Monthly News

For further info please call Russ Fellows at    or  Jim Weeks at  941-914-4188
This is the August  2018 Newsletter. I apologize for the format. No pictures yet. Still learning how to add items 

  page one
Volume 1 Issue 8 August 2018
Vermont has just closed out the hottest month
in all of recorded time, with over half the days hitting
90 degrees or more. Normally we get two or
three for the entire year! Why am I moving south
for warmer weather? Well, we know what it is like
up here from November through April, so our
decision still stands. 

For the what it’s worth department: a friend of
mine up here in Vermont recently opened a small
art gallery. The building she bought a couple
years ago was almost 200 years old and had been
a meeting house, general store, and in its last
iteration, a church! Situated in a scenic tiny town
on Lake Champlain that sees hoards of summer
traffic, and almost none in the winter, she knew
this would not be in the category of high dollar
commerce, so she decided to make it a ‘showing’
gallery (and coffee house) rather than a ‘selling’
gallery, although some work would be for sale.
She wanted to have a woodworker represented,
so she asked me to take a six week time slot this
summer, along with a graphic artist. I made her a
few pedestals and took her a mix of twelve pieces.

The pictures show the display. Some you may
recognize pieces from past “show & tells.” The
grand opening was a lightly attended and modest
event, but surprisingly, over the next week
several pieces sold! The ones that sold first were
those with wings and/or finials, not unlike the one
I demonstrated at Franck’s in early July. (See my
tool review piece on page 14.) The lesson: if you
are thinking about selling your work, the slightly
“quirky” pieces with wings, lids, finials, feet, etc.
definitely attract more attention than bowls. Plus,
they are a lot more fun to make! The thing that
generated the most “how’d you do that” questions
was the multi-axis finials!

You have heard me say this before, but it’s worth
repeating: our hard-working newsletter editor,
Dave Hausmann, is doing a
great job getting things up
and running over the last few
months. It is all about content,
so please think about sending him something? In
this digital age of always having a camera in your
pocket, take a few shots and send them to him.
Your shop, your woodpile, a piece you are working
on while you are out of town and can’t make
it to ‘show & tell’ will work. Anything of interest
to your fellow turners. Reader input has a way of
building on itself too!

Our club has had a website for many years, but in
the new age of iPads, apps, and rapidly changing
protocols, it is badly in need of a makeover! We
are just getting going on this, and your input is
encouraged. Take a minute to look at websites of
other clubs. There are some 350 chapter clubs in
the AAW, and most of them have websites. Dave
is helping to co-ordinate this, so if you have some
thoughts, or see something “out there,” send him
a note and/or link. Thanks!

See you all in the Fall!
Sarasota Woodturner’s Club Officers
President - Russ Fellows
e mail:
Vice President - Jim Weeks
e mail:
Treasurer - Stephen Johns
e m a i l:
Secretary - Dave Hausmann
phone 703-608-4255
Director at Large - Franck Johannesen
phone 941-323-4988
Director at Large - Alan Levin
page two
Upcoming Sarasota Woodturners
Events and Demos
Michael Gibson at Advantage Lumber
August 15, 2018.
“We are dedicated to promoting the art
of woodturning through educational
demonstrations and hands-on training.
We meet to share our techniques, methods
and skills. We provide assistance with
tool and equipment recommendations.”
In This Issue
Kimberly Glover‘s Pyrography Demo
Steve Johns’ Oneway Easy-Core System
Steve Johns’ Bowl Turning Demo
Franck’s Mushroom Demo
Russ Fellows’ Tool Review
Don’t forget our members-only tool
and supply auctions. See Tom Falcone
for tickets.
Franck Johannesen showing Thompson
Lathe Tools donated for Sarasota
Woodturners Club Members’ use by
Doug Thompson.
page three
Kimderly Glover’s Pyrography Demo at Advantage Lumber, July 18, 2018
A good turnout for Kimberly’s Pyrography demo. She began pyrography by making Christmas
ornaments four years ago.
Pull the pen toward you for better control.
Denatured alcohol will remove overburn
and carbon lines.
Graphite paper is used to transfer images to
the wood, preferable cherry or maple.
She uses a scrap piece of wood to check temperature and a brass brush to remove carbon on nib.
page four
Use a 1/64” ball tip for stippling. Stipple in arbitrary circles. Higher temperature for branding.
Razertip Single Wood Burner and Razertip
Dual Wood Burner.
Interchangeable Pen Tips.
page five
Club members asking questions of Kimberly.
20/22 gauge wire for making nibs.
Various nibs can be easily made
for different burn patterns.
page six
by Kimberly Anne Glover, 2014
Maple, pear, cherry or any close grained wood is ideal for pyrography. If you use a large
grained wood such as oak or ash, the grain may take the tip in a direction you did not intend
for it to go. You can also do pyrography on leather.
• NEVER do pyrography on any material that has had finish applied
• Use a solder-style fan to pull the fumes away from you to avoid smoke inhalation
• When not in use disable the unit. Good – remove the pen cord from the unit, Better –
unplug the unit, Best – have the unit on a switched plug that can be turned off.
• Tips such as the skew and knife are sharp and will cut skin
• Ergonomics – change your work area to suit you. I work at a low bench sitting in an
office task chair. My light/magnifier is movable so I can sit comfortably and not hunch
over the work.
• Pyrography set characteristics
• Single or dual burners
• Some units have a secondary adjustment for heat
• Pens come in standard or heavy duty as well as fixed nib or interchangeable nib
• Leather strop (used for cleaning nibs that are skew, knife, chisel)
• Small brass brush (used for cleaning nibs that are complex shapes)
• Tracing paper, graphite, scotch tape or blue painters tape
• Store bought stencils, clip art books, free images from the internet
• Tracer, stylus (homemade or purchased) pro – reuse a pattern, con – hard to tell where
you have already traced
• Pencil and a good size eraser (soft white-colored erasers leave residue in the grain that
may show when you put the finish on)
• Small ruler (if you like straight lines)
• Coloring tools (pencils, crayons, markers, dye, etc.)
• A good light that can be directed at your work
• Magnifier (no matter what age you are, it helps to see the fine details)
• Work Support for you and the piece
page seven
Set up:
• Pyrography is NOT an outdoor sport - breezes and temperature change will
affect the way the burner performs.
• Don’t fight the cord! After you connect the cord to the pen, lightly hold the
pen in your hand like you were going to work with it. If the nib is not
oriented to the work as you intend,turn the cord – NOT the pen. This will
reduce the amount of stress on your hold and allow you to make more fluid
movements and not get hand cramps!
There are numerous ways to put a pattern onto a workpiece (tracing, naphtha
transfer, iron transfer, draw directly on the workpiece).
• Tracing – using graphite paper, trace the pattern with as much or as little
detail as you need or using graphite or chalk on the back of the original and
• Naphtha transfer – you must have the pattern copied on a toner style copier
for this to work. It can be a little messy if you use too much and will tend to
raise the grain of the wood.
• Iron transfer – again you have to have a copy from a copier. If the piece is
very thin, the heat may cause twisting. It is also not feasible on concave or
convex pieces.
Short of drawing the design directly on the work, I prefer the tracing with graphite
paper method. It is the cleanest and most versatile – although it does take a little
time. Hints:
• Keep things small. Cut the tracing paper to a size that works for the design.
Having a larger piece than necessary makes it harder to align the design and
if it should slip, you may not notice. It also makes it more difficult to position
the graphite.
• I also cut the graphite into smaller pieces and move it about as needed.
Using a larger sheet caused dark smudges where I would hold or rest my
hand while tracing.
• Reuse the graphite paper. You’ll be surprised how many times you can use
• You can use a pencil to trace it, but your pattern won’t be reusable for long.
If it’s not a complicated pattern, use a stylus, available at most craft stores.
• Use a LIGHT touch when tracing. If you press down hard, you will compress
the wood fibers. This could ‘direct’ your tip when burning, and if you want
to make a change to the design, you could end up with that ‘line’ showing.
Having a scrap piece of the project wood is a necessity!
• Use a light touch – the nibs are fragile and will bend/distort/break if you use
too much pressure.
• Always pull the pen toward you turning the piece as necessary. You will
have more control.
• Practice a bit of the design to make sure the nib can make the arc or line you want.
• Work in batches to cut down on pen/nib changes. Work does not have to be
• Use the scrap piece as a temp checker as you work. I constantly use the scrap piece to
make sure that my nib temp is where I think it is – as I work, if a breeze blows through
the shop, if I turn the unit off/on, clean the tip or even if I pause for a couple of minutes
with the unit on the temperature will change.
• How fast you move will affect the degree of burn that you achieve. You may start out
with the shade of burn that you want, but if you move too quickly the nib will cool off
and the shade will be much lighter.
• When burning a repetitious pattern such as shading or stippling, session continuity is
important. When you take a break – short of overnight, you may find it hard to resume
the same “rhythm” and it’s possible the temperature will different. If it will be necessary
for you to stop and start, keep the edges a random wave. It is much harder to detect
than a straight line.
• If you’re trying to achieve a random pattern, it’s often better to work in varying circles
than covering the area with a systematic grid. Without realizing it, you’ll find yourself
lining up the soldiers in nice neat rows.
• Clean your nib as you work. I use a brass brush while working to get rid of any built up
carbon. Do it as often as you think you need. If you don’t do it often enough, you will
see a drop in the nib temperature and possibly carbon bits dropping off as you work. I
also use a leather strop to clean and sharpen some of the nibs – skews, spears, chisels
and knife nibs.
Basic elements of design:
• Line — the visual path that enables the eye to move within the piece
• Shape — areas defined by edges within the piece, whether geometric or organic
• Color — hues with their various values and intensities
• Texture — surface qualities which translate into tactile illusions
• Tone — Shading used to emphasize form
• Form — 3-D length, width, or depth
• Space — the space taken up by (positive) or in between (negative) objects
• Depth — perceived distance from the observer, separated in foreground, background,
and optionally middle ground
page eight
Sarasota Woodturner Members’ Show & Tell, July 18, 2018
page nine
Ed Newton’s Segmented bowl.
Norm Stabinski’s John Henry’s Poinciana vase.
Candle Holder.
Dave Hausmann’s
American Elm vase.
page ten
Franck Johannesen‘s Segmented bowl.
Maple sarawood bowl.
Bill Maroney’s Maple bowl.
Norfolk Island Pine.
Alan Coppes’ Quilted Maple,
Turquoise and Ebony piece.
page eleven
Pat Sullivan’s Bowl of Fruit with wax finish.
Allen Coppes’ Rosewood vase.
Dave Laubisch’s Dimo Wood Tool
Kimberly Glover‘s Pyrography Eggs.
page twelve
Steve Johns setting up the
Oneway Easy-Core.
Steve Johns Setting Up The Oneway Easy-Core Coring System
at Franck’s Studio, July 24, 2018
How Does the Easy-Core
Work? - A heavy duty steel
base plate attaches to the bed
of the lathe. Two supports, one
for the support finger and one
for the cutter blade, are attached
to the base plate.
The support finger and cutter
blade fit into these supports.
The position of the support is
determined by the size of the
blank being cored and the wall
thickness desired.
A tool handle is attached to
the cutter blade and is used
to introduce the cutter to the
wood. This system has been
designed in such a way that
the tailstock can be used while
Using the tailstock in any
wood turning operation
greatly increases the safety
factor. When the entry cut is
made, the support finger is
positioned at the face of the
bowl supporting the cutter
The cutter is on a fixed arc and
it becomes a simple matter of
deepening the cut by exerting
pressure with the handle.
After progressing 2 - 3 inches
into the groove, the cutter
is removed and the lathe
stopped to re-position the
support finger by introducing
it into the groove.
This procedure is repeated
until the knife reaches maximum
depth. The core is then
removed by tapping the edges
or a bit of easy prying. Cores
produced will be symmetrical
and have a smooth surface.
Knife Sets - The size of the sets
determine what size bowl blanks
can be cored. There are four knife
sets available for the system. (9”,
11”, 13” & 16”). These Knife Sets
are purchased separately.
Easy-Core Base Set - The unit
needed is determined by the
swing of the lathe. The swing is
the distance from the middle of
the spindle to the bed multiplied
by two. Any size lathe from 16”
to 26” swing and flat bedways
can be accommodated with the
Easy-Core Coring System.
Base Set includes: the Base; Front
& Rear Post; Short Tool Handle;
Screws & Washers; and an Instructional
DVD. Note: Knives and
Clamp Block Sets sold seperately.
The Knives are made from quality
materials to ensure they hold up
to the task at hand. The supports
fingers for the 9” & 11-1/2” sets
are constructed using 60,000 lb
tensile carbon steel, whereas the
support fingers for 13” & 16” sets
are made from 100,000 lb chrome
nickel steel.
Knife Sets include: a knife; a knife
support, and a cutter.
page thirteen
Using the laser from the Hope Hollowing System. The cutter.
The Elm bowl.
An interior cut out bowl. Use a tail stock
extender to secure bowl at end of cutting.
Sarasota Woodturner Members’ Show & Tell, July 24, 2018
page fourteen
Dave Laubisch’s Sarawood bowl.
Dave Laubisch’s Sarawood bowl.
Dave Laubisch’s Sarawood bowl.
John Henry‘s Chinaberry bowl.
Steve John‘s Maple Sarawood bowl.
page fifteen
Tiffany Vase, Tampa Museum of Art
Dave Hausmann‘s first attempt at a
Tiffany-Inspired Sycamore vase.
Alan Levin‘s first attempt Norfolk Island
Pine hollowed vase .
page sixteen
Downhill shear cut, elbows in, handle against hip, right foot in front.
Steve Johns’ Bowl Turning Demo at Franck’s Studio, July 31, 2018
Attach blank with
screw, round bowl out
with roughing gouge.
Steve’s 60 degree
gouge grind.
page seventeen
Reverse wood in chuck. Drill depth hole for hollowing. Smooth continuous cut demands a smooth
continuous motion with tool. Push, lift, swing are all done with right hand. Left hand just pushes
down. Wood wants certain speed and feed, don’t push it! Maintain constant thickness with wet wood
to prevent cracking. Check thickness with thickness guage.
Show & Tell at Franck’s Studio, July 31, 2018
Norm Stabinski’s Chinese Elm bowl.
Steve Johns’ Norfolk Island
Pine vessels.
Pat Sullivan’s Turned & Carved Apple bowl.
page eighteen
Franck Johannesen’s Norfolk Island Pine Mushroom Demo, August 7, 2018
page nineteen
Smooth out and see how knots are arranged. Try to get knots to come across face
Make tennon. Use side of gouge on end grain to smooth out. Reverse piece on lathe, secure in chuck.
Use parting tool at base of mushroom. Drill and hollow out bottom so it won’t crack.
page twenty
A second mushroom is begun. Smooth out with roughing gouge. Align knots as before.
Drill base and then hollow with spindle or roughing gouge to keep from cracking.
Shear cut top with flute pointing south. Norfolk Pine is full of sand so you’ll sharpen tools more often.
page twenty one
Show & Tell at Franck’s Studio, August 7, 2018
Steve Johns’ Norfolk Island Pine vessel.
Steve Johns’ American Elm bowl.
Franck Johannesen‘s Lutz Demo Segmented bowl.
John Miller‘s Segmented bowl made with
Forstner bits and bent coping saw blade.
page twenty two
Carbide Lathe tools
Some of us are old enough to remember when
carbide tools were considered a luxury and really
only seen in big professional shops. That has all
changed. Today, even a cheap skil saw blade has
carbide teeth. It has been a slower process for
carbide to appear in lathe tools, but it has arrived.
In doing demo’s and teaching classes I have
frequently made reference to them, but never had
any to show. A few weeks ago I went online to
search for some. There are many brands out there,
but the name Harrison (https://www.harrisonspecialties.
com/carbide-woodturning-tools/) had
popped up several times, so I thought I would give
them a try. As can be seen from the website, there
are many choices. I chose the mid-sized set with
one handle and four tips. As soon as they arrived
I put them to work. In my demo at Franck’s in July,
I had talked about how tricky the grain can be
when doing a wing bowl because it is neither end
grain nor side grain! The round carbide tip using a
pull cut definitely helped tame this issue.
Another application was smoothing a resin tool
handle, this time using the square (actually slightly
radiused) tip. Care is needed doing this or the
corners will catch.
Tool Review by Russ Fellows
Conclusion: carbide tools are a valuable addition
to your “arsenal.” Will they do everything? No.
You still need a regular assortment of gouges to
do your serious wood removal and shaping. Think
of them more as detailing tools and scrapers,
which of course, they really are. If I were ordering
again, and you can add to the set buying tips individually,
I would specify a larger diameter round
cutter. It would help in smoothing operations and
allow you to reach around corners a little better,
as in a bowl rim or vessel neck. If you would like
to “try before you buy,” stop by my shop. I will be
back in town in a few weeks!
Russ Fellows (802-343-0393)
page twenty three
Allen Coppes found this book in the library and
wanted to share it with our members. He is
particularly interested in the way it presents design
Arts & Crafts of
the Islamic Lands:
Principles Materials
Practice 1st Edition
by Khaled Azzam
An unparalleled
reference on
Islamic arts and
crafts that connects
cultural history with modern practice
Islamic arts and crafts do not belong to the past:
artists and craftspeople in the Islamic tradition
draw on their rich cultural heritage to inform and
inspire their practice today. Created by The Prince’s
School of Traditional Arts, one of the world’s leading
schools for the study of Eastern and Western
crafts, this book combines detailed information
on techniques and materials with discussion of
the philosophical and historical background of the
cultures that have contributed to Islamic arts.
The book covers a range of artworks and media
from intricate geometric drawing, decorative
Kufic calligraphy, and Persian miniature painting
to ceramics, wood parquetry, mosaics, and glassblowing.
Common tools and materials, such as
gesso panels, gilding, and brush and wasli paper
are presented along with information on their
historical significance. Each chapter introduces a
principle, tool, or technique along with examples of
masterworks found across the Islamic world before
providing a fully illustrated step-by-step guide to
creating specific designs.
1000+ illustrations in color and black and white
Woodturning Tips, Techniques, Ideas & Information
This newsletter was designed and produced by club secretary David Hausmann. Articles,
digital photos and information that you would like to share with Sarasota Woodturner
members are welcome. Please contact me at
Alan Levin’s Border Collie, Ebony White, enjoying
turning demos at Franck’ Place.
The Border Collie is a working and herding dog
breed developed in the Anglo-Scottish border region
for herding livestock, especially sheep. It was
specifically bred for intelligence and obedience.
Considered highly intelligent, extremely energetic,
acrobatic and athletic, they frequently compete
with great success in sheepdog trials and dog
sports. They are often cited as the most intelligent
of all domestic dogs. Border Collies continue to
be employed in their traditional work of herding
livestock throughout the world.
A Request to Pen Turning Members
Hi Dave
We talked briefly about asking the pen turners
if they had cutoffs from pen making that are not
needed. I can use bright colored ones to make
beads for a lidded box. Acrylic Ones are best.
Also, I wanted to thank you for all your time and
effort to get the newsletter out on a regular basis.
Much appreciated!
Allen Coppes
Sent from my iPhone