center for furniture craftsmanship 2009 … for furniture craftsmanship 2009 course catalog teaching...

C E N T E R f o r F U R N I T U R E C R A F T S M A N S H I P

2009 COURSE CATALOGTeaching Creative Excellence

WORKSHOPS Workshops are opportunities to immerse yourself in woodwork-ing for one or two weeks with the guidance of outstanding,

professional craftsmen dedicated to sharing their skills, and the

companionship of other enthusiastic participants.

TWELVE-WEEK INTENSIVE

If you are considering furniture making as a profession, a

sabbatical from your present career, or simply a life-

enhancing skill, this course is for you—twelve straight weeks of hands-on woodworking in a fully equipped shop with daily

personal instruction.

NINE-MONTH COMPREHENSIVE

A curriculum designed for aspiring professional furnituremakers and dedicated amateurs

who seek in-depth training at the highest standard

of excellence.

STUDIO FELLOWSHIP Offers advanced creative

opportunities to emerging professional and established woodworkers interested in

exploring new work.

OUR 17TH YEAR

C E N T E R F O R F U R N I T U R E C R A F T S M A N S H I P

C E N T E R f o r F U R N I T U R EC R A F T S M A N S H I P

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TABLE OF CONTENTS

CALENDAR 16-17

STUDIO FELLOWSHIP 4

NINE-MONTH COMPREHENSIVE 5-7 TWELVE-WEEK INTENSIVE 8-9 WORKSHOPS

Furniture Making Basic Woodworking 10-11 Intermediate Furniture Making 12 Really Basic Woodworking 12 In the Krenov Tradition 13 Precision with Handtools 13 Just Joinery 14 Cabinets and Case Pieces 14 Building an Elegant Windsor 15 Design and Craftsmanship 15 Machine Skills and Design 18 The Unplugged Woodshop 18 Advanced Veneering 19

CAD Computer-aided Design 19

Carving Relief Carving 20 Intermediate/Advanced Carving 20

Finishing Finishing A-Z 21 Restoration and Repair 21 Hand-applied Finishes 22

Turning Introduction to Turning 22 Vessels Turned and Carved 23 Learn to Turn 23 Beyond Basic Bowls 24 Woodturning for Beginners 24 Woodturning Fundamentals 25 Woodturning II 25

MESSLER GALLERY 26

ASSISTANTSHIPS & SCHOLARSHIPS 27

DONORS 28-29

GENERAL INFORMATION 30-31

REGISTRATION 32

is a nonprofit 501(c)(3) educational organization.

Our mission is to provide the best possible education for people who

want to design and build functional, beautiful, expressive work

out of wood to the highest standard of craftsmanship.

BOARD OF DIRECTORS

President Richard C. Kellogg, Jr. Houston, TX

Vice-president Robert Fippinger New York, NY

Treasurer Don Seeley Tucson, AZ

Secretary Jeremy Morton, M.D. Portland, ME

Karen Cadbury Rockport, MEMark Horowitz Weston, MA

Thomas Lie-Nielsen Waldoboro, MEDyke Messler Camden, MECraig Satterlee Marietta, GABill Stengel Brunswick, MEJoan Welsh Rockport, ME

STAFF

Campaign Coordinator Cheryl Durbas

Executive Director Peter Korn

Assistant Facilities Manager Mason McBrien

General Manager Elaine Ng

Staff Instructor & Facilities Manager Pete Schlebecker

Gallery & Marketing Manager Betsy Spekke

Student Services Coordinator Laura Walz

DESIGN & PRODUCTIONSilverline Studio, Camden, ME

Center for Furniture Craftsmanship25 Mill Street, Rockport, ME 04856

(207) [email protected]

Center for Furniture Craftsmanship does not discriminate on the basis

of race, color, religion, gender, national origin, or sexual orientation.


FACILITIES Our campus comprises four buildings on twelve acres of meadow and woods along the Oyster River in Rockport, Maine. Courses are held in the 4,200 square-foot Workshop Building and the 5,600 square-foot Satterlee Building. The Studio Fellowship Program is housed in the 5,400 square-foot Thomas Miller Jackson Building, which also holds the Woodturning Studio.

Each of these buildings has a bench room, a classroom, and a machine room. Bench rooms are outfitted with European-style workbenches, one per participant. Classrooms are furnished with tables and benches suitable to specialized activities such as drafting, carving, and finishing. Machine rooms are equipped with high-quality machinery of a scale appropriate to the advanced amateur and small professional shop.

Each machine room has full dust-collection and is fur-nished with 10" tablesaws, a 12" sliding tablesaw, 8" and 12" jointers, 12" and 15" thickness planers, 14" and 20" bandsaws, drill presses, a lathe, a chopsaw, a scrollsaw, a slot mortiser, grinders, a stationary disc/belt sander, and an oscillating spindle sander. Additionally, the Satterlee and Jackson Buildings are equipped with shapers. All facilities offer a plentiful assortment of hand tools and hand-held power tools for your use. The Woodturning Studio is equipped with 12 Oneway 1640 lathes.

The fourth building on campus is home to the Messler Gallery, the school office, and the Fine Woodworking Library, which houses a large collection of books, periodi-cals, instructional discs, and videos. The reading area is comfortably furnished, and has WiFi access and two computers that provide internet access.

MISSION The mission of the Center for Furniture Craftsmanship is to provide the best possible education for people who want to design and build functional, beautiful, expressive work out of wood to the highest standard of craftsmanship. At the heart of the Center’s mission is the belief that design and craftsmanship are deeply meaningful expressions of the human spirit. They contribute to individual fulfillment and, by extension, to the advancement of society.

Workshop Building bench room

Our programs are for novice, intermediate, and advanced woodworkers who seek an inspiring learning experience in a supportive environment.

STUDENTS AND FACULTY In 2008 the school had 326 course enrollments from 37 states and five foreign countries. Participants are amateur and professional woodworkers who seek to combine the rich woodworking traditions of the past with modern technologies and aesthetic concerns to create work with contemporary reso-nance. Almost every course encourages students to design individualized projects. The Center is widely recognized as one of the top furniture making schools for those who want to achieve uncompromising stan-dards of excellence in craftsman-ship and design.

Our instructors are professional furniture makers with exceptional technical expertise and generous teaching skills, who have demonstrated significant engagement with issues of design. Faculty come from across the United States, England, Canada, New Zealand, and Australia.

In order to provide every student with ample individual attention, enrollments are generally limited to 12 students per course, served by two or more full-time instructors and support staff. In addition, students enjoy round-the-clock access to the workshops and library, with certain limits on nighttime machine use.

HISTORY Executive Director Peter Korn founded the Center in 1993 to meet the educational needs of contemporary woodwork-ers. The Center began as a summer workshop program in a barn behind Korn’s house, moved to its present location in 1996, and became a non-profit organization in 1999.

In 2001, spurred by strong enrollment demand, the Board of Directors launched a successful $2.4 million capital cam-paign that significantly broadened the Center’s base of sup-port and permitted the school to double its student body. Through generous contributions from more than 400 alumni, foundations, corporations, and friends, the cam-paign allowed the Center to dramatically expand its cur-riculum and facilities and start a permanent endowment. In 2005, the school added a state-of-the-art Woodturning Studio.

Peter Korn, Executive Director

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STUDIO FELLOWSHIPS

The Studio Fellowship Program provides emerging and established furniture makers, carvers, and turners with a stimulating environment for the exploration of new work. The program offers free studio space and other benefits to individuals who are willing to commit anywhere from a month to a year to expanding their creative abilities.

FACILITY Six Studio Fellows share the 5,400-square-foot Thomas Miller Jackson Building, which contains a bench room, a machine room with full dust collection, and a drafting room. The bench room is outfitted with European-style workbenches and the machine room is equipped with 10" tablesaws, a 12" sliding table saw, 8" and 12" jointers, 15" thickness planers, 14" and 20" bandsaws, Oneway 1640 lathes, a shaper, a router table, a combination sander, an oscillating spindle sander, a chopsaw, a scrollsaw, drill presses, grinders, and a horizontal slot mortiser.

BENEFITS • Free studio space in a well-equipped, dedicated facility • Round-the-clock shop access, including weekends • Open attendance at demonstrations and lectures by

more than 40 outstanding professionals who teach at the school annually

• Critiques by faculty and visiting instructors • Access to the Center’s library and gallery • Interaction with hundreds of professional and

amateur furniture makers who participate in the Center’s instructional programs

• Exhibition opportunity in Messler Gallery group show

RESPONSIBILITIES Studio Fellows are expected to contribute six hours per week to the school, helping out with tasks such as: • facilities and grounds maintenance• gallery staffing and cleaning• assistant teaching• special events, such as gallery openingsIn addition, Fellows are responsible for their own housing,materials, and transportation.

Work by Studio Fellows on display in the Messler Gallery, 2007

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QUALIFICATIONS Applicants must: • be experienced furniture makers, capable and ready to

explore new work on their own initiative • possess good interpersonal skills • know how to use machinery and hand tools competently

and safely • have a record of creative achievement

Studio Fellows, October 2007

THE MAINE FELLOWSHIP Through the generosity of the Betterment Fund of New York, the Center has established a “Maine Fellowship” to encourage the participation of Maine woodworkers in the Studio Fellowship Program. The Maine Fellowship gives preference for one of the six fellowship positions to Maine-based woodworkers who fit the program’s guidelines and intent, with particular emphasis on encouraging the professional development of emerging makers. Applicants for the Maine Fellowship should follow the standard application procedure and simply note in their cover letter that they reside in Maine.

APPLICATION The six Studio Fellowship positions are awarded on a competitive basis for periods ranging from one month to one year. Applications are accepted anytime, and positions are awarded as vacancies arise. To apply, please send the following:

1. A resume 2. Digital images of your work 3. A letter stating your reasons for applying and your

goals as a woodworker 4. The names and telephone numbers of three

references 5. An indication of the dates for which you are

available

Applications should be addressed to: Studio Fellowship Program Center for Furniture Craftsmanship 25 Mill St. Rockport, ME 04856

or e-mailed to: [email protected]


NINE-MONTH COMPREHENSIVE September 7, 2009 – May 28, 2010

CURRICULUM The Nine-month Comprehensive is designed for aspiring professional furniture makers and dedicated amateurs who seek in-depth training at the highest standard of excellence. The hands-on, project-oriented format includes the full range of furniture making skills. Eleven sequential projects take students from the fundamentals through the fine points of design and craftsmanship.

The eleven projects, in order, are: 1. Our Basic Woodworking curriculum, which introduces

the full furniture making process from drafting up to finishing, and gives students a solid foundation in hand joinery skills and safe use of machines for stock preparation. (2 weeks)

2. Finishing A-to-Z, which covers all aspects of finishing, from hand-applied coatings to professional spray lac-quers. (2 weeks)

3. Machine joinery, which explores the use of power tools in the construction process. Each student builds a tool cabinet that involves a myriad of machine cut joints and shaping techniques using the table saw, router, router table, slot mortiser, shaper, and other equipment. (3 weeks)

4. Case piece construction, in which each student designs and builds a solid-wood case piece with a door and a drawer, employing both hand and machine skills. (7 weeks)

5. Veneering, where students learn to work with veneer and inlay by making tabletops. (1 week)

6. Marquetry, which introduces the decorative use of veneer to create images and patterns. (1 week)

7. Bending, in which students explore steam and laminate bending, as well as other curve-forming techniques. Each student designs and builds a project with curved components. (5 weeks)

8. Turning, where students learn spindle-work for making furniture components and faceplate-turning for making ornaments, bowls, and platters. (1 week)

9. Multiples, for which the assignment is to design, make, and sell a multiple object within a set price range. This emphasizes real-world concerns such as speed, efficien-cy, and marketing. (4 weeks)

10. Carving, where students learn relief carving and other techniques suitable for furniture and architectural ornamentation. (1 week)

11. Chair & Table, where each student pursues an exten-sive design process to create a prototype chair and companion table. (9 weeks)

Additionally, time is set aside for sessions with guest instructors on specialized topics such as drawing, furniture history, and business practices.

NINE-MONTH COMPREHENSIVE

AUDIENCE We teach furniture making for the joy, growth, and satis-faction it brings, whether you are pursuing it professional-ly or as an avocation. We expect students to graduate with the confidence and skill to design and build fine furniture on their own, and to be qualified for employment by other fine furniture makers.

The audience for the Nine-month Comprehensive includes: (1) college-age people who want to become professional furniture makers; (2) men and women of any age who are exploring woodworking as a potentially more fulfilling, second career; and (3) individuals of all ages who want to learn furniture making as a life-enhancing skill.

Many of our students come with the dream of self-employ-ment as fine furniture makers in one-person shops. In all fairness we advise applicants that, while the rewards of such a career are many, it is a challenging way to make a living.

APPLICATION PROCESS Applications should be e-mailed by March 2, 2009 for the first round of selection. Notification will be mailed by March 20. After March 2, applications will be reviewed for acceptance as they arrive. To apply, please submit: 1. A letter explaining your interest in furniture making

and your goals 2. Up to eight digital images of any woodworking or other

artwork you have done previously 3. Names and telephone numbers of three character

references such as teachers, employers, and business associates

The only pre-requisite for attending the Comprehensive is that applicants have enough prior woodworking experi-ence to be sure that they can sustain their commitment to a nine-month course.

Open to all except absolute beginners.Enrollment limited to 13.Tuition: $17,300

The 2007-08 Comprehensive students’ booth at CraftBoston.

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NINE-MONTH COMPREHENSIVE FACULTYThe Lead Instructor for the course is Aled Lewis. For each project, Aled is joined by a co-teacher who specializes in the relevant skills. The following list is subject to change. Most of the instructors have web sites which you can visit for more extensive views of their work.

ED CHURCHILL is retired Chief Curator at the Maine State Museum in Augusta. He received his Ph.D. from the University of Maine in 1979. His major areas of specializa-tion include American and Maine decorative arts (especial-ly furniture and metals), Maine craftsmen, and early American history, especially northeastern North America and Maine. Ed teaches the furniture history component of the Comprehensive.

NEIL ERASMUS is a third generation furniture designer/ maker in Perth, Australia who has worked for the past 22 years of his 33-year-long career in part-nership with his wife, Pam. Their work includes one-off commissions, lim-ited-edition produc-tion runs, and exhi-bition pieces. In addition to making, Neil directed the Australian School of Fine Furniture in Tasmania, and teach-es at various wood-working schools around his country. When time permits, Neil and Pam also teach one-on-one masterclasses at their own studio. Neil is a contributing editor for Australian Wood Review.

STEPHEN GLEASNER is an Appleton, Maine artist/turner with extensive experience in faceplate and spindle work, gained over a 20-plus-year woodworking career. Currently, he specializes in carved and dyed wall pieces that explore the patterning possibilities of Baltic Birch plywood. Stephen’s work is represented by Carver Hill Gallery in Rockport, Maine and the Dane Gallery on Nantucket, among others.

Prior teaching includes demonstrations for the American Association of Woodturners’ national symposium and the 2003 New England Woodturning Symposium, as well as courses at the Center since 2004.

Blue Ridge Sunrise by Stephen Gleasner, birch plywood (8-3/4" dia.x14”), 2003

Mantis sideboard by Neil Erasmus. West Australian blackbutt, ebony, cedar of Lebanon, jamwood, and pig skin suede (71"x21"x33.5"), 1999

PETER KORN , the Center’s Executive Director, teaches the introductory, two-week, Basic Wood-working curriculum for the Comprehen-sive. His bio can be found on page 10.

Fluted Coffee Table byPeter Korn, maple and

walnut (38"x16"x17”),2008

ALED LEWIS, our Lead Instructor, came to the Center from Oxford, England. He originally trained at Rycotewood College in Oxfordshire and has been a professional furni-ture maker for close to 30 years. Aled’s professional experi-ence covers a broad span, from self-employment as a one-of-a-kind furniture maker to managing a busy high-end workshop. He has been involved in all aspects of designing and making one-off and limited-production furniture for individuals and for institutional clients such as Oxford Univer-sity and London-based financial companies. Prior to taking over as our Lead Instructor this year, Aled taught the machine skills project for many years.

JIM MACDONALD creates custom furniture, featuring mar-quetry and inlay, in Burnham, Maine. In addition to his own projects, Jim collaborates with other high-end furni-

ture makers as a marquetry special-ist. His work has been commissioned by Gibson Guitar’s Custom Shop and his Turandot Cabinet appeared in the “Current Work” section of Fine Woodworking (June, 2001). Jim teaches marquetry for the Comprehensive.

TERI MASASCHI teaches the two-week finishing segment of the Comprehensive. Her bio appears on page 21.

Aldous Desk by Aled Lewis, ripple ash, ash, and walnut (64"x32"x29"), 1998

Marquetry detail, Girl with Pearl Earring by Jim Macdonald, 1999

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NINE-MONTH COMPREHENSIVE FACULTYMICHAEL PURYEAR has been a self-employed furniture maker DAVID UPFILL-BROWN graduated from Parnham College in for more than twenty years. He works mainly on commis- 1981 and moved to Canberra, Australia, where he estab-

sion in his Shokan, lished a reputation as a New York studio and designer and maker of fine enjoys the problem- furniture, working on com-solving aspects of mission for domestic and design. Michael architectural clients. Public exhibits widely in commissions include work museums, galleries, for the parliaments of and craft shows, and Australia, Papua New two of his pieces were Guinea, the Marshall recently purchased by Islands, and the Solomon the Newark Museum Islands. David has an for its permanent col- equally strong background lection. His work has in teaching. After serving

been published in many books and periodicals, such as as Academic Director and 500 Chairs from Lark Books. Michael has taught at Parsons Principal of the Australian School of Design, Penland School of Crafts, and the State School of Fine Furniture he University of New York, Purchase. He teaches the bending took the helm as Lead project for the Comprehensive. Instructor of our Nine-

month Comprehensive PETE SCHLEBECKER, the Center’s from 2004-2009. Currently, as well as establishing a Staff Instructor and Facilities new studio in Australia, David teaches the Chair & Table Manager, has been a studio fur- project of the Comprehensive. niture maker since 1984 and earned an MFA in Furniture JOHN WHALLEY, our drawing instructor, is a 1976 graduate Design from the Rhode Island of the Rhode Island School of Design with a studio in School of Design in 2004. Nobleboro, Maine. He is Pete was co-founder of the represented by Greenhut Alexandria Center for Galleries of Portland, Woodworking Arts in Virginia. Maine, Vose Galleries of In recent years he has written Boston, Mass., and John articles and made how-to Surovek Galleries of Palm videos for Fine Woodworking. Beach, Florida. John’s His conceptual case piece paintings and drawings “Breathing Drawers” was fea- have been featured in tured in the Readers Gallery of American Art Collector and the December, 2007 issue, Maine Home and Design while a video showing how it magazines. A 30-year retro-works may be seen on the mag- spective monograph of his azine’s web site. “5 Essential Jigs for the Router Table” work, In New Light, was appeared in the October 2008 issue. Pete teaches the published in 2006. Veneering and Multiples projects.

VALDEMAR SKOV is a woodcarver, furniture maker and engraver, specializing in ornamental carving of fine furni-

ture, accessories, and architectur-al details, as well as engraving on precious and non-precious met-als. A woodworker since 1986, and self-employed since 1990, Valdemar has been formally recognized for his work by the Maine State Legislature and has been featured in numerous arti-cles, including a profile in This Old House magazine. Valdemar works out of his studio in Waldoboro, Maine and teaches carving for the Comprehensive.

Torii Tansu by Michael Puryear, wenge and tamo (36"x18"x32"), 2005

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Amatory Chair by David Upfill-Brown, laminated cherry with leather upholstery (8"x19"x30"), 2006

View From the Ancestral Hearth, folding screen by Pete Schlebecker, ash and copper (84"x12"x80"), 2005

Augers by John Whalley, graphite on paper (30"x50.5"), 2007

Basswood corbel carved by Valdemar Skov (15" high),

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TWELVE-WEEK INTENSIVE

TWELVE-WEEK INTENSIVE February 16 – May 8, 2009 June 8 – August 28, 2009 October 26, 2009 – January 22, 2010 February 15 – May 7, 2010 June 7 – August 27, 2010

AUDIENCE Our Twelve-week Intensive is especially designed to meet the needs of aspiring professional furniture makers and amateurs on sabbatical from other professions. With two instructors available at all times and only twelve students, each participant is able to individualize the course of study to fit his or her interests and level of experience.

CURRICULUM The skills available through our curriculum include: Design – Drafting, design development through models,

mock-ups, and prototypes; critiques and discussionsof aesthetics.

Drawing – Improving your ability to sketch, render objects, and think on paper.

Lumber selection – Wood characteristics; buying lumber; selecting wood appropriate to your design.

Joinery – Choosing and making the right joint for everysituation using both traditional and contemporarymethods.

Traditional hand skills – The foundation of fine furni-ture making: sharpening; use and tuning of chisels,hand planes, saws, and scrapers; hand-cut joinery.

Machine techniques – Use of power tools and routers for stock preparation, joinery, and forming.

Advanced techniques – Laminate bending; steam bend-ing; re-sawing and veneering; spindle turning; jig and fixture making; and more.

Surface preparation and finishing – Preparing woodwith cutting tools, scrapers, and abrasives; choosingthe right finish for the effect you want; application of finishes.

Shop maintenance – Selection, tuning, and maintenance of woodworking machinery.

Professional practices – Visits to professional workshopsaround the state to discuss how to run a business,pricing, and marketing.

Steam-bending demonstration in the Twelve-week Intensive

The curriculum divides into three projects. For the first two weeks we go through the Basic Woodworking course (see page 10), teaching the essentials of furniture making with an emphasis on hand skills. Each student designs and builds a project requiring hand-cut dovetails and mortise-and-tenon joinery. The second pro-ject, weeks three through eight, focuses on solid-wood case piece construction, including door-making and drawer-making. Each participant creates a case piece with at least one door and one drawer. The third project starts in week nine with a series of lectures and demonstrations on steam bending, laminate bending, and veneer work. Each student designs and constructs a challenging piece using one or more of these techniques.

Intensive student Carol Yueh, 2008

Intensive student Avi Foster-Andres, 2008

APPLICATION PROCESS Participants are accepted any time on a first-come, first-served basis. No application is required.

All experience levels welcome, except for absolute beginners.Enrollment limited to 12.Tuition: $6,500

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TWELVE-WEEK INTENSIVE FACULTYFACULTY The faculty for the Twelve-week Intensive is drawn from among the following instructors. Additional faculty may be named as opening dates draw near. Most of the instruc-tors listed have web sites, which you can visit for more extensive views of their work.

ADRIAN FERRAZZUTTI is a self-employed furniture maker in Guelph, Ontario with 10 years’ professional experience. He

is a 1998 graduate of the Fine Woodwork-ing Program at the College of the Red-woods, where he studied with James Krenov. Adrian writes for Fine Woodworking, which featured one of his chairs on the back cover of the Decem-ber, 2007 issue, and his work has been

widely published in books and magazines. The Canada Council for the Arts has awarded him several grants, and he exhibits his work across Canada and in the U.S.A.

PETER KORN’s bio appears on page 10.

AUSTIN MATHESON is a self-employed furniture maker in Rockland, Maine. He studied boatbuilding at the Rockport Apprentice-shop and is a graduate of the two-year furniture training program at the North Bennet St. School, in Boston. Austin works primarily on commission, with a focus on historic styles of the Caribbean.

BRIAN REID lives in Rockland, Maine and splits his time between building furniture on commission and teaching at

the Center, where he is Senior Fellow of the Studio Fellow-ship Program. A 1995 honors graduate of England’s Parn-ham College, he has served as Visiting Lecturer at San Diego State University and other colleges. Brian’s work has been published in American Craft, Fine Woodworking, and Woodwork magazines, and he exhibits in galleries and craft shows nationwide. He is a member of the New Hamp-shire Furniture Masters Association.

Lang Table by Adrian Ferrazzutti, pau ferro, ebony, and hickory (60"x30"), 2005

Dutch West Indian Sideboard by Austin Matheson, mahogany and ash, (24"x60"x40"), 2003

Screen With A View by Brian Reid, white oak, quilted Western maple, and curly hard maple veneer (55"x1.5"x55"),

Side Chair by Tim Rousseau, walnut and leather (18"x20"x32"), 2006

TIM ROUSSEAU divides his time between building furniture on commission in Appleton, Maine and teaching at the

Center. He took our Twelve-week Intensive in 1998 and then spent two years working in a multifaceted group shop in Hoboken, New Jersey before returning to Maine to set up his own business. In 2002 and 2003 he served as the Center’s Resident Instructor, running our Workshop Program and teach-ing alongside of visiting faculty. Since then, he has been a lead instructor for the Twelve-week Intensive and he teaches the chair project for the Compre-hensive. His furniture is shown

throughout the Northeast, and he recently starred in a video workshop on www.finewoodworking.com

PETE SCHLEBECKER’s bio appears on page 7.

LIBBY SCHRUM is a Camden, Maine furniture maker who began woodworking as a student in our Twelve-week Intensive, eight years ago. She went on to earn an M.F.A. from the Rhode Island School of Design and subsequently participated in our Studio Fellowship Program. In addition to designing and build-ing furniture out of her own shop, she works as a cabinet-maker at Lyman Morse Boatbuilding in Thom-aston, Maine, making high-end furniture for yacht owners.

RICHARD VAUGHAN has been working as a designer/maker of one-off pieces of furniture on commission since 1983. For the past decade he has also given evening classes at his Brisbane, Australia workshop. Richard is a contributing editor to Australian Wood Review and gives talks on wood-working across the country. He is also a regular panelist on the long running national television show The New Inventors. Richard prefers to work in solid timber, especially

from the glorious palette of Australian native species, and firmly believes in a ‘design first, devise later’ approach.

Maple Sideboard by Richard Vaughan, Queensland maple (57"x19"x36"),1987

Siblings by Libby Schrum, walnut (56"x17.5"x17.5"), 2008

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2006


FURNITURE MAKING WORKSHOPS

BASIC WOODWORKING PETER KORN & FACULTY

June 1–12 PETER KORN & REUBEN FOAT

June 29–July 10 PETER KORN & AMY FORSYTH

July 27–August 7 PETER KORN & AARON FEDARKO

Aug. 24–Sept. 4 PETER KORN & MASON MCBRIEN

October 5–16 PETER KORN & CRAIG SATTERLEE

This workshop is a thorough introduction to furniture making, with a focus on traditional hand skills. Partici-pants range from absolute beginners to more experienced woodworkers who want to improve their craftsmanship.

After milling a piece of wood four-square and hand-cutting mortise-and-tenon and dovetail joints, each student makes a simple piece of furniture. A small bench with dovetails and through-wedged tenons is suggested, although partici-pants may choose other designs.

The workshop starts with instruction in the safe use of power tools such as the table saw, jointer, planer, and bandsaw. Through daily lectures and demonstrations, Peter and his co-teachers introduce skills such as lumber selection, milling, joinery, scraping, sanding, assembly, and finish-ing. They offer extensive instruction in the sharpening, tuning and use of planes, chisels, and other hand tools.

Peter Korn’s book, Woodworking Basics:

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Projects by Basic Woodworking students

FACULTY PETER KORN, the Center’s Executive Director, has been a fur-niture maker since 1974. He is the author of Woodworking Basics: Mastering the Essentials of Craftsmanship (Taunton Press, 2003) and The Woodworker’s Guide to Hand Tools (Taunton Press, 1998). Prior to founding the Center For Furniture Craftsmanship in 1992, Peter spent six years as Program Director at Colorado’s Anderson Ranch Arts Center and four years as Adjunct Associate Professor at Drexel University. His award-winning furniture has been exhibited nationally in galleries and museums.

Peter’s approach to woodwork-ing calls for a balance between traditional hand skills and effective machine use. “Craftsmanship,” says Peter, “is more than a set of skills; through the process of

Detail of the suggested bench project for Basic Woodworking

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e creating an object, weMastering the Walnut dictionary stand transform ourselves.” by Peter Korn Essentials of

Craftsmanship (Taunton Press, 2003) is the text for this course. The small class size allows Peter and his co-instructors to give each participant extensive individual guidance throughout.

Open to novice and intermediate woodworkers. Tuition: $1,170

Hall Table by Peter Korn, cherry top, ebonized maple base

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FURNITURE MAKING WORKSHOPSBASIC FACULTY (continued)

REUBEN FOAT earned a B.S. in Art from the University of Wisconsin in Madison and subse-quently worked in a cabinet shop in London, England and a furniture restoration business in Milwaukee, Wisconsin. In 2007 he came to the Center as a Studio Fellow and in 2008 served as our Assistant Facilities Manager and assisted in teaching the Twelve-week Intensives.

AMY FORSYTH is an Associate Professor of Art and Architecture at Lehigh University in Bethle-hem, PA, where she teaches Three-dimensional Design and Furniture Design. After studying architecture at Penn State and Princeton Universities, she began designing and building furniture in 1992. Along the way, she has studied with Michael Puryear, Tom Loeser, Curtis Buchanan, and Jere Osgood, among others. Amy is a past trustee of The Furniture Society and former editor of its newslet-ter. She has also published articles in Furniture Society publications and Woodwork magazine.

AARON FEDARKO is a self-employed furniture designer and maker in Camden, Maine. Prior to graduating from our Nine-month Comprehensive in 2007 he was employed in the corporate world. Aaron’s “Dos Amigos” table was awarded top honors—the People’s Choice Award—at Maine Wood 2008, a juried exhibition that showcased work from some of the best furniture makers in the state. To see more of Aaron’s work go to www.fedarkofurniture.com.

Detail of cabinet by Reuben Foat, chest-nut and cherry, (12"x4"x25"), 2008

Cabinet of Curiosities by Amy Forsyth in collabora-tion with Mark Sfirri (24"x17"x54"), 2002

Quatro Amigos Table by Aaron Fedarko, cherry (42"x42"x29"), 2008

MASON MCBRIEN

will be the Center’s Assistant Facilities Manager, starting in January, 2009. After years of self-employment build-ing custom furni-ture, museum installations, and historic garden architecture in New Hampshire, Mason enrolled in our 2007-2008 Nine-month Comprehensive and subsequently was awarded a Studio Fellowship. His work has been published in Fine Woodworking and in Lark Books’ upcoming 500 Tables.

CRAIG SATTERLEE builds furniture on commission in his Marietta, Georgia workshop. He also offers private instruc-tion and has taught extensively in the Atlanta area, includ-ing courses at the local Woodcraft store and the Dogwood Institute of Fine Woodworking. Craig has been making furniture for twenty years, following an early retirement from corporate healthcare. He is a graduate of our Twelve-week Intensive and has taught at the Center for the past ten years.

Sylvan Shimmer by Mason McBrien, curly maple and black walnut (35"x18"x37"), 2008

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Coffee Table by Craig Satterlee, mahogany and mahogany veneer, 1997

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Kevin Rodel working with a student.

INTERMEDIATE FURNITURE MAKING KEVIN RODEL June 15 – 26

The focus of this workshop is solid-wood furniture, with an emphasis on design and construc-tion typified by the Arts & Crafts style. Through lecture and demonstration, Kevin covers machine and hand techniques for joinery; case piece construction; fitting of doors and drawers; inlay; and fuming and other finishing techniques. Kevin also discusses the decorative use of non-wood materials such as tile and art glass.

Each participant designs and builds a modestly-sized project such as a small table or cabinet. The course begins with a slide presentation on Arts & Crafts furniture and the first few days are given to design development, includ-ing use of scale drawings.

Glasgow Desk by Kevin Rodel, cherry with ebony and glass (72"x32"x30"), 2008

KEVIN RODEL has attained national recognition as one of the foremost designers/makers building in the Arts & Crafts style. After working for Thomas Moser for seven years he started his own business in 1986. Kevin is co-author of Arts & Crafts Furniture: from Classic to Contemporary (Taunton Press, 2003) and has written for Fine Woodworking. He lives and works in Brunswick, Maine. For more on Kevin, visit www.kevinrodel.com.

Open to intermediate woodworkers. Tuition: $1,170

REALLY BASIC WOODWORKING LIZA WHEELER June 15 – 19

This course is for beginners who want to build simple, attractive furniture for the garden, patio, or house using tools and materials readily available from their local lum-beryard. Each student builds a tool box and an Adirondack chair using dimensioned lumber, common hand and power tools, and screws for fastening.

Liza’s instruction focuses on mater-ial selection, cut-ting techniques, simple fastening methods, and safe use of tools. Participants use hand tools for measuring, lay-out, and cutting, including chisels and block planes. They also have the opportunity to use power tools, such as the chop saw, jigsaw, electric drill, and router. Liza teaches this course so that anybody can enjoy making simple furniture while gaining basic skills that are useful for all woodworking.

LIZA WHEELER has been a woodworker for 19 years, first as a carpenter, then as a cabinetmaker in a commercial shop. She studied cabinetmaking and fine woodworking at Seattle Central Community College, and in 1996 she began her own business building cabinetry and commis-sioned furniture. Her shop is in Belfast, Maine. In recent years, Liza has served as an instructor for our Basic Woodworking, Twelve-week Intensive, and Nine-month Comprehensive courses, in addition to pursuing her own work.

Open to all. Tuition: $650

Cherry Console Table by Liza Wheeler

(54"x14"x32"h), 2005

A student in the 2007 course assembling his Adirondack chair

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IN THE KRENOV TRADITION JENNIFER ANDERSON AND DAVID WELTER July 13 – 24

Generations of woodworkers have been profoundly influ-enced by the writing, teaching, and work of James Krenov. In this course two notable woodworkers who originally studied with Krenov share his legacy of sensitivity to mate-rials, attention to detail, and honest workmanship. Participants begin by making ‘Krenov-style’ wooden hand planes and using their planes to complete a series of tech-nical exercises such as flattening a board. Next, they explore topics such as wood selection and grain pattern, frame and panel construction, edge joinery, and dowelled carcass construction by making small wall-hung cabinets. Jenn and David share Krenov’s philosophy through slide presentations, video clips, and books. Participants can expect to leave with an exciting new set of skills and a greater understanding of wood as a creative medium.

JENNIFER ANDERSON earned an M.F.A. in Furniture Design at San Diego State University after completing two years with James Krenov at the College of the Redwoods in Fort Bragg, California. Currently, Jenn divides her time between building spec-ulative and commissioned furniture and teaching Furniture Design and Woodworking at Mira Costa College. Her furniture is

exhibited nationally and internationally and has been published in American Craft, Woodwork Magazine, and With Wakened Hands (Cambium Press, 2000).

DAVID WELTER has been a full-time staff member of the Fine Woodworking Program at the College of the Redwoods since 1986. He originally stud-ied under James Krenov at the College from 1982-84 and then worked as an independent fur-niture maker for two years. After joining the College’s staff, he worked closely with Krenov for more than 15 years, until the latter’s retirement in 2002.


China Cabinet by David Welter,Douglas Fir (28"x16"x70"), 1984

Ellipse Cabinet by Jennifer Anderson, pear, machiche, and maple (10"x7.75"x10"), 1999

PRECISION WITH HAND TOOLS GARRETT HACK July 27 – 31

Hand tools open new vistas of efficiency, accuracy, and enjoyment for woodworkers, even those with modest skills. In this course, Garrett leads participants through a series of exercises, based on typical furniture mak-ing techniques, which expand and refine their hand tool skills. These include flattening boards to polished smoothness, fairing curves, fitting drawer faces, making moldings, chamfering edges, making inlay, and cutting joinery, among other skills.

Discussion covers tuning and use of a wide variety of planes, marking tools, chisels and saws. Participants are encour-aged to work with several different kinds of wood to feel the way each responds to the tools. More experienced students may choose more complex challenges such as shaping a bowed drawer face, joining and smoothing a coopered panel, or tapering a leg and then fitting an angled joint to it.

GARRETT HACK builds contemporary interpretations of Federal and other classic American styles on his farm in Thetford Center, Vermont. A furniture maker for 34 years, Garrett originally trained at Boston University’s Program in Artisanry. He is the author of The Handplane Book (Taunton Press, 1997) and Classic Hand Tools (Taunton Press, 1999). His articles appear frequently in Fine Woodworking, to which he is a Contributing Editor. Garrett is a member of the New Hampshire Furniture Masters Association.


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Garrett Hack laying out a hinge mortise with a cutting gauge in his workshop

Inlaid details on demilune table by Garrett Hack, 2000

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JUST JOINERY PETE SCHLEBECKER August 3 – 7

Welcome to JoineryFest 2009! Participants get hands-on experience in making a full range of essential woodwork-ing joints with power tools and hand tools. The variety of joints Pete covers includes mortise-and-tenons, dowels, biscuits, inserted tenons, box joints, dovetails, sliding dovetails, miter joints, tongue-and-grooves, and splines, among others. Students practice joinery with routers, table saws, chisels, hand saws, Dominos, biscuit joiners, slot mortisers, and hollow-chisel mortisers.

Participants leave with confidence in their ability to wed two sticks together so that they stay married.

Detail of joinery from Breathing Drawers by Pete Schlebecker, basswood, mahogany, and cast silicone rubber (17"x20"x50"), 2005

PETE SCHLEBECKER, the Center’s Staff Instructor and Facilities Manager, has been a studio furniture maker since 1984 and earned an MFA in Furniture Design from the Rhode Island School of Design in 2004. Pete was co-founder of the Alexandria Center for Woodworking Arts in Alexandria, Virginia. In recent years he has written articles and made how-to videos for Fine Woodworking. His conceptual case piece “Breathing Drawers” was featured in the “Readers Gallery” of the December, 2007 issue, while a video show-ing how it works may be seen on the magazine’s web site. “5 Essential Jigs for the Router Table” appeared in the October 2008 issue.


CABINETS AND CASE PIECES JERRY CURRY & JOHN MCALEVEY August 10 – 21

This course for intermediate woodworkers focuses on the design and construction of case pieces, such as cabinets, dressers, tables, and chests. Jerry and John teach all aspects of solid-wood case piece construction, from general princi-ples right down to the fine points of fitting drawers and hanging doors.

Concave-front Sideboard by Jerry Curry, walnut and curly maple (50"x18"x34"), 2006

Every participant builds an individual project with exten-sive one-on-one guidance from the instructors. Students are encouraged to explore new design ideas and improve their versatility with the design process.

GERALD CURRY has been making furniture professionally for 33 years. Based in Union, Maine, Jerry has an unusually broad range of experience, from replicating and restoring eighteenth-century American furniture to designing and building his own contemporary work. Jerry’s work has been featured on the back cover of Fine Woodworking, and he was profiled in Woodwork Magazine in June, 2007.

JOHN MCALEVEY established his first woodworking and fur-niture design studio in 1965. He has written articles on designing and making furniture for Fine Woodworking and American Woodworker, served as Visiting Professor in the Arts at the University of New Hampshire, and is a founder of the Guild of New Hampshire Woodworkers. John lives in Warren, Maine, where he builds commissioned pieces in his studio.


Warren Buffet by JohnMcAlevey, cherry

(56"x20"x32"), 2000

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BUILDING AN ELEGANT WINDSOR CURTIS BUCHANAN, WITH NICK COOK & PETER GALBERT August 10 – 21

Participants learn how to turn a green log into an elegant fan-back Windsor chair in just two weeks. Over the first two days, Curtis guides students in splitting out oak chair combs and spindles, shaping them with drawknives on shaving horses, and steam-bending the combs. Then, master turner Nick Cook takes the reins for three days in the woodturning studio, where he teaches students to turn graceful, refined spindles at the lathe.

For week two, Curtis returns to the helm to bring the chairs to completion. First, par-ticipants learn to carve seats out of Eastern White Pine with scorps, travishers, and drawknives. Then they perform all the joinery required for assembly and Curtis shares sim-ple methods for boring complicated angles. By the end of the course each student has assembled his or her own beautiful Windsor chair. Curtis and Nick are assisted through-out by veteran chair maker Peter Galbert of Jeffersonville, New York.

CURTIS BUCHANAN has been making chairs full-time for more than thirty years in Jonesborough, Tennessee. He is widely regarded as one of the master makers and teachers of the traditional Windsor style and has written frequently for Fine Woodworking and other publications. Curtis is also co-founder of Greenwood, a community-based sustainable forestry initiative in Central America. His chairs are in the collection of the Tennessee State Museum and at Monticello, Thomas Jefferson’s historic home. For more information about Curtis, visit www.curtisbuchananchair-maker.com.

NICK COOK’s bio appears on page 24.


This fan-back Windsor chair by Curtis Buchanan is the beauty that students build in this class. Materials are oak, maple, pine, and milk paint (20"x19"x37").

DESIGN AND CRAFTSMANSHIP TED BLACHLY & JERE OSGOOD September 7 – 18

Each participant explores new skills through the process of designing and building a piece of furniture. Instruction is available in virtually all aspects of furniture construction, with an emphasis on curved work, particularly laminate and tapered-laminate bending. Jere and Ted encourage students to engage in a thorough design process which includes full-scale drawings and mock-ups. Frequent

demonstrations, including tambour construction, veneer work, and sculptural shaping techniques, are complemented by extensive one-on-one instruction. Additional topics of discussion will be as varied as the use of sketchbooks and drawings, pat-tern shaping jigs, chair design, and dining tables.

TED BLACHLY has been a woodworker and furniture maker for over 30 years. His studio is in Warner, New Hampshire, where he works primarily on commission. Ted is a member of the New Hampshire Furniture Masters Association, his work has appeared in Architectural Digest and Fine Woodworking, and he is a recipient of the Guild of N.H. Woodworkers’ “Design Award” and the League of N.H. Craftsmen’s “Furniture Excellence Award.”

JERE OSGOOD lives in Wilton, New Hampshire and has been making exceptional furniture for more than 40 years. Named a Fellow of the American Craft Council in 1993, he received the Furniture Society’s Award of Distinction in 2002. Jere exhibits internationally and his work is in the permanent collections of the Museum of Arts and Design in New York and the Renwick Gallery of the Smithsonian Institution, among others.


Demi-lune table by Ted Blachly, bubinga and rosewood (40”x17”x33"), 1998

Spring Desk by Jere Osgood, bubinga shell carcase, wenge legs, ash and cherry interior with black leather writing surface (51"x31.5"x49"), 1996

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MACHINE SKILLS A N D DESIGN ALED LEWIS & TIM ROUSSEAU September 21 – October 2

One of the great challenges in furniture making is to design elegant furniture that can be built efficiently. With guidance from Aled and Tim, participants advance their skills by creating modestly-scaled pieces that are designed for machine-based construction techniques. The instruc-tors offer numerous lectures and demonstrations on design processes, and joinery and forming techniques that employ the router, tablesaw, slot mortiser, hollow-chisel mortiser, Domino, shaper, vacuum press, and other stan-dard woodworking equipment.

Sideboard by Aled Lewis, English oak and fumed oak (63"x19"x33"), 2008

ALED LEWIS is the Lead Instructor for our Nine-month Comprehensive and comes to the Center from Oxford, England. He originally trained at Rycotewood College in Oxfordshire and has been a furniture maker for close to 30 years. Aled’s professional experience covers a broad span, from self-employment as a one-of-a-kind furniture maker to managing a busy high-end workshop. He has been involved in all aspects of designing and making one-off and limited production furniture for individuals and for institutional clients such as Oxford University and London-based financial companies.

TIM ROUSSEAU’s bio appears on page 9.


Side chair by Tim Rousseau, quartersawn black walnut and

leather (19"x21"x31"), 2006

THE UNPLUGGED WOODSHOP TOM CASPAR September 28 – October 2

Does your plane just skip across a board? Your scraper only make dust? In the Unplugged Woodshop you’ll learn how to sharpen and use chisels, planes, scrap-ers, saws and spoke-shaves—all the basic edge tools. You’ll learn how to flatten a board, even a glue joint, make a mortise and tenon joint, shape a cabriole leg and make through dovetails. This intro-ductory class is about the role of hand tools in a power tool shop. Hand tools often get the job done quicker -and are much more fun! Tom emphasizes practical solutions to everyday problems.

TOM CASPAR is Editor of Woodwork and American Woodworker magazines, and the author of over fifty tech-nique, project, and tool test articles. He has been a furni-ture maker since apprenticing to a Swedish cabinetmaker twenty-nine years ago. During the many years he was a self-employed woodworker, Tom developed this curriculum and taught a popular course on hand tools.

Open to novice and intermediate woodworkers. Tuition: $650

Tom Caspar at the bench

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FURNITURE MAKING & CAD WORKSHOPS

ADVANCED VENEERING DARRYL KEIL October 12 – 16

This is a rare opportunity for those with basic veneering experience to advance their skills. With Darryl’s expert guidance, participants learn to combine veneer and inlay into complex, curved patterns, to apply veneer and inlay to curved panels such as doors and drawer fronts, and to apply veneer to curved parts such as cylinders and moldings.

To warm up, students make a demi-lune table top with a curved short-grain border and straight and curved inlay, plus a small fan that they set in an oval and inset into a mock leg. From there, they learn to apply complex pat-terns such as these to curved surfaces, working with both hand and power tools, and explore advanced techniques with the vacuum press.

Veneered and inlaid demilune table by Darryl Keil, East Indian rose-wood, lacewood, and maple, 1987

DARRYL KEIL is a leading expert on veneer work. He has made two excellent videotapes on the subject, Working With Veneer and Working in a Vacuum, and he writes for Fine Woodworking. Darryl began making furniture in 1976 and was a pioneer in the application of vacuum pressing technology to woodworking. His company, Vacuum Pressing Systems, operates out of Brunswick, Maine.

Open to anyone with veneering experience, including all who have previously taken a course with Darryl. Tuition: $650

COMPUTER-AIDED DESIGN PAUL LOEBACH September 21 – 25

Getting started with computer-based design programs can be intimidating. This course is for amateur and profession-

al furniture makers who want to become comfortable using the computer as a creative tool. In the first half of the course Paul offers instruction in Sketchup, a free, open-source, 3-D modeling program that is ideal for building basic geometric struc-tures. In the second half, participants learn the essentials of Solid-works, a powerful solid-modeling program used for sculpting accurate

three-dimensional forms and generating fully dimensioned working drawings.

Paul encourages participants to integrate the computer into their own design methodologies. His goal is to give students a foundational skill set that can be applied to any computer program. Participants bring their own laptop computers, for which the school provides demo software. (Windows operating system only!)

PAUL LOEBACH is a New York City-based furniture designer. His work incorporates advanced digital modeling and man-ufacturing equipment, combined with an understanding of furniture history and traditional woodworking techniques. Paul’s work has been exhibited internationally and

Exploded-view computer drawing by Paul Loebach, 2008

published broadly in books, weblogs, and periodicals such as: Interior Design, Architectural Record, Wallpaper, Elle Decoration (UK), Domino, House & Garden, The New York Times, and The Washington Post, among others.


Wireframe Model, computer drawing byPaul Loebach, 2007

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CARVING WORKSHOPS

RELIEF CARVING CHRIS PYE June 22 – 26

Chris developed this course over years of teaching begin-ners in his Herefordshire studio and then turned it into a book: Relief Carving: A Practical Introduction (GMC Publications, 1998), which serves as the course text. During the week, Chris leads students step-by-step through two projects designed to give them a thorough grounding in low-relief and high-relief carving.

The course offers a strong foundation in carving skills applica-ble to decorative pan-els, architectural details, and furniture. Students develop a confident under-standing of the func-tions of the various carving tools and how to sharpen and handle them; relief design and working wood grain; lining in, grounding out, set-ting in, modeling, and undercutting; finishing from the chisel; and many other aspects of the carving process.

From his studio in Herefordshire, England, CHRIS PYE works on a broad spectrum of commissions, including lettering, heraldry, furniture ornamentation, architectural carving, and sculpture. A Member of the Master Carvers Associa-tion, clients include HRH the Prince of Wales. Chris has some thirty years of experience as a carver, and is the author of five books published by GMC Publications Ltd.: Woodcarving Tools, Materials, and Equipment (1995, 2002), Carving on Turning (1995), Lettercarving in Wood (1997), Relief Carving – A Practical Introduction (1998), Elements of Woodcarving (2000), and Woodcarving Projects and Techniques (2007). He has also produced three DVDs which are avail-able through his website: www.chrispye-woodcarv-ing.com.

Open to novice and intermediate carvers. Tuition: $650

Detail of limewood bedstead by Chris Pye

Detail of fireplace surround by Chris Pye, relief carving, 1999 (Height of mouse is one inch.)

INTERMEDIATE/ADVANCED CARVING CHRIS PYE June 29 – July 10

This two-week course is for more experi-enced carvers who want to expand their technical and creative skills. All types of carving are welcome, including relief carving, carving-in-the-round, and lettering. Participants may embark upon new projects, bring work in progress, or choose to follow a series of exercises.

Through extensive one-on-one personal supervision, demonstrations, shared class ‘problems,’ and individual exercises, Chris helps students deepen their understanding of woodcarving. In addition to the technical requirements of carving, instruction emphasizes the crucial aspect of woodcarving design: how carvings ‘work’ visually and aesthetically.

Participants MUST discuss their projects with Chris in advance so they come with designs appro-priate to the scope of the course and their skill lev-els, as well as the right tools and materials.

For biographi-cal information on CHRIS PYE, see previous description.

Detail of trophy carved by Chris Pye for HRH the Prince of Wales

Ceci N’est Pas Une Chemise by Chris Pye, limewood, bone, and wire, life-size, 2007

Open to intermediate and advanced carvers. Tuition: $1,170

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FINISHING F R O M A T O Z TERI MASASCHI August 24 – September 4

Participants learn all aspects of finishing, from hand-applied coatings to professional spray lacquers. By the end of the course, each participant knows how to fill grain; color with dyes and pigments; put on hand-applied var-nish, shellac, and oil finishes; and apply spray finishes.

Through lecture and demonstration, Teri explains every-thing from wood preparation to rubbing out. This includes selecting the proper abrasives, sanders, and fillers; layering of colorants; bleaching, glazing, and brushing; French polishing; and, of course, techniques for rubbing the final finish to perfection. Work is done on practice panels and cabinet door samples.

In the spray booth, Teri covers selection and use of equip-ment, safety issues, proper cleanup procedures, and correct spraying techniques. Participants use both water-based and solvent-based products, as well as colored (pigmented) finishes. Students who have spray equipment at home are welcome to bring it in for evaluation and practice.

TERI MASASCHI worked as a professional finisher/refinisher in New Hampshire for 30 years, specializing in antique restoration and reproduction, before moving to New Mexico, in 1995, to become Finishing Specialist/Product Manager for Woodworker’s Supply. Currently, she runs her own finishing and restoration business in Tijeras, New Mexico. Teri writes extensively for Fine Woodworking and is a walking encyclopedia of finishing products and tech-niques, from the traditional to the cutting edge. Her book, Foolproof Wood Finishing: For Those Who Love To Build And Hate To Finish (Fox Chapel Publishing, 2006) is a must-have for furniture makers.

Open to all. Tuition: $1,170

FINISHING WORKSHOPS

RESTORATION A N D REPAIR TERI MASASCHI September 7 – 18

In this workshop, Teri teaches most aspects of antique fur-niture repair, restoration, refinishing, and care. Teri will supply the samples to be worked on, but students may also bring small pieces of furniture that they have coordinated with Teri in advance. Topics addressed through demonstra-tion and hands-on exercises include: • Adhesives, including hide glue, epoxy, and polyurethane • Regluing loose joints • Drawer and carcase repair • Regluing and replacing loose and missing veneer • Regluing and replacing moldings • French polishing and padding • Color matching • Stripping • Use of brushes and spray guns • Removing white and black water rings • Touch up and refinishing with shellac and lacquer

Teri also touches upon the difference between restoration and conservation and the importance of appraisals.

For biographical information about TERI MASASCHI see previous course description.

Teri strongly recommends that participants have previous finishing experience. Tuition: $1,170

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FINISHING & TURNING WORKSHOPS

HAND-APPLIED FINISHES TERI MASASCHI October 5 – 9

Participants learn all aspects of the finishing process as practiced in the non-industrial furniture shop. By the end of the course, each participant knows how to fill grain, apply dyes and pigments, and put on hand-rubbed var-nish, shellac, and oil finishes. Work is done on sample panels and students are encouraged to bring special pieces of their own wood to experiment upon.

Through lecture and demonstration, Teri explains every-thing from wood preparation to rubbing out. This includes selecting the proper abrasives, sanders, and fillers; layering of colorants; bleaching, glazing, and brushing; French Polishing; and, of course, techniques for rubbing the final finish to perfection.

TERI MASASCHI worked as a professional finisher/refinisher in New Hampshire for 30 years, specializing in antique restoration and reproduction, before moving to New Mexico, in 1995, to become Finishing Specialist/Product Manager for Woodworker’s Supply. Currently, she runs her own finishing and restoration business in Tijeras, New Mexico. Teri writes extensively for Fine Woodworking and is a walking encyclopedia of finishing products and tech-niques, from the traditional to the cutting edge. Her book, Foolproof Wood Finishing: For Those Who Love To Build And Hate To Finish (Fox Chapel Publishing, 2006) is a must-have for furniture makers.


INTRODUCTION TO TURNING STEPHEN GLEASNER June 1 – 5

This course is designed for the novice turner. Instruction addresses spindle work (turned between centers) and bowl and platter forms (turned on faceplates.) Participants gain experience and confidence to continue their exploration of turning when they return home.

Early Bay by Stephen Gleasner, plywood, dyes (20" dia. x 9" tall), 2005

Through demonstration and one-on-one instruction, Stephen teaches: • sharpening and use of gouges, skew chisels, scraping

tools, and parting tools • lathe safety • selection of materials • dynamic cutting techniques which surpass scraping

and sanding • turning of spindles • turning bowls in green wood

STEPHEN GLEASNER is an Appleton, Maine artist/turner with extensive experience in faceplate and spindle work, gained over a 20-plus year woodworking career. Currently, he specializes in carved and dyed wall pieces that explore the patterning possibilities of Baltic Birch plywood. Stephen’s work is represented by Carver Hill Gallery in Rockport, Maine and the Dane Gallery on Nantucket, among others. Prior teaching includes demonstrations for the American Association of Woodturners’ national symposium and the 2003 New England Woodturning Symposium, as well as courses that Stephen has offered at the Center since 2004.


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VESSELS TURNED A N D CARVED MATTHEW HILL June 8 – 12

Turned, carved, and decorated vessels are the vehicle for this week of technical and creative exploration on and off the lathe. Participants improve their turning skills hand-in-hand with their understanding of the relationship between form and detail. “We will push the limits of our craftsman-ship by concentrating on details, which often become our signatures as makers,” says Matthew. “This will be a fun, challenging, and confidence-building week.”

Students develop their eyes for form by sketching, then stretch their turning skills to accomplish what they’ve imagined in green wood and kiln dried lumber. Matthew teaches both face-grain and end-grain turning techniques, such as cutting end grain with a hook tool or ring tool, creating detail with the spindle gouge and skew chisel, shear scraping for better form and surface quality, and turning face grain with the bowl gouge. He also shares sur-face treatment techniques such as texturing (with v-tools, small carving gouges, and Foredom tools), wood burning (with custom tips), and coloring (with dye stains, Japan colors, glazes and lacquer.) Participants are encouraged to explore the use of handles on lidded containers.

MATTHEW HILL turns professionally in Oklahoma City, Oklahoma, selling primarily through galleries and invita-tional shows. A woodworker for more than 20 years, Matthew has pieces in the permanent collections of the Minneapolis Institute of Art and the Contemporary Museum in Honolulu, as well as in most major private collections in the United States. His work may be seen at www.matthewhillstudio.com

Open to intermediate woodturners. Tuition: $650

Lidded Box by Matthew Hill, boxwood, hard maple, and ebony (9" dia. x 4"), 2004

TURNING WORKSHOPS

LEARN TO TURN BETH IRELAND July 13 – 17

The course introduces novice wood turners to professional techniques for spindle and faceplate turning. Starting with tool history and sharpening, Beth teaches participants how to work safely and effectively with standard turning tools such as gouges, skew chisels, scrapers, and parting tools. She also demonstrates methods for making custom tools in order to achieve professional-level results.

Three small vessels by Beth Ireland, maple, polymer clay, and epoxy, 2000

Participants begin with architectural turning, learning tricks of the trade for reproducing multiple spindles. They then learn hollow-turning and faceplate-turning tech-niques for making bowls, boxes, and hollow vessels. Instruction covers everything from wood selection to fin-ishing, as each student completes a series of small projects. Beth discusses creative problem solving as it relates to developing a personal turning style.

BETH IRELAND has been a professional turner and furniture maker in Roslindale, Massachusetts since 1980. From 1999-2001 she was Director of the Wood Program at the Worcester Center for Crafts. Beth’s work has been widely exhibited throughout the U.S. and her extensive teaching experience includes demonstrations for dozens of guilds and symposiums, including the American Association of Woodturners and the New England Woodturning Symposium.


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TURNING WORKSHOPS

BEYOND BASIC BOWLS MARK GARDNER July 20 – 24

Participants discover new ways to advance their turning skills. Either working from sketches or designing directly on the lathe, students make everything from bowls and vessels to spoons and sculptural forms out of green and kiln-dried wood. Mark encourages students to use the turned form as a starting point for exploring the creative possibilities of surface embellishment. His instruction emphasizes proper use of the bowl gouge, as well as sharp-ening and use of different turning and carving tools. He also covers hollow forms, multi-axis turning, and the use of dyes and paints, among other techniques.

Tea Set by Mark Gardner, ebonized ash (11"x3"x7"), 2000

MARK GARDNER is a full-time studio turner and sculptor in Saluda, North Carolina. His award-winning work is exhibit-ed nationally and has been acquired for the permanent collections of the Museum of Arts & Design in New York, the Yale University Art Gallery, and the Minneapolis Institute of Art, among others. Mark is featured in the recent book New Masters of Woodturning (Fox Chapel Press, 2008).

Open to intermediate woodturners. Tuition: $650

WOODTURNING FOR BEGINNERS NICK COOK August 17 – 21

This course introduces novice turners to the magic of the lathe. Nick teaches both spindle turning and faceplate work, emphasizing safety, stock preparation, tool selec-tion, sharpening, and efficient turning techniques. On the first day, students learn to spindle turn with roughing gouges, spindle gouges, skews, and parting tools. Participants build their skills daily through a series of hands-on projects such as tops, Christmas tree ornaments, bowls, and plates, working with both kiln-dried and green woods.

Nick encourages each student to work at his or her own pace on projects that interest them and provides ample individual attention.

NICK COOK is a versatile turner who makes production gift items and one-of-a-kind bowls and vessels that he markets through gift shops and galleries from coast to coast. From his studio in Marietta, Georgia he also provides turned parts for local furniture makers and millwork shops. Nick has been turning wood for more than 30 years and is a founding member and former Vice President of the American Association of Woodturners. He teaches extensively at schools and symposia throughout the USA, Australia, and New Zealand.

Open to beginners. Tuition: $650

Maple burl vessel by Nick Cook (5" dia.x10")

Prima vera bowl by Nick Cook (12" dia.x7")

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WOODTURNING FUNDAMENTALS: BOWLS, BOXES AND SPINDLES ALAN LACER September 14 – 18

This course is a hands-on exploration of the major areas of woodturning: between-center work (handles, table legs, spinning tops, etc.), face grain work (bowls, plates, stool seats), and hollowed end-grain work (lidded boxes, scoops, goblets). Alan’s instruction emphasizes tool preparation, sharpening, and technique, and provides an understanding of the nature of wood as it relates to turning. Participants work with green wood for bowl turning and kiln-dried wood for between-center work and box making.

Students taking this course are welcome to sign up for the following week’s Woodturning II class, where they can expand on what they have learned.

A variety of turned objects by Alan Lacer, representative of the work students will make

ALAN LACER has been involved in the turning field for over thirty years as a turner, teacher, video producer, writer, exhibition coordinator, and demonstrator. He is past presi-dent of the American Association of Woodturners. Alan exhibits his work nationally and has demonstrated and taught in more than 45 states and four foreign countries. In 1999, he received a lifetime honoree award from the AAW for his contribution to the field.


TURNING WORKSHOPS

WOODTURNING II : THE CONTINUING STORYALAN LACER September 21 – 25

In this intermediate-level, demonstration-filled workshop, participants expand upon the core skills taught in Alan’s Fundamentals course, applying them to the duplication of spindles, developing different bowl forms, and pushing the turned lidded box to the next step. Activities include duplicating a spindle, creating three different bowl types, a taste of hollow turning, and refining turned boxes with book-matched inlay and surface tex-ture. Alan also demonstrates the process of hand-chasing threads for fitting lids onto boxes.

For biographical information on ALAN LACER, see the preceding description.

Open to intermediate turners. Tuition: $650

Sandblasted Catalpa Vessel by Alan Lacer (7"x14"), 2001

Natural-edged Burl Oak Bowl by Alan Lacer, white oak (11" dia.)

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MESSLER GALLERY MISSION The mission of the Messler Gallery is to advance wood craftsmanship as a vibrant medium of expression.

As an educational forum, the gallery enables students and the public to view work by faculty and other accomplished woodworkers firsthand; it hosts public lectures by instruc-tors and visiting artists; and it offers exhibition experience to students and Studio Fellows.

As the only venue in Maine dedicated to the year-round exhibition of studio furniture and wood art, the Messler Gallery provides much-needed exposure for regional furniture makers, turners, and carvers.

Current and previous exhibitions may be seen online at www.woodschool.org

TRAVELING EXHIBITIONS To serve a wider audience, the Messler Gallery travels exhi-bitions to museums and nonprofit galleries across the country. Last year’s woodturning show Far From the Tree, curated by Jacques Vesery, subsequently opened at the American Association of Woodturners gallery in St. Paul, Minnesota, the Ohio Craft Museum in Columbus, and the Southern Ohio Museum in Portsmouth.

Our September 2009 exhibition, Boxes and Their Makers, will also travel nationally. In addition, it will be the subject of a handsome book by Fox Chapel Press.

HOURS The Messler Gallery is open to the public year-round. Hours are Monday through Friday from 9 a.m. to 5 p.m. and Saturday from 10 a.m. to 4 p.m. In June, July, and August we are also open on Sunday from 10 a.m. to 4 p.m.

2009 EXHIBITIONS

IN THE PALM OF YOUR HAND:EXQUISITE GIFTS

December 5, 2008 – February 13, 2009 Fabulous small works by 21 gifted makers from the U.S.,

Germany, France, England, Canada, and Australia.Curated by renowned wood artist Jacques Vesery.

CELEBRATING THE STUDIO FELLOWSHIP February 20 – April 17, 2009

Accomplished, inventive work by past and present participants in the Studio Fellowship Program.

CURRENT STUDENT WORK April 24 – May 29, 2009

The soon-to-be-famous students in our Nine-monthComprehensive strut their stuff.

NEW WORK BY FACULTY June 5 – September 4, 2009

Luminous work from a cast of dubious characters who happen to be some of the finest makers in the world.

BOXES AND THEIR MAKERS September 11 – November 27, 2009

Tabletop-size containers by 31 outstanding woodwork-ers from across the U.S., Australia, Canada, England, France, Germany, and Japan, displayed with portraits of the artists. Curated by Oscar Fitzgerald, Toni Sikes,

and Kevin Wallace.

Celebrating the Studio Fellowship in the Messler Gallery, March 2008

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ASSISTANTSHIPS ASSISTANTSHIPS Assistantships give emerging woodworkers opportunities to work closely with Workshop instructors in a professional teaching environment. The hours are long and the learn-ing and career opportunities are invaluable.

BENEFITS • Working with, and learning from, outstanding profes-

sionals in a wide variety of woodworking disciplines • Teaching experience • Free lodging in a private room in a shared house • A stipend of $190/week

QUALIFICATIONS The most important qualification is a friendly, helpful personality. After that, we look at your woodworking expe-rience, commitment, and personal goals. We want to be sure the assistantship will be of maximum value to you.

DUTIES The work done by Assistants is essential to the successful outcome of the Workshops. Responsibilities include: • monitoring student safety in the machine room • running errands • helping students one-on-one with their work • building jigs and fixtures • attending lectures and demonstrations • shop and machine maintenance • keeping bathrooms clean on a daily basis • preparing materials for faculty demonstrations • setting up and taking down special events • participating in daily shop clean up and weekend

changeovers

SCHEDULE Work hours are Monday through Friday from 8:30 a.m. to 5:00 p.m., plus as much as a full day over the weekend. In addition, Assistants help out with two evening events each week: the Monday night faculty slide show and the Thursday night potluck.

DATES Assistantships are available for periods of six to ten weeks from June through October.

APPLICATION Applications should be e-mailed by March 16, 2009 to [email protected]. To apply please submit: 1. Your resumé 2. Digital images of your work 3. A letter stating your reasons for applying and your goals

as a woodworker 4. The names and telephone numbers of three references 5. An indication of when you are available between June 1

and October 17

Notification will be sent by April 1, 2009.

SCHOLARSHIPS WORKSHOP SCHOLARSHIPS The Center encourages the participation of talented indi-viduals who could not otherwise afford our courses. In2009 we will award ten full-tuition scholarships for one-week and two-week Workshops.

Scholarships cover the full cost of Workshop tuition.Successful applicants must confirm their participation bypaying the standard $70 registration fee, and they remainresponsible for their travel, lodging, meals, materials, andany supply fees.

Application Process:By March 1, 2009 please e-mail the following [email protected]. A letter explaining your qualifications, your financial

need, and the benefit you hope to get from taking a workshop

2. Your resumé 3. A list of up to three workshops you would like to attend,

in order of preference 4. Up to five images of any woodworking or art work you

have done previously 5. The names and telephone numbers of three references

Notification will be sent by March 15, 2009.

POWERMATIC STUDENT SCHOLARSHIP Through the Furniture Society, Powermatic underwrites five competitive student scholarships for workshops at the Center for Furniture Craftsmanship and other leading schools. The $2,000-$3,000 awards can be used toward tuition, housing, meals, and travel. The application dead-line is February 1, 2009 and students must be Furniture Society members. For detailed information visit www.furni-turesociety.org and click on Programs.

Scholarship recipient Cameron Frotheringham cutting dovetails in a 2007 Basic Woodworking course.

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DONORS

ANNUAL GIVING We would like to thank all those who so generously support the Center for Furniture Craftsmanship through Annual Giving.

The following names represent gifts received between December 3, 2007 and December 3, 2008.

BOXWOOD $5,000 and above

PEAR $1,000+

CHERRY $500+

OAK $100+

PINE $25+

BOXWOOD Anonymous Kenneth and Roberta Axelson

Family Fund of the Maine Community Foundation

Charlotte and Chris Beebe David Caulkins Robert A. Fippinger Richard C. Kellogg, Jr. Messler Family Foundation

PEAR Anonymous Donor’s Fund of

Communities Foundation of Texas

Louis ClarkCMS Endowment Foundation,

Rick Mitchell Barbara DeVerter Nathaniel Emery Nathan Geurkink Agnus Gund and Daniel Shapiro Robert and Joyce Hamilton David R. and Nancy L. Holmes Mark Horowitz Robert Jackson Linda and Philip Lewis Patrick and Kathleen Morrissey Jeremy R. Morton Ed and Shirley O’Keefe The Phillips-Green Foundation Forrest Procter and Carol Trask Rohlen Foundation Craig Satterlee Don and Hope Seeley J.P. and Kaki Smith John Taylor Brinkley Thorne and Mazie Cox Beverly and David Worthington

CHERRY Laurie V. Adams Paul Biehl Lee and Anne Cotton Judy and Peter Dubrawski Herb Ershig Ned and Donna Fouste Mickey and Kim Godfrey Edwin Hagenstein Houghton Mifflin Matching Gift

Program Anne Kilham Thomas Parchman John Reilly Sarah Rheault Steve and Deb Roach Ted Rodewig

Joe Schoendorf Matthew and Ellen Simmons The Taunton Press Katharine Watson Frank and Shirley Wheeler

OAK Mary and Arnold Auger Bank of America Foundation Bruce and Carolyn Bergen Richard Bernhard Bohlin Cywinski Jackson Blake and Allison Brown Michael Brown Stephen Toof Brown Hilton Bruch Mark Buley Karen and David Cadbury Richard J. Campbell Tom Caspar John Chandler and Albie Davis Bill and Kathy Childs Philip E. Clifford Matthew Cohn Rick Croteau and Aggie Stewart Michael Curci Mike Cyphers Walter E. Davis Duane Deming and Nancy Bruce Judy and Grant Dinmore Rob and Patti Eddy Josh and Vickie Edgerly FY Woodwerks, Inc., Fred Young GE Foundation Bob and Susan Gell Linda and Arch Gillies Arthur Glickman John Godfrey, II Michael Goldman Jim and Nancee Grimes Peter Gruntfest Bruce Haims Adrian and Beth Hall Alan Hall and Ruth Rinklin Ellie and Tom Hamburger Ray and Genie Hammond J. Bourge Hathaway Jim Heard and Misty van Kennen Lee Henderson Philip Hirsh Mei-Ying Ho Naomi M. Hopkins Alan and Dorothy Hume Sam Huston David and Ann Ingram Paul Irwin

Marshall and Carlyle Jones John J. Kacerosky Luke Kautz Gary Kennedy Pierce Klemmt Nancy Koenigsberg Peter Korn and Michelle Dee Alan Lacer Jeff and Lynn Lang Bob Lary Beth Leroux John Levitties Vincent Lewey Jonathan M. Lichter Gregg Lipton and Sara Crisp Tod Lloyd Hilliard and Aileen Lubin The Lunder Foundation Doug Maple Merrill Lynch & Co. Foundation Bill Mason Ken Mosedale Amy and Jim Murphy Stephen and Carole Napolitano Richard Nellson Harold H. Owen Joseph Parise Jaye Peterman Ron Peyton William Ploog Recreational Equipment, Inc. Ed Reed T. Scott Reinert Kevin P. Rodel Jack Rodie and Carol Davis Jerry Rogoff John Ryan Honor and Louis Sage Christopher Sailer Jessie M.L. Satterlee Ira E. Schwartz T.J. Shao Carl Shortt Frank Simon, II Nancy Inge Simpson Ray and Leslie Slaybaugh L.H. Smith Christopher Snow H. Austin Spang, III Fred R. Stehman Rick Stein William P. Stengel Barry Stiger Ben Thompson Barbara A. Thorne Kate Timmerman Barbara Tober Lee Toman Dennis Turney Peg Van Brunt John Van Dis Warner Vaughan Steve Vela Stephen Vinette Donald R. Weaver Joan Welsh Ronald Wermers Nancy and Malcolm White Irene Wolf Woodcraft Supply, LLC Berton Zbar

PINE Anonymous Frances W. Bailey Paul Barnes Jerome Bart Joe and Jean Benkert Ellen Benkin Richard A. Blake Will and Halcyon Blake Ben Bogie Stanford E. Carver Charles E. Conway John Corcoran Woodward W. Corkran David Curtis Robert DeFuccio Thomas Densmore Henry Dombrowski Mary Earl David and Ellie Erdman Jay Erickson Wendy Feuer Keith Fitch Mitchel Fujiwara Daniel Gould Ward Graffam Ralph and Rita Greenberg Tom Gregg Teke Gronros Mr. & Mrs. Samuel E. Guild Brett Harris Edward Harrow Stephanie Davis Henrichsen Maury Hepner Arthur Hesford Matthew Hill Lawrence Hutcheson Donna Janville & John Gillespie Jack Johnson Ryan M. Jones David Kennedy Fr. Jerome E. Knoll, CSC Chris Kovacs Art Kupferman Arthur Lewis Bill Localio Harrah Lord Martha MacIlvaine Kim McNally Bruce McCreedy Julie Morringello William Moyle Kevin Nadeau Ken Northrop Raymond Page Stuart Page Myrl Phelps Walter Plaut, Jr. Jerry Robinson Janine Rueter

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Dan Schwartz Charles Shackleton John Silverio Jay Sklar Donald Small Buck Smith Mr. Dana Spice and Ms. Leny Jo

Captein Brent Surowiec Robert Takach Charles Tourtual Susan Townshend Clare Tully Ray Underberg Lora Urbanelli and William Rae Bob Vodicka Gregory A. Wandless Mike Washko Richard Winchester Herb Yost

IN-KIND DONORS We thank the following compa-nies and individuals for their generosity in donating products, tools, and services. Lewis Cabot Cale Caboth Certainly Wood Civil & Structural Design Penelope Crane Custom Service Hardware, Inc. Bernard David Sally Davis Michelle Dee Paul Denckla Grant Dinmore Brenda Erickson Festool USA Fidelity Foundation Peter Galbert Andrew Glantz The Gorilla Glue Company Gina Gregorio John Grew-Sheridan Karen and Werner Gundersheimer Hitachi Power Tools Robert Ingham JDS Company Silas Kopf Alice and Thomas Kugelman Alan Lacer Bob Lary, Tex Styles International Lee Valley Tools Ltd. Lie-Nielsen Toolworks, Inc. Mariann Lehman Phil Lewis Linden Publishing Peggy Liss Lorraine Construction Nancy Lubin Rick Mitchell New Hope for Women Packard Woodworks, Inc. Paul Parisi Judy Perry Myrl Phelps Michael Puryear Stanley Roth Tim Rousseau Judy Schlebecker Libby Schrum Molly Sholes

DONORS

CAMPAIGN FOR CREATIVE EXCELLENCE In 2008 the Center’s Board of Directors announced a $3.0 million endowment cam-paign to advance the school’s future excellence and sustainability. The Campaign for Creative Excellence encompasses three critical initiatives: • $2.0 million in new endowment to improve faculty compensation so that the

Center can continue to guarantee its students access to the finest instructors from this country and around the world;

• $500,000 in new endowment to establish needs-based scholarships that will open the school to talented students of all backgrounds; and

• $500,000 in new endowment to create a Visiting Artists Program that will encourage accomplished, professional woodworkers to investigate new directions in their work, provide leadership for emerging makers in our Studio Fellowship program, and fur-ther boost creative energy on campus.

Gifts and pledges as of December 4, 2008 amounted to $2,018,000 and the campaign is scheduled to conclude by the end of 2009. We would like to thank all who have contributed to date for their generosity, trust, and vision.

Anonymous (3) Peter Korn Jeffrey and Marguerite Browne Lie-Nielsen Toolworks, Inc.

Karen and David Cadbury Joseph D. Messler, Jr. Catawamteak Fund of Maine of the Maine John S. Mills

Community Foundation Jeremy R. Morton, M.D.CMS Endowment Foundation, Rick Mitchell Moseley Family Foundation

Martin and Norine Everett Sarah B. Rheault Robert A. Fippinger Craig B. Satterlee

Courtenay H. Haight Don & Hope SeeleyPeter and Gretchen Haight Mr. and Mrs. James P. Smith, Jr.

Nathan Hayward, III William P. Stengel Blair P. Hawley Nellie Taft Mark Horowitz Joan Welsh

Philip R. & Catherine M. Karsell Windgate Charitable Foundation Richard C. Kellogg, Jr.

Libby and Frank Simon Carol Smith John Steele Bill Stengel Bobby Stevens Enid Stone Babs Strousse and Marty Smith Taunton Press, Timothy Rahr Eric Verite Malcolm von Saltza Laura and Phil Walz Pearl and Charles Washburn John Whalley Victoria Woodhull Bill Zierdan

VOLUNTEERS A heartfelt thanks to the many individuals who give their time to help fulfill the mission of the Center. Laurie Adams Connie Beasley Chris and Charlotte Beebe Barbara Benisch and Jacque Allen Ellen Benkin Richard Bernhard Tom Clowney Amy Cornell

Penelope Crane Bettina Doulton and John Tynan Sally Davis Michelle Dee Mark DeOrsay Judy and Grant Dinmore Patrick Downes Richard and Jackie Dunham Aaron Fedarko Reuben Foat Dora Galitzki and Jan

Rosenbaum Karen Grove Stacey Hall Dave and Nancy Holmes Will Karnedy Don and Arlene Kent Jessie Kent Nick Keslake Anne Kilham Brandon Kimble James and Alexandra Lawrence Linda and Phil Lewis Peggy Liss Chris McLarty Ed and Shirley O’Keefe Myrl Phelps Jesse Pinnegar Jane and John Rasmussen Brian Reid Reuben Foat

Judy Schlebecker Libby Schrum Jesse Shaw Molly Sholes Heidi and Ted Steele Enid Stone Mike Todd H Upfill-Brown Tim and Susan van Campen Susan and Warner Vaughan JoAnn Weatherbee Carol and Fred Weismiller Victoria Woodhull & John

Cushing

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GENERAL INFORMATIONPh

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LOCALE The Center for Furniture Craftsman-ship is located in the coastal village of Rockport, Maine, between Camden and Rockland. This is a beautiful vacation destination and a wonderful place to live. Explore Penobscot Bay from the deck of an historic windjammer or the intimacy of an ocean kayak. Canoe, fish, and swim in our many lakes and rivers, including famous Megunticook and our favorite swimming hole, Rocky Pond. Hike in Camden Hills State Park, or drive to spectacular Mt. Desert Island. Visit the lovely fishing villages of Tenants Harbor and Port Clyde. Take a ferry to the quiet islands of North Haven, Vinalhaven, and Islesboro.

The Camden/Rockport area is also blessed with excellent restaurants, Bay Chamber Concerts, the Center for Maine Contemporary Art, and the renowned Farnsworth Museum in Rockland. Those who like to shop will find an abundance of galleries, antique stores and flea markets, not to mention L.L. Bean and Freeport outlet shops just over an hour away. For more information visit the Camden Chamber of Commerce at www.camdenme.org.

MATERIALS Participants may purchase lumber and sandpaper from the Center at normal retail prices, or provide their own. We stock ash, cherry, maple, white oak, and poplar. Students in more specialized courses may be charged a flat fee to cover the cost of materials.

LODGING WORKSHOPS The best deal during the workshop season, from June through October, is a private room in a shared house, usually with a shared bath, for $295/week/person. These rooms are in private houses whose owners rent only to our workshop participants. All are clean, attractive, friendly situ-ations between five and ten miles from the school. You can reserve a room when you register for your workshop or you may contact us later. Rooms are available on a first-come, first-served basis.

Also, we can refer you to private apartments, cottages, motels, bed

Thursday evening potlucks are a summer tradition.

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and breakfasts, and campsites. They are plentiful throughout the mid-coast area. However, we suggest you book your housing without delay, as this is a popular vacation area. We are always available to help you find what you need.

To reserve a private room/shared house, send us a $100 deposit. The balance will be due thirty days in advance of your course. If you cancel more than 30 days in advance your full deposit will be refunded. If you cancel less than 30 days in advance, you will forfeit your deposit and the full balance will be due.

LONG-TERM RENTALS Long-term rentals are available to participants in the Twelve-week Intensives, Nine-month Comprehensive, and Studio Fellowship Program at reduced rates. Depending on the season, these range from $450-$600 per month for a private room in a shared house and from $700-$900 per month for a pri-vate apartment.

To find out more about long-term housing opportunities, contact the school office.


GENERAL INFORMATION EVENTS Two weekly events are scheduled during the Workshop season, from June through mid-October. On Monday evenings we meet for dessert and a faculty slide show at 7:00 p.m. On Thursday evenings we hold a potluck class dinner and croquet tournament, starting at 6:00 p.m. Family and friends are welcome at both events.

WEEKLY SCHEDULE • Courses begin at 9:00 a.m. on

Mondays and end on Fridays at 5:00 p.m.

• Instruction is offered weekdays from 9:00 a.m. to 4:30 p.m. We break for lunch from 12:00 to 1:00 p.m.

• The workshop buildings are open to students around the clock during their courses, with certain restric-tions on machine use.

SKILL LEVELS Every course description indicates the appropriate experience level for participation. If you have questions, please call.

COLLEGE CREDIT We have affiliations with two Maine universities.

UNIVERSITY OF SOUTHERN MAINE College credit for courses taken at the Center for Furniture Crafts-manship is available through USM. The number of credits is determined by the duration of the course and you must successfully meet the specific educational goals required. To apply for college credit contact:

Office of Prior Learning Assessment 253 Luther Bonney Hall USM Portland, Maine 04104 207-780-4867

UNIVERSITY OF MAINE AT ORONO UMaine has signed an agreement to make the Center’s Twelve-week Intensive an elective for students in its undergraduate Wood Science and Technology Program. The focus of the University’s program is to prepare students for careers in wood technol-ogy, ranging from working as wood craftsmen to becoming professionals in the field of Material Science and Engineering. UMaine is an interna-

tional leader in research and the study of wood and wood products. Their world-class facilities provide students with opportunities to work with advanced technologies and the AEWC hires over 100 students each year to work on a variety of wood-related research projects.

For more information on the University’s program, visit: www.forest.umaine.edu/education/WSC

AIR TRAVEL Usually, participants fly into Portland (a 11/2-hour drive away). It is also possible to fly into Knox County/ Rockland Airport (15 minutes away), Boston (31/2 hours) or Bangor (13/4

hours). Automobile rentals are avail-able at all airports.

ACCEPTANCE • Participants must be at least 17

years old. • For the Workshops and Twelve-

week Intensives, admission is first-come, first-served. Those wishing to repeat a course may enroll if there are still openings ninety days in advance.

• Application requirements for Studio Fellowships and the Nine-month Comprehensive are listed on pages 4 and 5, respectively.

• Upon registration you will be sent a supply list and housing information.

DIRECTIONS TO THE CENTER Driving from Boston • Take I-95 North through New

Hampshire into Maine • Just before Portland take Exit

44 onto 295 North • Take Exit 28 to

Brunswick/Route 1 North • Follow Route 1 North to

Warren (about 45 miles) • Left on Route 90 at blinking

light • Go 6.5 miles • The entrance to the school is

on the right. If you pass it, take a right onto Mill St., where we have a second entrance.

SMOKING No smoking is permitted in the school buildings.

PETS Kindly leave your pets at home.

Instructor Libby Schrum and student Dick Whittington in a 2008 Basic Woodworking course

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REGISTRATION Name _______________________________________________

Address _____________________________________________

____________________________________________________

Tel. HOME____________________ CELL ___________________

e-mail ______________________________________________

COURSE & DATE DEPOSIT

Non-refundable registration fee $ 70

HOUSING (CHECK ONE)

■ Private room/shared house ($100 deposit) (for Workshop participants)

■ Please send me information about other housing options.

■ I already have housing.

$

TOTAL ENCLOSED $

METHOD OF PAYMENT ■ VISA ■ MASTERCARD ■ CHECK

Card # ______________________________________________

Expires ________________ CVC#________________

Cardholder __________________________________________ Permission to charge remaining balance to card when due?

■ YES ■ NO

Signature____________________________________________

CENTER for FURNITURE CRAFTSMANSHIP 25 Mill Street, Rockport, Maine 04856

Phone: 207-594-5611 Fax: 207-594-7511 [email protected]

www.woodschool .org

REGISTRATION You may register by telephone at 207-594-5611 during business hours, or you can complete the registration form and return it by mail or fax with the registration fee, your tuition deposit, and any housing deposit. It’s a good idea to call ahead to check course availability.

FEES • Tuition for one-week workshop $650 • Tuition for two-week workshop $1,170 • Tuition for Twelve-Week Intensive $6,500 • Tuition for Nine-month Comprehensive $17,300 • Non-refundable registration fee $70 per person • Private room/shared house $295 per week

(for Workshop participants)

DEPOSITS • The deposit for Workshops is $200 per course. • The deposit for the Nine-month Comprehensive and

the Twelve-week Intensive is $400. • The deposit for a private room/shared house is $100.

PAYMENT • Full payment of Workshop tuition and housing is due

30 days prior to the first day of class. • Full payment of tuition for the Twelve-week Intensive

and Nine-month Comprehensive is due 45 days prior to the first day of class.

• We accept personal checks, Visa or MasterCard.

REFUNDS AND CANCELLATIONS • If you withdraw from a Workshop more than 30 days

in advance, we will refund your deposits, less the $70 registration fee. No refund will be given for withdrawal within 30 days of your Workshop and full payment will be due.

• For the Twelve-week Intensive and Nine-month Comprehensive, half of the $400 deposit is non-refundable. No refund will be given for withdrawal within 45 days of the course.

• In the unusual event that Center for Furniture Craftsmanship must cancel a course, deposits and fees will be promptly refunded.

CENTER for FURNITURE CRAFTSMANSHIP 25 Mill Street Rockport, Maine 04856

www.woodschool.org

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