you should be
able to
record
them more
quickly, with
less
effort,
and in
a clearer
fashion
.
@
bo<>ob:
Hanlcs. B.tllsron.
twJ
&Jwords.
Oesi8J1
Yoonelf.
poblisMd
by
William KOJJ/mon.
(Btst
texJ/or
this
topic.)
CMalham. Cheatham,
twJ
Haler,
Design
Coocepes
and
Applications.
poblisMd
by
Pr..rict
·Ha/1,
( F -nrals
of
d.tsign.)
McKim,
Experiences
in
Visual
Thinking.
poblisMd
by
Brooks.
Colt
twJ
Co.
Su
al.ro:
Ko/Nrg
twJ
Bagnall.
UnivctSal Tmveler,
pob/ished
by
William KOJJfmon.
(Creativiry
and tM
tksign process.}
R.c~n<kd
Stev<
War
is
an A.rsistanl
Professorl~ign
,
Colltgt
of
FiM
twJ
llpp/itd
Art.
RocMsttr
IIIStitute
of
T«hnology,·
and
has
an
~xz~nsh't' ~xhibition
,
award,
and
publictuion
ruord with
his
rumMforms.
Ametican Woodturner
3

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