Stuart is a third-generation apprenticed woodturner, being a full-time production turner and teacher in his father’s studio at age 16. At 19, he started working for Craft Supplies in England, at the time the world’s largest supplier to woodturners. During his 6 years at Craft Supplies, he was the in-house woodturning teacher and demonstrator. He set up Craft Supplies’ first sawmill and was in charge of their import business that sold more than 300 exotic woods around the world. Stuart also developed and tested woodturning tools for Robert Sorby.
Stuart has been a professional woodturner for 37 years. Stuart’s style of work is greatly influenced by his background as a spindle turner with precise cuts and sharp detail. Stuart uses very simple tools and tool shapes to create his pieces. His work is pure lathe work, with no carving or surface texturing. Stuart also has artwork displayed in the permanent White House collection. Stuart believes we have only skimmed the surface of the potential of a wood lathe. With production woodturning as his background, his foundation in woodturning helped him perfect the “Push Cut” style and other useful techniques, such as “Negative Rake Scraping”.
Demonstration 1: Bowl Turning with 40/40 Bowl Gouge Grind
This demonstration shows how to create the 40/40 bowl gouge grind with free hand sharpening. Stuart will show how to control this gouge to create cuts with no torn grain and very little physical effort.Stuart will also be showing how to grind the bottom bowl ground for the final cuts on the inside bottom of the bowl.
Demonstration 2: Off Centre Square Bowling with 40/40 Bowl Grind and Negative Rake Scraping
In this demonstration, Stuart will be showing how to move the wood safely off-center in a series of steps to minimize vibration. In this demonstration, Stuart uses the 40/40 grind for the majority of the wood removal but finishes using his negative rake scraping technique to create the thin even thickness wings with no torn grain.
My background is in woodworking, having been in the furniture making business since the early 1980s. I ended up at a firm that specialized in unique furniture designs, eventually becoming shop foreman. The furniture was wacky, and a real challenge to build. Eventually, myself and another employee pooled our resources and opened our own shop. That was in 1989, and for the next ten years I built and designed my own furniture, for public and private clients, in and out of Colorado.
During an Open Studio gallery tour I was re-introduced to the world of woodturning. Not only was the old fire rekindled from way back in high school, I immediately saw that woodturning had taken on a whole new place in the world. I was hooked immediately and bought a lathe, chuck, tools by the end of the month. Within a years time I had turned my focus to production wood turning. I made salad bowls for the wholesale market, craft type items for weekend art and craft shows, and hollow vessels etc. for the gallery market. In 2002 I moved to Salida Colorado, a small town of 5,000 or so. I now work on production and architectural projects, some art work as well as the occasional furniture commission. I still have a few galleries I work with, as well as travel the country doing demos and hands on teaching. I have taught classes for John C. Campbell folk school in North Carolina, Craft Supply in Utah, Anderson Ranch in Snowmass Colorado and for the Center for Furniture Craftsmanship in Maine.
I currently have my shop right next to my house, 900 square feet of workspace, though it is often full of wood chips, dust and projects. I work on a VB-36 lathe for my bowl work, a converted Vicmark long bed that can turn 12 feet between centers, and a couple mini lathes as well. I also have a full set up for making furniture etc. I enjoy the older cast iron machines, and have found some real gems that I have reconditioned for use; in particular an 8 foot long jointer made by Yates, circa 1940.
For fun I ski and hike and climb. I mountain bike and am an avid Archer and shooter as well. Though I love to travel, I very much enjoy living in the Colorado mountains. I am a member of our county’s Search and Rescue team and give back to my community in this way. I have recently purchased a motorcycle and enjoy exploring the old mining districts and ghost towns in my area.
In my demos I like to reflect on the confusion and difficulty that I experienced when I started. Though I had a head start with my furniture work, knowing about wood, and edge tools, and sanding /finishing; it took a little while to really understand what was going on with the turning. I was lucky to have some very good teachers, some of the best in the world! I try to bring the enthusiasm of a beginner to my demos, and also clear up and address some of the problems that we all face in our turning. I often have people come up to me afterwards and thank me for going over “the basics”. Many have never mastered the basic cuts in woodturning and get frustrated when trying them. I really enjoy when I see confusion turn to enlightenment of the faces of attendees, even advanced turners often learn something in the most basic of demonstrations.
I am very pleased to be asked back to Utah again, and look forward to seeing you all there!
Demonstration 1: Off Center Platter
The techniques for making a normal platter will be covered in this demo, as well as the special considerations needed for making one off-center. This will be a playful demo, with some input from the crowd expected with the design. This is one of my more popular demonstrations. Various design options will be discussed.
Demonstration 2: 3 Leg Stool
In this popular demo, a discussion of spindle replication will make the design and layout of elements easier for anyone. Design considerations, simple hole drilling jigs, productions methodology will be covered as well as the basic bead-cove-straight cuts that make up all of turning. Though speed is not an issue everyone is worried about, there will be a timed element to making the legs.
Ashley Harwood currently lives in Charleston, SC, where she creates her work and teaches at her personal studio. She has demonstrated and taught woodturning in a number of professional venues throughout the US and abroad, visiting seven other countries and travelling as far as Australia. She has been featured in various publications including the American Association of Woodturning’s Journal, Woodturning magazine, Popular Woodworking magazine, and Charleston magazine. Her teaching focuses on fine spindle turning and the Push Cut method of bowl turning along with the 40/40 grind on a bowl gouge, with a strong emphasis on tool control. She received a BFA from Carnegie Mellon with a focus in sculpture and installation art, and her design aesthetic is heavily influenced by her background in glassblowing. When she is not teaching, Ashley creates custom production turnings for various clients including furniture, hardware, and lighting companies. Her own works are pieces that are completed entirely on the lathe, without carving, texturing, or burning. She uses simple, classic forms along with distinctive design elements that result in an approachable body of work with a high level of craftsmanship. The scale of her work spans from delicate finials to massive table pedestals that weigh hundreds of pounds when mounted on the lathe.
Demonstration 1: Rim and Foot Design on a Bowl
For this demonstration, I will begin with a short slide show featuring examples of different designs that can be executed completely on the lathe. I will turn the outside of a bowl using the Push-Cut method. I will show various design elements that can be added to the rim and/or foot of a bowl on the lathe. I will use a bowl gouge, vortex tool, and negative rake scrapers to add details to the bowl and will demonstrate sharpening of all of these tools. I will talk about design aesthetics, e.g., bowl shape and curve, proportion of the foot, creating rim and foot designs that work together. I will briefly address how to sand the bowl without dulling sharp details.
Demonstration 2: Fine Spindle Turning
For this demonstration, I will show how I turn and assemble a sea urchin ornament with a fine ebony spindle. I begin by demonstrating all of the fundamental cuts of spindle turning on a larger piece of wood. I break down the actions of each hand and the way that my tool cuts in order to achieve a finish ready for 180 grit straight off of the tool. Next, I turn a fine ebony spindle using a half inch bowl gouge, a ¼ inch detail gouge, and a vortex tool.
My name is George Hatfield I live in Sydney Australia.
A brief resume of my experiences: ~ at the age of sixteen I successfully completed a woodturning apprenticeship in a furniture factory, which manufactured reproduction period furniture. Sixty years later (including retirement) I am still in the field of woodturning.
During that time I have spent eleven years in the trade of woodturning in furniture factories, and thirty-five years as teacher of Woodmachining and Woodturning teaching apprentices at a Government Technical Colleges in Sydney Australia. In January 2003 I retire from my real job but still feel I have a lot share. I have also done a considerable amount of demonstrating nationally and internationally. I have demonstrated in all states of Australia, and in England, USA and New Zealand.
I presented a paper on Woodturning Education in Australia at the first World Turning Conference in Delaware USA in 1993. I have demonstrated extensively all over America including Delaware, New Jersey, Maryland, Washington DC, Tennessee, Texas, Alabama, Georgia, Washington State, Oregon, Kansas, California and New York. The 1997 AAW National Symposium in San Antonio Texas, 2001 AAW National Symposium in Tacoma and the 2004 AAW National Symposium in Orlando. My demonstrations were videoed by the AAW at the San Antonio and Orlando symposiums.
I have been an associate editor for the “Australian Woodworker” magazine for over twenty years. During that time I have had over one hundred woodturning articles published.
I have also had over thirty articles published in the English “Woodturning” magazine and several published in the AAW American Woodturner, the most recent “The Cutting Process” in the Summer1999 edition.
One of my articles “Skewing a Bead” was used on the AAW Internet web sight as an example of the educational information supplied by the AAW. I specialize in Architectural (traditional) detail woodturning and after sixty years experience in the woodturning field I feel I have a great deal to offer.
Demonstration 1: Design and Useage of Woodturning Tools
In this demo I will give a brief talk about the structure of wood and the most efficient way it can be cut.
Then I will demonstrate and describe the shape of each of my chisels and gouges, explain and show how and why they cut so efficiently when turning detail tunings on between-centre, chuck (end grain) and faceplate work.
Next I will describe how and how I sharpen each of the chisels and gouges.
Demonstration 2: Woodturning Design
In this demo I will discuss rules for designing woodturnings. I will explain and apply each rule.
With the aid of the audience we will design a coffee table leg, then turn the coffee table leg.
If time permits I will make a pencil gauge (or storey stick) and reproduce the coffee table leg.
Demonstration: Exploring Natural Edge Design
In this demonstration, we’ll start off by discussing the many possibilities of incorporating a natural edge on our hollow vessels or bowls. I’ll discuss how using a natural edge begins with the first cut of the chain saw or bandsaw. I’ll review the numerous natural edge designs I’ve created as well as my students’ designs. I will then demonstrate turning a natural edge vessel to the class from start to finish. I’ll be using a design I like to use, involving a natural edge. This demo will also focus on the process and techniques of turning a hollow vessel. How to mount a piece, how to properly cut your wood, and how to measure your wall thickness for a consistent even wall thickness.
Demonstration: Turning a natural edge vessel utilizing a glue block (maximizing your expensive wood)
In this demonstration I will demonstrate how to effectively turn a hollow vessel while maximizing every possible inch of your expensive or rare turning stock. The class will start with a lecture about our prized turning stock and how to utilize the bottom few inches of a rare piece of wood. Opposed to losing those precious inches to screws of a faceplate, or the foot of a chuck. Instead, we will mount the piece quickly and effectively with a strong adhesive. By gluing your expensive wood to a waste block, it allows you to maximize the height of your piece since there aren’t screws or chuck teeth attached to your turning block. I will also explain how this can be a safe, strong mounting method if done right. Sanding both glue surfaces completely flat and parallel to each other creates a safe and solid glue joint.
After many years in the computer and software industry, Craig Timmerman has been a full-time artist and production wood turner since 2008. In addition to demonstrating and teaching at many AAW chapters, he has demonstrated at AAW Symposiums, numerous SWAT symposiums, the Utah Symposium, the North Dakota Symposium, and the Rocky Mountain Symposium.
He picked up woodturning twenty years ago when he took a weekend class at a local store. After that weekend the wood working equipment in his shop ceased to be used for anything except woodturning. His specialties include non-round turnings, hollow forms, spheres, lamps, and production gift items. Many of his pieces combine multiple turnings and bent laminations. He works primarily with reclaimed timber accentuating the flaws by making them the focal point of the piece; often filling them with crushed stone.
Craig’s work is in several central Texas galleries and can also be found on his website, armadillowoodworks.com. He also does a few art shows each year, including the Armadillo Christmas Bazaar-Austin’s oldest Christmas art show. He has been married to his wife Tina for 35 years and they live just outside Austin with their two cats. If life wasn’t busy enough, Craig also sings barbershop and a cappella music.
Demonstration 1: Arch Bowl
Demonstration 2: Torus Vases
Demonstration 3: Making Bowls Fly
This demo covers making bowls from parallelograms—a four sided figure with opposite sides parallel.
This demo is all about turning air and coming up with bowls that fly!
Alan & Lauren Zenreich
Alan has been turning for nine years, and in a previous life was an advertising and special effects photographer. He is spearheading an initiative to show how clubs can have demonstrators present to their group remotely, via video and audio over the Internet.
Alan is also involved in the AAW initiative to catalog available demonstrators and topics, with the goal of producing a tool to connect demonstrators and their AAW club audiences.
He is also a contributing editor to the AAW Woodturning FUNdamentals and has produced a series of how-to videos for the program.
Lauren is best known for ink embellishments for her wood turned jewelry, spheres and shaving/makeup brushes. She has been turning for 7 years and works with many different media and techniques, including archival inks, piercing, airbrush, paints, pyrography, beading, wire, enamel, encaustic wax and polymer and precious metal clay. Lauren is a member of AAW and Women In Turning (WIT), and has produced videos on the anatomy of a wood lathe and one on personal safety in the workshop She has done scenic decor for over 35 productions at her local community theater, and will be decoring her 17th children’s show this year.
Demonstration 1: Eccentric Jewelry Turning - Making Pendants
Alan and Lauren Zenreich show the tools, techniques and procedures they use when making wood turned jewelry.
Alan will demonstrate eccentric, multi axis, face grain pendant turning. He also shows ways to use jewelry findings to incorporate beads and semi precious stones into the pendant designs.
Lauren demonstrates embellishment using archival ink and talks about creating simple necklaces to complement the pendants.
Demonstration 2: Embellishing your Projects with Archival Inks and Other Materials
Lauren and Alan will demonstrate the use of archival ink pens and the techniques used to create effects that please (and fool) the eye. We will review Lauren’s portable work station and all the tips and tools of the trade.
They will also demonstrate techniques for jewelry assembly, incorporating semi-precious stones into necklaces; using pen based air-brushing, and using live video to aid in the embellishment process.