NO-MOLD PEN CASTING WITH UV RESIN • ANY WAY YOU SPIN IT • CLOSING UP SHOP FOR THE LAST TIME

AMERICAN
WOODTURNER Journal of the American Association of Woodturners
October 2025 vol 40, no 5 • woodturner.org

ROBERTO
FERRER’S
REMARKABLE
JOURNEY

REMEMBERING
DAVID
ELLSWORTH

BEGINNINGS
2025 AAW
MEMBER
EXHIBITION
 G
GALLERY

Malcherek Germany
I completed my professional training as an optician, studied precision
engineering specializing in optometry, and graduated with a degree
in engineering. I worked as a quality manager at an eyeglass lens
manufacturer until my retirement in October 2023.
My father taught me how to turn metal on a lathe, and I
was fascinated by the process of turning. An acquaintance
with the owner of a carpentry business awakened my interest
in woodworking, and it was only logical that I would take up
woodturning as a hobby. I learned the basics of woodturning
in a one-week course at the master school in Ebern (Germany) in
September 2008.
I am now enthusiastic about oval turning. Prof. Johannes Volmer enabled
me to get started in this technique with his script, “Ovaldrehen” Round Meets Oval, 2025, Apple
(Oval Turning), a visit to his workshop, and lots of tips. (Learn more by wood, oil, 1¼" × 5½" × 4⅛"
visiting volmer---ovaldrehen.de/englisch.htm.) (32mm × 14cm × 10cm)
I turned all the objects shown here by hand on my self-built oval-turning
chuck. I sanded the pieces to 400 grit and then oiled the surface three times with
steinert® Drechsleroel (turner’s oil).

For more, follow Wolfgang on Instagram, @wolfgangmalcherek.

Bubinga Box, 2025,

Bubinga, ebony, oil,
1⅜" × 4¾" × 3⅜"
(35mm × 12cm × 9cm)

A specialized
chuck
The author’s self-built
oval-turning chuck.

American Woodturner October 2025

 GALLERY

Oval Bowl of Cherry Wood, 2023, Cherry,

wax, 1½" × 7" × 6" (38mm × 18cm × 15cm)

Oval Pepper Mill (inspired by Lüder Baier

of Germany), 2023, Doussié (afzelia),
Crushgrind® ceramic grinder mechanism,
wax, 6" × 3½" × 2" (15cm × 9cm × 5cm)

Oval Boxes of Doussié, 2023, Doussié (afzelia),

bamboo (lids), oil, each: approx. 1½" × 5" × 4"
(38mm × 13cm × 10cm)

FOR FURTHER READING

T U R N
I N G B A C K
T H E C L O C
K

For more on oval turning

Oval Box of Walnut, 2025, Walnut, linden (lid), Oval
oil, 4" × 4¾" × 3½" (10cm × 12cm × 9cm) from the AAW archives, Traditions By Alan Lacer
A visit to the
continuously oldest
log in at woodturner.org mill in Nort operating
h America

and use the Explore! W e are so

obsessed
turning round with
with our lathesobjects
forget there
are
that we
of doing shapes long traditions
For instance other than

search tool to find of off-cent

centers to
as simulat
as you might
turnings.
, there is the circles.
er turning
produce such
ed cabriole
process
between the
objects
legs or
see in Mark
Sfirri’s
because it
handwork
requires conside
to blend the
turning operatio
rable
different The Old Schwam
But with face ns. in Arlington, b Mill
has been a work, there Another option in continu
ous

these American
parallel traditio a chucking is incorporating operation
varying the since 1864,
n of system that specialized has
central axis this operatio performs in oval frames
produce ovals to n during each years. Althoug for 140
Turners could or ellipses. revolution
of the lathe. produce the h the mill doesn’t
accomplish chucks have Such volume it
by remoun this been mention during its once did
ting literature even heyday of
different axes, a piece on in the early
ed in
and early 20 th the late 19th
although some An amazin
find this method g shop located 1700s. turns out the centuries, it still
unrewarding outside of Boston still just same high-qu
oval picture

Woodturner articles.
that method employs and mirror ality
. that brough frames

ELLIPTICAL TURNING
t it conside
notoriety decades rable
ago.

24
on a
• “Oval Traditions:
American
Woodturn
er Summer

SHOPMADE CHUCK
2004

David Springett

A Visit to the Oldest

Continuously Operating
Mill in North America,” The shopmade elliptical chuck
described here allows you to turn
elliptical frames and lidded boxes.
It can be adjusted for a range of
different ellipses.

Summer 2004 (AW vol E

lliptical, or oval, turning is fas- There’s a lot of noise and vibration.
JOURNAL ARCHIVE cinating and mysterious, yet Surprisingly, the cut is constant
CONNECTION entirely possible for woodturn- once you establish the ellipse, not
For more on T U R
N I N
G B A C
ers using a shopmade chuck on the intermittent, provided you take
K T H E

elliptical turning,
C L O
C K

headstock of a regular wood lathe. light cuts and hold the tool tight
see “Oval The chuck is a fairly complex piece on the rest. The profile is difficult
Traditions” ( AW Oval
Traditio of apparatus (Figure 1), but you can to view while the lathe is running
ns By Alan
Lacer
A visit

19, no 2, page 24), by

vol 19, no 2, page to the oldest
continuously
mill in North operating
America
make it by following the sequences and not all tools will work, since
24), a 2004 article W
turning
with our
e are so
obsessed
round
forget there
of doing
with
objects
lathes that
are long
shapes
For instance,
we
traditions
other than accompanying this article. You can see tracing an ellipse involves a long
of off-center there is the circles.

in which Alan turning process

centers
to produce between the
as simulated such objects
as you cabriole
might legs because
see in Mark or

the chuck in action in my short video, sweeping curve quickly followed by

turnings. it
Sfirri’s handwork requires considerable
But with turning to blend
has been face work, operations. the different The Old
there
varying a parallel tradition Another in Arlington, Schwamb
a chucking option is incorporating Mill

Lacer describes
the central of operation in continuous
produce
ovals or axis to system
this operation that performs specializedsince 1864, has
Turners ellipses. during
could revolution each in oval
by remountingaccomplish of the years. Although frames
chucks
different a piece this have been lathe. Such produce the for 140
axes, althoughon literature mentioned the volume mill doesn’t

where you will also hear it vibrating a tighter curve. This tighter curve
find this even in during it once
method some An amazing the early in its
unrewarding shop 1700s. and early heyday of the did
outside late 19 th
of Boston located just turns out 20 centuries,
th
that method. still employs the same it still

oval turning at
oval picture high-quality
that brought and mirror
frames
it considerable
notoriety
decades
ago.
24

the historic Old

American
Woodturner
Summer
2004 and clattering as it whirls (see end of can trap deep parting tools and
Schwamb Mill. AAW members can this article for links to the video). interfere with a gouge’s bevel, but
access all past journal articles online Because of the complex motion small scrapers and gouges work well

Alan Lacer
at woodturner.org. of the workpiece, elliptical turning enough, provided the cut stays right
is quite unlike regular turning. at the lathe’s center height.

28 American Woodturner December 2015

• “Elliptical Turning on a
Shopmade Chuck,” December 2015 (vol 30,
no 6, page 28), by David Springett

woodturner.org 1
Mission: Strengthen and empower the Inside This Issue
global woodturning community
Vision: A world where woodturning is
October 2025 vol 40, no 5
valued, inspirational, and accessible to all

F E AT U R E S
American Woodturner (ISSN 0895-9005)
is published bimonthly by:
American Association of Woodturners
222 Landmark Center, 75 5th St W
17 Shopmade Laser for Oneway Coring System
Saint Paul, MN 55102-7704 Bob Pugh shares a clever way of confirming the cutter path
Periodicals postage paid at Saint Paul, MN, before cutting when coring bowls.
and at additional mailing offices.
POSTMASTER: Send address changes to
American Woodturner, AAW
222 Landmark Center, 75 5th St W
18 Any Way You Spin It
Spinning tops are a great spindle-turning exercise
Saint Paul, MN 55102-7704
with a fun result; Emily Ford offers a surefire method.
office: 651-484-9094
toll free: 877-595-9094
email: memberservices@woodturner.org
website: woodturner.org
21 Stories and Questions
gallery website: galleryofwoodart.org A reflective essay on one man’s life in woodturning,
Executive Director Gretchen Wilbrandt by Ernie Newman.
Curator Tib Shaw

AAW BOARD OF DIRECTORS 24 No-Mold Spiral Pen Casting with UV Resin

With UV resin, you can skip the casting, save material, and get
President KC Kendall
Vice President Ron Day to the finished product sooner, by Scott Grove.
Treasurer Chuck Lobaito
Secretary Linda Britt
Board Members Keith Baizer
Jay Brown
31 Resin-Cast Bowl from a Board
Alan Hunt shares how he makes nesting wood-and-resin
Sally Burnett
Kimberly Winkle bowls from a cast “board.”
Reid Zimmerman
Board of Advisors John Hill
Jean LeGwin
Dale Larson
36 Closing Up Shop for the Last Time
Mike Peace offers practical advice for when the time
David Wahl
Margaret Lospinuso comes to liquidate the contents of a shop.
Louis Vadeboncoeur

Yearly General membership in the American

39 Beginnings
Association of Woodturners is $74 and includes
a subscription to American Woodturner. Dues for Inspiring images of works from this year’s themed
international members are equivalent to
USA amounts before exchange rates are applied. AAW-member exhibition, by Tib Shaw.
All electronic-journal memberships are
$60 yearly or USA equivalent.
Send dues to: 46 An Artist’s Soul Travels, Each Step a Destination
American Association of Woodturners
222 Landmark Center
Roberto Ferrer’s Remarkable Journey
75 5th St W A resourceful, inventive artist, Roberto Ferrer’s work is steeped
St. Paul, MN 55102-7704 USA
in the imagery and tradition of his early years in Mexico, by
Or join online at woodturner.org
Derek Weidman.
Printed in the USA by Quad/Graphics, West Allis, WI
© 2025 American Association of Woodturners
53 David Ellsworth, June 25, 1944–June 16, 2025
A fitting tribute to AAW’s Member No. 1, who died earlier
this year, leaving a profound legacy, compiled by Craig
Edelbrock. Introduction by Gretchen Wilbrandt.

2 American Woodturner October 2025

 woodturner.org

EDITORIAL
American Joshua Friend
Woodturner editor@woodturner.org
Editorial Betty Scarpino
Journal of the American Association of Woodturners Advisors Terry Martin
Jean LeGwin
Journal Plaid Moose Creative

A SSO C I AT I O N N E W S Production Linnea Overbeck

Art Director
Production Management
4 Editor’s Note 10 Call for Entries Holding Space Woodturning Don McIvor
Joshua Friend 2026 POP Exhibition and Auction FUNdamentals editormcivor@woodturner.org.

4 From the President 11 Call for Entries EDITORIAL SUBMISSIONS

KC Kendall Turning 40 Send article ideas to: editor@woodturner.org

5 2026 AAW International 2026 AAW For tips on article submission and photography

Woodturning Symposium Member Exhibition requirements, visit tiny.cc/AWsubmissions*.

6 2025 AAW Symposium Youth 12 AAW Board of Directors MEMBER SERVICES

Turning Program Election Results For address changes or journals

damaged or lost in the mail:

7 2025 AAW Chapter Award 12 Apply for an AAW Grant Contact the AAW office at
memberservices@woodturner.org or call
Recipients 651-484-9094 or 877-595-9094 (toll free).
Index to previous articles:
Download a free complete American Woodturner
index (PDF format) at tiny.cc/AWindex*.
WO O DT U R N E R SCH AT T E R To order back issues:
Order past issues of American Woodturner at
13 Calendar of Events 15 Minnesota Woodturners Rooted tiny.cc/AWbackissues* or call 651-484-9094
@ in Community Service
or 877-595-9094 (toll free).

14 From the Editor’s Inbox ADVERTISERS

16 Tips
For rates and specifications, contact:
Ewald Consulting
Erica Nelson
GALLERY 763-497-1778 • erica.nelson@ewald.com
Betsy Pierre
763-295-5420 • betsy.pierre@ewald.com
1 Gallery 58 Members’ Gallery While the AAW is supported in part by
Wolfgang Malcherek Daniel Metzler advertisers, sponsors, and exhibitors, it does
Don Pohlman not endorse any product featured or advertised
Janice Levi in this journal, nor does the AAW assume
responsibility for the content of individual ads.
Vinny Luciani
Thomas Kamila
DIVERSITY STATEMENT
Tom Hale
The AAW strives to cultivate an organization
built on mentorship, encouragement,
tolerance, and mutual respect, thereby
71 Advertising Index engendering a welcoming environment for
all. To read AAW’s full Diversity Statement,
visit tiny.cc/AAWDiversity*

A NOTE ABOUT SAFETY

COVER An accident at the lathe can happen with
blinding suddenness; respiratory and other
Cover: Roberto Ferrer, Pakal (Mesoamerican Series), problems can build over years.
2021, Maple, pyrography, acrylic paint, 15" × 15" × 2" Take appropriate precautions when you
(38cm × 38cm × 5cm), turn. Safety guidelines are published online
at tiny.cc/turnsafe*. Following them will help
Collection of Tom and Terry Wedel you continue to enjoy woodturning.
*Web address is case sensitive.
Back cover: Tom Hale

woodturner.org 3
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NEWS
Editor’s Note
As KC Kendall points out in his president’s editor, so they can get familiar with our processes and hit the
letter (below), I will retire from my post as ground running.
journal editor at the end of this year. As you This issue has lots of important content, including a poignant tribute
might imagine, it is a bittersweet feeling: upon the passing of AAW Member No. 1, David Ellsworth (page 53). But
working on behalf of the woodturning don’t forget about the online archives, which date back to 1986 (a huge
community has been incredibly fulfilling, value of membership)—log in at woodturner.org and use the Explore!
and I will miss working with and for you. But search tool. To learn more about David Ellsworth, check out Terry
after eleven-plus years, it is time to focus on other things. The Martin’s June 2011 article, “Honoring David Ellsworth” (vol 26, no 3).
December issue will be my last, so you’ll see my face here one
more time. That issue will have some overlap with the new —Joshua Friend

From the President

Working for eliminate distracting issues with our interests in our community. We welcome
our members member database, and enhance staff your tips and articles to be shared in our
Our thanks to all productivity. Work began in early August publications. We vet our written content
who voted in our and will continue as our list of issues and carefully for safe practices and effective
annual election for planned improvements is addressed. techniques. We do the same with videos,
members of your We visited the Raleigh Convention in-person instruction during our events,
Board of Directors. Center in early September, taking the and online courses. And our member
The results are next steps in preparation for the 2026 forum (aawforum.org) is a great place to
announced on page 12 of this issue. AAW International Woodturning have dialogue, exchange ideas, and share
Your AAW Board and staff are busily Symposium, June 4-7. We are very information.
working on your behalf in several pleased with the site, which worked To grow our reach, we have vastly
important areas. By now you will well for us in 2019. The Convention expanded our footprint in all forms
have seen the announcement that Center is well located in the heart of of media. We broadly communicate
Joshua Friend, our long-time and downtown Raleigh, with great access the value and impact of woodturning
highly valued editor of the American to restaurants and hotels. We hope you within and beyond our Association. In
Woodturner journal, has announced his will begin planning to attend next year. addition, we are exhibiting our work at
retirement. The search for his replace- the Minneapolis-St. Paul International
ment began in late July with the goal AAW values in action Airport. Starting next year, our work
of having his replacement hired by late I continue with sharing the thinking will be part of a joint exhibition, titled
September, likely as you read this letter. behind the values we have selected Nature’s Canvas, in collaboration with
Gretchen Wilbrandt has been actively to guide us—Board, staff, and mem- the Studio Art Quilt Association. This
recruiting for several open roles on our bership—as we work together on our exhibition will travel from April 1,
staff in the areas of marketing and com- mission to Strengthen and Empower the 2026, through December 31, 2028.
munications, finance and operations, Global Woodturning Community. Being the leading community for
and website and database management. Recall that the six values we have woodturners helps us grow in many
We plan to have all positions filled by the adopted are Community, Sharing, ways. Everyone is welcome and ideally
end of the year. Your patience is appre- Growth, Safety, Ethics, and Respect. sees themself reflected in our culture
ciated as we work hard to maintain all Focusing now on Growth, we intend of diversity in all its expressions: skill
operations and programs while hiring to foster Growth in the woodturning level, areas of interest, gender, race,
and onboarding new staff members. community through learning, educa- and more. My thanks to everyone who
To support you and our staff during tion, innovation, and collaboration. We acts as an ambassador to share the
this time of transition, we have believe in enabling everyone to partici- wonderful and rewarding experience
contracted with Armstrong Enterprise pate and succeed in the many aspects of of being a woodturner.
Communications to make some much our community.
needed upgrades to our information We are, and intend to continue as, the
systems. These will improve your go-to provider of the highest quality edu- KC Kendall
experience in transactions with us, cational materials for all skill levels and President, AAW Board of Directors

4 American Woodturner October 2025

 A SSO C I AT I O N N E W S

2026 AAW International Woodturning Symposium

Join Us in Raleigh, North Carolina

June 4-7, 2026

AAWSYMPOSIUM.ORG
woodturner.org 5
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N2025 AAW Symposium Youth Turning Program
A SSO C I AT I O N N E W S

NEWS

The AAW’s Youth Learn-to-Turn all of the lathes were used by registered Henry Cline, Silas Nielsen (Ford family),
Program once again provided oppor- youth. In all, sixty-nine young people Isaac Hess, and Oliver Alschlager.
tunities for young turners to receive and adults had the opportunity to learn
hands-on experience at this year’s AAW from highly qualified instructors. Generous program supporters
International Symposium in Saint Paul, The rotation projects included a The Youth Program could not happen
Minnesota. The Youth turning activi- kitchen whisk, bud vase, pens, an eggo- without the generous support of our
ties were sponsored by JET/Powermatic. scope (kaleidoscope), kitchen scoop, sponsors and suppliers. The following
This program has been ongoing since biscuit cutter, secret compartment companies provided all the necessary
at least 2005, and has had more than 740 keychain, 6-in-1 screwdriver, mallet, equipment and supplies to make our
youth (and sometimes adults) participate. and a Christmas ornament. Every par- program a success:
In that time, JET/Powermatic, Crown ticipant went away with at least one • JET/Powermatic
Tools, Easy Wood Tools, Teknatool, completed project, and big smiles. • Crown Hand Tools
and other suppliers have awarded 370 • Easy Wood Tools
mini-lathe packages to registered youth Lucky lathe winners • Teknatool International
through participant raffles. At most of the AAW Symposia since 2005, • Peke Safety
This year, the Youth Learn-to-Turn a number of lathe packages were awarded • Craft Supply USA
Program supported eighteen symposium through a random raffle to registered • Klingspor Woodworking Shop
registered youth, twenty-six girls from youth. This year, four lathe packages were • Woodcraft
two local Girl Scout troops, and fourteen offered as prizes, each one comprising a
Eagan High School students participat- JET mini-lathe and stand, a set of Crown Our wonderful volunteers
ing in one of ten instructor-led turning lathe chisels, a set of three carbide turning The success of this program happens only
project rotations. Instructors Andi tools, and a faceshield. Participants (or with the support of many volunteers.
Sullivan, Cindy Navarro, Katie Stofel, family members) who had not previously They give their time unceasingly before,
and Kip Christensen led the ten one-and- won a lathe package were eligible to win. during, and after the symposium.
a-half-hour rotations, with a different Of the youth present for the drawing, two Volunteer turners, who are registered
turning project in each one. Two special families had multiple youth represented. Symposium attendees, assist in every
rotations were led by Andi Sullivan, a As the drawing was ending, Doug Kullmar rotation, offering tips and techniques and
blind woodturning teacher, who led from JET/Powermatic generously added a above all ensuring safety. They also vol-
seven blind or vision impaired youth in fifth lathe package so that no participant unteer their time to assist in unpacking
a pen turning rotation and one of the (or family) left without a lathe. and setting up, taking down, and repack-
rotations for registered youth. Four adults The 2025 AAW Youth Program ing the Youth turning area. They ensure
also participated in rotations where not winners were Sariah Otterstrom (family), that winners get their lathe packages very
Youth instructor Katie
soon after the last rotation on Sunday.
Stofel leads a group Working behind the scenes to bring
of young turners all of the parts together were the AAW
at the 2025 AAW
Symposium, Saint Youth Committee volunteers, led by AAW
Paul, Minnesota. Board Vice-President Ron Day. The com-
Photo: Andi Wolfe
mittee meets virtually on a monthly basis
beginning in July of each year to choose
the youth instructors, plan the rotations,
find local youth groups to participate,
Kris Roberts

and ensure all the necessary supplies are

Photo:

available. Thank you Ron Day, Linda Britt,

Linda Ferber, Kip Christensen, Kailee
Bosch, and David Fellows. And most espe-
Kris Roberts

cially, thank you Larry Miller for shepherd-

Photo:

ing this program through its early years.

Happy faces: the 2025 Youth lathe package Enthusiastic young turners pose in the booth —Kris and DiAnn Roberts, National Youth
winners. of generous donor JET/Powermatic. Room Coordinators

6 American Woodturner October 2025

 A SSO C I AT I O N N E W S

2025 AAW Chapter Award Recipients

As local chapters continue to inno- supports returning servicemem- effective, creative, and innovative
vate and make more substantial bers through the healing art of communications through email
impacts, AAW wants to shine the woodturning. Offering free weekly newsletters, websites, social media,
spotlight on their efforts with two sessions at four San Diego-area loca- marketing campaigns, and video
distinguished awards. tions, including VA hospitals, TAV content. Nearly a dozen chapters
teaches veterans to turn pens and provided impressive submissions.
• The Chapter Community more, with safety and accessibility This year’s winner, First State
Impact Award recognizes chap- at the forefront. Run by 40+ SDWT Woodturners, has excelled
ters that have demonstrated a strong volunteers and supported by dona- in disseminating information,
commitment to community service, tions, the program features adap- educating, and entertaining their
outreach, and positive societal tive tools and modified lathes for members and non-members, and
impact. Chapters shared inspira- veterans with physical limitations. promoting the art and craft of
tional stories about the programs Since expanding to Veterans Affairs woodturning through compelling
they implemented to go above and Hospital La Jolla, TAV has served and creative communications.
beyond for their communities. 224 participants in just six months,
This year’s winner developed a earning praise for fostering purpose, Following are first-hand descriptions
program called Turn-Around-for- skill, and connection. of those chapters’ outstanding
Veterans (TAV). Launched in 2007 • The Chapter Communications efforts. Congratulations to both
by five veterans of the San Diego Excellence Award honors the San Diego Woodturners and
Woodturners (SDWT), this project chapters that demonstrate the First State Woodturners.

The Chapter Community Impact Award

In early 2007, at the height of the These five individuals,
Iraq and Afghanistan wars, Allen witnessing servicemen
Driver, a devoted member of the and women returning
San Diego Woodturners (SDWT), home from combat, shattered by dev- approaches. Behind the lathe, they
which meets in San Marcos, astating injuries and haunted by the saw the potential for not just crafting
California, ignited a spark of inspi- horrors of war, refused to stand idly wood but also crafting a renewed
ration. Allen shared his vision with by. They saw the problems and pain sense of purpose and resilience.
Dr. Ken Roth, a retired Navy ortho- of the service members and worked Over the years, the TAV program
pedic surgeon and fellow SDWT to create a program to address these has proven its worth, validated
friend. Together, they embarked issues using their skill and passion for by the feedback from professional
on a journey fueled by compassion woodturning as a therapeutic means. medical personnel at sites like
and innovation. Their partner- Their shared belief in the the Naval Medical Center (NMC)
ship expanded with the inclusion healing and therapeutic power of San Diego, Wounded Warrior
of Nan Bushley, a retired Navy woodturning led to the inception Battalion Camp Pendleton, the
nurse and then-president of SDWT, of Turn Around for Veterans Veterans Affairs Aspire Residential
whose leadership illuminated the (TAV). From their collaborative Rehabilitation Treatment Program
path forward. They were joined work emerged the foundation in San Diego, and most recently the
by Tom Edwards, a retired Navy of a program that would extend Veterans Affairs Hospital in La Jolla.
SEAL renowned for his expertise, beyond the physical realm, Through dedicated participation
and Becki Edwards, tasked with offering courageous servicemen in TAV, servicemen and women
preserving their vision through and women a pathway to recovery recovering from military injuries
documentation. that transcended conventional and related stress have found

woodturner.org 7
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NEWS
The Chapter Community Impact Award, cont.

therapeutic benefits that extend far • Expand skill development donations to SDWT. Our goal is to
beyond the physical realm. opportunities: Under the dedi- raise awareness of the program’s
Administered and staffed by a cated guidance of volunteers, we impact and benefits, inspiring a
team of devoted SDWT volunteers, endeavor to facilitate a compre- broader community to contribute.
many of whom are veterans them- hensive journey of skill devel- Each donation, accompanied by a
selves, the TAV program exempli- opment for TAV participants. tax-deductible acknowledgment
fies the power of community and From introductory projects like from our treasurer, becomes a
shared commitment. pen turning to the mastery of vital step in shaping a future of
Today, the legacy of TAV stands advanced techniques, our goal is transformation and healing for
as a testament to the power of to offer a diverse range of wood- our veterans through the art of
human connection and the bound- working projects that cater to the woodturning.
less capacity for renewal. Guided individual desires of each partici-
by the unyielding determination pant, fostering creativity and per- By pursuing these goals, we envision
of its founders, it continues to sonal growth. a future where the TAV program con-
illuminate the path to recovery for • Maximize volunteer engage- tinues to thrive, creating lasting posi-
those who have borne the weight ment: Recognizing the invalu- tive impacts on the lives of veterans
of war’s burdens. In the embrace of able contributions of unpaid through the transformative power of
each creation lies not just a piece of volunteers, TAV aims to maintain woodturning. Together, let’s shape a
wood, but a fragment of hope and a and strengthen their unwaver- brighter and more empowered future
promise of transformation. ing commitment. By leveraging for those who have served our nation
their expertise and passion, we with honor.
Future goals ensure that 100% of donated
• Ensure financial stability: funds earmarked for TAV are For more, visit
Strive for sustained financial directly invested in procuring sup- sdwt.org or direct
support through generous plies, equipment, and supporting questions or comments
donations to the SDWT, program activities. This commit- to the TAV Chair, at
guaranteeing that all essential ment underscores our dedication TAVchairman@sdwt.org.
safety equipment, machinery, to maximizing the impact of every
tools, materials, and supplies contribution.
remain readily available. Our goal • Promote awareness and
is to eliminate financial barriers, support: Actively encourage
allowing veterans to participate in and welcome support for TAV —Dan Waldburger, TAV Chairman,
TAV without undue burden. through cash or material San Diego Woodturners

8 American Woodturner October 2025

 A SSO C I AT I O N N E W S

The Chapter Communications Excellence Award

When I joined • Our chapter website: Telling format. These platforms offer user-
First State our story, lots of free content, friendly templates, drag-and-drop
Woodturners’ and making it easy to sign up tools, and analytics that help even
(FSW’s) lead- for events and subscribe to our non-technical users create polished
ership team mailing list. newsletters and emails. For groups
(headquartered • Social media presence: run by volunteers, the simplicity
in Wilmington, Plugging our upcoming programs and efficiency of MailChimp can
Delaware) as program director in and events and directing people be a game-changer—saving time
2012, the chapter president at the to our website and monthly while enhancing communications
time entrusted me to update our meetings. and outreach. I can’t recommend
marketing and communications. The these platforms enough. (Search
first thing I undertook was a major Fundamentally, our strategy “best MailChimp alternatives” for
overhaul of the chapter website hinges on signing people up for our other options. Most offer a free tier.)
(firststatewoodturners.org). Around mailing list. And I must empha- The other two pillars of our com-
the same time, I opened a free size, our emails and newsletters go munications strategy—our website
MailChimp account for the chapter. out to everyone on our mailing list, and social media—also serve to
Fast forward thirteen years, and not just members. Likewise, most capture subscribers. Our state-
now I’m the chapter president. We of our meetings are free and open of-the-art eCommerce-enabled
currently have an amazing leader- to the public. Through our mail- website makes it very easy to sign
ship team that handles our program ings, website, and social media, up for activities, events, and demos,
content, scheduling, finances, and we encourage anyone to attend so download tons of free resources, or
chapter minutiae. Several are also they can learn more about wood- purchase merchandise. We cross-
crackerjack videographers and content turning and what our chapter has post our monthly newsletter to our
creators, producing much of our in- to offer. This has the effect of not Facebook page, and we upload all of
house video demonstrations, presenta- only getting the word out about our in-house videos, presentations,
tions, and YouTube content. Having woodturning, but also driving and monthly meetings (those that
this great team in place has freed me to membership. don’t feature demos by profession-
focus on our website, social media, and Since the pandemic, most of our als) to our YouTube channel.
communications. meetings are held via Zoom. I know
that this format has its drawbacks, The hook
Communications strategy but it is also incredibly easy for In every newsletter is a small
We focus on three areas: folks to drop in and check us out. section, below the fold, titled “FSW
• Member communications: Although most of our members hail Membership.” The first line is
Monthly newsletters and email from the mid-Atlantic region, we always, “If you enjoy our program-
notifications. also have members from all across ming and content, please consider
the United States. We routinely have supporting us by becoming a
guests from all over the country chapter member.” It is a soft sell,
attend our meetings. but it’s effective. First and foremost,
however, is featuring compelling
Communications tools content, which drives engagement,
I rely heavily on MailChimp, which in turn drives membership.
an online contact management
platform. MailChimp and similar
email marketing platforms are
incredibly beneficial for small
organizations. They make it easy
to stay connected with members,
Working on our chapter newsletter in
promote events, and share news
MailChimp. in a professional and engaging —Joe Nestlerode, First State Woodturners

woodturner.org 9
A
N
A SSO C I AT I O N N E W S

NEWS
Call for Entries a mind. Containers are the essential tool
in organizing a life.”
Kalia Kliban, After, 2020,
Pit-fired clay, 4" × 5⅜" × 3½"

Holding Space Whether interpreted as a literal

vessel or a metaphor, the theme of
(10cm × 14cm × 9cm)
“…after a disaster, sometimes
2026 POP Holding Space is rich with possibilities. all you can see is what isn’t
there anymore. This pit-fired
Exhibition Eligibility/submission details form is what was left after the
bowl was burned away.”
• Entry fee: $25 for up to three pieces. Fee
and Auction waived for students in full-time, accredited
art, design, or wood-industry programs, as Malcolm Zander,
Submission period: well as apprentices. Dressed for Dinner,
December 1, 2025–January 15, 2026 • A 100-word (or shorter) theme state- 2015, Pink ivory wood,
Notification: February 8, 2026 ment connecting your piece to Holding compressed cherry,
Space is required. Do not include your freshwater pearls,
Accepted work due in Saint Paul,
name in the statement. 7¼" × 6¾" × 5¼"
Minnesota: March 1, 2026
• Work must fit the theme and conform (18cm × 17cm × 13cm)
The Professional Outreach Program (POP) to the size restriction (6" cube, interior
is pleased to announce the theme for dimensions). No exceptions.
its 20th annual exhibition and auction: • The exhibition is open to current AAW
Holding Space. Each year, this much-antic-
Exhibition and auction
members worldwide, and full-time stu-
• On view
ipated exhibition showcases an exciting dents in art, design, or wood-industry
-AAW’s Gallery of Wood Art, Saint
mix of work created by familiar names programs (membership not required).
Paul, Minnesota, March 15–May
and new voices from around the world. • All types of turning are welcome: sculp-
22, 2026
POP themes are designed to provide tural, functional, segmented, ornamen-
-AAW International Woodturning
a dynamic springboard for creativity tal, green-turned, etc.
Symposium, Raleigh, North Carolina
and highlight extraordinary small- • Entries must incorporate turning but may
June 4–7, 2026
scale work. Research shows that limits include other materials and techniques.
• Auction: Live/online auction:
can inspire innovation—our size limi-
June 6, 2026
tation of 6" × 6" × 6" (15cm × 15cm How to apply
• Accepted work must arrive at the
× 15cm) offers a creative constraint we • Apply online at tiny.cc/Calls.
Gallery by March 1, 2026.
hope will spark your imagination. • Submission period: December 1,
• Artwork must be installation-ready—
Holding Space invites exploration 2025, to January 15, 2026, 11:59 p.m.
freestanding or with a provided
of what it means to create or contain CST. All artists will be notified by
support (subject to approval).
space—physically, emotionally, or meta- February 8, 2026.
phorically. Woodturning has long been
Other info Sales & artist compensation
associated with vessels and containers.
• Artists may set a reserve price and retain
Vessels, bowls, and boxes are objects Images guidelines
up to 50% of the auction proceeds.
that define a space, but that definition is • Submit digital images in .jpg
• Funds raised support POP initiatives:
just the beginning. In her essay, “Vessels format, max file size 2MB each.
Instant Gallery awards, Artist Showcase,
for Holding,” potter Grace Cady says, • Up to three images per entry: one
Merit Awards, fellowships, critiques,
“Holding things is innately human: cups overall view (required) plus optional
symposium panels, and more.
for water, bowls for food, space for grief, detail or alternate views.
vases for flowers, your hand for your • The jury process is image-based; clear,
Catalog
lover’s hand, shelves for books, mugs for sharp, well-lit photos are essential.
• All accepted works will be professionally
coffee, blank pages for words, headspace • Do not watermark or include your
photographed for a full-color catalog.
for grudges, your heart for the love of name on images.
• Participating artists receive compli-
your pet. In The Carrier Bag Theory of • A plain background is preferred; avoid
mentary copies.
Fiction, Ursula K. Le Guin argues that the Instagram-style or heavily filtered images.
greatest invention of humankind is the • Accepted work that differs from the Questions? Visit the AAW’s Calls for Entry
container: a tool to carry energy home. images submitted may be refused at page, tiny.cc/Calls or email Tib Shaw at
Home as a space, a body, a relationship, AAW’s discretion. tib@woodturner.org.

10 American Woodturner October 2025

 A SSO C I AT I O N N E W S

Call for Entries your images is critical—they should WE ARE HERE

clearly and accurately represent your

Turning 40 work. Accepted pieces that differ

significantly from their submitted
2026 AAW Member images will be disqualified.
• All forms of woodturning are
Exhibition welcome: sculptural, functional, seg-
mented, ornamental, green-turned,
Submission period: January 1–March 15, 2026 traditional, and more.
Notification: April 15, 2026 • Collaborations are welcome; one person
must serve as the designated contact.
The American Association of • Entry fee: $25 for up to three submis- • AAW Gallery of Wood Art, Saint Paul,
Woodturners (AAW) turns 40 in sions; waived for full-time students in Minnesota: August 10–November 30,
2026—and we invite you to help us qualifying programs. 2026
celebrate. This isn’t an over-the-hill • A short theme statement (up to 100
moment, but a milestone anniversary words) describing your interpretation Delivery and display
that honors our shared legacy and looks of Turning 40 is required. Note: Theme • Accepted work may be shipped to the
ahead to the future of woodturning. statements should reflect your own Symposium staging site (arrival by May
Each year, the annual AAW member voice and thinking. 25) or hand-delivered on Wednesday,
exhibition at the International • Any material may be used, but work must June 3 (9:00 a.m.–5:00 p.m.), or
Symposium showcases a diverse range be created at least in part on the lathe. Thursday, June 4 (7:00–9:00 a.m. only).
of outstanding work from our members • Thursday drop-offs after 9:00 a.m. will
around the world. For next year’s exhibi- How to apply not be accepted.
tion, themed Turning 40, the jurors will • Apply online at tiny.cc/Calls. • All work must arrive in excellent con-
be looking for a variety of works express- • Submission period: January 1–March dition, match the entry images, and be
ing the extraordinary range of tech- 15, 2026 (11:59 p.m. CST); notification ready for installation.
niques, topics, materials, and approaches of acceptance: by April 15, 2026. • Pieces must be freestanding or come
woodturning offers—from a traditional with a suitable stand or support
bowl with a perfect curve to work that Other info (subject to approval).
pushes our ideas of what is possible to Entry images
pieces that explore the title theme. • Jurying is done through photographs. Sales
Work must have been made between Submit high-quality digital images in • Work need not be for sale.
March 1, 2024, and March 15, 2026. .jpg format, maximum 2MB each. • For pieces sold during the exhibition, the
Selected work will be juried blindly • Image dimensions must be at least artist will receive 55% and AAW 45%.
through photographs and text. Two 2800 pixels on the longest side. • Sold work must remain with the exhi-
cash awards will be presented: the • Up to three images per piece: one bition through to its close in Saint
$300 Masters’ Choice Award, selected overall view, plus detail or alternate Paul. Substitutions may be accepted at
by the jurors or their representatives, views. the curator’s discretion.
and the $200 People’s Choice Award, • No watermarks or identifying informa-
selected by attendees at the 2026 AAW tion on images. A plain background is Awards
International Symposium in Raleigh, strongly preferred. Instagram-style and Masters’ Choice Award: $300
North Carolina (June 4–7, 2026). collaged images are discouraged. People’s Choice Award: $200
• Video links up to one minute can
Eligibility/submission details be uploaded with the statement text Catalog
• Open to current AAW members if desired. A full-color print catalog will be produced.
worldwide, and to full-time students Each participating artist will receive one
in art, design, or industry-related Exhibition timeline complimentary copy. Collaborators will
degree programs (student applicants Turning 40 will be on view at the follow- receive up to two copies.
need not be AAW members). ing venues:
• All work is juried anonymously • 2025 AAW International Symposium, For more information, visit tiny.cc/Calls or
through photographs. The quality of Raleigh, North Carolina: June 4–7, 2026 contact Tib Shaw at gallery@woodturner.org.

woodturner.org 11
A
NAAW Board of Directors Election Results
A SSO C I AT I O N N E W S

NEWS

On behalf of the Board, Nominating were validated by Olsen Thielen, our talent, so that all areas of expertise
Committee, and staff, I would like external auditors. remain fulfilled.
to congratulate Sally Burnett and These Board changes are in keeping Also consistent with our bylaws, the
KC Kendall, who have been elected with the AAW bylaws, which state: Board appoints members to fill and com-
to second three-year terms for each “In each election, the two candidates plete unexpired terms as needed. Board
of them, starting January 2, 2026. I receiving the most votes by those candidate Keith Baizer was appointed to
would also like to announce that Ron casting ballots will serve for three replace Board member David Fellows,
Day has been appointed to a second years. The third Board member will who resigned from his position.
three-year term starting January 2, be appointed by a two-thirds majority
2026. A total of 283 members cast vote of the Board of Directors.” The Respectfully,
802 votes via online ballots, and the ability to appoint one Board member Gretchen Wilbrant
results of the 2026 Board election helps to ensure a healthy diversity of AAW Executive Director

Apply for an AAW Grant

AAW Grants are available to individu- addition to monetary awards, up to ten Find detailed grant descriptions
als, chapters, schools, and non-profit mini-lathe packages are available for and application information at
organizations. Examples include but award each year. tiny.cc/aawgrants. If you have ques-
are not limited to outreach programs Regular AAW Grants are awarded tions, please contact the AAW office
and/or events to encourage youth on a bi-annual basis. To be eligible, by calling 877-595-9094 or emailing
and under-represented populations applications must be received by memberservices@woodturner.org.
(women, minority, disabled, etc.) December 31 for grants given January
My name is
to learn and pursue woodturning, through May, and by May 31 for
Janice Smith, and
support of existing or developing June through December. However,
I could not be
unique woodturning programs, Women in Turning (WIT) grants and more grateful to
educational workshops or class par- others for under-represented popu- be the recipient
ticipation, professional development lations, events, and exhibitions are of a grant from
opportunities, chapter projects, etc. In awarded quarterly. the American
Association of
Woodturners.
I am a proud member of Emerald Coast
Woodturners in northwest Florida and a
15-year-old sophomore at Niceville High
School, where I take Honors and AP classes
to prepare for college. I’m also an active
member and youth volunteer at St. Jude’s
Episcopal Church in Niceville. Outside of
woodturning, I enjoy reading, hand knit-
ting, and going to the beach.
With the AAW grant, I found and pur-
chased a lathe to help me learn more about
woodturning and to hone my woodturning
skills. Woodturning connects me to the
natural beauty of wood and the joy of mak-
ing something with my hands. It is not just
about shaping the wood; it’s about seeing
what’s hidden inside. I’m excited to see
what is next to be discovered!
—Janice Smith, Emerald Coast Woodturners

12 American Woodturner October 2025

 WO O DT U R N E R SCH AT T E R

Calendar of Events
Send event info to editor@woodturner.org. December issue deadline: October 15.

Ireland • Ongoing: Touch This!; Around the Hus— biennial Woodturning Symposium, Higher
October 18, 19, 2025, Irish Woodturners Turning in Scandinavian Domestic Life; Ground Conference Center, West Harrison,
Guild (IWG) Seminar, Tullamore Court She’s Tops! Selections from the Linda Ferber Indiana (near Cincinnati, Ohio). Featured
Hotel, Tullamore, County Offaly. Featured Collection; vintage and historic lathes and demonstrators to include Pat Carroll,
demonstrators to include Art Liestman turned items Andy Cole, Elizabeth Weber, and Rebecca
(Canada), Ronald Kanne (Netherlands), For more, visit galleryofwoodart.org or DeGroot, plus other regional demonstrators.
Pierre Cornelis (France), and Seamus Cassidy email Tib Shaw at tib@woodturner.org. The pastoral setting has onsite lodging,
(Ireland). For more, visit iwg.ie. dormitories, and a dining hall. Event to
Montana feature demonstration stations, instant
Florida October 3–5, 2025, Yellowstone gallery, vendors, and a live auction. For
February 20–22, 2026, Florida Woodturning Woodturners Symposium, Roaring more, visit ovwg.org.
Symposium, RP Funding Center, Lakeland. 20s Club House, Billings. Featured
Demonstrators to include John Beaver, demonstrator/instructor will be Laurent Tennessee
Andy Cole, Kirk DeHeer, Matt Monaco, Niclot. For more, visit the Yellowstone January 30–31, 2026, Tennessee
Cheryl Lewis, Jason Meneely, Steve Wood Turners Facebook page or email Sam Association of Woodturners’ 37th
Pritchard, and Brian Rosenkrantz. Event to Angelo (samandcheryle@gmail.com) or Annual Woodturning Symposium,
include an instant gallery, raffle, auctions, Roger Kesler (rogerkesler@msn.com). Marriott Hotel and Convention Center,
and great vendor market. For more, visit Franklin. Demonstrators to include
North Carolina Roberto Ferrer, Emma Cook, Mike
floridawoodturningsymposium.com.
November 7-9, 2025, North Carolina Mahoney, and Rick Rich. One of the
Illinois Woodturning Symposium, Greensboro longest-running and most successful
July 31–August 2, 2026, Turn-On Chicago Coliseum Special Events Center, regional symposia in the U.S., the 2026
2026, Hilton Chicago, Northbrook. Featured Greensboro. Biennial event featuring a event will feature a tradeshow, instant
demonstrators to include Kirk DeHeer, Greg vendor tradeshow, instant gallery, and gallery, People’s Choice award, and
Gallegos, Janice Levi, Matt Monaco, and Sammy rotations from world-renowned and local Saturday night banquet with auction. For
Long. Additional regional demonstrators to turners. For details, visit ncwts.com. more, visit tnwoodturners.org, or email David
be announced. Event to include a tradeshow, Sapp at symposium@tnwoodturners.org.
Ohio
instant gallery, banquet, raffle, and auction. For Vendors contact Grant Hitt at
October 10-12, 2025, Turning 2025,
more, visit turnonchicago.com. vendorinfo@tnwoodturners.org.
Ohio Valley Woodturners Guild’s 13th
September 25-27, 2026, The Segmented
Woodturners Symposium, Hilton Chicago,
Northbrook. The only symposium fully
dedicated to segmenting. Demonstrators From AAW’s Permanent Collection
to include Robin Costelle, Tom Lohman, Robert Hamada
Malcolm Tibbetts, Curt Theobald, Steve (1921-2014),
Bonny, Martha Collins, Doug Drury, Reid Hawai‘i,
Gilmore, Jeff Hornung, Gerald Jensen, Lloyd Pheasantwood Bowl,
8" × 15¾" (20cm × 40cm)
Johnson, Kip Lockhart, and Al Miotke. For
more, visit segmentedwoodturners.org. Donated by Martha
Saul in memory of her
Minnesota husband, Bill
Multiple 2025 exhibitions, AAW’s Gallery of Photo: Tib Shaw/AAW

Wood Art, Landmark Center, Saint Paul:

• August 10–November 30, 2025: Beginnings
(AAW’s 2025 member exhibition)

woodturner.org 13
 WO O DT U R N E R SCH AT T E R

@
CHATTER FROM THE
EDITOR’S
INBOX Each year, the Central Texas Woodturners hosts a “President’s Challenge” in
which most members participate in a friendly competition. This year, President
Send emails to Kelly Shaw decided we would assemble a table full of random blanks of differ-
editor@woodturner.org
ent woods, sizes, and shapes, each given a number. Participants would draw a
number that would designate which blank they would receive.
We were given two months to turn the blank into any shape we thought
Thank you for appropriate, but we had to leave a tenon or some manner of attachment so
the chance to it could be further enhanced by another club member.
participate in the After two months, all the rough-turned pieces were returned to the
Youth Room at table. Another numbered drawing was held. This time each member was
the 2024 AAW required to take someone else’s turning and find a way to embellish, add to,
Symposium or improve the piece. Another two months were allowed to complete the
in Portland! I pieces and return them (Photo 1). Upon completion, all pieces were judged
really enjoyed taking the classes and prizes were awarded (Photo 2).
there and learning from Paul and The finished pieces were assembled and placed in a special display at this year’s
Raleigh. I was very excited to win SWAT Symposium in August. Finally, all of the works (from thirty-five partici-
the mini-lathe and tools, and hope pants) were donated to
that the donors would be happy the charities that our
with how much I have used them chapter supports.
in the last year. —S. Gary Roberts,
Since being home, I have turned Texas, AAW Member
a variety of projects, including No. 16
pendants, earrings, jewelry dishes,
handles, Christmas ornaments, 2
and other items. One of the proj- President’s Challenge winning piece

ects I am most excited about is

1 by Hap Parkinson and Beth Watkins.

my starfish bowls. Inspired by the

leaf bowls [from one of the Youth Inspired by Tim Heil and Gary Legwold’s February 2025 AW article,
classes], I saved up (money earned “Turn a Two-Sided Vanity Mirror” (vol 40, no 1, page 20), I made my first
from selling pendants I made) vanity mirror. I used claro walnut and oak.
and bought myself a scroll saw so I One main difference in our approach is that I made the half-hoop
could cut starfish and other shaped support frame by first turning a single 19½" (50cm) spindle and then
turning blanks. My starfish jewelry bending it to a form after boiling it in water. This points to an interesting
bowls often include wood-burn- design problem and potential weak point. Tim and Gary used plywood
ing, which I got to learn the basics for the curved mirror support, where I used a bent spindle. Both of our
of at Graeme Priddle’s vendor solutions try to overcome the issue that would occur if the support were
booth while at the Symposium. cut from a single board of solid wood. The problem with that approach
I feel like I have made good use is that the grain would run across the support, making it susceptible to
of the ideas, learning, and tools I failure over time.
gained at the Symposium. I hope I also added lead to the base before capping it with oak for stability.
the AAW and the Youth Room —Scott Belway, British Columbia, Canada
instructors and donors can con-
tinue to provide opportunities
for other young turners like me. I
have enjoyed continuing to turn,
making gifts for friends, and even
selling some of my work.
—Abigail Christensen

14 American Woodturner October 2025

 WO O DT U R N E R SCH AT T E R

Minnesota Woodturners Rooted in Community Service

The Minnesota
Woodturners
Association
(MWA) has a
strong history of community service,
dating back to 1987, so it was only
natural that when our club logo was
updated in 2024, the new tagline
would incorporate that message. Our
chapter has close to 300 members, and (Above) MWA members
as the host chapter for the 2025 AAW pose during the
August 2025 chapter
International Symposium in Saint Paul,
meeting. Symposium
Minnesota, 100 of our members volun- volunteers were
teered before, during, or after the event. encouraged to wear
their volunteer t-shirt.

Partnering with Fireweed

Community Woodshop
As chapter host for the Symposium,
MWA partnered with Fireweed
Community Woodshop
(fireweedwoodshop.org) for the com-
munity service bowl charity. Fireweed
empowers women and marginalized Photo: Andi Wolfe Photo: Andi Wolfe

genders through the art of woodcraft.

It seeks to shift expectations of what Our sense of purpose and community Beads of Courage
a woodworker looks like through its connections were strengthened. At the AAW Symposium, we collected
staff, instructors, and board, and to eleven Beads of Courage (BoC) boxes
create role models for people histori- Wig stands (including one collaboration box) from
cally excluded from the woodshop. In March 2024, MWA joined the turners outside of MWA. An MWA
Karl Foord, an avid woodturner and AAW’s Women in Turning (WIT) ini- member purchased and donated more
MWA member, set a life goal of turning tiative, crafting wig stands. Our goal than 320 BoC logo beads to individual
500 bowls. Before he passed away, he is to give back to our communities in turners and chapter leaders. Bags of
crafted 370 of those bowls, an impres- this worthwhile effort, especially since twenty BoC logo beads were given to
sive accomplishment. To honor Karl and cancer has likely impacted each of us, club presidents or representatives to
his life goal, MWA members completed our family, and/or our friends. MWA distribute to their individual chapter
his 500-bowl challenge, turning the is partnering with two local/regional members. BoC bead bag labels were
remaining 130 bowls. In the spirit of our groups that provide free wigs and can also handed out to AAW members and
MWA community service commitment, distribute the wig stands—Wigs for spouses, as well as bead bag kits. Cash
the bowls were donated to the 2025 the Cure (wigsforthecure.com) and donations were also collected and for-
AAW Symposium bowl charity. Karl EBeauty Community at Hennepin warded to BoC.
Foord’s life goal was actually exceeded, County Cancer Clinic (ebeauty.com).
with 214 bowls donated by MWA. Karl’s We have donated 124 wig stands to MWA extends our sincere thanks to
family was overwhelmed by the number date, with twenty-five displayed at the the AAW for providing a platform
of bowls and how much the organiza- 2025 AAW Symposium. where we could showcase our dedica-
tion benefited from their sale. Fireweed In addition to the wig stands, MWA tion to community service.
Community Woodshop reported 239 members (and friends of members) have
bowl sales and 286 donated in all, knitted over 130 cancer caps. We have
raising funds that will purchase a new created a few bright moments in the lives —Linda Ferber, Vice President, Minnesota
mini-lathe and tools for their woodshop. of women with cancer or other illnesses. Woodturners

woodturner.org 15
 WO O DT U R N E R SCH AT T E R

TIPS

Tips Share your turning ideas!

If we publish your tip, we’ll pay you $35. Email your tips along with relevant
photos or illustrations to editor@woodturner.org. —Joshua Friend, Editor

Cole jaws for recentering

It is always a puzzle how to re-center a I use a tailstock adapter to mount cyanoacrylate (CA) glue on the waste
project for final turning. I found that a chuck with the Cole jaws installed block instead of double-sided tape, do
a quick and effective method is to use on the tailstock live center (Photo 1). not apply accelerator, as it can cause
Cole jaws, or jumbo jaws, mounted Attach a waste block to the head- the glue to crystallize and create a dan-
on the tailstock to hold and center the stock spindle and apply double-stick gerous failure while turning. Instead,
project for attaching it to a waste block tape if that will be your holding allow ample time for the glue to set on
using glue, tape, or a vacuum chuck. method. Caution: If you choose to use its own before turning. An alternative
is to use a vacuum system with the
appropriate vacuum chuck.
Mount the turning project in the
Cole jaws on the tailstock, which will
center the piece. Slide the piece into
place using the tailstock quill to apply
pressure to fix it to your waste block (or
chuck), as shown in Photos 2 and 3.
—S. Gary Roberts, Texas, AAW member
1 2 3 since 1986

Roller shade contains dust

Managing dust in the shop is a never- Install the pulleys and fixed down the sheet four times plus an
ending battle. Modest mitigation is mounts (large nail or screw eye) on extra 6' (1.8m). Tie an end to one of
often the best we can hope for, espe- opposite sides about 2' (61cm) from the fixed points on the 2×4, run it
cially when our garage or basement either end of the 2×4, then mount down under the sheet and up to the
workshop shares the space with the it on the ceiling where you want to first pulley, continue on to the other
laundry or exercise room. I designed position your barrier. The pulley side pulley then down under the dowel
this simple, inexpensive roller shade should face the direction from which and up to the other fixed point and
as a barrier. It consists of a king-size you’ll want to operate it. Run the tie it off there. Stand at the midpoint
bed sheet mounted on a 96"- (2.4m-) dowel through the hem of the sheet of the sheet facing the pulley side
long 2×4, a 2"- (5cm-) wide dowel of and tack the opposite end to the 2×4 and gently pull the remaining loop
the same length, two simple pulleys, a so the sheet is hanging down to the of line until the excess is all in the
cleat, and some small line (Photos 1, 2). floor. Use enough line to run up and middle. Mount a cleat at the mid-
point and you’re good to go.
Pull evenly on the line and watch
the shade roll up. You can tie it up
when not needed so it’s out of the
way and can be easily re-deployed.
You can make more than one to
effectively create a semi-permanent
enclosure to keep the wood chips in
a defined area.
—Walley King, Massachusetts, AAW
1 2 member since 2024

16 American Woodturner October 2025

 F E AT U R E

Shopmade Laser for Oneway Coring System Bob Pugh

T
he use of a coring system allows
production of several bowls from
one piece of wood and minimizes
Oneway coring system
(1) The Oneway coring system,
the amount of chips wasted on the floor. with the support arm adjusted
I use Oneway’s Easy-Core System, which for full support during coring.
works well but I find requires careful (2) With the cutter pivoted to the
base position without a bowl in
setup to achieve the desired bowl thick- place, it is easy to visualize the
ness. I developed a simple laser system bowl’s bottom thickness. But
that allows me to see where the cutter visualizing is more challenging
1 2 when a bowl is mounted.
will go, improving accuracy.
The Oneway system comprises a base-
plate fastened to the lathe bed and two
posts, one to hold the cutter head and the Shopmade laser eases setup
other, the support (Photo 1). Three cutter
(3) The author’s shopmade laser
heads and supports of different radii are system mounts in the coring jig’s
available to produce different sized bowls. cutter post and pivots in the same
path as the cutter.
The cutter head pivots to engage the
bowl blank and give a cored bowl of the (4) Extra holes in the horizontal arm
correspond to the different radii
desired thickness. It is easy to lock the cutters provided with the Oneway
baseplate in the appropriate position system.
3 4
for where you want the cutter to start.
However, careful measurement is needed
to determine the ending position, which With the coring system on the lathe
bed, I first use the laser to show the
determines the bottom thickness. Without
a bowl on the chuck, you can see the bowl’s wall thickness, usually around
Visualize thickness
correct position (Photo 2). But with a bowl 1" (not shown). I then pivot the laser of bowl bottom
mounted, the correct location can’t be visu- to the bottom of the bowl and adjust The laser
shows where
alized and careful measurement is needed. the plate to achieve the desired thick- the cutter
This is where my laser system can help. ness there (Photo 5). You can tweak will complete
its path,
the plate position further to give both indicating
Shopmade laser setup the desired wall and bottom thickness the thickness
My laser system fits in the cutter post before beginning to core with accuracy of the bowl
bottom.
and pivots at the same radius as the (Photo 6). Adjust the
cutter, so it traces the same path. Note: As shown, I usually core the largest- baseplate on
the bed ways
Unlike some hollowing systems, this laser diameter bowl first. In this case, a hole at
is not used at the same time as the cutter, the center allows me to rechuck the cored
5 accordingly.

but only to achieve your desired setup. section using the chuck in expansion
The system comprises a vertical dowel, mode and then form a bowl shape and
a horizontal arm that holds the laser, tenon before coring the smaller bowls.
and the laser itself (Photo 3). I turned I find that my laser simplifies setup
Accurate coring
the dowel to fit in the cutter post (1", or so I can experience the joy of coring commences
25mm, diameter) and added a 90-degree knowing I won’t make a funnel or an With the
overly thick bowl. coring jig set
top cut high enough to clear the largest
up, the laser
bowl blank I might turn—12" (30cm) on is removed
my lathe. The arm holds the laser paral- Bob Pugh is a member of the Edmonton from the jig
Woodturners Guild in Edmonton, Alberta, and the cutter
lel with the post. I drilled screw holes on is installed for
Canada. He has been turning for about eight
the arm at the three radii of my cutters, coring.
years and is the former editor of his club’s
so I can mount the laser according to newsletter. He is also a member of the AAW. 6
which cutter I am using (Photo 4). He can be contacted at rwpugh.1@gmail.com.

woodturner.org 17
 Photos by Chantel Harper.

Emily Ford

S
pinning tops are a classic
introductory project. They’re
perfect for practicing beads
and coves, and they help you
build muscle memory. They also
make excellent tools for occupa-
tional therapy, physical therapy,
and improving fine motor skills.

ANY WAY YOU

They’re a great project any way you
spin it!

SPIN IT
Prepare a turning blank
Begin by selecting a 2"-square,
4"-long (5cm × 10cm) blank. This
will give you enough wood to round
out and cut a tenon to fit your four-
jaw chuck. Almost any wood will
work, but I prefer hardwoods with
Shape a blank straight grain for durability and
balance.
You can mark out the centers in
preparation for chucking, though I
find an eyeball estimate to be close
enough (Photo 1). Mount the blank
between centers with the grain
parallel to the lathe bed. I recom-
mend using a multitooth safety
drive center—my personal favor-
1 2 ite. If you’re turning in production
Mark or eyeball centers and mount your blank in spindle orientation. Bring the blank to
round with a spindle roughing gouge. mode, the spring tip makes it easy
to swap out blanks without stop-
ping the lathe.
Use your spindle roughing

Mount in a scroll chuck gouge to round the blank

(Photo 2). Then, measure and cut a
tenon to fit your chuck jaws. This
can be done with many different
tools—parting tool, spindle gouge,
skew chisel, etc.—but I prefer the
spindle roughing gouge because
it’s already in my hand. I present
the tool with the flute oriented
towards the headstock and rotated
3 4 until it is almost closed (Photo 3).
Form a tenon on the tailstock end. The Remount the blank in a scroll chuck and
author opts for a spindle roughing gouge true the blank. I cut through an arc toward the
because it is already in hand. desired diameter, adjusting the
handle slightly towards the end of

18 American Woodturner October 2025

 F E AT U R E

Form the lower Form the upper body

body and “point”

5
Use a spindle gouge to shape the body.
Aim for a straight line between the
6 7
You will need to clear away some waste material to make room for your shearing cuts to
outer perimeter and the point. The form the top of the body. The top of the body should be slightly convex.
“point” should be slightly rounded,
which makes for a better spinner.

it almost closed, facing the head-

the cut to create the flat shoulder
and dovetail. stock. Stop the cut about ¼" to ⅜"
Embellish
Once the blank is secured in the (6mm to 10mm) from the center.
chuck, true it with your spindle This may take several cuts and can
roughing gouge (Photo 4). also be the time to begin roughing
in the spindle of your top.
Shape the body Quickly removing waste material
Working from the tailstock end, I may leave the wood surface looking
use a spindle gouge with a finger- like your first attempt at a turning
8
nail grind to form the underside a Christmas tree—fuzzy and rough. Embellishing the body is optional, but
of the body (Photo 5). Find the As you make additional and pro- a good way to create a signature piece.
Texturing (shown here) is an option, as
cutting edge of your gouge, then gressively lighter passes, the surface is adding color or pyrography.
gently twist your wrist toward the will clean up nicely. Be sure to leave
tailstock while lifting the handle. enough material to support the piece
Keep the cutting edge in contact for finishing.
with the wood as you progress the MORE ON EMBELLISHMENT
cut. This motion brings the tool to Embellishment T
INEXPEN
Bob Amar

he New
educati
zation.
ant
Jersey Woodt
onal and
SIVE SHOP
charita
urners
is an
Childre
MADE CH
ATTER TO
OL
we contrib Like many ble organi- n’s Special

center and forms the point on the With plenty of wood still in place
ute to various other chapter Jersey. We ized Hospita
favorite s, have
activity charitie
s. Our who particip roughly thirty l of New
tops. We is turning ate in this membe and 4"
make hundre spinnin We add rs long. For
100% of g texture outreac tool, I the actual
the donatio ds per year variety to the tops h effort. repurp
osed a cutting
ns collecte and of tools, to hold

Using chatter or texturing tools

d go to and knurlin includi with a it in place, jigsaw blade,
ng chatter ½" long and
Accompan the able
chatter
g tools.
Comm , spiral, I
× ¼" (6mm) used a cap screw
Bob Amarantying Video! find making tools can cost
ercially
up to $100.
avail-
20 tpi
length
(teeth
per inch).
diamet
er with
my own I also
video that has created a to spend I of wood
for a handle turned a
illustrate a few hours tools is a great a piece
of 1"
the finer s some of save some way
points of money
in the shop (ID) copper (25mm) inside and used
chatter tool. making a article
details in the process and pipe for diamet
To You will a er

base. This may take a few passes— to support the body, your cuts
visit tiny.cc/ch view the video, shopm the process . This also need ferrule (Photo
attertool ade chatter of making center a ¼" twist 1).
or scan the tool. a drill, a
QR code. 20 tap ½" twist drill, a
Materials to cut thread drill, and

are two common approaches

drill for s, along a ¼" ×
When the tap.
I make enced at Note: The with a #7
is to use tools, my the start video refer-
compo goal typical alterna of this article
to save nents already ly te method shows an
money on hand the handle of holding
a length . In this using two the blade
of steel case, you’ll ing less hose clamps to
rod 4" metalw
15cm)
long and to 6" (10cmneed orking. , requir-
diamet at least
er. Steel ½" (13mm to Process
big box rods are ) in
stores in availab Chuck

trying to do it in one cut can cause should be clean enough that

In my 12" (30cm) le in the the metal
case, I length maxim rod or
machin simply s. um bolt
and concenof 1" overhang with a

to adding character to tops.

e bolt that used a hex-he
was ½" ad tricity. for rigidity
diamet hole/di
er mple using Drill a small
(Photo
2). If you the center starter
drill, use don’t drill
Chatter form a
a ⅛" (3mm) have a center
twist drill
dimple
tool part dimple on one
end. Once
to
s
A: repurpo hole about
is formed
, drill a the
1 jigsaw
blade,
sed Keep the 1¼" (32mm)
¼"-dia
deep (Photo
meter
cap screw, B: lathe speed
rpm. A

tearout and possibly some bad sanding isn’t necessary at this

bolt, D: C: drop of low, about 3).

Log in at woodturner.org and

ferrule, oil while 500
E: woodtu helps to
W O te OD T Udrillin
RNERSC
the cutting g metal H A T T E R
tool handle. rned lubrica
uate the
Drill hole TIPS
chips. and evac-
for the blad Once you

Tips
the bolt have drilled
e (or
a side hole rod), use a Tool
intocabinet
the
drill press end of
topper
for the to drill
The cap cap screw
screw will (Photo
in place. hold the 4).
Use jigsaw
the thread a #7 drill bit blade
to prepare
in the hole tap. Cut, or tap, for

use the Explore! search tool

2 Nail clipper chatter tool (Photo the thread

words if you accidentally launch

cut thread

stage. This is the perfect time to

5). If you s
Use a center s have never
starting drill I like the challenge of making my where the tool leaves ion video before, refer
point for to create a dimple, the wood forinter-
helpfu to my compa
the drill
bit.
own tools or and recently 3 made a chatter mittently and cuts a For the cutter,
decorative pattern.l tips. n-
tool using a nailAtclipper Two key variables blade I
speedstarted with
a slow handle as the
the bolt lathe speed, are thethat lathewas
cutter (Photo a). I mounted drill
(or rod)the “blade” metal vise, 4" a jigsaw
to accept a hole (around
in the end 1800 rpm usually works forlong, putAs with
in a hacksaw blade holder and used athe chatter me)blade. of
and the snapofitbladeand used it in mymany woodturners, space in
amount in half.protrud- locking my shop is limited. When I replaced
pliers
thumbscrew for easy adjustment. The glasses
ing. Also, chatter work is Don’t to
best done on forget my
! Grind your midi-lathe with a full-sized model,
cutting edge is ground like a scraper. the endgrain of grinder hardwoods the teeth safety
22 like maple
or bencht off using
I had to find a more efficient way to
When you produce chatter on a op belt a

to learn more about these and

(Photo b). You will hear a high-pitched store turning tools and accessories and
sander
workpiece, you are actually skip-scraping, squeal when producing chatter. to form
still have them readily available.

the blank from the lathe. use texturing or chatter tools

This is an easy
America I picked up a steel, four-drawer tool
n Woodtu
way to decorate rner August cabinet at a home center for less than
tops, and you 2024
$100 and, using plywood and pine
can use colored scraps, built a “topper” for it. The
markers to high- topper holds twenty-four tools and
light the chatter. has a 10" × 26" (25cm × 66cm) work
—John Kaner, surface in front of the tool rack. The
a b

other embellishment techniques.

Alaska cabinet is on wheels, so I can easily
move it around the shop if necessary.

(Photo 8). Or you can add color; I

Roughing multiple tubes for gluing The flat base is made of ½" (13mm)

Remove waste from the handle

I turn a lot of slimline pens. Since you have to lightly plywood, cut to fit inside the cabinet
sand the brass tubes before gluing them into your pen top. The tool rack is 14" (36cm) high
blanks, I came up with a setup that allows me to rough and 8" (20cm) deep, with two rows
several tubes at once. Replace the standard shaft of of tool holders. The tool holders were
a compression-type pen mandrel with a ¼" (6mm) formed by drilling 1¾" (4cm) holes
steel rod. I made mine the length of my lathe bed to on 2" (5cm) centers in 4"- (10cm-)

• “Inexpensive Shopmade
accommodate the maximum number of tubes. Slide wide boards, which were then ripped
the 7mm pen tubes onto the rod and secure the end of down the middle. I made a ramp,
the rod with a pen mandrel saver in the tailstock so it doesn’t whip around. slanted at 20 degrees, for the tool
Now you

area and top of the body (Photo 6).

are ready to sand many tubes in one setup, turning at a very slow lathe handles to rest on. I used biscuits and
speed.
—Steve Drinkut, Indiana dowels for the joinery and finished

love the inexpensive permanent

the topper with spray lacquer.
The topper can just sit on the steel
Easy center finder cabinet, but for extra stability I secured
It is often necessary to know the exact centerpoint on it with a couple of carriage bolts.
the base of a bowl, particularly when the bowl will be

Chatter Tool,” by Bob

—Gerald Jensen, Wisconsin
held by a vacuum chuck or mounted on a faceplate. To

C HAT TERWOR
find the center, I just drop a tight-fitting Forstner bit into
the hole in the faceplate or chuck and give it a light tap. Share your turning ideas!
Decorating K The indentation left by the bit’s point is the centerpoint.
This method also works well if I need to locate a faceplate
If we publish your tip, we’ll pay you
$35. Email your tips along with

As you start to create some working markers from the dollar store—the
with a squea around an existing centerpoint created by a spur drive. I
relevant photos or illustrations to
l of delight
just put the Forstner bit in the faceplate’s hole and move them
until the tip of editor@woodturner.org.

Amarant, August 2024 AW

the bit drops into the center indent created by the spur drive.
—Mark Heatwole, Virginia —Joshua
BONNIE KLEIN Friend, Editor

T HERE ARE
TWO MAIN
chatter to occur:
or the tool
REASONS
either the wood
FOR
14
vibrates. The American Woodturner December 2015
made by Dennis Chatter Tool
is designed Stewart Enterprises
to let tool vibration
ate a decorative cre-
consists of chatter
a substantial pattern. It

room, begin to form the top of the colors are vibrant and last a long
a spring-stee handle with
l
end. Pressing tip mounted in the
the tip against

(vol 39, no 4, page 22)

spinning workpiece the
bounce along causes the
the tip to
a chatter pattern. surface, producing
pattern is determined The character
of the
speed of the by the surface
material, the
the tool against pressure Two examples
also how the workpiece, of hanced by coloring of the myriad
fast you move and possibilities
across the surface. with felt-tipped for chatterwork
the tool pens. ; the pattern
at right is en-

body, creating a softer, less dra-

This method

time. You can also apply a little

on the end of chatter Hold the tool
grain of wood works best ports the shaft so the tool-rest sup-

• “Nail Clipper Chatter

rials without or on mate- about 2 inches travel between
grain, such the work, allowing
nuts, bone, as tagua from tool, resulting bounces of the chatter
antler, many without interferenc the tip to chatter
soft metals.
In any case,
plastics, and e. If the tip slower speed in a larger pattern. A
should be the material long or too is too will result
dense, with short, it will more delicate in a finer,
texture; it a fine, even easily into not settle pattern.
doesn’t have a chatter rhythm. Because the
found that
In the tip of to be hard. once the tip I have
is adjusted pendent upon chatter is partially de-
inch length the tool shaft the proper to the surface
is a 2- length (approxim more difficult speed, it is
of spring steel to 1 1/4 inches), ately 1 to
mately 1/
16 x 3/8 inch,
approxi- I don’t change near the center get a chatter pattern
prefer to use
V-point on
the end, which
shaped to
a a combinatio it. I the diameter of the workpiece. As
pressure, and n of increases,
tool movement speed,

matic curve with a slightly convex liming or gilders wax to highlight Tool,” Tip by John Kaner,
slightly downward is bent sure is needed more pres-
. After sharpen- the patterns. to vary to keep the chatter
ing, which It rhythm and,
is seldom,
I remove the for the chatter is important to listen conversely
burr from noise, a sort sure is needed , less pres-
the before you
strokes across tip with a couple of move the tool of squeal, on smaller nearer to the
center or
the pressure. or change diameters.
grit sandpaper top with some 220- Tool may be The Chatter
. If the tip An easy way held
gressive, it
will tend
is too ag- to describe or moved across briefly in one place
and how to where
surface of your to tear the hold tern may becomethe surface. The pat-
workpiece. of your workpiecethe tool on the end distorted or
is to picture this nated if the tool is elimi-
surface as a

December 2015 AW
clock face and too long or held in one
a line from to imagine if place
top of another you apply chatter on

profile (Photo 7). Instead of rolling

the center
would be. If to where 7:30 pattern.
you
this line, with move the tool along Once you have

your texturing.
the tip parallel at creating become proficient
line (photo to the chatterwor
left), it keeps play around k, it is fun
between the the angle with to
face of the
tool and the ties. Experimen finishing possibili-
work surface t with chatter
less than 80 ther sanded on ei-
and offers degrees or unsanded
the then sanding
chatter to result.best opportunity for or burnishing
surfaces,
terns. Color
I have found with paints, the pat-
that for a workpiece colored pens under stains, or
2 inches in
diameter, a and/or on the chatter
speeds from range in lathe top of the
about 1,000 patterns. The

(vol 30, no 6, page 14)

to 3,000 rpm possibilitie
will successfull s are endless!
The Stewart y result in a
Chatter Tool chatter variety
in position. work. The of Bonnie Klein,
faster the

a bead toward the tailstock, we’re

speed, the of
farther the lathe
surface will in small-scale Renton, WA, specializes
30 AMERICAN turnings and
WOODTURNE strating the in demon-
R MARCH techniques for
1996 making them.

• “Chatterwork: Decorating
now rolling a slight bead toward Turn the handle
with a Squeal of Delight,” by Bonnie Klein,
the headstock. Begin with the flute The handle is a fraction of the
March 1996 AW (vol 11, no 1, page 30)
of the gouge open and end with diameter of the body, so you’ll

woodturner.org 19
 Shape the handle Sand and finish

9 10 11
Continue removing waste from the handle Shape the handle using light cuts, working Sand the form using light pressure.
area. Plan for a handle that’s as long as the from the body to the tip of the handle. Apply a finish—oil, oil and wax,
body is wide. or a friction polish are all good
choices. You could also leave the top
unfinished.

likely need to proceed by removing Repeat At our house, we’re competitive top
more waste from the handle area Tops are one of those magical proj- spinners—we see whose top spins
(Photo 9). Make sure the handle is ects where repetition builds both the longest, travels the farthest, and
at least as long as the top is wide— skill and satisfaction. Once you’ve dances the most.
this optimizes balance and spin made one, you’ll want to make
performance (Photo 10). another.
Before parting, sand the top. I Try different shapes, sizes, and Emily Ford is a woodturner and instructor
typically hit my unadorned tops who loves to share the joy of turning with
species of wood. Turn them with
others. She creates pieces that mark life’s
with 180-grit paper, add a little friends, kids, students, or grand- milestones while raising six kids who
of my preferred finish, and call it kids. The more tops you have keep her world turning. Follow Emily on
good. If you’ve embellished your spinning at once, the more fun. Instagram, @sheturnswood.
top, just sand the handle and apply
your finish (Photo 11).
Part the top off where the
handle meets the waste mate- Take it for a spin Beware Choking
rial, rounding over the top of the
handle. Spindle shapes can vary,
Hazards
but I love an elongated ogee curve. KidsHealth.org advises:
Rounding over the top of the Toys should be large enough—at least
spindle while parting off allows 1-¼" (32mm) in diameter and 2¼"
the top to spin on both ends! (6cm) in length—so that they can’t be
Just like that—you’ve turned a top. swallowed or lodge in the windpipe. A
small-parts tester, or choke tube, can
Spin it! determine if a toy is too small. These
Take the handle between your tubes are designed to be about the
thumb and middle finger like you’re same diameter as a child’s windpipe.
preparing to snap your fingers. If an object fits inside the tube, then
Snap, and the top you just made 12 it’s too small for a young child. If you
will spin (Photo 12). If you rounded Be prepared to lose your top to the can’t find a choke tube, use a toilet
biggest kid in the house and then
over the handle tip, the top will head back to the shop to make a paper roll tube.
spin upside down like a little twirl- few more.
ing mushroom.

20 American Woodturner October 2025

 F E AT U R E

Stories
maker. He knew I had been raised in
a religious home, and by a fortuitous
coincidence, he chose just the right
moment to walk into my demo at
an AAW Symposium. Just before he

and walked in, I asked for a volunteer

who had never picked up a skew

Questions
chisel to come up and have a go. I
had covered the basics, but the smart
money was on a mighty catch. This
fellow had paid attention and made
Ernie Newman a successful smoothing cut at his
first attempt, earning a round of
applause. I challenged the audience,

I
use the lathe to ponder ideas. philosophical questions ever since “Do you think you can do this too?”
When I was 4 years old, my par- and some of my woodturnings reflect Several people nodded and there
ents moved my brothers and me these questions. were some audible responses. I raised
to a new home. Its former occupants People can see my pieces any way my voice, “Do you believe you can
were chickens and it had a dirt floor. they want. But if you are interested in do it?” There were a lot of nods and
Australia was, and is, a wealthy what generated them or you appreci-
country so this was weird. The floor ate stories then read on. The most
was dirt because of my dad’s occu- recent piece, If God Dreams was an
pation. He was an evangelist, not entry in a pen-turning competition
a tele-evangelist with a jet but the where the pen could be viewed meta-
poverty-stricken kind with a bicycle. phorically. It’s a simple turning but
My mother said that I stood on a I intended to raise a complex issue,
chair at 4 and announced, “I’m going at least it is complex for me. If God
to preach.” It was a long sermon, exists and writes with a celestial pen,
including important theological what is the message? Can it be seen
claims, such as “Jesus makes the cars in stars? Is it possible to decode and
go. He blesses all the boys and girls understand such a message?
and gives them toys to play with.” It In the 1990s, I became friends The author
wearing a wood
ended with the words, “I’m think- with a man who was a terrific bowtie and hat.
ing.” I have been thinking about woodturner, sculptor, and furniture Photo: Josiah Walters

If God Dreams of Stars,

2025, Australian
red cedar, acrylic
paint, Danish oil,
12" × 5¾" × 5¾"
(30cm × 15cm × 15cm)
If God dreams of stars,
what code can be
read in a black hole,
what cypher on the
surface of the sun?

woodturner.org 21
 The title refers to a funeral hymn
by Ada R. Habershon. As I turned
and carved this piece, I remembered
Janelle, a teenage girl who died over
fifty years ago in a car crash. Her
brother was a close friend then and
still is. Few people remember Janelle
now, but her brother does. This
piece is for him.
My great grandfather and his broth-
ers were trick cyclists in vaudeville
and made picture frames and toys.
My great grandmother led a dance
band, a job that would have troubled
Will The Circle Be Unbroken? 2008, Moreton
the missionaries on the other side of
Bay fig, Danish oil, 91/2" × 11/2" × 1/8"
the family. They believed that playing
(24cm × 38mm × 3mm)
cards were the devil’s pictures and
feared that pre-marital sex could lead
to dancing—and heaven knows what
dancing could lead to.
May is the middle name of another
old friend. When she was a teenager,
she sat in silence for a minute and
The author’s great
then said, “There’s something that
grandfather and his
brothers rode unicycles maybe I should tell you about Geoff.”
in vaudeville. An elderly Geoff was the minister at her church.
relative boasted of a My reply didn’t hit the right note and
poster, “They were she didn’t tell me. We lost contact,
billed above Charlie but for twenty years, her words kept
Chaplin.” She pointed coming back. Eventually, I started
to the woman in the checking on Geoff. It turned out that
photo and sniffed, “She he was a serial sex abuser. I spent a
couldn’t ride without a decade applying pressure to force
seat. She was only in the
stony-hearted archbishops to protect
show for looks.”
girls like May.
During this period, in 1998, I par-
ticipated in the Emma Lake wood art
collaborative in Canada and made a
some cries of, “Yes!” I yelled, “Do you question, one that arises in most piece much like May. The female figure
really believe you can do it?” There cultures, perhaps in all. Can we carried a burden, a claw-like cross. It
were some shouts of, “Yes!” A second reconnect with people who have was an attempt to create something
later the door opened and my friend died? As a 5-year-old, I was told that that reflected May’s suffering. It was
appeared just as I bellowed, “Brothers my great grandmother was up in turned on three centers and owes a lot
and sisters, do you believe?” The heaven watching me and that one to my friend Mark Sfirri’s androgynous
room erupted with arms waving day I would talk with her again. forms turned on two centers. A female
and shouts of, “YES!” My friend was Some people believe that they will participant at the collaborative had
stunned. How did Ernie persuade a meet those they have lost in heaven some fun at my expense. She was a
crowd in a secular environment to make and that the Christian cross is what good sport and allowed me to measure
a unanimous religious affirmation? makes this possible. The circle in the height of her waist in relation to
Will the Circle Be Unbroken? was this piece could be seen as broken— her overall height so I could get the
my way of touching on another or as unbroken because of the cross. proportions of the piece right. A few

22 American Woodturner October 2025

 F E AT U R E

minutes later, I heard sniggering. She

and three other women asked me to
come and look at a turned spinning
top. It had a phallic stem, and they said
they needed my help to get the propor-
tions right. Fair cop.
A year after I made the piece, May
and I resumed our friendship, and I
made her a replica. Later, her house
burned down in a catastrophic bush-
fire, but just before it caught fire, she
rushed in and saved a few things. One
of them was the replica.
The Carpenter’s Dilemma also
includes a cross. I tried to incorpo-
rate feminine curves, which suggest
birth and new life rather than death.
For some people, the hope of the
world rests on the cross. I wanted this
cross to look fragile in order to create
tension. Could the enormous weight
of the hope of the world rest on such a
delicate structure? The spindles were
turned down to 1/16" (1.5mm) in diam-
eter, then steamed and bent. When
it was finished, I gave it a different
May, 1998, Spalted Moreton Bay fig, The Carpenter’s Dilemma, 2000, Ramin, Danish oil,
meaning by writing a poem.
copper, Danish oil, 16" × 3" × 3" 18" × 81/2" × 2" (46cm × 22cm × 5cm)
(41cm × 8cm × 8cm)
Carpenter’s Dilemma
Did the carpenter from Galilee
face a dilemma?
To be a carpenter or a prophet? sculpture exhibition. The world has there to hear a sermon & abide until
no idea how high the art bar is in the end thereof.” If they didn’t like
To work with wood or western Sydney. I aimed at fragility in the preacher’s views and absconded
something more? this turning and succeeded. It broke early, they could be fined up to ten
To cut with chisels or words? in transit when The Museum for Art in shillings—equivalent to over $2,000
To make tables or overturn them? Wood changed premises. in 2025.* I don’t listen to sermons
Woodturners in 17th century these days and I don’t have answers,
To restore chairs or worlds?
London didn’t have the freedom to but my questions don’t go away.
To build a cross or carry one? explore the questions raised here,
and church attendance was com-
My local woodturning club in pulsory. Ordinance 22 from the Ernie Newman is a fifth-generation
western Sydney held an exhibition of charter of the Worshipful Company professional woodworker who lives in the
members’ work, but The Carpenter’s of Turners of London stated that Blue Mountains west of Sydney, Australia.
Dilemma was, “not good enough.” Back in the 1990s, he taught a three-year
woodturners must, “...assemble in
trade woodturning course for apprentice
This didn’t throw me, and it proved decent & comely manner at the woodturners and has taught wood art in
good enough for Challenge VI – Roots, Common Hall & from thence go to nine countries. His work has been featured
a three-year international traveling such Church as shall be assigned & in numerous books and magazines.

*Roland Champness, p61, The Worshipful Company of Turners of London, 1966, Lindley-Jones and Brother

woodturner.org 23
 NO-MOLD SPIRAL PEN CASTING
-WITH-
UV RESIN

Scott Grove

C
reating a high-quality resin- a Gatsby pen kit (available from a • Predictable curing happens at the
cast pen usually requires variety of online sellers), Easy Inlay’s same speed throughout the resin.
a mold, a pressure pot, a PauaFlex® to wrap the tube, and • Cure time is consistent across the
compressor, casting resin, and time Solarez UV Doming resin. The entire wide working temperature range
spent waiting for resin to cure. But process took about twenty minutes. (-20°F to 120°F).
with ultraviolet- (UV-) cured resin, • Eliminates the need for harmful
you can make pen blanks with a UV resin overview catalysts.
fraction of the expense and hardly UV resin is a liquid made up of • You can use exactly the amount
any time. Instead of 30-40 grams monomers and photo inhibitors you need and return unused resin
per pen blank using typical cast- (Photo 1), made by several manu- to the storage container without
ing resin, with UV resin, you need facturers. When irradiated by (or concern for contamination.
only 2-3 grams. UV resin cures in exposed to) a specific wavelength • You have complete control over
minutes instead of hours and you of UV light, the monomers link the cure, and it will stay open
don’t have to turn away much resin, together to form a polymer and until you apply UV light. In
which saves time, too. create solid resin. Compared to most other words, you control when
In this article, I’ll show you how two-part resins, the advantages of the resin starts and stops curing.
I completed a pen using a wrapped UV resin are: • It significantly reduces pollut-
tube coated with UV resin. I used • No mixing is required. ants: the EPA (Environmental

24 American Woodturner October 2025

 F E AT U R E

Protection Agency) has deemed

UV resins LAER (Lowest
Achievable Emission Rate) and
Choose a resin
UV resins are available from
the Southern California Air several manufacturers. Using
Quality Management District the same brand of resin
has similarly deemed UV as and curing light ensures
compatibility.
BACT (Best Available Control
Technology).

The wrap
To wrap a pen, makers use a variety
of materials that can be rolled around
a pen tube, cast with resin (or in this
case, coated), and then turned and
shaped into the desired profile. The
1
clear resin magnifies the image on the
wrapping and, depending on the resin
shape, can make a straight tube look and is often hidden under the pen polyvinyl acetate glue (PVA),
curved, too. Common wraps include clip. Another method is a random contact adhesive, moisture-acti-
printed labels, postage stamps, cur- application, which works well with vated adhesive (aka lick-and-stick),
rency, fabric, Kevlar, string, wire, materials like postage stamps, paper or pressure sensitive adhesive (PSA).
circuit boards, shell, and more. If it scraps, or fabric: the pieces and seams
can be bent or glued around the tube, go every which way. My favorite is the Prep the tube
it can be made into a pen. spiral wrap, where the material spirals As with any resin casting, sand the
The coating process is the same around the tube like a classic barber- pen tube with 320-grit abrasive to
when you use loose granules like shop pole. provide some tooth for adhesion
crushed opal or brass key filings to Which technique to use is often (Photo 2). For faster sanding, wrap
coat (or “wrap”) the tube. dictated by the wrap’s visual texture or a pencil with masking tape and
graphic pattern; the bottom line is to mount a pen tube on it, adding more
Rolling it up hide or blend the seams, or to accen- masking tape until you achieve a
There are several wrapping techniques. tuate them, as with an overlapping tight fit.
Longitudinal is most common, where pattern where the seam becomes part Clean the tube with acetone to
the wrap material is rolled onto the of the pattern. remove any sanding dust and oil and
tube much like rolling a cigarette. Wraps adhere to the pen blank spray the outside of the tube with
The seam runs the length of the tube using cyanoacrylate (CA) glue, black lacquer (Photo 3). A black tube

Sand and paint the tube Calculate material

Chuck your
shopmade
width
tube mandrel
(a pencil) in
your drill and
sand the tube
with the drill
running.

3 4
Paint the tube. A uniformly dark Calculate the width of the wrap
background is often best, but consider material using trigonometry or an
other colors if your wrapping material online calculator. Either way, you’ll
2 suggests it. need to know the tube diameter.

woodturner.org 25
 Prepare wrap

5 6 7
Use a caliper to establish the width of your wrap material. Using the caliper to offset the ruler Trim one end of the wrap at 45°.
at both ends of the wrap will keep your cut lines parallel.

helps conceal minor open seams diameter (I work in millimeters) Make the cut
and enhances iridescent materi- of the tube (Photo 4). Dust off your Start by trimming one edge of the
als. Testing is a good idea, as some trigonometry hat and use this wrap material (PauaFlex with PSA
wraps may work better with a dif- formula: in this example) using a straight-
ferent color background. edge as a guide. Firmly hold down
w = π * D * sine (45˚) the straightedge and make two or
Determine the wrap width three light scoring cuts, keeping
When spiral wrapping, the width The variables and constants are: the blade at a low angle. I use a
of the wrap is determined by w (wrap width), π = 3.14, D (diam- break-away style utility knife, but a
the diameter of the tube and the eter), and 0.7071 (sine 45˚). If you craft knife also works.
angle at which the spiral wraps want to use a different angle for your Transfer your calculated width
around the tube. I prefer to cut wrap, do an online search or cal- dimension to the wrap material
the ends at 45 degrees, an angle culate the sine of the desired angle and make your next cut (Photo 5). I
common to many marking tools and replace 0.7071 in the formula. If cut on 1/2" (13mm) MDF and hang
for woodworking. you’re averse to math, Easy Inlay has the material over the edge a tad to
To determine the material width a handy calculator on their website be sure I get good registration with
for a 45-degree wrap, measure the at EasyInlay.com/how-to. my caliper. Be sure to keep your
straightedge parallel to the first cut
edge (Photo 6).
Trim one end at a 45-degree angle

Use a layout jig (Photo 7).

Roll on the wrap

Make a layout/rolling board by
drawing a 45-degree line between
two perpendicular lines spaced
3mm or 4mm wider than the pen
tube (Photos 8, 9). Add a fence to
the MDF layout board to keep the
tube square. Align the wrap mate-
rial to the 45-degree angle and
8 9 tape it face down. Cut the other
A simple jig made from MDF makes trimming the wrap to length a breeze. Connect two
parallel lines slightly wider than the pen tube with a 45° line. Tape the wrap material face end of the material at 45 degrees
down along the line and trim the overhanging end. where it intersects the second
width line.

26 American Woodturner October 2025

 F E AT U R E

Wrap the tube

10 11 12
Peel back the adhesive covering. Align the tube against the fence with about 2mm of wrap The wrap should align perfectly with itself
extending beyond the tube end. Carefully begin rolling the tube up and across the wrap. at the seam (noted by the arrow).

Peel off the PSA backing. Align the aesthetic concern. If the seam is
tube to the fence and press it onto the
PSA backing, leaving about a 2mm
noticeably open, use a little dena-
tured alcohol to release the PSA. Do
Safety note!
overhang (Photo 10). not attempt to peel it off without
UV light can permanently damage
Press down firmly and slowly roll alcohol. Re-align and make another
your eyes. Do not look into the light
the tube, spiraling the wrap up and attempt to roll the seam.
source and be aware that UV light
around (Photo 11). Pay special atten- Roll the wrapped tube again with
can reflect off surfaces and into your
tion to the first alignment seam a flat stick to ensure the PSA is fully
(Photo 12). If the seam slightly over- adhered, then trim the ends flush eyes. Always protect your eyes with
laps, keep rollin’, rollin’, rollin’. with a knife or sand them flush UV-blocking glasses.
Because of the irregular pattern in (Photos 13, 14).
the shell, overlapped seams will not Adhering the wrap to the tube
be noticeable, but other wrap mate- is critical, and if you’re not using
rials may show the seam and be an PSA-backed material, make sure

Trim the wrap Adjust resin viscosity

13 14 15
Roll the tube under a craft stick to ensure the wrap firmly contacts the tube. Trim excess Manipulate the resin’s temperature
wrap from the ends of the tube using a craft knife. in a water bath (or microwave) to
change its working properties. Use
this to your advantage to adjust the
viscosity, depending on which layer
you are applying.

woodturner.org 27
Tools of the Trade Flashlights
This list is not exhaustive, but it does and UV ovens
identify items I’ve found to be handy for An assortment of UV
this project. ovens (Melodaysusie,
Resin Rockers, LetsResin,
• A jar of acetone to clean spreaders and Alumilite) and flashlights
brushes. (Total Boat, Solarez,
unbranded).
• Acetone in a squeeze bottle for quick
clean ups of tools and drips.
• High density polyethylene (HDPE) board
to catch drips and give you a place to set
wet scrapers; nothing sticks to HDPE.
16
• HDPE strip for spreading resin.
• Silicone poker for fine resin manipulation.
• A plastic spreader.
your glue is completely dry before pro- Curing
I cut a slight curve in one of my spreaders ceeding. Also, avoid bubbles or voids In lieu of dragging your lathe
and round the corners to provide more between the wrap and the pen tube. outside into the sun each time you
control and help build up the center of a Voids can generally be addressed by want to cure a layer of resin, use an
tube faster, indicated by the arrows in the filling them with thin CA glue. artificial light. I like to use a high
accompanying photos. output UV flashlight while building
Apply the resin up layers, then a UV oven to cure
There are a wide variety of UV resins the entire blank.
on the market that are geared towards Always check the wavelength com-
hobbyists. I prefer to stay with estab- patibility between your resin and
lished brands that have an informative your light source, and make sure they
website with tech support and specs. match. As a rule, I use the same brand
For pen tube coating, I like higher of resin and flashlight (Photo 16). In
viscosity doming resins, which means addition, a light with a higher wattage
the resin is thick, has great hang time, rating will speed up the process. I
and won’t dribble off the tube after it have heard complaints about UV resin
is applied. Some suppliers sell differ- curing issues, only to learn that the
ent viscosities, but I prefer buying one wrong flashlight was used.
type (doming resin) and manipulating Mount the wrapped tube onto a
its temperature to raise or lower the pen mandrel. I use tapered HDPE pen
viscosity (Photo 15). mandrel bushings.
To lower the viscosity (making it Apply a thin coat of low-viscosity
thinner), heat the resin bottle in a bath resin using a plastic spreader to even
of hot water or a microwave oven. I use out the resin. Use the appropriate
the doming resin at room temperature, light to cure the resin for 30 seconds
or I will sometimes chill the resin to while the lathe is turning at 500 to
raise the viscosity for thicker layers 750 rpm (Photo 17).
and faster build-up. Resin temperature Appy a second and third high-vis-
does not affect the curing time. cosity coat with a curved spreader
I also find it helpful to adjust the vis- to help build up the center of the
cosity for each layer. The first layer ben- pen blank. Cure each coat sepa-
efits from a low viscosity, then a high rately with the flashlight.
viscosity for the second and third coat, Apply the low-viscosity coat last. A
then low viscosity for the final coat. brush with soft bristles provides more

28 American Woodturner October 2025

 F E AT U R E

Apply and cure resin

17 18 19
Use the round-edged spreader to apply Use a soft bristle brush to apply the final layer. A heat gun further reduces the resin
resin to the tube, curing each layer viscosity, yielding a uniform coat. Cure
between applications. with UV light as before.

control; a heat gun reduces the vis- enough built-up resin (Photos 20, 21). Turn and sand the blank
cosity and helps even out the surface This is the time to add more resin Shape the blank, paying special
and eliminates brush marks (Photos if needed. I like to have at least 1 to attention to the ends to bring them
18-19). Keep the lathe turning at 500 2mm of resin extending beyond the flush with the bushings (Photo 22).
to 750 rpm until you cure the resin circumference of the bushings. This Sand with 320-grit mesh using
with a flashlight. provides material that can be turned a backing stick to ensure the surface
The resin should be fully cured and sanded for a refined fitting stays flat (Photo 23). Then sand by
from the flashlight, but I set my between the barrel and fittings. hand parallel to the spindle and
UV light oven over the top of my Remove the tube from the mandrel, eliminate all rotational sanding
turning lathe and leave it on for a trim any excess resin from the end marks (Photo 24).
few minutes for extra peace of mind with a craft knife, and sand flush with Progress with dry sanding
(see opening image, left). 180-grit abrasive. through 400 and 600 grits in the
While in the mandrel, use a Double check the tube ends to be same manner. Inspect the blank
caliper to measure the pen kit parts sure the blank is larger in diameter after each grit for rotational
and bushings and verify there is than the bushing. sanding marks and sand them

Verify resin build-up Shape the blank

22
Turn the blank, bringing the ends
20 21 down to meet the bushings. The
author’s tool of choice is the Easy
Compare your pen kit components against the blank diameter. You want at least a
millimeter or two of excess resin that you can turn and sand away. Wood Tools carbide negative rake
finisher, which is designed for resin.

woodturner.org 29
 Dry sand Wet sand

23 24 25
Use pieces of mesh abrasive backed by a wide craft stick to progress through 600-grit. Use a set of micro finishing pads to
Conclude each grit by hand-sanding parallel to the lathe bed. sand the surface through 15,000
grit. These are used with water as a
lubricant, so be sure to cover your
lathe bed with a board or plastic and
use a basin to manage the water.

out by hand. This ensures the shell characteristics (Photo 26). Scott Grove is a 45+ year fulltime
sanding marks from the previous Notice how the spiral wrap blends master craftsman, author, and
grit are eliminated. in with the natural shell figure sculptor who teaches internationally
Next, wet sand with micro (see opening image, completed pen). and at Marc Adams School of
finishing pads through the nine Assemble your pen, referenc- Woodworking (Franklin, Indiana).
ing the instructions specific to He also conducts in-person and
grits (1,500 to 15,000) (Photo 25).
remote classes on a wide variety
Use a wet paper towel to clean your kit.
of subjects. For how-to videos and
the blank between grit changes. more information on products used
For the final polish, I use Nova Show off the pen that took a frac- in this project, visit easyinlay.com.
plastic polish #2 and #3 to produce tion of time and cost to make, For more on Scott and to sign up for
a crystal-clear coat that enhances charge what you usually do, and his free Creative Corner Newsletter,
the PauaFlex’s luxurious color and make more profit per pen! visit imaginewoodworking.com.

Shop Tip Polish the pen barrel

To keep the micro finishing pads in order, draw an arrowhead on the stacked edges. The wide
end is the coarsest grit and the arrow tip is the highest. A shopmade holding tray with dividers
makes them easy to grab while working.

26
Use a polish formulated for plastic to
achieve the ultimate depth and shine.

30 American Woodturner October 2025

 F E AT U R E

Resin-Cast

BOWL
Alan Hunt
from a Board

M
y skinny ring bowls are basi-
cally a variation on a bowl-
from-a-board project. Some
readers will wonder why I have compli-
cated a relatively simple task by using
thicker stock, incorporating resin,
and adding an acute cut angle to the related aesthetically, but they also I use 18" (46cm) plant trays as molds. I
blank preparation. The answer, in part, happen to nest neatly (see opener inset). buy them in packs online for about five
is the character of the wood grain in Building the blanks using 1" rings dollars. Conveniently, the molds have
the finished bowl. Bowl-from-a-board minimizes the amount of waste a center indentation. As with silicon,
projects usually begin with ¾" (19mm) that hits the shop floor as shavings. epoxy does not stick to plastic molds,
stock, but using 1½" (4cm) stock cut on However, it also requires precision and and demolding cured blanks is simple.
a 45° bevel yields 2¼" (6cm) of grain offers little room for error. Misaligning I start with a selection of stock
profile in each segment. Using figured a ring by ¼" (6mm) during glue-up slightly larger than the rings I will
woods like olive, mesquite, or Russian means losing a ½" (13mm) of material make and the mold I will use. I arrange
olive, combined with casting the rings to correct the problem. Work methodi- the lumber on a bench with spaces
in translucent resin, adds undeniable cally and pay attention to detail! between all the pieces (Photo 1).
visual excitement to these forms. The wood needs to fit into the 18"
Lay up a turning blank mold for resin casting, so I place an 18"
The design To lay up a turning blank, you will need disk (in this case, the mold itself) over
The rings are cut at 45°, and in cross- an inexpensive, reusable casting mold. the arranged pieces of wood and trace
section their opposing sides are parallel;
the top and bottom are flat (Figure 1).
If your kids are learning geometry and How rings become bowls
they examine a ring in cross-section, Figure 1. In
they will identify a parallelogram. By this example, a
single 18" blank
using a 45° cutting angle for bowl sides, (represented as
you generate the largest bowl by volume the bottom 2")
from your blank. yields six 1"-wide
rings and a base.
For the bowls illustrating this article, The six rings
I used a 2"- (5cm-) thick blank cut into create the walls
for two bowls,
1"- (25mm-) wide rings. This produces one made of the
five rings from the blank I constructed, odd numbered
blanks, the other
enough for two bowls. The trick is to use of the even
the odd-numbered rings (the first, third, blanks. The blank
used for this
and fifth cut from the blank) to build article was slightly
one bowl, while the second bowl com- smaller, yielding
prises the two even-numbered rings. five rings.

My source blank provided one bowl

bottom; I would have to assemble and
cast a second bottom for the other bowl.
Not only are the resulting bowls closely

woodturner.org 31
 the perimeter (Photo 2). The mold has a
flared top, and the sides slope at 16½°,
Select stock so I set my bandsaw table to this angle
(1) Select stock and
arrange the pieces and cut along the traced line (Photos 3,
on a table. The 4). Endgrain can absorb a lot of resin
boards should be
and expel air as the mold sets up. To
reasonably flat but
don’t need to be avoid this, seal the cut or cleaned edges
jointed or surfaced. with shellac or cyanoacrylate (CA) glue.
The arrangement
should be at least Once prepared, position the wood slabs
slightly wider and in the mold to verify the arrangement
longer than your
casting mold. and spacing before adding resin
(2) Invert your mold
(Photo 5). There is no need to spend time
on the lumber and and effort surfacing the wood. During
trace around the the assembly and turning of the bowl,
1 2 circumference.
these surfaces will be refined on the lathe.
I pour about ½" of resin into the
mold, then set the pieces of wood into
the resin (Photo 6). Wood floats in
Trim for the mold resin, so add some small weights (such
as clean stones) to anchor everything
in place. The resin sets up in a day or so
and secures the wood to the mold. You
can now pour the balance of the resin
to completely cover the wood.
When the blank cools to room tem-
perature and feels dry and solid, approx-
imately three to five days depending on
ambient temperature and humidity, it
is ready to demold. It will take another
3 4 5 week or so to fully cure.
Measure the slope of the mold’s wall and set your bandsaw table to the same angle. Use To remove the blank from the mold,
your bandsaw to extract the pieces from your stock, following the circumference line
drawn on your boards. Seal the endgrain before placing the boards in the mold. I loosen the sides with finger pressure,
then tip the mold upside down and tap

LEARN ABOUT
Mold the blank CASTING EPOXY GETTING
STARTED
IN
CASTING
John Und
erhill and

To prepare Mar k Dreyer

the blank for

mounting on
the circle jig, A
Photo:
Julane

popular
Johnson

For an excellent
trend in
in recen woodturnin
t years g
wood, has been

drill a ¼" hole

or other casting Someone
to make materials, new to
interesting many
Pen make turnin in resin questions: casting may
rs have g blank • What have
for over been castin s. produ hesitation
a decad
e, and the g blank what circumcts should I you may
becom s use, and started.
e popul stances? Note that have about gettin
ing as well. ar for other practice has • Are there
different
in
niques some castin g
types of • Do I will
large vessel Platters, lidded turn- need a techniques? your part. require exper g tech-

in the center.
boxes, • How pressu With that, imentation
s have re pot

summary and
by the all been and safe are or vacuu you to we hope on
use of resins enhan • How the explo
embed ced do I achie chemicals used? m? techniques re and find to inspir
an object . Some use resin effect? ve a clear that work methods and
e
and fill ; other to or colore for you.
it with s cut a • Do d
to “save” color; some pattern the variou Resin
a piece use castin and finish s resin
products propertie
otherwise
be usable
of wood
that would g similarly? turn
One of
the first s

A drill press is
bining . In any not have uncertainti
wood and case, com- In this when es peopl
sibilities resin offers article, what resin getting starte e
for turne of castin we to use. d in
rs to explo many pos- g and will explore the basics on the There are casting is
re. questions. try to answe market severa
today,
whelm and it can l types

introduction to
More impo r these ing.
CHAT TANO to simpl
ify the rtantly,
we want symposia, Thanks to Intern feel over-
DEMONSTROGA
process and article et forum
and clear all quick s like this, s,

handy as the
ATOR! up any ly move
Mark Dreyer and learn past we can
featured will be a
A Note from each beginner mista
About
demons other’s kes
the 2022 trator at success.
in Chattan
AAW Symposium
ooga, Tennes
Casting
involve s
the use
Safety
where he see, with proper of
will cover safety precau chemic als and
For more pen here comes special
details and making and casting tions, these

hole should be
with its tools, which

epoxy resin casting,

visit tiny.cc/ to registe . stand, and respec tive risks can carry inheren
AAW202 r for the follow these use and be manag
2. event, ed. Each t risks, but
the produc instruc tions, instruc tion sheet. of the resins
t manuf and if you Make discussed
casting acturer.
. Within Eye protec have questio sure to read,
proper under-
safety guideli tion, gloves, and ns or concer
nes, casting a respira ns, contac
can be tor are all t
enjoyable critical
when

perpendicular
and safe.
16

to the blank see John Underhill American

Woodturner
June 2022

6 surface. and Mark Dreyer’s June 2022 AW

Start with a ½" layer of resin. article, “Getting Started in Casting”
Arrange the wood and weigh it
down. Give the resin about a day to (vol 37, no 3, page 16). Log in at
set, then remove the weights and woodturner.org and use the Explore!
fill the remaining space in the mold
with additional resin. 7 search tool.

32 American Woodturner October 2025

 F E AT U R E

lightly on the bottom with a rubber lines that span two adjacent rings and than the previous one. I continue this
mallet. Inside most molds is a center the entry saw kerf (see Photo 12). All sequence until I have five rings and
mark that transfers to the cast blank. cutting is done with a table angle of 45°, one base extracted from my blank. The
I drill this out with a ¼" bit, drilling and the width of each ring is set to 1". I rings are then organized so the first,
deep enough to accommodate the cut slowly into the blank with a clock- third, and fifth rings are set aside for the
center pin on my circle jig (Photo 7). wise movement until I have a complete larger bowl, while rings two and four
circle. The tangential entry cut provides will be used for the bowl for this article.
Two-for-one skinny rings more gluing surface with ample room As noted, completing both bowls will
I cut my rings using a circle-cutting for exterior clamping, and the lines require casting another base—this step
jig mounted on a 14" (36cm) bandsaw help realign the cut (Photo 13). is not discussed in this article.
(Photos 8-10). The blade cuts straight If your saw and jig are set up cor-
through from the blank’s outer edge rectly, the jig will stop sliding into the Prepare the base
on a tangent to the ring’s inner diam- cut when the cutting blade is tangen- The base is about 8" (20cm) in diameter
eter (Photos 11, 12). Each ring has been tial to the next ring’s inner diameter and the thickness of the resin blank.
measured and traced onto the blank and directly above the jig’s center pin. Mount the base face down in a set of
before cutting. Before starting the cut, The jig must be reset between cuts so jumbo jaws and turn a recess to receive
I also mark the blank with two black that each ring is 1" smaller in diameter chuck jaws in expansion mode (Photo 14).

Jig set-up The Challenges

of Cutting Resin
Machining resin presents a new set of challenges for most
woodworkers. The bandsaw blade pulls the resin’s hair-like
shavings down into the machine while super-charging
them with static electricity. These shavings can clog the
blade guides as well as the sliding mechanism of the circle
jig. Clogging causes the jig to prematurely stop sliding to
the right point and will mislead you into completing the
cut at the wrong diameter. To avoid this situation, clean
the jig’s sliding mechanism after cutting each ring.
Hold the jig and blank firmly in place as you cut.
8 9 10 Moving the jig and blank even slightly back to the left
The author uses a circle-cutting jig on his bandsaw to extract rings from the blank. A
table insert prevents static-filled shavings from falling below the table and clogging the and then returning it to the right will clog the sliding
lower bearings. The blank rotates through the cut, referenced by the pin inserted into mechanism. If the mechanism is clogging, your cut will
the pre-drilled center.
slowly drift towards the center of the blank.

Cut the rings Close the ring

Advance the blank
into the blade,
guided by the
jig. The guide rail
offset is adjusted
using a gauge
before each cut to
set the width of the

13
ring. Draw a pair
of lines through
the path of the Close the gap cut in each ring by coating
blade where the the adjacent surfaces with epoxy and
kerf crosses the clamping the ring closed, using marker
ring—this will help lines for reference. It’s also a good idea to
realign the cut clamp the ring to a work surface to keep
it flat. Clean off the marks with alcohol
11 12 during glue-up.
after the epoxy cures.

woodturner.org 33
I am careful to make the mortise with removing any accumulated detritus and Assemble a skinny ring bowl
slightly dovetailed sides and a flat face for correcting any wobbles (Photo 16). Any Remove the scroll chuck, along with
the 3" (8cm) jaws to register against. shaping work on this face is best done now the base still mounted in it, from the
I remove the base from the jumbo jaws and before rings are added. A concave headstock. Mount the first/base ring on
and mount the base in a four-jaw chuck profile up to the first ring’s inner edge the jumbo jaws to prepare it for gluing
(Photo 15). With the work remounted on enables a better blending between the first onto the base (Photo 17). The top of the
the lathe, I flatten the face of the base, ring and the inside bottom of the bowl. ring is oriented face down in the jumbo
jaws. I true the bottom of the ring across

Shape the base

its face. Once flat, this ring is ready to be
mated with the base in the chuck.
Mount the four-jaw chuck and base
on the tailstock and advance it to dry-
test the fit, ensuring the ring and base
align without gaps (Photo 18). I apply
epoxy generously and press the two
surfaces together with pressure from
the tailstock (Photo 19). After the glue
has cured, I remove the work from the
14 15 16 jumbo jaws. The first ring of the bowl is
Mount the base in jumbo Reverse mount in a chuck and true the face. Mark the now on its base, and, when remounted
jaws, true the bottom and inside edge of the first ring and shape inward from that
turn a recess for chucking. line to form a concave interior. on the headstock, its wide mouth faces
Shape the sides. outward. Flatten and prepare the top of
the rim for gluing the next ring.
Mount the second ring (for this
bowl) in the jumbo jaws and use a
Attach the first ring scraper to flatten and smooth the
bottom surface of the ring in prepara-
tion for epoxy (Photo 20). As with the
first ring, apply epoxy and assemble
the base and second ring. This process
of building the bowl carries on until
all rings are epoxied to the main bowl.
After the epoxy cures, you can turn
the bowl to final shape (Photos 21, 22).
17 Using 5-minute epoxy makes the
Mount the ring in jumbo 18 19 glue-up challenging. Much has to
jaws and use a negative- Bring the base up and verify the joint between the base be accomplished within this small
rake scraper to flatten and and ring bottom is flush and without gaps. Apply epoxy,
refine the bottom. verify alignment, and apply pressure from the tailstock. window of time. Spreading the mixed
epoxy evenly onto the rings and
remounting one or both pieces back

Protect yourself!
on the lathe eat into the brief five
minute (or less) open time. Until you
In liquid form, the high-quality resins that woodturners typically use pose minimal health risks, but have done one or two of these bowls, I
do follow the manufacturer’s suggestions for protecting yourself while using them. This usually recommend using 15-minute epoxy.
means a ventilated workspace and disposable gloves. Estimating the amount of epoxy you
Things get serious when it comes to machining cured resin, which is a plastic polymer. The dust need is a challenge. I mix extra epoxy
from grinding, scraping, and sanding is fine, light, and loaded with static electricity; you don’t
because there isn’t enough time to mix
want to breathe it. It clings to everything—arms, clothing, lathe, walls, and lungs. A good respira-
a second batch if I run out partway
tor and dust extractor are essential.
Shavings generated by turning resin can also be brittle and sharp. A full-face shield is the mini-
through a ring. If you get in a bind and
mum requirement, and you’ll appreciate a head covering as well. run short of resin or time when gluing
rings, it’s best to scrape the surfaces

34 American Woodturner October 2025

 F E AT U R E

clean of epoxy before the resin hardens.

You will live to glue another day. Another Approach to Cutting Rings
Rings need to be oriented as they Georgia-based woodturner Ron Brown developed a ring-cutting jig for bowl-from-a-board projects.
were in the blank for the most attractive One of the advantages of his jig is that it cuts intact rings, so you don’t need to rejoin sliced rings.
appearance, i.e., ensuring that grain I made one modification to adapt the jig to my needs. The jig’s supplied parting tool works well
and bark match as much as possible, for blanks up to 1" thick, but I need a longer reach. I switched to a stouter parting tool. Though it
and the “river” of resin flows continu- requires sharpening twice for each cut, it easily slices through the 2"-plus blanks I construct.
ously through the bowl. The best time
to ensure proper orientation of features
is when the rings are dry fitted. Align
and mark the rings on the outer face.
Ring-cutting
Once the base and first ring have been jig from Ron
epoxied and lightly pressed together, Brown’s Best (visit
rotate the ring so that the alignment ronbrownsbest.com).

marks meet up and the features are

matched before snugging the tailstock. I am still exploring methods for fin- and blended them into the surround-
ishing resin surfaces. I expect that in ing bowl. Any epoxy (including the
Finishing bowls the coming year, I will up my finishing 5-minute variety) can be colored to
Remember that ¼" hole you drilled in game as I search for an approach that is match your damaged piece. If you color
the base for the bandsaw circle jig? That more scratch resistant. I finish my bowls the 5-minute epoxy, add pigment to one
hole needs to be plugged, and depend- following these steps: First sand from of the components before combining
ing on how thin you turn the bottom, 120- through 220-grit abrasive, clean- the resin and hardener—this makes the
you may discover that the hole now ing the surface with alcohol between best use of your limited application time.
passes completely through. I use a ¼" each grit and at the end. Apply blond Best of luck with your first matching
dowel to patch the hole. I have a col- clear shellac (sometimes two coats). Sand skinny rings bowl set.
lection of various colors and species of with 400-grit abrasive, then polish with
dowels, including some that are clear one or more coats of a waxed abrasive, Alan Hunt’s first creative passion was ceramics.
He attended the summer ceramics program of
plastic. I choose a dowel based on the buffing away excess wax between coats.
the Banff Centre for Arts and Creativity with a
material the center hole passes through. Finally, apply carnauba-based wax and full scholarship. He recently earned a two-year
CA glue or 5-minute epoxy fixes the buff. This step can be repeated. certificate from NSCAD University. Alan has
dowel in place. If the dowel shows been a woodturner for fourteen years, and
through the inside the bowl, I will often Closing suggestions for the past five years a resident of the Mojave
Desert in Nevada. He explores segmentation
drill a shallow recess over the dowel Mistakes seem to be part of the process,
and resin-wood amalgamation in turned works.
and insert a small African blackwood but 5-minute clear epoxy allows for Alan thanks his best critic, primary editor,
button over it and then sand it flush transparent repairs, including holes, graphic artist, and wife, Christine. He welcomes
with the surrounding surface. dents, and chips. I have rebuilt surfaces questions by email at prof.a.j.hunt@gmail.com.

Prepare and glue Turn the bowl

second ring (21) After final gluing of
all rings and the epoxy
Prepare the has cured, a negative-rake
bottom of the scraper is used to turn the
next ring and inside of the bowl to shape.
the top of the (22) Vibration can be an issue
bowl blank by when turning the outside. To
flattening both reduce vibration, the bowl
surfaces. Again, is held between the chuck
verify a good and mega jaws mounted on
fit, then epoxy the tailstock. The mega jaw
the components buttons are optional since the
together. wide jaws are being used for
20 21 22 support, not workholding.

woodturner.org 35
 Closing Up Shop for the Last Time

Mike Peace

W
oodturners are unique indi- our mortality and should encourage People in either of the above two
viduals, but we all have one us to think about how to deal with our categories may be capable of disposing
thing in common: We will own shop. Let’s explore some options of their shop themselves or with some
grow older and eventually become in case we are no longer around to close assistance. If so, consider clearing out
unable to continue turning, all too our shop for the last time. These sugges- your shop now, while you can. At least
often leaving someone to deal with tions are also relevant for those who deal with some simple tasks: get rid
our shop and tools. choose to or must give up woodturning of wood too cracked to turn, boxes of
A funny T-shirt says, “He who dies for health reasons. extra bowls, platters, or other projects
with the most tools wins.” My friend Procrastination kicks in when there started but not finished; give away fin-
Frank was always wearing a hat with is something we don’t want to deal ished projects that won’t be displayed
that saying. He was active, teaching with. But I believe we should plan around the house; dispose of old fin-
at the local Woodcraft store and as a ahead to lessen the burden on the ishes—responsibly; sell or give away
demonstrator in our region. Frank was loved ones we leave behind. what you can and throw away the rest.
scheduled to do a demo for our club
when he passed away unexpectedly. Woodturners’ situations Those who are still actively turning
Well, you can’t take tools with you. Or Turners often fall in one of these People in this category would be wise
as one person commented, “I never categories: to take some planning actions now:
saw a hearse pulling a U-Haul trailer.” • Identify shop items that have not
I helped a widow sort out her hus- Those who no longer turn due been used in more than a year and
band’s shop after he died of Covid. He to health reasons consider getting rid of them.
was a long-time member of my club and A woodturner I knew bought a large • Offer wood in excess of your needs to
had an extensive shop. Unfortunately, expensive lathe late in life and was a club raffle. Do not include firewood!
he made no advance arrangements. enjoying his retirement pastime. Then Taking old, cracked wood that you
This kind of experience reminds us of he had a recurrence of cancer, and would not turn yourself means you
his brother, who was handling his will have wasted your time hauling it
affairs, knew nothing about wood- for someone else to dispose of.
turning. I provided him with contact • Get rid of old turning magazines
information for several clubs within a that typically have no dollar value.
couple hours’ drive that probably had Take a few to a club meeting for a
a member interested in getting a nice visitor or new turner. Past American
used lathe at a reasonable price. Woodturner copies can provide info
about the AAW and what the organi-
Those who no longer have an zation offers a new turner. Perhaps
interest in turning they could be thrown in as sizzle if
They may not have turned in years. I you are selling something to a new
see this in a number of club members woodturner. But best is probably just
who might be referred to as inactive to throw them in the recycle bin.
hobbyists. They may still come to • Turning DVDs and VHS tapes should
club meetings for social reasons or hit the trash. Who still owns the
to leave the house for a while. They players for them? If your club has a
may still have an interest in watching library, they might want your old
someone else turn but don’t want to DVDs and tapes, but probably not.
do it themselves. Many clubs have abandoned libraries,

36 American Woodturner October 2025

 F E AT U R E

as there is very little interest in them. Amazon can often be found at wood-
YouTube and interactive remote demos working or woodturning vendor sites.
(IRDs) have pretty much replaced the If you are in a club or there is one What’s in a
old formats. Plus, it is much easier to nearby, they will likely be happy to Written Plan?
look up an old American Woodturner post a classified ad for little or nothing
article in the AAW’s digital archives on their chapter website, Facebook • Document your tools and leave a
than to search through a stack of old page, or in a newsletter or email distri- printed list where it can be easily
journals in the basement. bution, as most clubs consider this as a found. Indicate any tools that
• Most important is to prepare a valuable service for members. are to be given or donated to a
written plan to assist the person When preparing your list of tools, specific family member, friend,
who will be left with the task of liq- describe each item as clearly as pos- or organization. If you decide
to donate tools to a charitable
uidating your shop. (See What’s in a sible and include model numbers,
nonprofit organization in the U.S.,
Written Plan? sidebar.) It is possible correct titles, and accurate condition.
such as a local woodturning guild,
your residence will go on the market Sometimes providing the current retail
the estate may qualify for a tax
and a workshop full of equipment, price is a useful reference. Voltage is deduction. Seek the advice of a
wood, and tools is not going to help! important. In the U.S. it is 110V, but qualified tax advisor for details.
larger equipment may require 220V,
• In the case of someone with a
Possible sales venues which not all shops have. Providing an
terminal illness, if tools are to be
• Local woodturning clubs asking price will get a better response.
sold after the turner’s death to a
• Social media, such as Facebook Publish contact information and city
specific recipient, negotiate and
Marketplace, a neighborhood location, so you won’t waste time on document agreed-upon sale prices.
Facebook page, and NextDoor calls from folks too far away. Publish
• eBay • If there are no family members
the list as a PDF if you are expecting it
or friends interested in the tools,
• Craigslist to be distributed by email.
document the method of disposal,
• Yard or estate sale Be realistic with pricing expectations.
along with appropriate details and
• Online outlets, including I know of one club member with health
contact information. This could
forums like the AAW Forum’s issues who priced his tools and equip- include the use of a professional
Woodturning Marketplace ment too close to full retail when selling auction service, relying on a
(aawforum.org/community) or his home to move into assisted living. It knowledgeable and trusted friend,
SawMillCreek.org. Smaller tools that took a long time with many price reduc- or full-service help from a person
can be easily packed and shipped can tions and the hassle and expense of familiar with tool pricing and selling
often be sold online. But be prepared, moving things into a storage unit. alternatives. This selling process can
as this can take significant work, take considerable time, so if a friend
including packaging and figuring out When you’ve been is to be recruited, document agreed-
how to get paid for shipping costs. asked to help upon compensation for their time
What should you do if you get a call and expertise.
Pricing to help with closing someone’s shop • After you choose an approach and
There is an old joke among woodturners for the last time? First, you’ll have to document the plan in writing,
that our biggest fear is our spouse selling decide if you are willing to spend the communicate the plan details with
our tools for what we said we paid for time needed. One turning friend that your family, including the location
them! A general rule of thumb is that had considerable experience in this of the written document (perhaps
50% of current retail value is a good area suggested if dealing with someone stored with other important papers
starting price for many tools. Tools that you do not know, consider pricing such as your will or in a binder in
might go more readily at a higher price, a prominent place in your shop).
your assistance at an hourly rate for a
This will help alleviate some of the
perhaps 60% to 75% of retail value, minimum of two hours. This makes it
stress on your next of kin upon
include higher-end equipment with a business arrangement and may rule
your death.
cast iron like jointers, table saws, band- out folks who might be difficult to deal
saws, and lathes. Sought after items like with or have unrealistic expectations.
chucks would also fall into this category. He said he put in two days of pricing
Amazon is a good tool for determining assistance for a widow, only to have a
pricing, and items that aren’t listed on family member come in with a truck

woodturner.org 37
 Accumulated wood Unused but still lingering

When a shop must be closed for the Stacks of magazines, journals, and books: are they continuing to prove useful?
last time, what to do with the inevitable
accumulation of turning stock and
rough-turned bowls?

and haul everything off, so his time Christmas party auction/raffle. Places a widow wanting to sell her husband’s
was completely wasted. to donate might include any nonprofit Powermatic lathe. He swooped in on
One of the biggest value-added that conducts fundraising auctions the widow with a lowball offer. We
ways you can help is to document and raffles. My local United Way was never saw him again, which was fortu-
the items and group things that logi- happy to take small turnings, which nate for all. In summary, plan ahead.
cally go together. For example, keep they added to baskets they were auc- Take responsibility for your hobby and
extra chuck jaws with the chuck. For tioning or raffling or giving to donors. ease the burden on others.
a lathe, gather and put with it all of For many widows whose spouse
Mike Peace is active in three clubs in the
the original equipment, such as face- belonged to a woodturning guild, one
Atlanta area and is a virtual member of
plates, drives, etc. In a recent situation, option is to donate the entire shop to another. He regularly uploads woodturning
I found a set of wheels and a pipe-like the club in exchange for them hauling educational videos to his YouTube channel,
handle in a storage room for the shop. everything away. If the club is a non- Mike Peace Woodturning. Mike worked
The widow never would have recog- profit organization, they can provide as a software project manager before
retirement. After serving on active duty
nized these items as a Oneway lathe a tax receipt, although nowadays with
in the U.S. Army, Mike stayed active
accessory (used to move the lathe) that high standard deductions, this may as a reservist, retiring with the rank
sells new for $300. not be a big deal—but it might be. This of Lieutenant Colonel. For more, visit
Another service you can provide option might be appealing if the shop mikepeacewoodturning.com.
is to be in attendance at a garage or must be cleaned out quickly so the
yard sale to help deal with customers, house can be sold, or if the next of kin
answer questions, and negotiate prices. is out of state. FOR FURTHER READING
Many widows would be reluctant to A variation is to split the final pro- From th
of Expe e Benefit
have strangers traipsing through the ceeds between the club and the widow. CLEAN YO
rience

For more useful Dale Lars UR SHOP!

house and shop unattended. If you are a club member, consider information on this topic,
on

DALE LARS
ON’S

A
SHOP TRUTH SHOP TRUT
SHOP TRUTH 1: Space is valuabl HS s I write
this, I am
e.
collect stuff. 2: Any horizontal the shop in
surface of an older the process
CONCLU
will year or
two, I get woodturne of helping yet
munity: another

suggesting this to the leadership as a

SION: Get r who has

Evaluate wood left over in the

“Can a call famil
I am happy you come help like this from
you know rid of any passed
you tools and away. Abou y clean out
on to them will never use again. wood At the to help clean up a friend
in the t once
“just in Don’t hang top of friends, and sell every
case.” the list: but in Dad’s wood woodturning

check out the AAW’s

won’t be doing
stuck with Clean up and so, turning com-
won’t know the job organize I have learne equipment
your shop d some
won’t know which pieces when you go now, hard lesson ?”
of equip to that
which big wood so your poor s.
Shop stor pieces
of wood
ment are
valuable shop in family
Here are ies are prized and which the sky. They
some quick timbers are junk.
and which

service your chapter can provide. If

They

shop. Exotic blanks, bowl blanks, and

stories are firewo
that will
illustrate od.
the point

online archives. Log in at

.
When Recently,
a crew
out Dale from Casca I helpe
Hastay’s de Wood his shop. Harol d Harol
first thing turners d Enneb
one-car-gar to the end. d died erg’s famil
cleaned at age 94,
of sawdu we did was take age-si zed
tools and His shop conta and he y clean
out
st/chips five 55-ga shop, the wood. ined kept turnin
many out of llon barre family What had sixty years’ g right
whee the
neighbor’s lbarrow loads shop. Then we ls had
organizing no idea. Sudde
value and worth
of old
what was

the club adopts this practice, docu-

of took

roughed out bowls without cracks,

have room woodpile. Only firewood out nly,
the midd a sale of his tools we were in junk? The
to the
ate Dale’s to move aroun then did we le of a globa and wood the position

woodturner.org and use equipment d in the finally In Harol l , despit of

and wood shop and evalu d’s shop, pandemic. e being
pushed in
supply. - into a corne when an old
it? Junk tool died,
wood was r of the shop. it
ful, valua piled up But really was just
ble wood all over, , why
you don’t under with some keep
know you it. If you beauti-
about a have it. can’t
where
beautiful
piece Trust me, see the wood
,

sawn slabs, and burls have value. Old ment the process, including rules for
in the of wood you will forget
shop. if it is burie

the Explore! search tool

d some
-

My good
friend
that sever Malco
lm Zand WOODTU R N E R SCH AT T E R
al years er in Ottaw
shop and ago, he
CHATTER saw sever looked a told
hadn’t al floor- around me
used in stand his small
years
Tips for Selling Tools
space for ing

dried and cracked wood should be volunteers. Some folks have different to find these articles:
his King . He sold them tools that he
selling Jeffcurre nt work. and
the tools. He has freed up
Photos by Dennis Belcher. never more
regretted

Following are20some tips for woodturn- and driveway

parking can quickly
ers who, for whatever reason, have run out. Conducting a day-long series
decided it is time to reduce their col- of thirty-minute sales sessions, for
American
lection of woodshop tools. They are maybe ten buyers at each Wood
session,
turner

• “From the Benefit of

largely based on the recent experi- February

assessed to determine if it is usable or views on what is fair or reasonable,

will eliminate an overflow crowd 2021
ences of members of the Wilmington all at one time. However, if a buyer
Area Woodturners Association, an chooses a time later in the day, or is be priced at 50% of the current price
AAW chapter in North Carolina. No assigned one, they may find the items of a comparable new
item. Adjust this
doubt, readers will think of ideas to they wanted have already been sold. percentage based on the condition of
supplement these tips; this article is That will be disappointing for them, the tool and the primary goal of the
merely intended to prompt you to particularly if they traveled a long sale. Also, expect that no matter how

Experience: Clean Your

think and plan ahead, so you can be way to the sale. reasonably you have priced your items,

so fence in parameters for integrity—

better prepared when your tool sale is

good only for firewood.

some prospective purchasers may
on the horizon. 4. Folding tables are an easy place to attempt to negotiate further. Decide
display tools, whereas placing them on ahead of time how you
will handle this
Plan ahead the ground or floor is much less desir- scenario—know your bottom line.
1. A sale held indoors, ideally in your able and can create a tripping hazard.
shop, will reduce the chore of having
8. Some buyers may show up well
to move and display all of your items 5. Have one or more extension cords

Shop!” by Dale Larson,

before the sale starts to increase their
outside. And an outdoor/driveway sale available so prospective purchasers chances of getting what they want

what volunteers can or cannot do in

might necessitate scrambling if the

Chances are the family will have

can plug in and safely try electric tools to buy. Decide ahead
of time how (or
weather takes a turn for the worse. before purchasing. whether) you will accommodate them.

2. While many woodturners are 6. You may want to put a sign, such A “to do” list
retired and have the flexibility to as “WOODTURNERS TOOL SALE”

February 2021 AW (vol 36,

1. Prepare an inventory of your sale
attend a sale almost any day and time, curbside at your location to help items, including brand names, model
new and younger members may not buyers find you. numbers, tool capacities in inches (as
have that same flexibility. A weekend
appropriate), horsepowers, voltages,

terms of cash or tools on the side. A

sale reduces this concern.

pulled any completed turned items

7. Understand that the actual sales and prices, for inclusion in a compre-
price of used tools will likely not come hensive list for publication ahead of
3. The availability of on-street close to the original price you paid for the sale. If your club can publish your
parking at the site, especially if you them. Before pricing the tools in the sale items (either in a newsletter or on
intend to hold just a one-day sale, sale, determine whether your goal is their website), make the list “email-

no 1, page 20)
must be considered, particularly if to have nothing left at the end of the able” and include photos.
heavy tools/machines need to be sale or to maximize revenue. A helpful
transported to vehicles. Also, street rule of thumb is that used tools can 2. Clean your tools as best you can.

they felt a relative might want. few years ago, our club hosted a profes-
• “Tips for Selling Tools,”
Remaining items can be sold or sional turner who likely could afford
Plan ahead to avoid parking issues. Have power available so buyers can test People may show up ahead of the starting time
electric tools. to get first dibs on certain items. Decide ahead

by Jeff King, June 2024 AW

of time how you will accommodate them.

10 American Woodturner June 2024

donated. My club has had some success whatever he wanted. He overheard a (vol 39, no 3, page 10)
in selling such items at our annual conversation at a club meeting about

38 American Woodturner October 2025

 F E AT U R E

Beginnings
2025 AAW Member Exhibition

T
he 2025 AAW Symposium into process and material: “Many had field of woodturning today. Through
took place in Saint Paul, the very personal objective of showing their eyes and hands, we glimpse the
Minnesota, along the banks of their own beginnings. Others took boundless creative potential of the
the Mississippi River—a waterway that a broader view of ‘beginnings’—and natural world.”
begins as a small stream at Lake Itasca cosmology, biology, and nature had a Two works received special awards:
and grows to more than a mile and large part to play.” People’s Choice: Gaia by Heather
a half wide before reaching the Gulf Juror Mary Ann Hruska, a collector Marusiak and Master’s Choice:
of Mexico. The Beginnings exhibition and supporter of turned wood since Rhombi by Dewey Garrett.
reflected that setting, inviting artists the 1980s, has seen many new begin- Beginnings marked the start of
to consider origins—personal, mate- nings in the field. “As a collector, I’ve AAW’s 40th anniversary year and con-
rial, or conceptual—and how those witnessed the evolution of this remark- tinued the organization’s tradition
starting points shape the creative able medium. As an art form, the pos- of showcasing the range, skill, and
process. sibilities for wood are endless,” she imagination of its members through
Work for the AAW member exhibi- noted, “and artists continue to surprise thoughtful, theme-based exhibi-
tions is chosen through a blind jury with their ingenuity.” tions. All works were created between
process, with the identity of the appli- Beth McLaughlin, Artistic Director March 2023 and March 15, 2025.
cants concealed. Each year, the jury is and Chief Curator of the Fuller Craft The exhibition will be on view at the
comprised of a woodturner, a collector, Museum, praised the work for its AAW’s Gallery of Wood Art through
and an outside curator or academic. vitality: “The submissions revealed November 30, 2025.
Juror Keith Gotschall, a professional a deep connection to material and
furniture maker, production turner, form, and offered a window into the For more, visit galleryofwoodart.org or
and artist, brought a maker’s insight diverse, fresh perspectives shaping the email Tib Shaw at tib@woodturner.org.

Carol Hall (Pennsylvania) and Dan Zobel (Pennsylvania), Stepping in the Same River Twice, Ash,
paint, leaf, 4" × 6" (10cm × 15cm)
I lost my voice after heart surgery this past winter when my vocal cords were nicked. The doctors called
it “a less than optimal outcome.” I was on vocal rest for three months, which is a gentle phrase for the
terrifying reality of perpetual silence. They are scarred now, so I continue to have issues. Prolonged silence
has completely changed my perspective. If you can’t share ideas, what is their value? Exploring this theme is
my exercise in healing. I was given inspirational turnings by two incredible artists, Danielle Barbour and Dan
Zobel. The ideas we explored became stronger through collaboration. Being forced into silence has taught me
that failure is not the end. It is the beginning.

woodturner.org 39
 Pat and Karen Miller (Washington), To Live and Die in LA, Pink ivory wood, glass, 18" × 5" (46cm × 13cm)
With a perfect combination of land, water, flora, and weather, SoCal has long attracted humans and fire. This time we
had friends who lost everything. So many people forced to begin again… The overall shape of this piece reflects a world
engulfed in flame, the column of smoke trying to escape the destruction. The glass orb expresses a verdant, productive
land that is friends with the ocean, and the tiny figure in the smoke echoes the fears of all, wondering if they could
possibly survive and return. Pat’s burn-carved texture and color are purposefully harsh to evoke the results of wildfire, in
contrast to Karen’s delicate pyrography; as in the real world, heat and fire create strikingly different effects.

Tom Hale (Ohio), Cherry and Ebony Ridgeback,

Cherry, ebony, 5" × 7½" × 6½"
(13cm × 19cm × 17cm)
Beginnings can be daunting and exciting
at the same time. As an artist, that is
true whenever I strike upon a new collaborative
partnership or technique, or—as in this case—a new
form that is offering a gold mine of passages to
explore and new risks to take.

Thomas Kamila (Massachusetts), Ice Fall,

Red oak, 10" × 4¾" (25cm × 12cm)
My previous work used the classic pottery forms
found throughout the history of pot making. In
my return to woodturning after a thirty-five year
absence, I developed a new technique, turned stave
segmented forms. My new forms have the finish I
used back in the early 1990s, a high gloss surface
that displays the annular rings of the red oak. I am
Bob Holcombe (Kansas), A Bright Idea, Cherry, silver
retired now and returning to woodturning with
maple, Eastern white pine, acrylic paint, 11" × 9" (28cm × 23cm)
something new to say through this new body of
work. So these turnings are a new beginning for me. The objects I make begin with an idea. A few are bright ideas
and end up being pieces I enjoy. Others, not as much.

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MASTERS’ CHOICE AWARD

Marcel van Berkel (The Netherlands), Beginning of Life, Maple, wire, cotton,
Dewey Garrett (Arizona), Rhombi, Plywood, gilding, 6" × 5½"
acrylic paint, 5½" × 10⅝" × 14" (14cm × 27cm × 36cm)
(15cm × 14cm)
The beginning of life is love.
My beginning efforts in woodworking frequently involved working with
plywood to make shop cabinets, jigs, and tools. I often return to this
familiar material because of its availability and workability. This piece
was made by merging two hand-turned hemispheres of dyed plywood
and then turning to shape the outside. It is hollow but not hollowed
through its tiny opening. The carved diamonds were cut using my
home-built ornamental turning machine; the brass coloring was created
by dry-brushing acrylic paints.

Betty Scarpino (Indiana), Reverberations, Maple, acrylic paint,

9" × 11" × 8" (23cm × 28cm × 20cm)
Turned, deconstructed, set aside but not abandoned. Reimagined into sculpture.

Cory White (Texas), Glorious, Cherry, 20" × 17" × ½" (51cm × 43cm × 13mm)
In the end, the paths we choose help define us. Beginnings signify the end of the old and start
of something completely new. Simply starting and doing the same tried and true on a fresh
palette is not a real beginning. True beginnings evoke a myriad of emotions: fear, self-doubt,
but also excitement. Beginnings venture outward from the familiar into the unknown, from
comfort to the uncomfortable, from a place of safety to a place of risk. When the journey truly
begins, it is glorious.

woodturner.org 41
 Jeannette Rein (Western Australia,
Australia), When Something Begins,
Something Ends, Albany woolly bush,
4" × 13" × 2" (10cm × 33cm × 5cm)
As something ends its cycle, the remains
bear witness to the transformation from one
form to another. Like the cycle of a chrysalis
in a cocoon, it splits and a new life unfolds,
emerging to a new beginning.

Bob Rotche (Virginia), Acer Ascendant,

Cherry, acrylic paint, 5½" × 5" (14cm × 13cm)
The word beginning suggests a time course. If
there is a beginning, there must be a middle and
an end. What is the beginning of a tree if not a
seed? The middle, of course, is the grand tree we
Tracey Lee (Florida), Ripples, Maple, ⅞" × 9⅝" revel in during our hikes or that provides shade
(22mm × 24cm) on a city street. What about the end? It could
A beginning has the potential to cause a cascading become a home for wildlife and then nutrients
effect. Like ripples of movement in water that may for the soil. Or it could become a wall in our
reach the furthest shores, our decisions, actions, and home. Or the heat for that home. Or, if I have a
transitions create ripples that shape the world in ways say in the matter, a piece of art.
we might never fully understand. The past, the present,
and the future are linked through these waves.

Bradner Bond (California), Order from Chaos, Sapele, India ink, Kevin Burrus (Oregon), Caged Seed, Bamboo, reclaimed fir beam, brass pins,
gold leaf, 2½" × 9" (6cm × 23cm) 5" × 14" × 5" (13cm × 36cm × 13cm)
A swirling chaos of deeply carved fissures rends the bowl’s exterior, a With the theme Beginnings in mind, I chose to use a material new to me to explore line and
raw, untamed landscape. Yet, peering within reveals a stark contrast: a form—bending flat bamboo into turned seed shapes made from reclaimed fir. I am also
precisely executed rose-engine pattern. Intricate, radiating geometric interested in the shadows the sculpture makes, adding another two-dimensional element that
designs, meticulously cut, form a serene, ordered core. This duality is always changing with the direction of the light. The strips of bamboo have a line quality
embodies the emergence of structured beauty from turbulent origins. that also creates volume and adds to the narrative.
This piece represents the origins of life on earth, structure coming from
the disarray of the chemical soup.

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Bill Haskell (California), Big Bang,

Ash, 5" × 11" (13cm × 28cm)
In the 20th century, an idea was
developed by scientists that 13.8
billion years ago a tiny, dense, fireball
exploded with unimaginable force,
giving birth to the universe that
we know. Wow, what a beginning!
Eventually this event was titled the “Big
Bang,” describing the beginning of all
beginnings. This piece is a conceptual
Quincy Koczka (New York), Signal Box, White oak, impression of the Big Bang in process.
16" × 5" × 5" (41cm × 13cm × 13cm)
Can you hear me? Can you see me? I’ve been here this whole
time. Yet I can’t shake the feeling that I’m only just beginning.
What ripples will I make, and where will this water take me?
I’m sending out my signal, I hope that you receive it.

Linda Ferber (Minnesota) and Jeff Luedloff

(Minnesota), Echo, Cherry, maple, boxelder, ash, wire, acrylic
paint, 7" × 5" × 4" (18cm × 13cm × 10cm) Steve Criscenzo (North Carolina), Child’s Play,
Bigleaf maple burl, brass rod, 42" × 10"
The emergence of new growth sprouting from a decaying stump
(107cm × 25cm)
symbolizes resilience and regeneration. The fragility of the beginning
of life process signifies the return of life to the tree, illustrating how Child’s Play is a collection of turned creations that
trees adapt, survive, and evolve. As nutrients from this decomposing captures the essence of youthful nostalgia. Each
stump nourish new growth, the young plant continues the vibrant item reflects the simple joys of childhood, recalling
cycle of life, showcasing nature’s ability to renew itself, marking a timeless memories of playtime with our favorite
new beginning, creating echoes that endure. toys and games. The individual pieces evoke a sense
of wonder, transporting us back to a time when
imagination knew no bounds. From building blocks
to spinning tops, each object symbolizes the playful
beginnings of life, where laughter echoed and
creativity flourished. As a collection, Child’s Play
celebrates the innocence and whimsy of childhood,
preserving the spirit of youthful joy upon which the
rest of life is built.

woodturner.org 43
 Bill Karow (Oregon), White Moon Lake, Spalted maple, bleach, pigment, 4" × 7"
(10cm × 18cm)
Beginnings often emerge from transformation. This piece was found as spalted maple,
neglected and marked by decay, yet it became something new. Its journey—from breakdown
to renewal—reflects nature’s constant cycle of regeneration. Every new beginning carries the
echoes of what came before.

Eli Finkelstein (New York), White Oak Ovum,

White oak, African blackwood, boiled linseed oil,
shellac, 6" × 4" (15cm × 10cm)
This hollow form, inspired by the shape of an egg,
symbolizes new beginnings and the potential for
life. The thin and smooth white oak surface evokes
the purity and fragility of a brown eggshell, and
the three ridges add tactile contrast, hinting at the
repetition of the passage of years and the potential
for transformation. The small ebony lid provides a
visual counterpoint, grounding the form with a sense
of closure—much like the barrier between a chick
and the outside world—inviting one to contemplate
the contents and their potential to break free and
emerge into new life.

PEOPLE’S CHOICE AWARD

Heather Marusiak
(Kansas), Gaia, Maple, sycamore,
rhododendron, cassava root,
acrylic color, 14½" × 10½" × 8½"
(37cm × 27cm × 22cm)
Gaia is the personification of
Earth, from whom all life springs
and is sustained. Humanity will
determine its fate by how it defines
its relationship with her.

Ellen Starr (Minnesota), Cherry

Blossoms, Holly, madrone burl,
6½" × 3" (17cm × 8cm)
The blossoming of flowering trees herald
the spring, the beginning of new life
emerging from the cold depths of winter.

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Steve Sinner (Iowa) and Rick Cannon (Tennessee)

Joe Meirhaeghe (Illinois), J&S362, and Tom Hale (Ohio), Potential
Maple, acrylic paint, ink, urethane, from Beginning, Maple, acrylic paint,
12¾" × 8½" (32cm × 22cm) 12" × 7" × 2" (30cm × 18cm × 5cm)
About thirty years ago, a twig sprouted on a What if something like the craft of
maple tree in Eastern Iowa. Today, you can still woodturning could create a beginning,
see that twig in the center of the bottom of this in this case a friendship? I had admired
vase, along with all the wood that has grown Tom Hale’s craftsmanship, specifically
around it since. the shapes of his vessels, so I asked him
for a couple of his assumed rejects that
I could embellish. He sent two nearly
finished pieces. I carved, pyrographed,
and colored his maple vase, resulting
in the beginning not only of a unique
vessel, but also a friendship.

Nathan Ward (Illinois),

New Start, Holly, maple, oak
burl, 15" × 12" × 12"
(38cm × 30cm × 30cm)
In art, daffodils represent
hope, new life, and new
beginnings due to their early
spring arrival. I see this piece
as representing the beginning
of life, of hope, and that little
piece of youth that we all still
hold inside.

Emily Ford (Utah), Something in the Orange,

Orange flame boxelder, 1¾" × 21½" (4cm × 55cm)
Intro to Woodturning teacher is just one of the
many hats I wear in life. In class, platters are the
pièce de résistance—the final showcase of
all the techniques learned over three to five
days. For many students, it’s the largest
piece they’ve ever turned. While I’ve been
turning for over ten years and no longer
consider myself a beginner, this platter
was a first for me, too—my first time
turning a large-diameter piece, pushing
my lathe to its maximum swing. It was a new
challenge, a fresh beginning, and a reminder
that there is always more to learn in turning wood.

woodturner.org 45
AN ARTIST’S SOUL TRAVELS,
EACH STEP A DESTINATION

ROBERTO
FERRER’S
REMARKABLE
JOURNEY
Photo: Mike Mitchel
Derek Weidman

I
t was a loud late night in Bucks mostly bowls and before that, doing and on the creative power infused
County, Pennsylvania, and a rag- some carving on organic vessels. All in his oeuvre trace back to his home-
tag group of woodturners, metal- were beautifully, even expertly, done, land, Puebla City, where he was
smiths, artists, and craftspeople gath- but his voice as an innovative and born and raised, and nearby Mexico
ered around a large patio table, joking spiritually connected sculptor had City, where he moved at age sixteen.
about life and discussing the collabora- not yet emerged. In the early days of Cosmopolitan and historic, the
tive projects they would continue the our friendship, Roberto told me about vibrant sights and sounds of Mexico
next day. All of those in this clutch of his goals as a maker. He said with a City etched a visual orchestra onto his
around twenty makers (out of a total of lighthearted but determined convic- sensibilities. Much like the contem-
seventy participants) were unwinding tion that he wanted to become a “true porary sculptor Roberto has become,
as the frenetic, creative, and exhaust- artist,” whatever that meant. Mexico City itself fuses the traditional
ing Echo Lake collaborative event To say that since then his growth and ancient with modernity.
neared its final day. Everyone was has been meteoric would not be an While Roberto brings a work of art
running on empty—except one. After overstatement. Roberto is a joker, unas- into existence with the newest pow-
enjoying the social atmosphere for a suming and kindhearted, but make no erful electric grinders and a modern
time, there sat Roberto Ferrer, under mistake: those who have met him along lathe, he may finish the same piece
the night sky and a dim deck light, in his path marvel at the sheer artistic quietly and meditatively, with hand
a not-so-comfortable chair, looking distance he has traveled. He told me he chisels indistinguishable from those
perfectly at ease while adding pyrogra- wanted to be a true artist, and he knew of a hundred or more years ago. And in
phy to a sculpture. Most participants better than anyone what that meant: to the same way, graffiti and murals on
had gone to bed, having spent a tiring be willing to put in the work—relent- city and subway walls or the bold illus-
twelve-hour day collaborating, but lessly, step by step—to bring his artistic trations of band shirts on tourists clash
now at midnight, Roberto was intent visions into the world and turn his and juxtapose temporally, as those
to ply his craft for a few hours more. dreams into reality. same tourists, learning about Mexico’s
I met Roberto nearly a decade ago, history, climb among the pre-Colum-
first at the art expo SOFA Chicago The old and the new bian ruins.
and then while teaching at a craft Some of the most resonant influ- As an older teenager on his days
school. At the time, he was turning ences on Roberto’s artistic journey off from work, Roberto would take

46 American Woodturner October 2025

 F E AT U R E

walks around the rich patchwork of

Mexico City, strolling through public
parks like Alameda Central, lined
with its white and black oak trees and
full of monuments and sculptures.
He breathed in and marveled at the
varieties of architecture, the bones
of the city, places like Mexico City
Metropolitan Cathedral, built on a
sacred site of the Aztecs, or the dra-
matic details of colonial buildings like
the National Palace. Dotting the city
were also museums, where Roberto
began appreciating how painters
capture the different types of light
cast by the sun throughout the day, as El Jarabe, 2023, Walnut, steel, acrylic paint, 6" × 6" × 1" (15cm × 15cm × 25mm)
he himself had begun to notice. All of Photos: Tib Shaw
these disparate places, like a quilt, were Folklore dances in Mexico were a form of expression used for religious purposes during pre-Columbian
connected by the thread of a bustling times, and as a way to mock the Spanish crown. El Jarabe Tapatio, commonly referred to as El Jarabe,
subway system, where again historical represents the courtship of a man and a woman, with the woman first rejecting the man’s advances,
elements are woven seamlessly into then eventually accepting them.
modern construction.

Influential seeds Antiquity, 2018, Boxelder, lacquer,

The influential seeds from his home- 6" × 15" (16cm × 38cm)
town and Mexico City took time to
Collection of Sonal G.
grow through Roberto’s constantly
expanding creative process. Each new
artistic branch, beginning to bear
weight and reach for sunshine, found
itself inextricably connected in a pro-
found way back to the earliest roots
in Mesoamerica. Some of those seeds of materials and experiences how
were quite humble, like the playful he wanted to run his hand clear
first cuts Roberto made in wood while through the sculptures, with surfaces
visiting his cousin’s woodshop, never like inky swirling portals filled with
realizing that the medium of wood glowing light.
was as surely in his blood as it was Others were profound as they
coming off in ribbons at the lathe. unfolded, even when Roberto was
Some seeds were quite subtle, like just 12 years old. When visiting an
the time he saw an exhibition in his archeological site not far from Puebla
hometown of onyx sculptures with City, Roberto saw the Mesoamerican
flowing, mesmerizing carved shapes. pyramid ruins of Cholula, obscured
Roberto explained, “What caught my and repurposed with a Catholic temple
eye were the fluid lines, bright colors, built directly on top of them. As
and translucency of the material. Roberto explained, “For the Spanish,
These sculptures seemed to glow it was a way to convert the natives to Cleaning small vessels with a
when the sunshine came through Catholicism and erase their culture,” carving gouge, 2022.
the windows and filled the space and learning of this erasure made him Photo: Kate Zhuchkova

with bright light.” Roberto recalls want to one day share his heritage with
in his idiosyncratic interpretation the world. Like the Spanish church

woodturner.org 47
 Quetzalcoatl, 2019, Black walnut, steel, acrylic paint, 6" × 5¾" × 1¼" (15cm × 15cm × 32mm)
Collection of Rich and Debbie Hall-Rappen

the few who are expanding the recreating forms and motifs from his
diversity of the AAW member- cultural roots. He instead has traveled
ship, and he said, “Although through valuable experiences of his
it is not my intention to own, accumulated all manner of tech-
be a spokesperson for the niques, both learned and invented,
Latin American community, and synthesized influences across
throughout my work I hope to cultures—the ancient and the new,
inspire other Spanish-speaking Mexican and American.
artists living in the U.S. and in
other countries to come forward and Seeking purpose
share with the rest of the woodturn- There came a point where the vibrant
ing community. I truly believe that by colors, culture, history, and places of
interacting, sharing, and collaborat- Mexico turned into mere memories.
on that Mesoamerican pyramid, time ing, society grows and becomes rich Roberto left his homeland and trav-
and processes have added layered with culture and traditions.” eled north, immigrating to the United
surfaces that speak through Roberto’s While sincere and hopeful in his States. Seeking purpose, new experi-
art, itself covered in a panoply of words, the work that is the back- ences, and opportunities, he found
carved, painted, and burned textures. drop to them is visionary. Perhaps himself in a number of states across
Examples include El Jarabe, inspired Roberto’s most powerful series is his America. He traveled to towns he tem-
by folklore dances and specifically Mesoamerican Shields, which repre- porarily called home, collecting tools,
the China Poblana dress women wore sent different aspects and times of figuratively and literally, and adding
while performing, and Quetzalcoatl, a Mesoamerican civilizations. These tinder to the creative spark about to be
revered mythical Mesoamerican feath- works bring a modern voice from an lit in a wood artist waking up. To make
ered serpent that created the universe entire culture, both in iconography ends meet, Roberto found himself
and mankind. and narratives, into our woodturn- doing construction—hard work but
Given his heritage, I asked Roberto ing community. But Roberto does reliable income. Wherever he found
what it means to him to be among not merely behave as a torch-bearer, his feet, things needed building with
the capable blistered hands of those
willing to do it.
I truly believe that by interacting, sharing, and

“
His first stop on American soil was
collaborating, society grows and becomes rich California, where Roberto gained
almost by osmosis the knowledge
with culture and traditions.” –Roberto Ferrer of the Chicano subculture, includ-
ing how they translated their unique

Magnolia, 2013, Spalted

southern magnolia, Danish
oil, 3" × 23" × 16½"
(8cm × 58cm × 42cm)

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 F E AT U R E

lived experiences into art. From Roberto demonstrating at

there, it was all the way across the the 2023 AAW International
country to Florida, then up the East Woodturning Symposium in
Coast to Charlotte, North Carolina. Louisville, Kentucky.
Photo: Andi Wolfe
Serendipitously, behind the place
Roberto was renting stood a small,
inconspicuous, unassuming shed.
At first, Roberto used the shed
to store the tools for his construc-
tion job—hammers, a circular saw,
assorted measuring implements. But
soon it evolved into a workspace and
then a modest furniture shop with a
bandsaw, planer, and contractor’s table his life in Mexico, all while harvesting With a medley of influences from
saw. The goal was to furnish his house logs and tools in the United States. both Mexico and the United States,
with items he crafted himself—after Tools and logs are simple terms it was natural for Roberto to explore
working grueling hours on construc- for describing process and material- more than one medium. He was
tion sites, running tower cranes, or ity, concepts important to any artist. always an artist in heart and mind,
spot-remodeling as an independent Roberto’s interest in the expressive but his hands necessarily found busi-
contractor. With a newfound passion potential of materials—in the same ness doing anything and everything
for fine woodworking but lacking the way color, texture, and stories are before making art full time. From his
surplus energy to create large pieces of expressive tools—may have started broad cultural and work experience
furniture, Roberto began experiment- directly with carved logs. The flowing came an expansion from wood art to
ing with smaller pieces like bandsaw and dynamically carved Magnolia is an digital demos, then stone and bronze,
boxes and picture frames. early example, but the impetus goes and even designs for large-scale
Roberto shared a quote with me that back even farther. The onyx sculptures public works. Contained, a cast bronze
resonates with his own practice, Pablo he wanted to plunge his hand through, sculpture, shows Roberto’s growth
Picasso’s famous line, “Inspiration the stone temples of his homeland, the as a maker during that period, but in
exists, but it has to find you working.” metal helmets of Roman soldiers in
While working intently on bandsaw religious ceremonies he saw as a child
boxes, Roberto saw the beauty of all left impressions and the desire to
“defects” in the wood he was using. He shape things with his hands.
recognized that what many would call
imperfections—burls, knots, etc.—are
storytellers themselves and became
completely intoxicated by them. Then,
after a chance sighting at a local wood-
working store of a grinder attachment
that could be used as a carving tool,
he began to notice random unclaimed
logs in his neighborhood, and his life
as a wood sculptor was afoot.
Driving along North Carolina
roads and snatching up interest-
ing stumps to carve—that is, using
what’s around—is an apt expression
of how Roberto’s artistic pursuits have
manifested and evolved. As Roberto Contained, 2022, Bronze, steel, white oak,
continued down his path as an artist, 151/2" × 111/4" × 5" (39cm × 29cm × 13cm)
he called upon the stories, culture, The bronze sculptural element was cast using the
iconography, and rich textures from lost-wax method from an original maple form.

woodturner.org 49
retrospect, it was also an experiment sand—beautiful vessels quickly. experience, Cyclone is Roberto’s
hinting at things to come. YouTube creators such as Miguel response to the devastating effects of
Zanches and Cap’n Eddie Castelin, as Hurricane Dennis, which pummeled
Constantly learning well as mainline woodturners such Florida in 2005 when he was living
and growing as (the late) John Jordan and Gary there in his early 20s.
After carving vessels whole cloth Stevens, greatly influenced and aided Not surprisingly, each chapter
and undertaking the meticulous Roberto in his woodturning journey. in Roberto’s life left a thread that
task of sanding them to perfection, The spiral flutes, rhythm, movement, he carried forward into his current
Roberto wanted to create works faster. and grace of the latter two makers can artistic life. Beyond wood art and
Enter YouTube, where Roberto began be seen in many of Roberto’s works. woodturning stemming from his
seeking out videos showing how wood Pieces from his Gladiator series and time in North Carolina, he also began
lathes could be used to create—and the stunning Cyclone speak strongly making online content and undertak-
to their influence. The evolution ing other digital endeavors, including
of these works into Roberto’s interactive remote demos (IRDs) like
Mesoamerican series is easy to see the ones that contributed to his own
and rewarding to understand, woodturning education.
as it is a concrete example of
how this maker’s creative Chicago and the
mind works. Seamlessly Agave Engine
combining technique, The most recent stop in his expansive
narrative, and personal journey is Chicago, where Roberto

La Venta (Mesoamerican Series),

2021, Black walnut, pyrography,
metallic paint, 15" × 15" × 2"
(38cm × 38cm × 5cm)
Collection of Tom
and Terry Wedel

Cuauhtemoc (Mesoamerican Series),

2021, Maple, pyrography, acrylic paint,
15" × 15" × 2" (38cm × 38cm × 5cm)
Collection of Maureen Mark

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now lives with his wife Kate and their Traveler, 2018, Cherry, acrylic paint,
three children. Roots of family and 5¾" × 2¼" (15cm × 6cm)
community anchored him there and
allowed him to begin making art Storm, 2022, Maple, pyrography (not fractal
fulltime. burning), 13" × 13" × 2" (33cm × 33cm × 5cm)
Chicago offers a bustling wood-
turning scene that Roberto has fully
embraced. Much like how Roberto
took advantage of online content to
learn woodturning, the other giant
pillar of the woodturning craft is the
local clubs and communities that
make wood shavings into a local and
international family, which he soon
actively joined.
He is active in his local club and
has demonstrated twice at the bien-
nial Turn-On! Chicago symposium.
He has also demonstrated for local
clubs and at craft shows, as well as at
other regional and national events,
including the 2023 AAW International
Woodturning Symposium in
Louisville, Kentucky. of a flower. These are stiffer
Time, like woodturning, moves in machines in the way an
circles. Roberto met Francisco Bauer, artisan uses them, with less
who soon became his woodturning direct human interaction
mentor. Francisco was born in the than a conventional wood
United States but was raised in Mexico, lathe. Much of the artistry is
so they had an immediate and mean- locked into the rosettes and
ingful connection. Francisco taught setup, determined before the
Roberto more sophisticated sharpen- machine is ever turned on.
ing and turning techniques, along After seeing ornamental
with making him tools and custom turning in action, Roberto
lathe attachments, as Francisco is an was struck—not unlike a bolt
industrial mechanic by trade. Now of lightning, or perhaps a few
retired, he generously found time to shots of tequila—with a wild
help Roberto with each step he took. idea. After visiting the shop Iridescence Dream, 2017, Mahogany,
Better turning skills and direct expo- of accomplished ornamental 10" × 10" × 1¾" (25cm × 25cm × 4cm)
sure to making his own tools were key turner Dr. Scott Barret to study his
to Roberto’s inspired level of work. rose engine, Roberto reasoned that an
A strong theme among Chicago- angle grinder could be modified into engine. The agave fruit, central
area woodturners is the notable something akin to the cutters of a rose to Mesoamerican culture, looks
number of ornamental woodturners. engine. With a jig to hold the angle strikingly like the patterned cuts of
Ornamental turning uses a modified grinder, Roberto began making cuts a rose engine as well.
lathe and rosettes to create ornate, in tandem with a lathe—precise, yet This new machine, the Agave
mathematically infused patterns open to spontaneity—a clear depar- Engine, designed by Roberto, is a dif-
in wood. Some of the original ture from a conventional rose engine. ferent beast altogether. It creates the
machines were called rose engines, The rose, a symbol of perfect love repeating patterns similar to those of
as the way they created patterns was and beauty, fits the unwavering a rose engine, but a human hand, full
reminiscent of the repeating petals and interwoven cuts of a rose of life and imperfection, is still part

woodturner.org 51
of every cut. Like the agave plant and Ferris wheels. They are the collisions
the tequila it makes, there is spirit, of past and present. PBS Video on Roberto Ferrer
vigor, and risk persisting in each pass Roberto’s work, like his life, is PBS visited Roberto’s
of the cutter. full, chaotic, and always moving Illinois shop in 2022 and
The work Roberto has made with forward. featured him in an “Eye on
the Arts” episode. View the
the Agave Engine now forms the
video at tiny.cc/Ferrer.
canvas for all of his stories—stories
from his hometown and Mexico
City and from his journey in the Having devoted many years to wildlife
U.S. that brought him to Chicago. rehabilitation, Derek Weidman is a full-
time wood sculptor focused primarily on
They are the canvas for all of the
multiaxis turning with an emphasis on
textures, from crumbling stones to animal forms. He is a known boundary-
spinning blades; the palette for all pusher, demonstrator, nature lover,
of the colors, from serpent gods to troublemaker, and fledgling writer.

(Left) Gladiator #3, 2019, Black

walnut, metallic wax,
14¾" × 14¾" × 1¾"
(37cm × 37cm × 4cm)
(Right) Cyclone, 2017, Black
walnut, 13" × 13" × 1"
(33cm × 33cm × 25mm)
Photo: Vic Berardi

Roberto with his ornamental-lathe-inspired

invention, the Agave Engine.
Wall Sculpture, 2024, Poplar, 40" × 52" × 1" (101cm × 132cm × 25mm)

52 American Woodturner October 2025

 F E AT U R E

DAVID ELLSWORTH
June 25, 1944–June 16, 2025

When David Ellsworth

passed away on June 16th
this year, the woodturning
world lost a founder, a
teacher, a generous spirit,
and a visionary whose
influence is woven into
every corner of our field.
Here we offer a three-
part tribute thoughtfully
compiled by author and
editor Craig Edelbrock.
First is a remembrance of
David’s life and legacy;
second, an historical
account of the founding
of the AAW; and third,
a selection of personal
testimonials offering an
additional glimpse of
David’s impact. Together,
these elements begin to
reflect the scope of his
contributions. We are
forever grateful for his
spirit—and we will carry
it forward.

—Gretchen Wilbrandt,
Executive Director, American
Photo: Paul Stebner
Association of Woodturners

woodturner.org 53
Remembering a Life of Creativity,
Leadership, Teaching, and Generosity
Craig Edelbrock

T
o remember David Ellsworth as a with material and motion to create his medium and stood before a lathe,
master woodturner is to miss the unlimited possibilities. it was as if all parts of his life had been
deeper resonance of his life. He Born in Iowa and shaped by the preparing him for that moment. In
was a whole person—thoughtful, emo- mountains of Colorado, David’s path the hum of the spinning blank, David
tionally attuned, socially connected, was never linear. He was a chorister in heard something no one else had. Not
and profoundly integrative in how he the Army, a student of architecture, just the wood, but what lay beneath
lived, created, and gave. For David, the an expert pool player, a folk singer, a it—a world of possibilities hidden in
lathe was a means of infinite discov- potter—each role refining his aware- the unseen void.
ery. Woodturning was a spiritual disci- ness, each reinvention deepening his His hollow forms stunned the
pline where body and mind converged search. When he finally chose wood as world. With walls as thin as eggshells

Photo: Andi Wolfe

Beech Pot – Tall, 2004, Spalted English beech,

16" × 61/2" (41cm × 17cm)

Spirit Forms

54 American Woodturner October 2025

 F E AT U R E

Redwood Lace Burl, 1986, Redwood burl,

10" × 8" (25cm × 20cm)

Untitled, 1981, Walnut sapwood burl, 4" × 5" (10cm × 13cm)

and silhouettes that seemed This photograph, of David

unearthed rather than made, David Ellsworth perched astraddle
extended what turning could be. his lathe, tall and skinny and
These were not simply vessels. They shirtless in bib overalls, riding
were traces of energy and motion the machine like a mechanical
pony, landed on my desk one
captured in time. In a medium
morning in 1978, at the Fine
focused on visual form and surface
Woodworking editorial offices.
embellishment, he taught us to That photo just blew me away.
perceive the unseen interior and We published it way too small
listen to what it had to say. in 1979, in FWW #16. An early
What David gave the world went far revelation of another gift David
beyond tools, techniques, and forms. As brought to our field: his keen
a teacher, he was boundlessly generous. awareness of the physicality of
From Arrowmont to Anderson Ranch, woodturning, the importance
from symposium and chapter demos of posture and stance, what it
to intensive sessions in his School of took out of you, and how to
Woodturning, David shared everything care for the body after hours
working at the lathe.
he knew—his attitude and approach;
–John Kelsey
his aesthetics and philosophy; his tools
and techniques; and his creative and
work process. He was never concerned
about enabling imitators. His goal
was to help others uncover their own and to become. It was a way of living. He charting his own journey, but for each of
voices, to guide them toward their own proved that an artist’s greatness lies not us on our individual paths.
intimate relationship with material and in what they make or what they keep, David Ellsworth’s creations will
motion, and thus to their own creative but in what they give away. He gave us speak and his teachings will echo for
expressions in wood. new ways of seeing, new ways of making, many decades to come. And his spirit,
Woodturning, for David, was never and a new sense of what is possible when like the unseen but eloquent interior
just about making—it was a way to life and art become one. In his hands, of each hollow form, will continue to
engage with others, to keep learning, the lathe became a compass—not just for resonate throughout the field.

woodturner.org 55
The Birth of the AAW
Arrowmont School of Arts and Crafts The AAW’s early years were
in Gatlinburg, Tennessee, was one powered by true grit, generosity,
of the first places in the country The AAW’s early years and a shared belief in the value of
to offer woodturning instruction. were powered by true the craft. Many members preferred
Director Sandra Blain worked with turning to meetings, but the journal,
Mark and Mel Lindquist to launch
grit, generosity, and demonstrator insurance, and annual
the program in 1981. By 1985, she a shared belief in the symposiums drew them in. The
and David Ellsworth—then a regular organization offered what the field
instructor at Arrowmont and rising
value of the craft. had long lacked: a sense of collective
leader in the field—sensed it was identity, a way to connect, and a
time to take stock of the movement. place to belong.
Together they launched a national Ellsworth served as president for five This wasn’t just a club. It was a
exhibition, Woodturning: Vision and years, then one more on the board, cultural home—built with hand-
Concept, juried by Ellsworth, sculp- helping build the organization’s typed newsletters, out-of-pocket
tor Mark Lindquist, and Renwick structure and ethos. Albert LeCoff donations, borrowed meeting rooms,
Gallery Director Michael Monroe. It became vice president, Ernie Conover and a deep commitment to a larger
was a rare moment of focus for a frag- secretary, and Dick Gerard treasurer. goal. The AAW began not with a
mented field—and the spark that lit LeCoff would later go on to found the grant or a grand plan, but with a barn
something much larger. Woodturning Center in Philadelphia, full of volunteers and a belief that
At the exhibition’s opening now the Museum for Art in Wood. woodturning mattered.
symposium, with more than 100
turners gathered, the idea of a
national organization took hold.
Just before Ellsworth stepped
onstage to welcome the crowd,
Dick Gerard handed him a packet
of nonprofit paperwork. By the
end of the session, the room was
buzzing. Bob Rubel of Texas offered
legal help and administrative
support. Gallery owners Ray Leier
and Rick Snyderman pledged
seed money. By the end of the October 1985, during the Woodturning Vision and Concept Symposium,
weekend, the American Association held at Arrowmont School of Arts and Crafts, David Ellsworth and
of Woodturners was born. All other like-minded folk began planning the creation of the American
Association of Woodturners, paving the way for turners to connect.
in attendance became charter Photo: Andi Wolfe
Photo: Nancy Gerard
members.
That night, in Arrowmont’s
Red Barn, volunteers voted on a
provisional board. Ellsworth was
elected president. Within a year, the
It was obvious to me—and everyone else—
first issue of American Woodturner that David Ellsworth had all of the skills and
was in print and local chapters were
forming under the guidance of
qualifications to be the first president of AAW. He was the
Palmer Sharpless. By 1987, the AAW perfect catalyst for our new organization. –William Hunter
hosted its first official symposium.

56 American Woodturner October 2025

 F E AT U R E

Testimonials About AAW Member No. 1

David was always a reassuring presence as the prophet of woodturning. David Ellsworth holds a special place in the woodturning world
Along with fame came great responsibility, and David always treated and for us. From the time we first met him, he was a welcoming
everyone with courtesy and kindness. But my fondest memories of and gracious resource for all things woodturning.
David are as a true maverick. I first became aware of him in the early –David Waterbury
1980s when I saw a photo of him sitting astride his lathe, riding it like
a horse as he coaxed a piece of wood into an impossibly thin hollow David’s unwavering dedication to advancing and expanding the
vessel. He created wood art that had never been made before, using field of woodturning was remarkable; while honoring traditional
tools that he made himself—and he lit a fire in my belly. –Terry Martin practices, he was also a visionary. He celebrated and championed
new and diverse approaches to woodturning. He believed that
From the beginning, David’s dedication to the craft and to the small but explorative, inventive, and unconventional methods not only help
growing community of woodturners impressed me. He was always ready the art form evolve but also invite new makers into the community
to share ideas, provide encouragement, and lend a helping hand. David’s and conversation. As a contemporary maker, I am inspired by David’s
example, leadership, and devotion to education were foundational to the efforts to support diversity within the AAW, for which I am truly
astounding evolution of the woodturning movement since that time. He grateful. –Kimberly Winkle
will be missed by so many as a leader, artist, and inspirational teacher,
and by those who had the privilege of knowing him personally as a kind, When I saw David’s 1979 Fine Woodworking article on hollow form
insightful, loyal, and generous man. –Mark Lindquist turning using homemade tools, I was so impressed and inspired. I
always looked up to him as the godfather of woodturning. He made
In 1989, I attended my first AAW Symposium, which is when I first us all feel that we had something special in woodturning and that the
met David. I brought three pieces to the instant gallery; one was people were special. –Michael Hosaluk
newly experimental, a turned vessel depicting a tree, its base carved
to represent tree roots, with the bowl of the vessel suggesting the I was deeply influenced by AAW’s Voices video series, especially by
tree’s “canopy.” David commented on it and his words still resonate: David’s segments on creativity, influences, aesthetics, and design. He
“If you are going to delve into abstract carving, make sure you steer was so insightful, philosophical, and articulate about woodturning,
away from trying to replicate things too realistically.” Over the years, and he focused on the process more than the final objects. He took
I witnessed David make similarly cogent comments about other me a long way. –Kevin Jesequel
turners’ work in the instant galleries. He not only attended the AAW
Symposia, he actively participated on individual levels. –Betty Scarpino At the start of my woodturning career in 1998, I got a VHS tape by
David Ellsworth and David became my virtual instructor. I would
Early one morning at an AAW Symposium, the high-rise hotel elevator watch the tape in my house, run out to the shop and try something,
was packed with a dozen woodturners heading from the top floor then run back inside, rewind the tape, and watch it again...repeatedly.
down to the lobby. We stopped at every floor, but there was no room At the AAW Symposium in 2002, I finally met David and thanked him.
for anyone else to get on. Then the doors opened—and there stood “For what?” David asked. “Some days I want to thank you for your
David Ellsworth. Twelve men straightened up, inhaled, and sucked in VHS tape,” I replied, “and other days I wish I had never heard your
their ample bellies. David stepped in. He was immediately pelted with name.” Ellsworth clapped me on the shoulder and responded, “I
greetings and questions, which he answered graciously, one by one, know exactly what you mean.” –Mike Jackofsky
the rest of the way down. No matter his fame or accomplishments,
David was always the same—kind, humble, and generous. –Steve Keeble I met David at the AAW Symposium in San Antonio in 1997. I had
my son with me; he was 12. We sat in the front row for David’s
David was the towering authority from the beginning of the demo and afterwards he was swarmed with people. We walked up
contemporary woodturning field. He was smart, articulate, kind, and expecting to wait our turn, but he put his hand out through the
generous. He was able to envision the big picture but was very much crowd and introduced himself to my son. Such an icon of humanity.
in the here, the now—and you. –Steve Loar –Steve Worcester

To me, David was many things. He was a mentor, a coworker, a “My first in-depth turning class was with David in 2008. As years went
neighbor, an inspiration, but mainly he was my friend. His turning by, I found I could make almost anything with the Ellsworth Signature
ability, teaching ability, and artistic talents were unprecedented. I Gouge. I am always in wonder of David’s teaching. He had kindness
believe his ability to bring out the best in everyone he touched may be and patience for even the slowest slowpoke, which I was.”
his most enduring talent. –Greg Schramek –Diana Friend

woodturner.org 57
GMembers’ Gallery
GALLERY

Daniel Metzler, Florida

My woodturning adventure began in the while running my architecture and
late 1980s when an artist friend dropped homebuilding business. What an
off a 1930s Rockwell Delta lathe, a few effective stress reliever turning was.
scrapers, and a very short lesson on his Recently my wife approached me
way out of town. Wow, I figured I could about purchasing a side table to be placed turn one from available stock? The result
now turn a large Ed Moulthrop globe between two chairs in our living room. is a table with three interchangeable
form, which is why I wanted the lathe. Having collected (hoarded) quantities components turned from Key West
Of course, what ensued is another story… of wood over the last thirty years, I mahogany. Having interchangeable
Almost nightly, I pursued woodturning thought, Why buy a table when I could parts affords various looks to the table.
The purpleheart base offers color, mass,
and stability. All elements are connected
via a 1" (25mm) oak dowel that runs
through their centers. My future
intention is to refine and simplify the
forms for a more unified looking piece,
while retaining the interchangeability.

Interchangeable Side Table, 2025, Purpleheart,

Mahoney’s oil (base); Key West mahogany, lacquer
(vertices); Maple burl, water-based polyurethane (top);
Pink ivory, lacquer (finial), 22" × 16" (56cm × 41cm)

Don Pohlman, Minnesota Untitled, 2025, Maple, cherry, sycamore, ash,

I fell into woodturning by accident, after 2½" × 16½" × 16½" (6cm × 42cm × 42cm)
a career in museum and exhibits plan- I started making tiny hollow forms after a workshop with
ning. I had a set of old bench chisels that David Ellsworth, where I encountered his spirit forms up
needed handles and thought I could close. I used a collet chuck and mostly homemade tools
turn them at a local maker space. I made fashioned from hex wrenches and gasket picks. After
some prototypes but then stumbled into a few months of going smaller and smaller, I’ve gone
a bowl turning class at the Minnesota back to larger vessels, but I still turn these from time
to time when I have a small piece of very nice wood.
Woodturners Association. Three-and-
a-half years later, the chisels are still
waiting, and I’m deep into turning con- (Left) Untitled, 2025,
siderably less functional things. After Boxelder, magnets,
a couple of treasured workshops with steel base, 9⅝" × 9" × 9"
David Ellsworth, I started doing hollow (24cm × 23cm × 23cm)
forms of various sizes, including the tiny
ones shown here. I’m also experiment- (Right) Untitled, 2025,
ing with cross-grain tubes, inspired by Boxelder, magnets,
Richard Raffan. I’m especially interested steel base, 9½" × 7" × 7"
in the distortion produced by rapid (24cm × 18cm × 18cm)
drying of green wood and the defects
introduced by organisms that reach the
tree before the turner.

58 American Woodturner October 2025

 GALLERY

Janice Levi, Texas Egg-xactly, 2023, Poplar,

My fascination with woodturning eggshell, spray enamel,
goes back to my childhood and my 1½" × 8¼" (38mm × 21cm)
father’s old Sears lathe. In 2001, I
received a lathe for my birthday. I
immediately joined the local turning
club, and like most new turners, I
wanted to learn to do it all. I turned bowls,
platters, boxes, ornaments. Then I began to decorate them. I
carved, sand-blasted, burned, pierced, painted, and dyed.
I liked combining art with the functional, so I began to
experiment with “wearable” art. I started by making purses
and then added jewelry, which I carved, pierced, painted, Pendants, 2025, Bradford pear, Emerging, 2015, Ebony, holly,
and burned. I continue to experiment using a variety of inex- unknown wood, eggshells, zebrawood, silver chain, wax, 21"
pensive enhancement techniques and materials, including spackling compound, spray acrylic, (53cm) chain, 82 beads
eggshells, plastic poly beads, liquid shoe polish, metal reactive embroidery thread, gunmetal
“I made this necklace for the AAW
paints, liver of sulphur, and copper. chain, beads, Each: 2½" (6cm)
juried show Emerging. The three
diameter
During the past few years, we have literally taken woodturn- colors of wood represent two rivers
ing off the dinner table and put it into art galleries. Things are merging into one.”
being done on a lathe that were impossible not too many years
ago. And a whole lot of women are leading the way. That’s where
I want to go—to continue to explore new ideas, concepts, proce-
dures, and designs, to continue this woodturning adventure.

Wild West, 2017, Mesquite, copper, leather, synthetic leather, polyurethane,

5" × 9" × 3" (13cm × 23cm × 8cm)

Vinny Luciani, Colorado Gold Aspen Flower Pot, 2024, Aspen,

I have always been in love with the pyrography, India ink, acrylic paint, black
textures, colors, and forms in nature gesso, 6½" × 6½" (17cm × 17cm)
and how they find their way into
human art. I have spent most of my Flower Vase, 2024, Elm,
life working with wood and wood pyrography, India ink,
finishing. As I became more familiar acrylic paint, black gesso,
with the lathe as a tool for restoration 5½" × 4½" (14cm × 11cm)
work, I fell in love with the process of
using wood direct from the tree and
the art of woodturning. It is a fasci-
nating world of ever-evolving skills,
techniques, and design. My passion
is artistic woodturning and the great
community born of it.

For more, follow Vinny on Instagram,

Flower Vase, 2024,
@woodturnerartist. Cottonwood,
pyrography, India ink,
acrylic paint, black
Flower Pot, 2024, Aspen, pyrography, India ink, acrylic gesso, 13½" × 6¾"
paint, black gesso, 6½" × 6½" (17cm × 17cm) (34cm × 17cm)

woodturner.org 59
G
GALLERY
(Left to right)
Untitled Segmented Closed Form, 2025, Red oak,
acrylic paint (grain filled and leveled), clear coat
finish, 12¾" × 3¾" (32cm × 10cm)
Untitled Segmented Closed Form, 2025, Red oak,
acrylic paint (grain filled and leveled), clear coat
finish, 11" × 7½" (28cm × 19cm)
Untitled Segmented Closed Form,
2025, Red oak, acrylic paint (grain
filled and leveled), clear coat finish,
11½" × 5" (29cm × 13cm)
Untitled Segmented Closed
Form, 2025, Red oak,
acrylic paint (grain filled
and leveled), clear coat
Thomas Kamila, Massachusetts finish, 10½" × 7¼"
It has always been natural for me success, jurying into many (27cm × 18cm)
to design and create: the passive shows and being represented by
solar house I live in, a Dobsonian numerous galleries and in private
telescope, guitars, a Cape Cod collections. But teaching required
catboat, a Scandinavian log cabin so much creative energy that I Miyamura. His work inspired me
sauna. As a vocational teacher, I built left woodturning behind to focus to create the multisided pieces you
many houses and a timber frame on my new career, vowing not to see in my new body of work. These
barn with my students from 1992 to return unless I had something closed forms are created by turning
2015. Woodturning occupied a great new to say. That changed when I a larger vessel, then removing
part of my life back in the 1980s and was reinvigorated by a hexagon sections and reassembling them into
early 1990s, and I enjoyed significant vase created by ceramist Hideaki multifaceted forms.

Tom Hale, Ohio

Ash and Ebony Ridgeback, 2025, Ash, bleach, stain,

ebony, brass pins, lacquer, 5¾" × 8½" × 5"
(15cm × 22cm × 13cm)

Large Canopic
Ridgeback, 2025,
White oak, dye,
polyurethane,
10½" × 5¾" × 5"
(27cm × 15cm × 13cm)

Medium Canopic Ridgeback, 2025, White oak, dye, ebony, brass

pins, polyurethane, 8" × 4¼" × 4" (20cm × 11cm × 10cm)

60 American Woodturner October 2025

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turning by molly winton

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66 American Woodturner October 2025

 Statement of Ownership, Management, and Circulation
(Required by 39 U.S.C. 3685)

1.Title: American Woodturner 2. Publication Number: 006-947 3.

Date of Filing: August 18, 2025. 4. Frequency of Issue: Bimonthly (6)
5. No. of Issues Published Annually: 6 6. Annual Subscription Price:
$74. 7. Office of Publication: 222 Landmark Center 75 5th St W, St Superior Design.
Paul, MN 55102-7704 8. General Business Offices: Same 9. Publisher: Legendary Quality.
American Association of Woodturners, 222 Landmark Center, 75 5th
St W, St. Paul, MN 55102-7704. Editor: Joshua Friend 34 Aspen Ln,
Monroe, CT 06468. Managing Editor: Same. 10. Owner: American
Association of Woodturners, 222 Landmark Center, 75 5th St W, St.
Paul, MN 55102-7704 11. Known Bondholders, Mortgagees and
Other Security Holders Owning or Holding 1 Percent or More of Total
Amount of Bonds, Mortgages, or Other Securities: None 12. The
Purpose, Function, and Non-Profit Status of this Organization and the
Exempt Status for Federal Income Tax Purposes: Has Not Changed
During Preceding 12 Months. Extent and Nature of Circulation:

Average No. of No. of

Copies Each Single Issues
Issue During Published
Preceding Nearest to
12 Months Filing Date
A. Total no. Copies (Net Press Run) ..........12,941 ................ 12,241
B. Paid and/or Requested Circulation

4 DECADES of
1. Mail Outside-County Subscription
(Paid and/or Requested)....................10,739 ................10,057

UNPARALLELED
2. Mail In-County Subscription
(Paid and/or Requested)............................ 0 .........................0
3. Sales Through Dealers and
Carriers, Street Vendors and
Counter Sales and other paid Engineering | Manufacturing
or requested distribution
outside USPS ..................................... 1,560 ..................1,560
Innovation | Customer Service
4. Sales Through Other Classes
of Mail Through USPS........................... 361 .....................336
C. Total Paid and/or Premier Woodturning Lathes
All Lathes Include a 10 Year End-To-End Warranty
Requested Distribution ....................... 12,660 ................ 11,953
D. Free or Nominal Rate Distribution
1. Free or Nominal Rate
Outside-Country Copies .......................... 0 .........................0
E. Total Free or Nominal Rate Distribution......181 .....................188
F. Total Distribution .................................12,841 ................ 12,141 Oneway 1236SD Oneway Oneway
Sit Down Lathe 1640 Lathe 2436 Lathe
G. Copies Not Distributed ............................ 100 .....................100
H. Total .....................................................12,941 ................ 12,241
I. Percent Paid and/or Exceptional Accessories
Requested Circulation ........................ 98.59% ...............98.45% Including Chuck Spurs, Drum Chucks, Live Centers, & Grinding Jigs

Requested and Paid Electronic Copies ........1,083 ..................1,083

Total Paid Print Copies +
Paid Electronic Copies............................... 13,743 ................ 13,036
Total Requested Copy Distribution +
Requested/Paid Electronic Copies............. 13,924 ................13,224
Percent Paid and/or Requested Circulation
(Both Print and Electronic Copies) .......... 98.70% .............. 98.58%
Oneway.ca
1-800-565-7288
I certify that the statements made by me above are correct and complete.

Gretchen Wilbrandt, Publisher

woodturner.org 67
 IT’S ALL ABOUT FUN!
ˇ˛˘ ʹ˔˦˧˘˦˧ ˔n˗ TURNING IS NOT WORK ANYMORE

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LYLE JAMIESON WOODTURNING LLC
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CONTACT ERICA NELSON
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ERICA.NELSON@EWALD.COM RO aler go to website
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HERE www.lylejamieson.com 231-947-2348

YouTube-http://www.youtube.com/user/JamiesonLyle
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68 American Woodturner October 2025

 FINISH LARGE
AND SMALL WITH
OUR NEW FLASH!
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woodturner.org 69
KEEP YOURP CHUCK ON THE LATHE
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JANUARY 3tI & +"/6"3: 1st, 202 NASHVILLE, TENNESSEE

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70 American Woodturner October 2025

 TURN RAW
INTO AWE
We exist to help you transform raw
materials into awesome projects.

Attention Wood Turning Club Members

Ask your club president about joining the
Penn State Industries AAW Club program
for access to discounts, door prizes for
events and more. To join our club program,
have your AAW chapter president call
Steve Smith at 1-856-904-6558

Dealer inquirers invited

call Todd at 1-877-774-5431

PENN STATE INDUSTRIES

1-800-377-7297 pennstateind.com

advertisingindex
American Association of Woodturners......................72 Hunter Tool Systems .................................................. 62 Right Angle .............................................................62/68
651-484-9094 - woodturner.org 612-718-7926 - huntertoolsystems.com 515-205-7522 - rightanglenow.com
Big Island Engraving ...................................................63 John Jordan Woodturning ..........................................63 RIKON Power Tools ......................................................73
808-982-9987 - bigislandengraving.com 615-941-1247 - johnjordanwoodturning.com 978-528-5380 - rikontools.com
BMwood International Co., Limited ..........................64 Keith P. Tompkins Woodturning Studio ....................62 Robust Tools .................................................................72
bmwoodturning.com 845-663-5483 - keithptompkins.com 608-924-1133 - turnrobust.com
Branches To Bowls .......................................................61 Klingspor’s Woodworking Shop.................................61 Saburrtooth Power Carving Tools..............................65
403-830-3049 - branchestobowls.com 800-228-0000 - woodworkingshop.com 586-731-0990 - saburrtooth.com
Buffalo Woodturning Products..................................63 Lyle Jamieson Woodturning LLC. ...............................68 Sam Angelo Wyomingwoodturner ............................62
716-391-2001 - buffalowoodturningproducts.com 231-947-2348 - lylejamieson.com 307-431-5395
Carter and Son Tool Works .........................................69 MDI Woodcarvers Supply ............................................62 Stainless Bottle Stoppers ............................................63
206-878-7672 - carterandsontoolworks.com 207-487-3100 - mdiwoodcarvers.com 570-253-5152 - stainlessbottlestoppers.com
Carter Products Company ..........................................64 Mike Mahoney ..............................................................63 Tennessee Association of Woodturners .....................70
616-647-3380 - carterproducts.com 530-417-5535 - bowlmakerinc.com 615-522-6368 - tnwoodturners.org
Center for Furniture Craftsmanship ..........................68 Oneway Manufacturing .........................................65/67 Tradesman Grinder .....................................................69
207-594-5611 - woodschool.org 800-565-7288 - oneway.ca 800-417-2171 - tradesmangrinder.com
Craft Supplies USA .......................................................61 Pacific Rim Tonewoods ...............................................63 Trent Bosch Tools .........................................................69
800-551-8876 - woodturnerscatalog.com 360-826-6101 - pacificrimtonewoods.com 970-218-6453 - trentboschtools.com
Dayacom Industrial Co., Ltd. ........................................66 Packard Woodworks ...................................................66 Woodcut Tools Limited ...............................................62
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Easy Wood Tools ...........................................................70 Penn State Industries ..................................................71 Woodturning with Tim Yoder.....................................65
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David Ellsworth Legacy Project....................................68 PNW Woodturner ........................................................62 ZK Creations LLC ..........................................................62
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GluBoost .......................................................................69 Premier Gauges ...........................................................61
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Griffin Exotic Wood llc ................................................62 PS Wood Machines .......................................................62
To advertise in American Woodturner, contact Erica Nelson,
970-241-2827 - exoticwood.biz 800-939-4414 - pswood.com
763-497-1778, erica.nelson@ewald.com.

woodturner.org 71
TIPS & TRICKS FOR THE WOODTURNER
Move beyond workshop challenges!
From the pages of the American Woodturner journal, this 6” x 9” softcover book contains
91 full-color pages loaded with tips that are sure to spark ideas for your workshop! Sections
include: Workholding, Tool Storage & Organization, Tool Making & Sharpening, Sanding &
Finishing, Project Tips, Lathe Fixtures & Accessories, and more.

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You’re going to need Robust has you covered with three great
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72 American Woodturner October 2025

 PRO TOOLS FOR TOOL PROS

Precision Machined Body

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Visit www.rikontools.com
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woodturner.org 73
TOM
HALE
OHIO

Trio of Boxelder Jars

(Ridgeback series),
2024-2025, Boxelder
maple, pink ivory (cap
on left and right jars),
polyurethane, largest
(at left): 8½" × 5¾" × 5"
(22 × 15 × 13)

I’ve been excited about making pieces in what I’m calling my Ridgeback series, which I started turning
just last year. I displayed some of these in the instant gallery at the AAW Symposium this year in
Saint Paul, Minnesota, and they seem to be quite popular. The general idea is to turn the lid with an
overhang, then carve away all but a single ridgeback across the top.

In progress
A boxelder maple
jar turned and yet
to be carved.

Inside This Issue!

See more examples of Tom Hale’s work on page 60.