many happy turns october 2016 - central ohio woodturners · the efficiency of the tool. these...

A few words from our President, Mike Trucco

Greetings Fellow Woodturners,

Well, the first meeting is under our belts. I thought it went pretty well. Tom Hale did an outstanding job of

lining up demonstrators. I would like to thank Devon Palmer, Bruce Kerns, Max Kackstetter, Freddy

Dutton, Gene Hall, and Tom Hale for sharing their expertise. I think everyone took home some good

pointers.

I would also like to thank Patrick Sullivan, our new newsletter editor, for the outstanding job he did on our

first newsletter of the program year. Be sure to thank him too. One thing I failed to mention in that

newsletter is that Jack Hock is on the sick list. Jack would appreciate cards or calls just to let him know we

are thinking about him.

The “critique table” wasn’t as popular as I had hoped, but maybe it will do better after people saw how

professionally Freddy and Ron handled it. I appreciated their comments on my piece. In fact, I went home

and fixed some flaws and now I have a better piece. Remember, this is how we can learn to be better

turners; by accepting constructive criticism.

Don’t forget the Paul Bunyon Show on October 7th, 8th, and 9th at the Guernsey County Fairgrounds in

Cambridge. We will have 2 lathes set up and will be demoing in the Wood Craft Building all 3days.

I am looking forward to our October 11th meeting. Our demonstration will feature our very own, Tom Hale,

demoing a hollow Christmas ornament with finials. You won’t want to miss this! Instead of our usual 50/50

raffle, we will be selling chances for a $100 Woodcraft gift card (donated by (Ron Damon) and 2 - $25

Craft Supply gift cards (left over from last year). We will draw 3 names. We will still have the Show ‘n

Tell, and Swap Shop. Remember to bring back your “oops” piece to this next meeting for the President’s

Challenge. You could win a $25 gift card. There will be a 4” x 4” block of cherry waiting for you for the

November President’s Challenge.

The Official Publication Of The:

COW Partners with

Franklin

Park Conservatory

Demonstration

Schedule

Meeting

Information

Highlights in this Issue

COW President Mike Trucco

Many Happy Turns October 2016

In association with:

http://www.centralohiowoodturners.org/

2

Many Happy Turns October 2016 Issue

...A few more words from our President (continued from page 1)

Steve Wagner is hard at work setting up mentoring sessions for the program year. If anyone has ideas, please

send Steve an email or call him.

On November 5th we will be doing “Pens for Troops” at Woodwerks from 10 a.m. until 2 p.m. More info to

follow.

Anyone planning on entering pieces in the Franklin Park Conservatory juried art show please call or send

Tom Hale an email so that we can get a head count. There’s more info on this in this newsletter and also on

the club website.

Remember, this is YOUR club. If you have any ideas, comments (positive or negative) we would like to hear

from you. But please offer solutions too. Keep turning safely!

Your President,

—Mike

Central Ohio Woodturners Meetings

Meetings are held at Holy Spirit Church basement, 4383 East

Broad Street, Columbus, OH 43213. We normally meet the 2nd

Tuesday of the month (September- thru- May). We look forward to

seeing you!

3

Club Demonstration Schedule

Christmas in October?

It’s not too soon to be working on those homemade Christmas and Holiday gifts. October will feature an ornament demonstration by Tom Hale.

Tea Time?

In November the club will be hosting international turner Michael Gibson. In his early years growing up in England, Michael worked on wooden sailing yachts along the banks of the River Crouch. He moved to the US in the eighties. Working with wood all of his life, Michael was always interested in woodturning and studied for many years to perfect his craft. What began as a hobby blossomed into a passion. He has gained international recognition for his teapots.

Michael was a featured demonstrator at the American Association of Woodturners International Symposium in 2013 and received high honors as recipients of the “Award of Excellence” for one of his pieces. At the 2015 International Symposium he was awarded "Master Choice" in the Merging Exhibition. He also demonstrated at the 2016 AAW International Symposium in Atlanta.

He will also have a 2-day hands on class at Woodcraft. More details later in this issue.

Urns for Ashes.

In December the club will have the pleasure of hosting Ohio native Pete Wade. Pete’s demonstration will focus on creating Urns. The big inspiration for his company comes from his fur-kids, Smiley, Peanut, Oliver & Gus, the best grey-hounds on the planet! Originally I was just making bowls, round boxes and other things that I could burn my little cave drawing designs into. But then he and his wife, Beth, lost both Smiley & Peanut to bone cancer. That was the nudge need-ed to learn the skill of hollow form turning –so that he could make urns that would reflect the personality of the pet for whom they were made.

Keep watching for more information about our future demonstrations.

January - Embellishments - stations for carving, burning, dyes & texturing

February - Segmenting - Bob Dadik & Don Leman

March - Dick Gerard

April - Tips & Tricks - 5-minute "My Best Tip/Trick" from club members

May 8 - Steven Kennard - Boxes - Demo + classes


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From our Librarian, Robin Moro …

The latest list of all the DVD’s, CD’s and books in the club’s librfary has been posted on our website

under the resources tab. (http://www.centralohiowoodturners.org/1turneradmin-5/ ) If you are looking

for inspiration or to improve your skills, check it out! Best of all, everything is available for loan to club

members, free of charge.

Please, please, please, do not forget to return any itmes you have borrowed from the club library at the

October meeting.

— Robin


Within this video, Alan explains the use of the skew

chisel - the tool many consider to be the most chal-

lenging tool in all of woodworking. Despite his focus

on this one tool, there is something in this video for all

wood turners - including those just beginning as well

as those with many years of experience.

Alan starts by describing the various types of skew

chisels on the market. He uses effective visual aids to

describe the modifications that he makes to maximize

the efficiency of the tool. These modifications include

grinding the proper skew angle (70 degrees), round-

ing the short point edge and chamfering the long

point edge. (Since this video has been released,

Hamlet has begun to sell "Alan Lacer Signature"

skew chisels that meet these specifications.)

Alan then describes the proper sharpening process -

lessons that can be applied to other woodworking

tools. He discusses grinder and grinder wheel selec-

tion, as well as proper sharpening techniques. He

also describes the use of an MDF wheel for power

honing and the proper use of a fine grit diamond hone

for hand honing. His description of the sharpening

and honing process is one of the best that I have

seen.

Alan spends a considerable amount of time describ-

ing the various cuts that can be made with the skew

chisel. These include planing, roughing and v cuts, as

well as shoulder, peeling and rolling cuts. He also

shows how the tool can be used to clean parting cuts

and other rough end grain cuts, to minimize sanding.

Throughout the video, Alan recommends the student

use 1.5" x 1.5" soft pine as his/her practice wood. He

outlines various exercises for the student and encour-

ages them to create dig-ins, skates, and other turning

problems, so they can learn from them. By using the

modified dead center, much of their fear and appre-

hension can be eliminated. Throughout the video,

Alan also emphasizes the need to wear eye protec-

tion and follow other safe practices.

Overall, this video is very well prepared. The lighting,

sound and production quality is quite good. Alan Lac-

er is a very good instructor and instills a confidence

that this tool can be mastered by following the steps

outlined in the video

Review by Steven Mellott of Wood Central

http://www.woodcentral.com/

A review of The Skew Chisel: The Dark Side / The Sweet Side

(DVD Format) by Alan Lacer

This DVD is

available to

members in

our library!

5

Mike Trucco President (P) (614) 218-4397 [email protected]

Tom Hale Vice-President (P) (614) 578-5324 [email protected]

Nelson Meyer Secretary (P) (614) 231-8850 [email protected]

Mark Boyd Treasurer (P) (740) 852-2689 [email protected]

Patrick Sullivan Newsletter Editor (P) 740-627-1699 [email protected]

Our Club Officers

COW members benefit from the skills and talent of our organization’s leadership. Take a few mo-

ments to familiarize yourself with the officers’ names and information below, and introduce yourself

at the next COW meeting! We want to hear from you!

At our September meeting we began a new resource for our club

members, a ‘Wood ID Station’ run by Dennis Knepley. Dennis

had a variety of wood samples to examine. It is another great ex-

ample of the benefits of being a member and attending our month-

ly meetings. Steve encourages you to bring in samples for identifi-

cation. We also welcome you to contribute to the ‘library’ of sam-

ples. Samples need to be small enough to get under the lens of

the microscope and into the focal range ½” or thinner.

Thanks Dennis for helping us learn more about our craft!


6


7


This month’s question: How to Securely Hold Turning Stock

We are fortunate to have Ron Damon, from Wood Werks, answer this question.

Ron writes:

This is a very common question asked by newer wood turners involves properly holding wood onto a wood lathe for

safe turning. In the past, we were pretty much limited to three holding methods; (1) mounting our stock between a

drive center and a tail stock center (primarily used for spindle turning). (2) screwing our stock to a faceplate (primarily

used for bowl turning). (3) screwing a sacrificial block to the faceplate and gluing that block to our turning block. This

prevents driving the face plate screws into the actual turning block. The finished bowl is then parted off from the sacri-

ficial block and the bowl bottom is sanded smooth by hand. While these are still valid holding systems, they're some-

what cumbersome and quite limited in their application.

Several years ago the “4 Jaw Self Centering Scroll Chuck” hit the turning market and dramatically altered it forever.

This chuck is right up there with metal tip shoelaces and sliced bread. Whatever level turner you are, if you don't own

a scroll chuck, you need to get one because life is so much better “with” than “without”.

Give one of these chucks a try, I think you'll be impressed! I'm very partial to the One Way chucks because of their

jaw design.

Here are just a few of the holding abilities of the scroll chuck:

Woodworm Screw Chucking

The woodworm screw (included with most chucks) is mounted in the chuck. An appropriate size hole is drilled into

the turning block which is screwed onto the woodworm screw. When the block is seated against the chuck jaws it pro-

vides a very strong and tight fit so that the outside of the block can be shaped as desired. This application is quick and

easy.

Introducing a new newsletter feature: Ask A Turner!!

http://thisiswoodworking.com/shop-by-brand/oneway.html

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Spindle Turning

One end of the spindle stock is mounted into the chuck jaws with the other end held steady by the tail-

stock center. This gives an extremely strong hold on most any length piece of spindle stock. Short piec-

es of spindle stock can be safely held by the chuck alone and don't always need the tailstock center.

Large Hole Gripping

Using a forstner bit, usually 2” to 2 1/2” diameter, drill a hole approx. 1/4” to 3/8” deep in your turning block.

Using the appropriate size jaws, expand the jaws into the drilled hole. This expansion grip will securely hold the

piece for turning. Use the tailstock center for additional security as needed.

Ask A Turner!! continued

9


Spigot Gripping

With the turning block mounted to a faceplate, turn the outside of the bowl. When doing so, leave a spigot or a tenon

on the bottom of the bowl. When the outside is finished, remove the block from the faceplate and clamp the chuck

jaws down on the spigot to turn the inside of the bowl. Be careful when clamping down on a spigot to not clamp so

tight that you fracture the wood fibers and weaken the spigot.

Foot or Mortise Gripping

This method is similar to the spigot method except it uses a foot or a mortise. Again, when the outside of the bowl is

done, remove it from the faceplate and expand the chuck jaws into the mortise or foot. This is quite often a stronger

grip than a spigot. The foot or mortise does not need to be very deep. I've turned18” platters with a 1/16” deep mortise.

For new turners, I'd probably make it a little deeper until you have a little more experience.

Ask A Turner!! continued

Editors Note: We are grateful to Ron for answering this question. This originally appeared on http://

thisiswoodworking.com/blog/how-to-securely-hold-turning-stock-on-a-wood-lathe/ . If you have a question you would

like answered, please drop me an email at [email protected] .

10


Members work from the September Club meeting.

Bruce Kerns

Bruce Kerns

Freddie Dutton

Gina Stuphin

Linda Dipaola

Leslie Nielsen

11


Members work from the September Club meeting (continued)

Linda Dipaola Max Kackstetter

Mike Trucco

Paul Courtright

Mike Trucco

12


Members work from the September Club meeting (continued)

Linda Dipaola

Ron Gardner

Tom Niple

Paul Courtright

Tom Hale

13


Mentoring News:

Have you wondered if you are using a scrapper correctly? Have wondered when you

should use a scrapper and when to use another tool? And what about making your

own scrapper?

Well, we have good news for you. Join Ron Damon and Fred Dutton on October 22nd for our monthly mentoring

session. This session will be held at Wood Werks, 1851 Claycraft Road, Columbus from 10 am till 12 noon. It will

be a great opportunity to be mentored by two of the clubs esteemed members. We might even be able to get Fred to

share some of his expertise in making a scrapper from a piece of bar stock!

More words probably have been ex-

pended in discussing and debating the

use of scrapers than for any other tool

except, perhaps, the skew. And with

all the arguments presented, I’m not

aware of a single documented case

where someone left the discussion

with an opinion different than what

was held when it began.

And so, the discussion continues.

This is an introduction to scrapers.

Scraping vs. Cutting. A scraper may

be used in two different ways. One is

pure scraping where wood is literally

scraped away by forcing a keen edge

against the wood. This method works,

but it is the one most likely to leave a

rough surface.

The other method is to use the burr as

a cutting edge. This technique pro-

duces fine shavings and leaves a good

surface. Frequently, a scraper used in

a manner known as shear scraping

will clean up and smooth a surface

better than any other tool you can

bring to the application.

Scraper types. Scrap-

ers are available in

many shapes and sizes

to accommodate a variety of needs.

The most versatile is the round-nose

scraper. A more specialized tool is

the square-end scraper. Then there

are scrapers shaped for specific appli-

cations like reaching under the rim of

a bowl, for example.

Another consideration is that, like a

gouge, a scraper must not be extend-

ed over the rest farther than what its

design will tolerate. Typical scrapers

are 1/4” thick and can be extended,

comfortably, about 4” over the rest

before vibration and chatter begin to

be a problem. However, this is total-

ly dependent on the type and depth of

the cut being made. For a very light,

shearing cut, a 1/4” scraper may be

extended as much as 5” over the rest

with no problems.

Heavier scrapers are available for

longer extensions. The heavy duty

versions are 3/8” thick; the thickness

of the extra heavy duty type is a full

1/2”. These are useful for reaching to

the bottom of a fairly deep bowl or

similar vessel.

Applications. Generally speaking,

scrapers are used for taking very fine

cuts in the process of smoothing a

surface or taking just a wisp of mate-

rial away from a tenon or recess to

achieve a fit with a matching part.

They do not represent the best choice

for removing large quantities of waste

wood.

Inside a bowl, a scraper can be used

to finish the side-to-bottom transition

area and making the final cuts on the

bottom when the geometry is such

that a gouge cannot be used. Also, a

scraper can often be used to clean up

the area underneath the rim of a bowl

where the rim turns in significantly.

A small round-nose scraper is good

for shaping the bottom inside of a

goblet. A square-end scraper is typi-

cally used to flatten the bottom of a

box and shape the transition area

where the bottom meets the side.

Editor’s Note: This article on scrappers is from Doc

Green, author of Fixtures and Chucks for Woodturning.

His website is at http://www.docgreenwoodturner.com/

14


Juror: Betty Scarpino

Contemporary artist, sculptor and woodturner Betty Scarpino is recognized as one of the masters of the gen-

re. Her work is held in private, public and museum collections throughout the world, and numerous awards

have come her way. Betty Scarpino's wood sculpture combines fluid motion with intricate detail.

Awards:

All work selected by the Juror and Franklin Park Conservatory and Botanical Garden will be included in

the Cardinal Health Gallery. Artists will be invited to an Artist Reception. A cash prize of $500 will be

awarded to the artist whose work is selected as "Best in Show", and two "Honorable Mention" prizes will be

awarded with a cash prize of $250.

Important Dates and Deadlines

Delivery of artwork: June 7, 2017 between 10am and 5pm or June 8, 2017 between 8am and 12pm

Work juried and notification of acceptance: June 9, 2017

Non-accepted artwork shipped/picked-up: June 10 or June 11, 2017 between 10am and 5pm

Accepted Artists submit Artists Agreements: June 30, 2017

Artist Reception: September 22, 2017

Exhibition opens to the public: September 23, 2017 Exhibi-

tion closes: November 12, 2017

Artwork shipped/pick-up: November 13, 2017 between 10am and 5pm

Continued on next page

COW Partners

with Franklin

Park

Conservatory

15


COW Partnership with Franklin Park Conservatory (continued)

Eligibility and Submission Guidelines

Only members of the Central Ohio Woodturners are eligible to enter. Must be a Central

Ohio Woodturner member by March 14, 2017. Can submit up to three (3) entries.

All work entered must be composed of at least 70% wood. Work must not exceed 6' x 6' x 6'.

Work must not weigh more than 150lbs.

Work must be suitably prepared for installation.

Delivery of Artwork

Applying members will deliver their work to the Franklin Park Conservatory and Botanical Gardens on

June 7, 2017 between 10am and 5pm or June 8, 2017 between 8am and 12pm. All works will be cov-

ered by insurance while on display at the Conservatory. Work may be hand delivered. Artwork must be

delivered in reusable packing materials for storage and return shipping.

Selected artists' work will stay on site through the duration of the exhibition, but works that were not

accepted will need to be returned or picked up on June 10 or June 11, 2017 between 1Oam 5pm. Artist

must provide pre- paid return shipping labels if work needs to be shipped back to the artist.

Sale of Artwork

Artist may choose to have their artwork available for purchase. Any artwork sold is subject to a 40%

commission. Artwork sold will remain on display for the entire length of the exhibition, and will not be

withdrawn due to sale. The Conservatory shall remit to the artists the share of the sales revenue by De-

cember 31, 2017.

Questions?

Please contact one of our Club Officers at the next meeting.

Some of us think that Tom is cheating by work-

ing on his submission for the Franklin Park

Conservatory show during his demonstration

at the September Club meeting!!

16


Photos from our September meeting

17


Photos from our September meeting (continued)

18


Our Club is now dedicating a portion of our monthly meeting for member critiques. This article, reprinted with per-

mission from the American Association of Wood Turners and the American Woodturner Magazine, will help mem-

bers in identifying areas that are often evaluated when work is critiqued. In the following article, Jim Christiansen

gives all of us some great tools for self evaluation.

The Art of Critique, by John Christiansen

Then had the opportunity to my development as a woodturner followed a typical pattern. Cheap dull tools, overuse of

sandpaper, a reject pile that was large enough to be a fire hazard all resulting in a series of misshapen, thick-

bottomed work given to relatives—pieces that are still around today as a haunting reminder of the early years. eet the

only two other turners in my remote area of Idaho. We formed a group and met weekly to give each other feedback

and to develop new ideas. I had my first chance to attend a woodturning symposium. While touring the instant gal-

lery,

I saw John Jordan near what I thought was my best work to date. On impulse, I requested that he give me a critique.

What followed made a life-changing impression on me. After a careful examination, he provided me with a list of

possible changes. The suggestions he made in one short session led to significant progress in my work in a very short

time. The importance of critique was made very obvious to me.

Later, when I joined a woodturning club in a nearby city, I discovered that for most woodturners, critique is a big

problem. I heard many horror stories where a “bad” critique resulted in hurt feelings, turners giving up the hobby,

and, in one case, threatened physical assault. Because critique has been such a positive experience for me, I decided

to find a way to make it a helpful experience for everyone. The original plan I developed has undergone a number of

revisions. The following outline represents my current thinking that will un- doubtedly evolve and change as I re-

ceive feedback and suggestions.

Overview and goals of a woodturning critique

A good critique provides feedback that can improve future work and assist in developing new ideas. Without con-

structive feedback, the turner is not only destined to repeat past mistakes but to not see new ways to improve his or

her work.

A critique—poorly done—can result in discouragement, anger, and a possible loss of enthusiasm and creativity. It is

important, then, to make sure that when critiques are given, they are “good” ones that enlighten and inspire.

It is important to remember, however, that good evaluation is not easy. It is a process that requires shared under-

standing, sensitivity, and good communication. The first step is to develop an under- standing about what we expect

from the process.

The following goals represent what we hope to learn from critique:

To develop an awareness of special factors that determines the quality of your work.

To enhance your ability to perceive subtle elements of shape, form, and design.

To expand your range of thought by becoming more aware of new options, possibilities, and directions for your

work.

To discover better ways to produce your work.

19


The critique process

Although the details for the process may vary to some degree— depending on the type of critique being giv-

en—I believe the process is a starting point for all types of critique. Simply put, the process requires the eval-

uator to look at a piece of work and then to describe the strengths and weak- nesses of the piece through his

or her perspective.

Unfortunately, in the real world, there is much to consider. First, the manner in which you “look” at a piece

of work is important. As the person whose work is being judged is likely watching your every move, it is im-

portant to take time to look at the work in a careful, systematic manner. Holding the work carefully, even

gingerly, communicates respect for the work.

Many research studies support the view that non-verbal communication constitutes 80 to 90 percent of the

shared meaning in human interactions. Therefore, the evaluator should be careful not to communicate the

wrong message by an expression of disinterest or a scowl or grimace. It is possible that a sensitive observer

will be unable to “hear” what you actually say if you have set a negative tone through your non-verbal com-

munication. Put what you see into words as you examine the work. Describe specific characteristics rather

than providing judgments. For example, say, “…this line flattens out here” rather than “…this is a poor line”

or “…this shape is awkward.” Liberal use of “I feel” statements or sentences that begin with “In my opin-

ion…” helps people understand that points being made are the evaluator’s subjective opinion. Others may

have a different view. Such statements are less likely to elicit a defensive reaction in the turner whose work

is being evaluated.

The content of the critique is another element to consider. I believe that providing the beginner with too

much information can be confusing or defeating. A

critique of the advanced turner’s work that does not

provide enough depth also is problematic. I have de-

veloped a more or less hierarchical scheme where the

critique starts at an appropriate level and then pro-

ceeds until enough elements are identified to give the

individual enough to work on for the next project. For

many turners, an important part of the process will be

to provide suggestions for taking the work to a higher

level. I have developed a Quality Indicator Check- list

for this purpose. The checklist provides a guide to fo-

cus on elements that are appropriate for the beginning

and the advanced turner. The checklist does not con-

tain information related to the quality of the overall

design. That is mate- rial for my next article. I hope

others will join me in promoting effective critique as

an important next step in the development of the field

of woodturning. Effective critique provides us with a

way to see our work through the eyes of others and to develop a heightened sensitivity for subtle elements of

quality design. The process can also help us become aware of new ideas and possibilities in our work.

This evaluation form and checklist are available on the AAW web site.

The Art of Critique (continued )

20


LEVEL 1 Beginning woodturner

Finish Elements

Torn surface (wood fiber broken rather than sliced cleanly). “Bruised” surface (dark area in finish indicating damage

beneath the surface of the piece). Sanding marks (visible scratches or lines).

Tool marks (ripples, break in line continuity, gouge, spirals, or chatter marks).

Form/line Elements

Inside lines are inconsistent (inside and outside shapes are inconsistent).

Flat or high spots (lines that do not flow smoothly or transition smoothly).

Too thick (a judgment call; form does not relate to function or where object is not aesthetically pleasing).

Too light (piece is not usable or too fragile to be practical)

Balance (object is too top heavy or bottom heavy to be pleasing).

Style Elements

Consistency (style elements do not fit together).

Size (style elements not sized correctly to be aesthetically pleasing or practical for use).

LEVEL II Intermediate woodturner

Finish Elements

Finish is not consistent (may vary in thickness, gloss, color).

Finish gloss/smoothness not appropriate for piece (finish impractical or not consistent with style).

Texture (if used) is not appropriate or texture detracts. Minor flaws in surface (small places where surface flaw de-

tracts from overall quality).

Form/Line Elements

Inconsistent style elements (features clash with the artistic style or intent).

Shape does not achieve potential for form. A piece made in a certain style may vary greatly in the shape of its ele-

ments; certain shapes can be deemed more effective. Minor areas where lines do not flow (minor curve issues char-

acterized by subtle bulging or straightening of the line). Form is not consistent quality when viewed from all angles.

Size and execution of some elements may not add to the work’s quality.

Style Elements

Overall design below potential. Suggest changes in materials used for construction, selection/execution of design

elements, color/finish.

21


LEVEL III Advanced woodturner

A critique using Level III checklist items is generally reserved for well-executed pieces that generally receive

no criticism on Level I and Level II checklist items. A critique at this level is more focused on helping the

craftsman take a great piece of work and make it better or use it as a springboard for new directions.

Finish Elements

A different surface treatment would likely add appeal.

A different surface would add to or enhance the piece; be prepared to describe and tell why a change would

help. Color/stain would help. Color warrants change; describe the potential effects of a color change.

Form/Line Elements

A change in size would improve the impact of the work. Scale impacts how we view a work; describe how

scaling up or down would help. Some changes/additions/deletions of elements would increase the impact of the

work. Sometimes simplicity (and conversely, complexity) improve a piece. Identify specific possibilities and

describe how they might help.

Possibilities

Future potential. Provide the artist with some ideas for changing the work or using it as a basis for new work;

this is important to advanced turners who may need new ideas to keep growing and developing as woodturners.

Jim Christiansen ([email protected]) is a professional turner who lives in Moscow, ID.

22

Many Happy Turns September 2016 Issue

Central Ohio Woodturners

Officer and Steering Committee Roster

2016-2017

Officers

Mike Trucco President, Equipment

Tom Hale Vice-President

Nelson Meyer Secretary

Mark Boyd Treasurer, Photography [email protected]

Steering Committee

Walt Betley At Large [email protected]

Paul Courtright Past President, Mentoring

Ron Damon Sponsor

Fred Dutton At-Large

Marty Gottesman Safety Officer

John Herrel Audio/Visual, Webmaster

Jack & Jean Hock At-Large [email protected]

Bruce Kerns Past President, Beginners Corner

Nancy Kerns Membership [email protected]

Patrick Sullivan Newsletter Editor [email protected]

Robin Moro Librarian [email protected]

Robert Smith Sponsor [email protected]

Steve Wagner Mentoring

All Officer Meetings are at 7:00 p.m. on the LAST Tuesday of the month – location alternates:

2016: August 30 (Woodcraft) September 27 (WoodWerks) October 25 (Woodcraft) November 29

(WoodWerks)

2017: January 31 (Woodcraft) February 28 (WoodWerks) March 28 (Woodcraft) April 25 (WoodWerks)

mailto:[email protected]







23


Safe Turning

by Marty Gottesman, MD, Central Ohio Wood Turners Safety Officer

OH, MY ACHING BACK

Statistically 80% of adults will suffer with low back pain at some point in their life.

Thankfully the majority of the time the pain is the result of an acute sprain/strain of the muscles, ligaments and

small joints in the back. It usually gets better within two weeks with or without treatment. Sometimes the pain is

caused by overuse but that really is also a sprain/strain injury.

In the shop a back injury can occur if you are working in the wrong position or lifting incorrectly. Slips and falls

can also injure you even if you don’t hit the ground. There are some things you can do to lessen the chances of

suffering a back injury.

Tools should, when possible, be at the proper height. Keeping a bent-over posture for any length of time can upset

your spine. Your lathe is at the proper height when the headstock center is at the level of your elbow. If it’s too

low you will be bent over for extended periods of time which could overstress your back. Many lathes can be ad-

justed for height and If not a stand (it needs to be very solid and stable) can easily be built.

This is a link to nice video on proper lathe height adjustment and stability from the Mid-South Woodturners Guild.

https://www.youtube.com/watch?v=n3LbLiFzp1g

Lifting injuries can be prevented in most cases with proper lifting technique. Our backs are not designed for lifting

but our legs are. That means that even if you are lifting a feather from below waist height you need to bend your

knees and let your thigh and calf muscles do the work while your back stays straight. Think about how the Olym-

pic weightlifters lift hundreds of pounds. Their backs are stiff and the lifting is done with the legs. Check out this

example.

If you’re going to be standing in one place for a prolonged time you will save your back some grief by putting one

foot up on a small lift like a step stool while standing. Flexing your hip and knee relieves stress on your back.

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Check out this flyer for some great information about the upcoming hands on

class sponsored by COW!!

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many happy turns october 2016 - central ohio woodturners · the efficiency of the tool. these...

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