many happy turns october 2016 - central ohio woodturners · the efficiency of the tool. these...
TRANSCRIPT
A few words from our President, Mike Trucco
Greetings Fellow Woodturners,
Well, the first meeting is under our belts. I thought it went pretty well. Tom Hale did an outstanding job of
lining up demonstrators. I would like to thank Devon Palmer, Bruce Kerns, Max Kackstetter, Freddy
Dutton, Gene Hall, and Tom Hale for sharing their expertise. I think everyone took home some good
pointers.
I would also like to thank Patrick Sullivan, our new newsletter editor, for the outstanding job he did on our
first newsletter of the program year. Be sure to thank him too. One thing I failed to mention in that
newsletter is that Jack Hock is on the sick list. Jack would appreciate cards or calls just to let him know we
are thinking about him.
The “critique table” wasn’t as popular as I had hoped, but maybe it will do better after people saw how
professionally Freddy and Ron handled it. I appreciated their comments on my piece. In fact, I went home
and fixed some flaws and now I have a better piece. Remember, this is how we can learn to be better
turners; by accepting constructive criticism.
Don’t forget the Paul Bunyon Show on October 7th, 8th, and 9th at the Guernsey County Fairgrounds in
Cambridge. We will have 2 lathes set up and will be demoing in the Wood Craft Building all 3days.
I am looking forward to our October 11th meeting. Our demonstration will feature our very own, Tom Hale,
demoing a hollow Christmas ornament with finials. You won’t want to miss this! Instead of our usual 50/50
raffle, we will be selling chances for a $100 Woodcraft gift card (donated by (Ron Damon) and 2 - $25
Craft Supply gift cards (left over from last year). We will draw 3 names. We will still have the Show ‘n
Tell, and Swap Shop. Remember to bring back your “oops” piece to this next meeting for the President’s
Challenge. You could win a $25 gift card. There will be a 4” x 4” block of cherry waiting for you for the
November President’s Challenge.
The Official Publication Of The:
COW Partners with
Franklin
Park Conservatory
Demonstration
Schedule
Meeting
Information
Highlights in this Issue
COW President Mike Trucco
Many Happy Turns October 2016
In association with:
2
Many Happy Turns October 2016 Issue
...A few more words from our President (continued from page 1)
Steve Wagner is hard at work setting up mentoring sessions for the program year. If anyone has ideas, please
send Steve an email or call him.
On November 5th we will be doing “Pens for Troops” at Woodwerks from 10 a.m. until 2 p.m. More info to
follow.
Anyone planning on entering pieces in the Franklin Park Conservatory juried art show please call or send
Tom Hale an email so that we can get a head count. There’s more info on this in this newsletter and also on
the club website.
Remember, this is YOUR club. If you have any ideas, comments (positive or negative) we would like to hear
from you. But please offer solutions too. Keep turning safely!
Your President,
—Mike
Central Ohio Woodturners Meetings
Meetings are held at Holy Spirit Church basement, 4383 East
Broad Street, Columbus, OH 43213. We normally meet the 2nd
Tuesday of the month (September- thru- May). We look forward to
seeing you!
3
Club Demonstration Schedule
Christmas in October?
It’s not too soon to be working on those homemade Christmas and Holiday gifts. October will feature an ornament demonstration by Tom Hale.
Tea Time?
In November the club will be hosting international turner Michael Gibson. In his early years growing up in England, Michael worked on wooden sailing yachts along the banks of the River Crouch. He moved to the US in the eighties. Working with wood all of his life, Michael was always interested in woodturning and studied for many years to perfect his craft. What began as a hobby blossomed into a passion. He has gained international recognition for his teapots.
Michael was a featured demonstrator at the American Association of Woodturners International Symposium in 2013 and received high honors as recipients of the “Award of Excellence” for one of his pieces. At the 2015 International Symposium he was awarded "Master Choice" in the Merging Exhibition. He also demonstrated at the 2016 AAW International Symposium in Atlanta.
He will also have a 2-day hands on class at Woodcraft. More details later in this issue.
Urns for Ashes.
In December the club will have the pleasure of hosting Ohio native Pete Wade. Pete’s demonstration will focus on creating Urns. The big inspiration for his company comes from his fur-kids, Smiley, Peanut, Oliver & Gus, the best grey-hounds on the planet! Originally I was just making bowls, round boxes and other things that I could burn my little cave drawing designs into. But then he and his wife, Beth, lost both Smiley & Peanut to bone cancer. That was the nudge need-ed to learn the skill of hollow form turning –so that he could make urns that would reflect the personality of the pet for whom they were made.
Keep watching for more information about our future demonstrations.
January - Embellishments - stations for carving, burning, dyes & texturing
February - Segmenting - Bob Dadik & Don Leman
March - Dick Gerard
April - Tips & Tricks - 5-minute "My Best Tip/Trick" from club members
May 8 - Steven Kennard - Boxes - Demo + classes
Many Happy Turns October 2016
4
From our Librarian, Robin Moro …
The latest list of all the DVD’s, CD’s and books in the club’s librfary has been posted on our website
under the resources tab. (http://www.centralohiowoodturners.org/1turneradmin-5/ ) If you are looking
for inspiration or to improve your skills, check it out! Best of all, everything is available for loan to club
members, free of charge.
Please, please, please, do not forget to return any itmes you have borrowed from the club library at the
October meeting.
— Robin
Many Happy Turns October 2016
Within this video, Alan explains the use of the skew
chisel - the tool many consider to be the most chal-
lenging tool in all of woodworking. Despite his focus
on this one tool, there is something in this video for all
wood turners - including those just beginning as well
as those with many years of experience.
Alan starts by describing the various types of skew
chisels on the market. He uses effective visual aids to
describe the modifications that he makes to maximize
the efficiency of the tool. These modifications include
grinding the proper skew angle (70 degrees), round-
ing the short point edge and chamfering the long
point edge. (Since this video has been released,
Hamlet has begun to sell "Alan Lacer Signature"
skew chisels that meet these specifications.)
Alan then describes the proper sharpening process -
lessons that can be applied to other woodworking
tools. He discusses grinder and grinder wheel selec-
tion, as well as proper sharpening techniques. He
also describes the use of an MDF wheel for power
honing and the proper use of a fine grit diamond hone
for hand honing. His description of the sharpening
and honing process is one of the best that I have
seen.
Alan spends a considerable amount of time describ-
ing the various cuts that can be made with the skew
chisel. These include planing, roughing and v cuts, as
well as shoulder, peeling and rolling cuts. He also
shows how the tool can be used to clean parting cuts
and other rough end grain cuts, to minimize sanding.
Throughout the video, Alan recommends the student
use 1.5" x 1.5" soft pine as his/her practice wood. He
outlines various exercises for the student and encour-
ages them to create dig-ins, skates, and other turning
problems, so they can learn from them. By using the
modified dead center, much of their fear and appre-
hension can be eliminated. Throughout the video,
Alan also emphasizes the need to wear eye protec-
tion and follow other safe practices.
Overall, this video is very well prepared. The lighting,
sound and production quality is quite good. Alan Lac-
er is a very good instructor and instills a confidence
that this tool can be mastered by following the steps
outlined in the video
Review by Steven Mellott of Wood Central
http://www.woodcentral.com/
A review of The Skew Chisel: The Dark Side / The Sweet Side
(DVD Format) by Alan Lacer
This DVD is
available to
members in
our library!
5
Mike Trucco President (P) (614) 218-4397 [email protected]
Tom Hale Vice-President (P) (614) 578-5324 [email protected]
Nelson Meyer Secretary (P) (614) 231-8850 [email protected]
Mark Boyd Treasurer (P) (740) 852-2689 [email protected]
Patrick Sullivan Newsletter Editor (P) 740-627-1699 [email protected]
Our Club Officers
COW members benefit from the skills and talent of our organization’s leadership. Take a few mo-
ments to familiarize yourself with the officers’ names and information below, and introduce yourself
at the next COW meeting! We want to hear from you!
At our September meeting we began a new resource for our club
members, a ‘Wood ID Station’ run by Dennis Knepley. Dennis
had a variety of wood samples to examine. It is another great ex-
ample of the benefits of being a member and attending our month-
ly meetings. Steve encourages you to bring in samples for identifi-
cation. We also welcome you to contribute to the ‘library’ of sam-
ples. Samples need to be small enough to get under the lens of
the microscope and into the focal range ½” or thinner.
Thanks Dennis for helping us learn more about our craft!
Many Happy Turns October 2016
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Many Happy Turns October 2016
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Many Happy Turns October 2016
This month’s question: How to Securely Hold Turning Stock
We are fortunate to have Ron Damon, from Wood Werks, answer this question.
Ron writes:
This is a very common question asked by newer wood turners involves properly holding wood onto a wood lathe for
safe turning. In the past, we were pretty much limited to three holding methods; (1) mounting our stock between a
drive center and a tail stock center (primarily used for spindle turning). (2) screwing our stock to a faceplate (primarily
used for bowl turning). (3) screwing a sacrificial block to the faceplate and gluing that block to our turning block. This
prevents driving the face plate screws into the actual turning block. The finished bowl is then parted off from the sacri-
ficial block and the bowl bottom is sanded smooth by hand. While these are still valid holding systems, they're some-
what cumbersome and quite limited in their application.
Several years ago the “4 Jaw Self Centering Scroll Chuck” hit the turning market and dramatically altered it forever.
This chuck is right up there with metal tip shoelaces and sliced bread. Whatever level turner you are, if you don't own
a scroll chuck, you need to get one because life is so much better “with” than “without”.
Give one of these chucks a try, I think you'll be impressed! I'm very partial to the One Way chucks because of their
jaw design.
Here are just a few of the holding abilities of the scroll chuck:
Woodworm Screw Chucking
The woodworm screw (included with most chucks) is mounted in the chuck. An appropriate size hole is drilled into
the turning block which is screwed onto the woodworm screw. When the block is seated against the chuck jaws it pro-
vides a very strong and tight fit so that the outside of the block can be shaped as desired. This application is quick and
easy.
Introducing a new newsletter feature: Ask A Turner!!
8
Many Happy Turns October 2016
Spindle Turning
One end of the spindle stock is mounted into the chuck jaws with the other end held steady by the tail-
stock center. This gives an extremely strong hold on most any length piece of spindle stock. Short piec-
es of spindle stock can be safely held by the chuck alone and don't always need the tailstock center.
Large Hole Gripping
Using a forstner bit, usually 2” to 2 1/2” diameter, drill a hole approx. 1/4” to 3/8” deep in your turning block.
Using the appropriate size jaws, expand the jaws into the drilled hole. This expansion grip will securely hold the
piece for turning. Use the tailstock center for additional security as needed.
Ask A Turner!! continued
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Many Happy Turns October 2016
Spigot Gripping
With the turning block mounted to a faceplate, turn the outside of the bowl. When doing so, leave a spigot or a tenon
on the bottom of the bowl. When the outside is finished, remove the block from the faceplate and clamp the chuck
jaws down on the spigot to turn the inside of the bowl. Be careful when clamping down on a spigot to not clamp so
tight that you fracture the wood fibers and weaken the spigot.
Foot or Mortise Gripping
This method is similar to the spigot method except it uses a foot or a mortise. Again, when the outside of the bowl is
done, remove it from the faceplate and expand the chuck jaws into the mortise or foot. This is quite often a stronger
grip than a spigot. The foot or mortise does not need to be very deep. I've turned18” platters with a 1/16” deep mortise.
For new turners, I'd probably make it a little deeper until you have a little more experience.
Ask A Turner!! continued
Editors Note: We are grateful to Ron for answering this question. This originally appeared on http://
thisiswoodworking.com/blog/how-to-securely-hold-turning-stock-on-a-wood-lathe/ . If you have a question you would
like answered, please drop me an email at [email protected] .
10
Many Happy Turns October 2016
Members work from the September Club meeting.
Bruce Kerns
Bruce Kerns
Freddie Dutton
Gina Stuphin
Linda Dipaola
Leslie Nielsen
11
Many Happy Turns October 2016
Members work from the September Club meeting (continued)
Linda Dipaola Max Kackstetter
Mike Trucco
Paul Courtright
Mike Trucco
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Many Happy Turns October 2016
Members work from the September Club meeting (continued)
Linda Dipaola
Ron Gardner
Tom Niple
Paul Courtright
Tom Hale
13
Many Happy Turns October 2016
Mentoring News:
Have you wondered if you are using a scrapper correctly? Have wondered when you
should use a scrapper and when to use another tool? And what about making your
own scrapper?
Well, we have good news for you. Join Ron Damon and Fred Dutton on October 22nd for our monthly mentoring
session. This session will be held at Wood Werks, 1851 Claycraft Road, Columbus from 10 am till 12 noon. It will
be a great opportunity to be mentored by two of the clubs esteemed members. We might even be able to get Fred to
share some of his expertise in making a scrapper from a piece of bar stock!
More words probably have been ex-
pended in discussing and debating the
use of scrapers than for any other tool
except, perhaps, the skew. And with
all the arguments presented, I’m not
aware of a single documented case
where someone left the discussion
with an opinion different than what
was held when it began.
And so, the discussion continues.
This is an introduction to scrapers.
Scraping vs. Cutting. A scraper may
be used in two different ways. One is
pure scraping where wood is literally
scraped away by forcing a keen edge
against the wood. This method works,
but it is the one most likely to leave a
rough surface.
The other method is to use the burr as
a cutting edge. This technique pro-
duces fine shavings and leaves a good
surface. Frequently, a scraper used in
a manner known as shear scraping
will clean up and smooth a surface
better than any other tool you can
bring to the application.
Scraper types. Scrap-
ers are available in
many shapes and sizes
to accommodate a variety of needs.
The most versatile is the round-nose
scraper. A more specialized tool is
the square-end scraper. Then there
are scrapers shaped for specific appli-
cations like reaching under the rim of
a bowl, for example.
Another consideration is that, like a
gouge, a scraper must not be extend-
ed over the rest farther than what its
design will tolerate. Typical scrapers
are 1/4” thick and can be extended,
comfortably, about 4” over the rest
before vibration and chatter begin to
be a problem. However, this is total-
ly dependent on the type and depth of
the cut being made. For a very light,
shearing cut, a 1/4” scraper may be
extended as much as 5” over the rest
with no problems.
Heavier scrapers are available for
longer extensions. The heavy duty
versions are 3/8” thick; the thickness
of the extra heavy duty type is a full
1/2”. These are useful for reaching to
the bottom of a fairly deep bowl or
similar vessel.
Applications. Generally speaking,
scrapers are used for taking very fine
cuts in the process of smoothing a
surface or taking just a wisp of mate-
rial away from a tenon or recess to
achieve a fit with a matching part.
They do not represent the best choice
for removing large quantities of waste
wood.
Inside a bowl, a scraper can be used
to finish the side-to-bottom transition
area and making the final cuts on the
bottom when the geometry is such
that a gouge cannot be used. Also, a
scraper can often be used to clean up
the area underneath the rim of a bowl
where the rim turns in significantly.
A small round-nose scraper is good
for shaping the bottom inside of a
goblet. A square-end scraper is typi-
cally used to flatten the bottom of a
box and shape the transition area
where the bottom meets the side.
Editor’s Note: This article on scrappers is from Doc
Green, author of Fixtures and Chucks for Woodturning.
His website is at http://www.docgreenwoodturner.com/
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Many Happy Turns October 2016
Juror: Betty Scarpino
Contemporary artist, sculptor and woodturner Betty Scarpino is recognized as one of the masters of the gen-
re. Her work is held in private, public and museum collections throughout the world, and numerous awards
have come her way. Betty Scarpino's wood sculpture combines fluid motion with intricate detail.
Awards:
All work selected by the Juror and Franklin Park Conservatory and Botanical Garden will be included in
the Cardinal Health Gallery. Artists will be invited to an Artist Reception. A cash prize of $500 will be
awarded to the artist whose work is selected as "Best in Show", and two "Honorable Mention" prizes will be
awarded with a cash prize of $250.
Important Dates and Deadlines
Delivery of artwork: June 7, 2017 between 10am and 5pm or June 8, 2017 between 8am and 12pm
Work juried and notification of acceptance: June 9, 2017
Non-accepted artwork shipped/picked-up: June 10 or June 11, 2017 between 10am and 5pm
Accepted Artists submit Artists Agreements: June 30, 2017
Artist Reception: September 22, 2017
Exhibition opens to the public: September 23, 2017 Exhibi-
tion closes: November 12, 2017
Artwork shipped/pick-up: November 13, 2017 between 10am and 5pm
Continued on next page
COW Partners
with Franklin
Park
Conservatory
15
Many Happy Turns October 2016
COW Partnership with Franklin Park Conservatory (continued)
Eligibility and Submission Guidelines
Only members of the Central Ohio Woodturners are eligible to enter. Must be a Central
Ohio Woodturner member by March 14, 2017. Can submit up to three (3) entries.
All work entered must be composed of at least 70% wood. Work must not exceed 6' x 6' x 6'.
Work must not weigh more than 150lbs.
Work must be suitably prepared for installation.
Delivery of Artwork
Applying members will deliver their work to the Franklin Park Conservatory and Botanical Gardens on
June 7, 2017 between 10am and 5pm or June 8, 2017 between 8am and 12pm. All works will be cov-
ered by insurance while on display at the Conservatory. Work may be hand delivered. Artwork must be
delivered in reusable packing materials for storage and return shipping.
Selected artists' work will stay on site through the duration of the exhibition, but works that were not
accepted will need to be returned or picked up on June 10 or June 11, 2017 between 1Oam 5pm. Artist
must provide pre- paid return shipping labels if work needs to be shipped back to the artist.
Sale of Artwork
Artist may choose to have their artwork available for purchase. Any artwork sold is subject to a 40%
commission. Artwork sold will remain on display for the entire length of the exhibition, and will not be
withdrawn due to sale. The Conservatory shall remit to the artists the share of the sales revenue by De-
cember 31, 2017.
Questions?
Please contact one of our Club Officers at the next meeting.
Some of us think that Tom is cheating by work-
ing on his submission for the Franklin Park
Conservatory show during his demonstration
at the September Club meeting!!
16
Many Happy Turns October 2016
Photos from our September meeting
17
Many Happy Turns October 2016
Photos from our September meeting (continued)
18
Many Happy Turns October 2016
Our Club is now dedicating a portion of our monthly meeting for member critiques. This article, reprinted with per-
mission from the American Association of Wood Turners and the American Woodturner Magazine, will help mem-
bers in identifying areas that are often evaluated when work is critiqued. In the following article, Jim Christiansen
gives all of us some great tools for self evaluation.
The Art of Critique, by John Christiansen
Then had the opportunity to my development as a woodturner followed a typical pattern. Cheap dull tools, overuse of
sandpaper, a reject pile that was large enough to be a fire hazard all resulting in a series of misshapen, thick-
bottomed work given to relatives—pieces that are still around today as a haunting reminder of the early years. eet the
only two other turners in my remote area of Idaho. We formed a group and met weekly to give each other feedback
and to develop new ideas. I had my first chance to attend a woodturning symposium. While touring the instant gal-
lery,
I saw John Jordan near what I thought was my best work to date. On impulse, I requested that he give me a critique.
What followed made a life-changing impression on me. After a careful examination, he provided me with a list of
possible changes. The suggestions he made in one short session led to significant progress in my work in a very short
time. The importance of critique was made very obvious to me.
Later, when I joined a woodturning club in a nearby city, I discovered that for most woodturners, critique is a big
problem. I heard many horror stories where a “bad” critique resulted in hurt feelings, turners giving up the hobby,
and, in one case, threatened physical assault. Because critique has been such a positive experience for me, I decided
to find a way to make it a helpful experience for everyone. The original plan I developed has undergone a number of
revisions. The following outline represents my current thinking that will un- doubtedly evolve and change as I re-
ceive feedback and suggestions.
Overview and goals of a woodturning critique
A good critique provides feed- back that can improve future work and assist in developing new ideas. Without con-
structive feedback, the turner is not only destined to repeat past mistakes but to not see new ways to improve his or
her work.
A critique—poorly done—can result in discouragement, anger, and a possible loss of enthusiasm and creativity. It is
important, then, to make sure that when critiques are given, they are “good” ones that enlighten and inspire.
It is important to remember, how- ever, that good evaluation is not easy. It is a process that requires shared under-
standing, sensitivity, and good communication. The first step is to develop an under- standing about what we expect
from the process.
The following goals represent what we hope to learn from critique:
To develop an awareness of special factors that determines the quality of your work.
To enhance your ability to perceive subtle elements of shape, form, and design.
To expand your range of thought by becoming more aware of new options, possibilities, and directions for your
work.
To discover better ways to produce your work.
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Many Happy Turns October 2016
The critique process
Although the details for the process may vary to some degree— depending on the type of critique being giv-
en—I believe the process is a starting point for all types of critique. Simply put, the process requires the eval-
uator to look at a piece of work and then to describe the strengths and weak- nesses of the piece through his
or her perspective.
Unfortunately, in the real world, there is much to consider. First, the manner in which you “look” at a piece
of work is important. As the person whose work is being judged is likely watching your every move, it is im-
portant to take time to look at the work in a careful, systematic manner. Holding the work carefully, even
gingerly, communicates respect for the work.
Many research studies support the view that non-verbal communication constitutes 80 to 90 percent of the
shared meaning in human interactions. Therefore, the evaluator should be careful not to communicate the
wrong message by an expression of disinterest or a scowl or grimace. It is possible that a sensitive observer
will be unable to “hear” what you actually say if you have set a negative tone through your non-verbal com-
munication. Put what you see into words as you examine the work. Describe specific characteristics rather
than providing judgments. For example, say, “…this line flattens out here” rather than “…this is a poor line”
or “…this shape is awkward.” Liberal use of “I feel” statements or sentences that begin with “In my opin-
ion…” helps people understand that points being made are the evaluator’s subjective opinion. Others may
have a different view. Such statements are less likely to elicit a defensive reaction in the turner whose work
is being evaluated.
The content of the critique is an- other element to consider. I believe that providing the beginner with too
much information can be confusing or defeating. A
critique of the advanced turner’s work that does not
provide enough depth also is problematic. I have de-
veloped a more or less hierarchical scheme where the
critique starts at an appropriate level and then pro-
ceeds until enough elements are identified to give the
individual enough to work on for the next project. For
many turners, an important part of the process will be
to provide suggestions for taking the work to a higher
level. I have developed a Quality Indicator Check- list
for this purpose. The checklist provides a guide to fo-
cus on elements that are appropriate for the beginning
and the advanced turner. The checklist does not con-
tain information related to the quality of the overall
design. That is mate- rial for my next article. I hope
others will join me in promoting effective critique as
an important next step in the development of the field
of woodturning. Effective critique provides us with a
way to see our work through the eyes of others and to develop a heightened sensitivity for subtle elements of
quality design. The process can also help us become aware of new ideas and possibilities in our work.
This evaluation form and checklist are available on the AAW web site.
The Art of Critique (continued )
20
Many Happy Turns October 2016
LEVEL 1 Beginning woodturner
Finish Elements
Torn surface (wood fiber broken rather than sliced cleanly). “Bruised” surface (dark area in finish indicating damage
beneath the surface of the piece). Sanding marks (visible scratches or lines).
Tool marks (ripples, break in line continuity, gouge, spirals, or chatter marks).
Form/line Elements
Inside lines are inconsistent (inside and outside shapes are inconsistent).
Flat or high spots (lines that do not flow smoothly or transition smoothly).
Too thick (a judgment call; form does not relate to function or where object is not aesthetically pleasing).
Too light (piece is not usable or too fragile to be practical)
Balance (object is too top heavy or bottom heavy to be pleasing).
Style Elements
Consistency (style elements do not fit together).
Size (style elements not sized correctly to be aesthetically pleasing or practical for use).
LEVEL II Intermediate woodturner
Finish Elements
Finish is not consistent (may vary in thickness, gloss, color).
Finish gloss/smoothness not appropriate for piece (finish impractical or not consistent with style).
Texture (if used) is not appropriate or texture detracts. Minor flaws in surface (small places where surface flaw de-
tracts from overall quality).
Form/Line Elements
Inconsistent style elements (features clash with the artistic style or intent).
Shape does not achieve potential for form. A piece made in a certain style may vary greatly in the shape of its ele-
ments; certain shapes can be deemed more effective. Minor areas where lines do not flow (minor curve issues char-
acterized by subtle bulging or straightening of the line). Form is not consistent quality when viewed from all angles.
Size and execution of some elements may not add to the work’s quality.
Style Elements
Overall design below potential. Suggest changes in materials used for construction, selection/execution of design
elements, color/finish.
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Many Happy Turns October 2016
LEVEL III Advanced woodturner
A critique using Level III checklist items is generally reserved for well-executed pieces that generally receive
no criticism on Level I and Level II checklist items. A critique at this level is more focused on helping the
craftsman take a great piece of work and make it better or use it as a springboard for new directions.
Finish Elements
A different surface treatment would likely add appeal.
A different surface would add to or enhance the piece; be prepared to describe and tell why a change would
help. Color/stain would help. Color warrants change; describe the potential effects of a color change.
Form/Line Elements
A change in size would improve the impact of the work. Scale impacts how we view a work; describe how
scaling up or down would help. Some changes/additions/deletions of elements would increase the impact of the
work. Sometimes simplicity (and conversely, complexity) improve a piece. Identify specific possibilities and
describe how they might help.
Possibilities
Future potential. Provide the artist with some ideas for changing the work or using it as a basis for new work;
this is important to advanced turners who may need new ideas to keep growing and developing as woodturners.
Jim Christiansen ([email protected]) is a professional turner who lives in Moscow, ID.
22
Many Happy Turns September 2016 Issue
Central Ohio Woodturners
Officer and Steering Committee Roster
2016-2017
Officers
Mike Trucco President, Equipment
Tom Hale Vice-President
Nelson Meyer Secretary
Mark Boyd Treasurer, Photography [email protected]
Steering Committee
Walt Betley At Large [email protected]
Paul Courtright Past President, Mentoring
Ron Damon Sponsor
Fred Dutton At-Large
Marty Gottesman Safety Officer
John Herrel Audio/Visual, Webmaster
Jack & Jean Hock At-Large [email protected]
Bruce Kerns Past President, Beginners Corner
Nancy Kerns Membership [email protected]
Patrick Sullivan Newsletter Editor [email protected]
Robin Moro Librarian [email protected]
Robert Smith Sponsor [email protected]
Steve Wagner Mentoring
All Officer Meetings are at 7:00 p.m. on the LAST Tuesday of the month – location alternates:
2016: August 30 (Woodcraft) September 27 (WoodWerks) October 25 (Woodcraft) November 29
(WoodWerks)
2017: January 31 (Woodcraft) February 28 (WoodWerks) March 28 (Woodcraft) April 25 (WoodWerks)
23
Many Happy Turns October 2016 Issue
Safe Turning
by Marty Gottesman, MD, Central Ohio Wood Turners Safety Officer
OH, MY ACHING BACK
Statistically 80% of adults will suffer with low back pain at some point in their life.
Thankfully the majority of the time the pain is the result of an acute sprain/strain of the muscles, ligaments and
small joints in the back. It usually gets better within two weeks with or without treatment. Sometimes the pain is
caused by overuse but that really is also a sprain/strain injury.
In the shop a back injury can occur if you are working in the wrong position or lifting incorrectly. Slips and falls
can also injure you even if you don’t hit the ground. There are some things you can do to lessen the chances of
suffering a back injury.
Tools should, when possible, be at the proper height. Keeping a bent-over posture for any length of time can upset
your spine. Your lathe is at the proper height when the headstock center is at the level of your elbow. If it’s too
low you will be bent over for extended periods of time which could overstress your back. Many lathes can be ad-
justed for height and If not a stand (it needs to be very solid and stable) can easily be built.
This is a link to nice video on proper lathe height adjustment and stability from the Mid-South Woodturners Guild.
https://www.youtube.com/watch?v=n3LbLiFzp1g
Lifting injuries can be prevented in most cases with proper lifting technique. Our backs are not designed for lifting
but our legs are. That means that even if you are lifting a feather from below waist height you need to bend your
knees and let your thigh and calf muscles do the work while your back stays straight. Think about how the Olym-
pic weightlifters lift hundreds of pounds. Their backs are stiff and the lifting is done with the legs. Check out this
example.
If you’re going to be standing in one place for a prolonged time you will save your back some grief by putting one
foot up on a small lift like a step stool while standing. Flexing your hip and knee relieves stress on your back.
24
Many Happy Turns October 2016 Issue
Check out this flyer for some great information about the upcoming hands on
class sponsored by COW!!
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Many Happy Turns October 2016