Stuart is a third-generation woodturner, being a full-time production turner and teacher in his father’s studio at age 16. At 19, he started working for Craft Supplies in England, at the time the world’s largest supplier to woodturners. During his 6 years at Craft Supplies, he was the in-house woodturning teacher and demonstrator. He set up Craft Supplies’ first sawmill and was in charge of their import business that sold more than 300 exotic woods around the world. Stuart also developed and tested woodturning tools for Robert Sorby, a Craft Supplies sister company.
During the past 34 years, Stuart has taught more than 3,000 amateur and professional woodturners. He has demonstrated and taught in 12 countries and for more than 180 AAW chapters throughout the US.
Stuart’s style of work is greatly influenced by his background as a spindle turner with precise cuts and sharp detail. He uses very simple tools and tool shapes to create his pieces. His work is pure lathe work, with no carving or surface texturing.
Stuart’s artwork has been sold through prestigious galleries across Europe and the US. He also has artwork displayed in the permanent White House collection.
Stuart believes we have only skimmed the surface of the potential of a wood lathe. With production woodturning as his background, his foundation in woodturning helped him perfect the push cut style and other useful techniques, such as negative rake scraping.
Bowl turning without torn grain using the 40/40 and bottom bowl grinds
Stuart will show how to create his 40/40 and bottom bowl grinds and how to control these gouges for large volume cuts with no torn grain for all bowl shapes.
Why learning to spindle turning improves your bowl turning
Stuart will demonstrate how his apprenticeship as a production spindle turner enabled him to produce bowls faster than any turner before, with little physical effort and no torn grain.
Off-center square bowls and broken surface cutting
Stuart originally developed negative rake scraping to produce this type of bowl. In this demonstration, Stuart will show when to use gouges and when to use negative rake for this type of product.
Nationally known woodturner, Nick Cook lives in Marietta, Georgia, where he owns and operates his studio. He grew up around his father’s woodworking equipment and became interested in the art of woodturning in the mid-70s after several years in furniture design and manufacture.
A founding member of the American Association of Woodturners, Nick served six years on the board of directors, including one as vice president.
In addition to creating one-of-a-kind pieces and his staple gift items, Nick teaches and lectures on various woodturning topics, has written articles for several woodworking magazines, and produced two woodturning videos.
The primary materials that he now uses are maple, cocobolo, and tagua nuts. He employs a variety of woods, both domestic and exotic for his one-of-a-kind pieces. Nick’s work is marketed in gift shops and galleries from coast to coast and is included in numerous corporate and private collections. You can also find Nick selling his pieces at craft fairs in the Southeast.
Light Up Your Life with Turned Table Lamps
Production Turning for Sales
Turning Pepper Mills and Salt Shakers
Rebecca started woodturning with her father at a very young age. Dad’s rule was simple, if she could stand on the bucket and reach the lathe, he would teach her how to turn. That is exactly what he did, and at five years old Rebecca spent her evenings in the shop turning honey dippers with her father. Once she began school her efforts and energies were dedicated to her studies and woodworking took a back seat. Although she knew from a young age that art was her passion, it was during middle school that she realized that this fascination and enthusiasm could be pursued as a career in teaching.
After graduating high school Rebecca decided to go to college to turn her dream of teaching into a reality. While attending Kendall College of Art and Design in Grand Rapids, Michigan, Rebecca found herself back in the school’s basement wood shop. Fifteen years had passed since she had spent any significant time in a wood shop, and she took back to it like reuniting with an old friend.
Since graduating in 2014 with two bachelor’s degrees in Art Education and Sculpture and Functional Art, Rebecca has spent the past seven years juggling her full-time career as an art educator and her passion for woodworking. The balance of real life and anyone’s true passion is always difficult and while Rebecca’s career in education is time consuming, she always finds time to make her way to the lathe. After a difficult day in the classroom she can’t think of a better way to relax and let off some steam.
Rebecca finds her inspiration in various living things and objects that she interacts with regularly. Simple things like insects or even coffee cups can send her scrambling for her notepad to transform her imagination into possible projects. She’s never far from sketching strange creatures or making lists of ideas she is longing to try. Her days of teaching Art 1, Sculpture, Ceramics, Jewelry, and AP 3D Studio Art are fulfilling and the passion she shares with her students is the same fuel that keeps her in her shop late into the evenings letting her imagination run wild.
Lyle has been involved in both woodworking and turning from an early age. His father, a pattern maker in Detroit, mentored him in the intricacies of wood, both structural and artistic. As a result of this background, he got his start in the woodworking field.
Since 1988, from his home studio in Traverse City, Michigan, Lyle has turned his attention to woodturning and has quickly developed a style that is both innovative in design and technically challenging. While he began his work with traditional vessels and bowls, his creative energies and desire to cultivate his technique soon led him to attempt turning the human form. Requiring a multi-axis approach versus the more traditional single axis, the work is complex, yet delicate. The beauty of the human form allows the artist to employ grain elegantly.
Lyle developed a passion for woodturning around 1989. His quest for learning technical skills for woodturning led him to work with the best and most respected masters in the woodturning field. In 1998, Lyle became a full time studio turning artist/sculptor.
Hollow Forms the Easy Way
Entertaining and Instructional, join me, guaranteed to learn some new perspectives. You will hear topics that include chucking methods, vibration issues, bowl gouge techniques, design considerations, preventing catches, eliminating torn-out grain, boring bar and laser techniques, and reverse chucking. Stop and discover techniques for both outside and inside of hollow form turning. My demonstrations are designed for all skill levels to benefit from these methods.
Entertaining and Instructional, join me, guaranteed to learn some new perspectives. You will hear topics that include chucking methods, vibration issues, bowl gouge techniques, design considerations, preventing catches, eliminating torn-out grain, boring bar and laser techniques. Stop and discover techniques for both Spindle turning and hollowing. My demonstrations are designed for all skill levels to benefit from these methods.
Natural edge Bowl, Bowl Bigger than the Tree
Entertaining and Instructional, join me, guaranteed to learn some new perspectives. You will see the entire bowl process with a natural edge. Discover topics of roughing out blanks, chucking methods, bowl gouge tool control, preventing catches, grain orientation issues, design elements, vibration issues, preventing torn out grain, reverse chucking, and finishing. Stop and visit this demonstration designed for all skill levels to benefit from these methods.
Rudolph Lopez began his relationship with wood over 40 years ago as a craftsman of fine furniture and cabinetry. With an education in drafting and design and many years working as a professional photographer, the transition into woodturning has been a seamless flow into another creative endeavor.
“I have always had a love of nature and the natural beauty and inspiration it provides, and with that came my love of wood. I love everything about wood, rough or smooth it possesses a warm welcome feel. Wood has an unlimited potential for creativity but also flaws and faults, cracks, knots and other defects which sometimes makes it difficult to work with… this is my favorite kind of wood. I never cease to be amazed by the incredible amount of beauty to be found in it as I create a new turning.
My goal as an artistic turner is to bring out this hidden beauty which God and nature has provided and enhance it to create something that invites the eye and beckons the touch. I prefer simple shapes with sensuous flowing lines that showcase and reflect the natural beauty of the wood, thus becoming something to treasure for years to come”.
His energetic easy-going personality and his ability to explain woodturning techniques in a simple understandable manner has allowed Rudolph to share his skills and enthusiasm for woodturning along with his love of wood through teaching and demonstrating at symposiums, clubs, Arrowmont School of Arts and Crafts and John C. Campbell Folk School as well as his studio in Tampa, Fl.
Thin Stem Natural Edge Goblet from a Limb
We will be turning a thin stem natural edge goblet from a green limb approximately 1-1⁄2″ – 2″ diameter. I will show attendees the simple techniques I use to easily turn a thin stem natural edge goblet from a green limb using mostly a 1/2″ or 5/8″ side ground bowl gouge. I will explain limb selection, pith orientation, different techniques used for stabilizing thin stems, the use and sharpening of Negative Rake scrapers and drying to help avoid cracking.
Natural Edge End-Grain Vase
We will be turning a natural edge end grain vase from a green log using a bowl gouge and the Rolly Munro Hollower. I will explain limb selection, pith orientation and drying to help avoid cracking. We will cover the differences of cutting end-grain verses side-grain and using different end-grain hollowing methods. We will use the Rolly Munro Hollowing tool and discuss it verses the bowl gouge, scrapers or a hook tool along with the use and sharpening of the negative rake scraper. I will demonstrate how light can be used to gauge thickness, reverse jamb chucking to undercut and hollow the foot, and sanding wet wood on and off of the lathe.
Square to round Bowls, Vases and Hollow Forms
I will explain and demonstrate the process I use to create a bowl or vase, which is square on top and tapers to round at the bottom. Starting with a square or rectangular blank that has been prepared on a bandsaw to taper the sides, the remaining exterior corners will be turned leaving the four tapered sides previously cut on the band saw. Then the interior of the bowl or vase will be turned into the square top. The basics of bevel-supported cuts along with two of the most important fundamentals of turning—sharp tools and good tool control will be emphasized. I will demonstrate how and why this along with lathe speed affects how efficiently and cleanly interrupted edges can be turned safely. Techniques for sanding and/or embellishing the different surfaces of the forms will also be discussed. I will show a variety of ways blanks can be cut on the band saw which will start you thinking about how many different design possibilities there are for square to round bowls, vases and hollow forms. Attendees will learn the process I use to set-up and draw the layout of a design on the blank and how it is cut on the band saw and then oriented on the lathe to be turned. This demonstration will provide attendees with a several new creative ideas and open up many new design possibilities.
Carl Ford is an accomplished full time studio woodturner who lives in Poughkeepsie NY. He has been published numerous times in the AAW American Woodturner Journal and is well known for his colorful work.
Carl creates one of a kind turned, carved, burned and painted wood vessels. His current passion is making plates and wide bowl bowls with big, bold, colorful, surface decoration. He also loves to turn natural edge bowls and vases.
The best place to see examples of Carl’s work is at “carlfordwoodturner” on Instagram https://www.instagram.com/carlfordwoodturner/ or “Carl Ford Woodturner” on Facebook. https://www.facebook.com/carl.ford.9235
Wide Rim Wood Bowl with Spiraling Tool
Carl will show how to turn a 10″ diameter by 1-1/4″ tall wide rim bowl from air or kiln dried Hard Maple. He will then show how to decorate the front with Sorby Spiraling Tool and wood dyes. The back will be natural with NO SANDING coves.
This demo will cover the following: Bowl turning – NO SANDING techniques – Sorby vs Crown Spiraling Tool – Large vs small spiraling tools – Spiraling vs texture wheels – How to use spiraling tools on side grain and get good results – Use of airbrush and Chroma Craft wood dyes.
Web Effect Wide Rim Bowl with Spin Art
Carl will show how to turn a 10″ diameter by 1-1/2″ tall wide rim bowl from air or kiln dried Hard Maple. He will then show how to decorate the front with wood dyes, web effect spray paint, spin art and acrylic paints. The back will be natural with NO SANDING wire brush technique.
This demo will cover the following: Bowl turning – NO SANDING techniques – Use of airbrush and Chroma Craft wood dyes – Web effect spray paint and alternatives – How to “spin out” acrylic paint safely on the lathe – Painting a spiral in the center of a bowl.
I have been a professional carpenter and woodworker for 30 yrs. My turning began with spindles for job sites, yet the fascination vessels and the after lathe work has brought me where I am today. My pieces have appeared in the American Association of Woodturners magazine, Fine Woodworking, Woodturning UK, and a cover and article in Woodworking in Action issue 16.
I have demonstrated at turning clubs and Totally Turning Symposium 2009, 2011. Individual instruction is available at my shop suited to students needs. My work has been purchased by individuals across the U.S. The lathe for me has opened a world of exploration into one of nature’s wonders, the tree. The complex combination of structure, grain, and texture work together to give the tree life and to produce beauty. I try in my way to use shape to expose this beauty and give pleasure to the eye. These shapes are preceded by grain orientation and angle to the rim.
More recently I have added forms of external change to my pieces as well. These forms include painting, piercing, wood burning and added texturing. All of these, I hope, add interest to the piece, yet it still remains a wood object.
Wood is a truly amazing medium and I am pleased to call myself a wood turner.
My presentation is all about enhancement after the turning. We will explore the fabrication of a router jig, simple but very effective. We can add coves, reeding and form recesses for inlays. These can be done in vessels, spindles and small boxes. All you need to know to begin to add interest and beauty to your work.
Ray is a woodturner living in the Albany, NY area. He has been an avid woodworker for more than 60 years, and he has produced a broad variety of pieces ranging from custom designed grandfather clocks and furniture, to antique reproductions, guitars and banjos, and award winning artistic and functional turnings. His turnings have been featured in American Woodturner magazine. Ray is a member of the Northeast Woodworkers Association, the Adirondack Woodturners Association, and the American Association of Woodturners.
Ray is a Registered Professional Engineer. He served a career as an Army officer, followed by a second career teaching engineering and leading industrial automation research programs at Rensselaer Polytechnic Institute in Troy, NY.
Ray is a frequent demonstrator at regional woodturning clubs, NWA Showcase, Totally Turning, and he teaches woodturning to individuals in his home shop. He exhibits and sells his work in regional art galleries and shows.
Basket Illusion Part I
I will start my demonstration by discussing the overall process used to produce a solid turning that looks like a woven Native American basket. I’ll show how I design the patterns used on the turnings, as well as the materials and tools I use and where to obtain them. I will next turn a small platter or shallow bowl and demonstrate how I create the beading on both the inside and the outside of the piece. Last, I will burn the valleys between the beads for accent. The resulting platter will be used for the second demonstration.
Basket Illusion Part II
I’ll first review the overall process used to make the basket illusion turning. Using the small platter produced during my first demonstration I will continue the basket illusion process by scribing radial grid lines over the beading on both the front and the back of the piece. I’ll remove the tenon from the back of the piece and prepare it for the coloring process. Next, I will demonstrate how I burn the radial lines on the beading, followed by the coloration process. The use of the correct colors and pens is essential to this step. Because it typically takes many hours to complete a basket illusion turning, I will demonstrate process steps using partially completed pieces. I will finish my demonstration by discussing how I apply a finish to the piece.
Mother of Pearl (MOP) Inlay
I frequently use Mother of Pearl (MOP) Inlays as an enhancement for turnings such as ring boxes. In this demo I will discuss and demonstrate: MOP materials; tools and techniques for making the inlays, and for cutting the substrate materials to receive the inlays; adhesive preparation and application; clamping; finishing techniques; and sources of supply.
Alan & Lauren Zenreich
Lauren and Alan have demonstrated at AAW and SWAT symposia, for local clubs, and worldwide via Interactive Remote Demos.
Alan has been turning for fifteen years, and in a previous life was an advertising and special effects photographer.
He is the founder of LucidWoodturners.com, an online group of woodturners who are interested in using technology to enhance projects and teach woodturning.
For several years, Alan has spearheaded the initiative to show how clubs can have demonstrators present to their group remotely, and hold meetings via video over the Internet. Alan has trained/mentored many of those who are now doing Interactive Remote Demonstrations (IRDs) and helped with several clubs hardware setup.
Lauren is best known for ink embellishments for her wood turned jewelry, spheres and shaving/makeup brushes. She has been turning for nine years and works with many different media and techniques, including archival inks, piercing, airbrush, paints, pyrography, beading, wire, enamel, encaustic wax and polymer and precious metal clay. Lauren is a member of AAW and Women In Turning (WIT), and has produced videos on the anatomy of a wood lathe and one on personal safety in the workshop
She contributed to WIT entries into AAW auctions. She often uses live video overlay techniques for duplication of specific shapes and she uses video magnification for some of her smaller pieces.
She has done scenic decor for over 40 productions at her local community theater, including 20 children’s show.
Eccentric Jewelry Turning — Making Pendants
Why hide your turnings on a shelf? Turned jewelry is displayed proudly to many, many people. Pendants are a pleasure to wear, and to create.
Alan and Lauren Zenreich show the tools, techniques and procedures they use when making wood turned jewelry.
Alan will demonstrate eccentric, multi axis, face grain pendant turning. He also shows ways to use jewelry findings to incorporate beads and semi precious stones into the pendant designs.
Lauren demonstrates embellishment using archival ink and talks about creating simple necklaces to complement the pendants.
– Layout and preparing of blanks for turning
– Affixing work to an indexable backing plate using turner’s tape
– Multi axis positioning to facilitate boring holes, scribing lines and refining eccentric spaces
– Using wood as a blank canvas – embellishing with archival inks
– Assembly techniques for inserting pins and jewelry findings
Embellishing your Projects with Archival Inks and other materials
There are many ways to embellish your wood pieces; airbrushing, pyrography, acrylics, carving, piercing, encaustic wax, the list goes on and on. Although Lauren employs many media and techniques, her favorite medium is archival ink pens. They offer the colors, control and intimacy that make her projects so vibrant and interesting. These inks are not limited to small objects. Platters and bowls benefit just as much as smaller objects like jewelry, brushes and spheres.
Lauren and Alan will demonstrate the use of archival ink pens and the techniques used to create effects that please (and fool) the eye. We will review Lauren’s portable work station and all the tips and tools of the trade.
They will also demonstrate techniques for jewelry assembly, incorporating semi-precious stones into necklaces; using pen based air-brushing, and using live video to aid in the embellishment process.
Among the topics covered in this session are
• Wood selection; unique qualities of ink on wood
• Planning your design
• The setup, tools, supplies and materials
• Control of archival ink pens
• Pairing, mixing & blending of colors
• Airbrushing with ink
• Drawing, Shading, Texture
• Working and Finishing techniques
• Using live video