Odds and Ends...

This is where you can place anything that does not naturally fit anywhere else on the website.

Here, Club Members can publish their hints, tips, projects, designs, help wanted, money saving tips, sources of materials,
how I made it, visits to interesting wood/ turning shops or venues etc.  All we need is your CONTENT!

This page will very probably always going to be 'Under Construction' - it's dynamic, it's ongoing and may not ever be finished...

 Hints and Tips

Having Problems Turning 'Brittle Wood'?
If you have ever had trouble with turning a piece of wood that is either spalted, brittle or difficult to hold on to a screw chuck try soaking it in a mixture of 50% washing up liquid, (using the cheapest you can buy), and 50% water.  Mix up a sufficient quantity so that you can totally immerse it with a weight on top in a bowl and leave it for 3 days.  You will then find that it is easier to mount it on a screw chuck and you will get shavings rather than chips when you start turning.  Also if you are turning any fine grain timber that creates small chips, e.g. Sapele - it also has the same effect.
In the case of sound timber it is sufficient to just give a couple of coats with the solution to have the same effect.

Adding Decoration to Turnings - cut a shallow groove/ notch (use the point of a skew chisel) into your item, turn the speed up and then hold a wire into the groove to scorch it to give a contrasting black line.  You can use commercially available (or home-made) 'burners' which usually consist of a length of steel wire with some type of handle attached at each end.

NOTE:  if you use the steel wire method - an old guitar string or a cheese wire works well - you ABSOLUTELY MUST mount the wire between (wooden?) handles - just wrap the wire around your fingers if you really do want to lose them!

A much safer and simple alternative that produces quite a good effect is to use the back of a hacksaw blade.  Just remove the blade from the frame, invert it so the smooth back of the blade is now the working edge and fix it back in the frame.

Reducing the Noise - When boring holes with a drill mounted in the tailstock, there is sometimes a high pitched squeal emitted as the bit binds on the wood - a quick rub on the hot drill bit with your stick of carnauba wax soon sorts it out.

Use the taper tap i.e. No. 1 Metal Screw Tap (engineering taps are usually supplied as a set of 3), the thread size of your Lathe Headstock spindle (e.g. 3/4" by 16 tpi, 1" by 8 tpi etc.) to make temporary or throwaway faceplates out MDF or plywood

 To stop your metal faceplate/ chuck getting jammed on to your lathe drive spindle use a thin MDF, plywood or leather spacer between them

Insert the long shank of an Allen Key into a wooden tool handle. Grind a cutting edge on the short length and you have a cheap undercutting tool for making rims on a bowl etc.

If you use Mirka Abranet Abrasive sheets, then glue some Velcro onto a 3/4" wide strip of wood, cut a similar width of Abranet and you now have a simple but effective sanding block. You could also do the same with a piece of round wooden rod to make a radiused sanding stick.

Diamond Hones - from Richard Branscombe

As woodturners we know that it is essential that a cutting burr is kept on the tool at all times.  This is achieved by using a grinding wheel be it fast or slow running, either water cooled or not with various grits being available and it is not intended to go into the individual merits of these alternatives right now.
However every time you use the grinding wheel it does remove metal from the tool and if you are like me you tend to grind the edge a couple of times just to make sure you have the required burr.  Obviously the more times you grind the more metal you remove and the life of the tool is reduced.

As recent demonstrators have shown you can lengthen the life of your tools by using a diamond hone to reduce the number of times you need to regrind your tool.  Depending upon the grit of your grinding wheel, normally between 60 and 180, (although you can buy much finer grit wheels but at a hefty price) this gives quite a rough burr on the tool - but by using a 600 grit Diamond Hone you can get a much finer burr which cuts just as effectively.  It is not uncommon to use a Diamond Hone 4 or 5 times before the edge of the tool becomes rounded and makes cutting more difficult and it is then you have to go back to the grinding wheel.

It should be noted that not all diamond hones are created equal! - the price (and quality?) is highly variable - and you basically get what you pay for.  Do your own research before making a purchase.
Try this link at Axminster Tools and MachineryDiamond Sharpening Stones or search on eBay for:  "Diamond Sharpening Stones"

As you will see - there is quite a range of Diamond Hones on the market suitable for use with woodturning tools, wood planes as well as chisels and carving gouges.

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Tools for Self-Reliance - Swindon Group

This is an on-going project to collect and refurbish tools for a variety of trades, that are then shipped to a number of African countries to help create and sustain local crafts working towards self-sufficiency.

Click here to download the PDF file for full details of how to donate.


Air-dried - Rough SawnTimber - Call for Availability and Prices

See this website:  www.hampshirewoodsuppliers.co.uk/about_us.html  - (located between Andover and Newbury) - if you see anything you like -   the contact is:  Paul Goulden.  There is a mobile phone number and an eMail address.  As usual - do your own research...
Contact supplied by Joe Kerrawn.

Timber Available - Call for Prices

Local tree surgeons - Cotswold Tree Surgeons of Purton, Swindon, SN5 4DB (www.cotswoldtreesurgeons.co.uk) - have various timbers for sale.  They often have supplies of Ash, Yew and Elm, along with Beech, sycamore and Box - call for availability and prices on Landline:  01793 771742 or Mobile: 07831 460798.  The contact is:  Keith Mills.

Discount Available on Production of NWWA Club Membership Card

Beesley's Tools (website: www.tool-shop.co.uk) - 1 Beatrice St, Swindon, Wiltshire, SN2 1BB - not far from the Oasis Leisure Centre - Telephone: 01793-538847, are offering a discount to all Club Members on production of a current NWWA Membership Card.
Generally, they will offer between 10% and 15% - however, on some items it may only be 5% - but they will always endeavour to give the best deal they can.

If you want to buy something from the Axminster Tool catalogue (website: www.axminster.co.uk) for less than the £50 free delivery amount - (under £50, post and packing is £1.00), Beesley's can get it for you in a couple of days - they place an order every 2-3 days with Axminster - and you may even get a small discount...

Bandsaw Blade Supplier

As a supplier of bandsaw blades - Tuff Saws (www.tuffsaws.co.uk) have been recommended for their price, efficiency and quality by a number of Club Members.
They produce a wide range of blades - for wood, metal and green wood - in a range of materials and tooth configurations.  Custom blades and advice are offered.

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Techniques and Projects  

 Woodturning and Metalwork Fabrication Project

Click to see enlarged

Table Lamp Images
A neighbour from my village, 18 year old Nina and her father Nick arrived on my doorstep with an interesting request:  "Would I be willing to help with a woodturning and metalworking project?"
My answer of course was: "With pleasure!"

Nina is aiming for a career in engineering and had a sixth-form technical project to complete.  The concept and design were entirely hers and she had learned how to weld in order to construct the lampshade from old metal cycle gear components - plus the turned part that I was to make.  She had already prepared technical drawings and a template of her design and even 'rescued' a piece of timber to be used for the stem of the lamp.
I recognised the timber immediately as North American Tulipwood (Liriodendron Tulipiferus) which also grows well in the UK.  We have a good example locally in my village (nr. Chippenham) and there is at least one very large specimen at Westonbirt Arboretum.  The timber has hints of pastel green streaks in the otherwise creamy appearance - Nina's piece turned and finished beautifully.  If any tolerance was
acceptable at any point in the design, it was no more than 1 mm.   A 6 mm hole was drilled on the lathe for the flex and interestingly the long drill bit wandered from dead centre, but fortunately to a tolerable degree.  That almost certainly explains why a shrill noise developed towards the end of the drilling operation.
A piece of timber was needed for the base and I found a suitable (Lime) blank which matched the stem well enough.  In any case, the project had a 'recycling' theme so a perfect match was unimportant.
Nina and her dad Nick watched the whole operation in three sessions - despite the bitter cold weather and Nina got the feel (briefly) of a roughing gouge in use.

- All aspects of the project went well and how pleasing it was to have been asked to help, and to have the opportunity to demonstrate woodturning before a receptive audience of two. To my eye, Nina's imaginative design has a very agreeable appearance and I understand it went down well with tutor and peers.

Recounted by Vernon Hughes, April 2013


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Pyrography - Tips

Many people think that they cannot do pyrography because they think they are not "artistic".  So cheat!

Borrowing images from other artists is very easy.  There are many books available from the library or hobby shops to give you inspiration.  Unlimited images are available from the internet and I have found that some of the best are on Tattoo sites.  What you need are black and white images without too much detail.

Transferring your image onto your chosen medium can be done in a number of ways.

You can do pyrography directly onto heavy duty paper such as cartridge paper so in this case you would print the image onto your paper directly and then use your pyro tips to enhance the image.

Alternatively, you can transfer the image onto wood, leather or cork by using carbon paper.  This is probably the easiest method to transfer but takes time as you have to go over each line with either a stylus, biro tip or sharp pencil.  Good idea to check after the first few lines that you have the carbon paper the right way up!  You tape the image in place with masking tape to ensure that it does not slip during the tracing process.

If you have a laser printer, you can position your image (face down) and, with a hot iron, transfer the image onto the medium.  Apparently, the 'ironing on the back of the image' will also work with photo copies and even prints from inkjet printers.  This will really only work on a flat surface.  You may find that you lose some detail and you should use a pencil to remedy this before starting with your pyro tools

Heather Crawshaw, March 2013

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Pyrography Hints - Tips Updated

Following the two (very successful) All-Day Training Events held on 29th March and 31st May 2014 - in response to questions asked and information provided - Heather Crawshaw has produced a "Pyrography Information Worksheet 2014".
This document shows the various websites that provide pyrography 'supplies' along with a review of some of the techniques available to transfer images to your pyrography item.

Click HERE to download your copy of the "Pyrography Information Worksheet 2014" (PDF file)
and HERE to download a copy of the associated document "Mirrored Text Instructions in MS Word" (PDF file)



Spiral Platter Project

Joe Kerrawn recently found a design in a quilting pattern book, that he decided would make a good woodturning project.  He 'translated' the design into a segmented and turned platter.  The project went well - and Joe made a second platter with a different design.  Both platters were displayed at the AWGB Show in Loughborough in August 2013.

Click HERE to download a brief account of how the platter was constructed. 

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Jigs and Tooling Special Interest Group

The Jigs and Tooling Special Interest Group held its first meeting on Monday 16th September 2013, with nine members of the NWWA being present.
A large number of potential projects/ areas of interest were identified and discussed.

It was decided that the first project would be the building of a "12 volt Battery Box" - used to replace an old, non-working/ dead NiCad battery pack from a 12 volt cordless drill.
The second meeting of the group took place on Monday 7th October, where the box components were cut and the various electrical components and the battery were distributed.

Mike Crawshaw has documented his design and the steps taken in the assembly process.  Click HERE to download a PDF file of the document.

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 Other Articles

April 2017

Dave Newman (Equipment Manager) is pleased to announce that items contributed to the Prospect Hospice, (Moormead Rd, Wroughton, Swindon SN4 9BY) have raised over £600.

Dave has a number of shelves in the Hospice Café to display donated works – and is always happy to receive further donations of wood turned items for sale.

Moisture Content in Wood

Moisture Content

Knowing the exact moisture content of the wood you are working with is very important. Using wood that is not at the appropriate moisture content can result in warping, swelling, cupping, splitting, or loose joints in your finished work.

Over 50% of a living tree's weight is moisture. This moisture content is expressed as a percentage of its "oven-dry weight". This means that to determine the moisture content of a piece of wood you must first weigh it, and then oven-dry it until it no longer loses weight. This oven-dry weight is then subtracted from the initial wet weight and the difference is divided by the oven-dry weight.

     (wet weight - dry weight/dry weight X 100 = % moisture)

Although this method is most accurate, it is not practical for everyday use. There are electronic moisture meters which will give instantaneous readings, accurate within 1% in the critical 6 to 12% range.

Moisture in wood is contained both within its cell cavities and in the cell walls. As wood dries, moisture first leaves the cell cavities (free moisture). When the cells are empty, but the cell walls are still saturated (bond moisture), it is said the wood has reached its "fibre saturation point". This is about 30% for most woods.

Wood will not change dimensionally until it is dried beyond the fibre saturation point. As the moisture is removed from the cell walls, the cells begin to shrink. Maximum shrinkage takes place in the wood as the wood dries from 20% down to 10%.

Seasoning Wood
The object of drying or "seasoning" wood is to bring the moisture content of the wood down to an acceptable level quickly, but gently, to avoid distortion. This results in the wood that is lighter, stronger, and less susceptible to splitting, warping, cupping and rot.

There are two methods of seasoning wood, air drying and kiln-drying.

Air-drying reduces the moisture content to 15-20%. It usually takes about one year for every inch of thickness to air-dry hardwoods. Soft woods will air-dry in about half that time. With exceptionally dry weather, air-dried wood may reach 12%.

Kiln-drying can dry wood to any given moisture content in a matter of weeks. Heated air is used to drive out the moisture and steam is used to control the rate of evaporation to avoid distortion and splitting. Dehumidifiers are sometimes used in small kilns as a method of drying wood without heat. This process is much easier on the wood. A more recent method is to use a microwave on half-power for 2-3 minutes and allow about an hour between each drying to allow the surface moisture to evaporate. It is when using the microwave that weighing the wood each time becomes more practicable and when there is no difference in the weight then the wood can be considered dry.

Wood is always susceptible to changes in surrounding humidity levels. It will try to reach a state of equilibrium with the surrounding atmosphere. When lumber leaves the kiln and is stored outside, it will gradually pick up moisture from the air until it reaches an equilibrium level. No matter how old the wood is, it will always respond exactly the same way to environmental changes.

Fortunately, wood responds very slowly, therefore day to day changes in humidity can usually be ignored and only seasonal changes considered.

When green wood has been dried down to an equilibrium level, additional waiting time will not dry it further, but aging wood does have certain advantages. Mature wood will have its remaining moisture more evenly distributed and will be therefore be even less likely to distort.

For fine woodworking, lumber should be kiln-dried to a moisture content below the required level and then stored in an atmosphere that will permit it to reach an equilibrium level that will be maintained throughout the building and finishing process.

An understanding of how wood shrinks is important as wood does not shrink equally in all directions. It will shrink along the direction of its annual rings (tangential shrinkage) about twice as much as it shrinks between its rings (radial shrinkage). There is practically no shrinkage in length.

If a plank is cut tangentially, the greatest amount of shrinkage will be across its width. If cut radially the greatest amount of shrinkage will be in thickness. Therefore radially cut timber is more stable, with less tendency to distort.
The amount of shrinkage varies considerably from one species to another.

Wood Rot
For wood to rot three things are required, oxygen, heat, and moisture. If these three factors exist, living fungi (rot) will attack the wood.

There are two main types of wood rot. The first is "wet rot" (white rot). This is usually seen outdoors on rotting logs and stumps. This fungi feeds on both the cellulose and the lignin content of wood leaving a white, slimy residue.

The other common type is "dry rot" (brown rot). This is mainly an indoor type which feeds on only the cellulose content of the wood. The fungi leaves a brown residue with the wood spongy and deeply cracked.

Since oxygen and heat are usually present, moisture then becomes the deciding factor on whether conditions are suitable for rot. If the moisture range is between 0 - 12% then wood rot is impossible. If the range is over 18% then wood rot is inevitable. In the mid-range, 12 - 18%, wood rot is possible but not likely. Wood that is over 18% will burn poorly and provide limited heat.

It should also be remembered that no two trees are exactly alike.

N.B.  It should be noted that wood will begin to split the moment the tree is felled and it is important to start the drying process as quickly as possible. However this is not always practicable and you can reduce the incidence of wood splitting by sealing the ends with either an oil based paint (not emulsion), a liquidised wax or PVA glue. Wherever possible when cutting branches cut them into lengths as long as possible because you are almost always going to get some end splitting and this will give you more usable wood from the cut branch.

Also, it is worth considering cutting/ splitting sections of the trunk down their length as soon as possible after felling - to reduce the damage from shrinkage cracks.

NWWA - Richard Branscombe - February 2017

NOTE:  a copy of this article as a PDF file maybe be downloaded HERE

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A Review of "Hand or Simple Turning - Principles and Practice" by John Jacob Holtzapffel
NWWA Library Ref: B21

Since taking up woodturning as a hobby I have always admired the complicated, ornamental lathe turnings illustrated in many books and woodturning magazines. Having read  that HoltzaIpffel turned extraordinary objects in wood, I picked up this book and decided to borrow it from the NWWA Club Library to read about "Hand or Simple Turning - Principles and Practice". What I discovered is a truly enlightening history on the wood and metal turning lathe, explained in some detail as well as a description of how to turn.
Did you know, for instance, there is historical evidence that the Ancient Egyptians knew how to drill a hole in wood and stone by using a string bow and drill bit? The author also shows early examples of Chinese, Indian, Persian, Arabian and other lathes and describes in detail how an Indian wood turner would set up his work supported by two fork branches (used to centralise the work) hammered into the ground, and sit on the floor with one end of his turning tool supported between his toes and the other end hand controlling the cutting action. His assistant would use a 'string' wrapped around the work and pull on alternate ends in order to rotate the lathe just like the Pole lathe works.

 This rare rose engine ornamental lathe took
Holtzapffel and Company 2 years to make and
was sold in 1838 for in excess of £1,500 ( a
tidy sum in those days!).  It was sold at auction
in December 2012 for over £124,000.
Click image to enlarge

The author then tells us how the lathe progressed from operating at floor level into the European styl
e where the lathe is at a higher level and the operator stands in front of it. He explains, in detail, how the lathe developed from the simplest lathe, with its intermittent rotation, into the lathe with its continuous rotation of the work piece which, in itself, introduced the problem of how to transfer the power and rotation from the foot treadle to the lathe above it. In the earliest small watchmakers lathes, used to turn parts as small as hundredths of an inch in diameter, this was achieved by using horsehair in the bow. The development of the treadle lathe enabled larger work to be turned and required a much stronger driving belt and they used sliced catgut initially.  This was also the time when stepped pulleys were introduced to give a range of speeds and then flywheels were incorporated to give more momentum and prevent the work piece slowing down as the cutting took place. The lathe also progressed quite rapidly from an all wooden structure into cast and machined metal parts and with the introduction of steam power this enabled much heavier work to be undertaken. In passing he mentions a lathe which had a 15ft diameter faceplate weighing 11 tons!

Holtzapffel describes in some detail how each of the various components of the lathe developed from the earliest simple headstock bearings, variable speed and gearing devices as well as all the attachments that were used together with the vast array of tools; each of which had a specific function into the complicated lathes developed by the authors father. He has drawings of the variety of  chucks and faceplates used to hold the work - including stepped crankshafts, and with the introduction of the Universal Chuck in 1820 the number of specific chucks needed to turn the variety of work were considerably reduced.
Other chapters of the book describe different types of turning tools and the correct way to hold the tool for best effect. There are descriptions of screw cutting, turning ivory to make billiard balls as well as ornamental turning such as the Singapore Ball. He describes the methods of the softening and cleaning required in order to turn metals such as cast iron and brass. The book gives examples of combined plain turning which involve sections being both square and round the methods used in dyeing, staining and darkening of wood.

If you think that this book is about the modern way of turning then you will have to think again. This book was in fact first published in 1881 as Volume 4 of a 5 volume work entitled "Turning and Mechanical Manipulation, Intended as a Work of General Reference and Practical Instruction, on the Lathe, and the Various Mechanical Pursuits Followed by Amateurs"
So the only improvements made in the last 150 years consist of an individual motor to each lathe and the invention of electronic variable speed control which has come about in the last 3 decades or so.
Richard Branscombe, February 2014

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Reflections on Presents from Your Nearest and Dearest…

Christmas 2012 and the male nearest and dearest realised presents for me might be easier this year as they had decided it was time for me to go it alone in my own workshop (another story).
So my husband Simon decided to buy me a pyrography set as I'd expressed a wish to try my hand at it and following making homemade cards it would continue to exercise my artistic (what! You say, so do I, but apparently it's there somewhere) streak.  He went to the great God - Axminster catalogue (he also uses it quite a lot!), and found a pyrography set which he bought as a surprise, plus a book on how to do pyrography.

On Christmas Day I opened it and was struck by two emotions, delight and utter terror.  What better present, something to play with in the warmth of the living room, log burner running full chat on a cold winter's day.  But - it was one of the cheaper soldering iron type wands with a very stiff thick electric cord.  You hold it what feels like half way up and then have to control it.  Try writing with a pen but hold it three inches from the nib.  How good is your drawing and writing?  Personally I find it really difficult to control.  Well now you get half the story, the other half being that you have to keep an even pressure while gliding across the wood.  Results not good, but getting better, it still feels jolly uncomfortable.  Heather's said I can try hers, so I may have to trade it in for a model like hers.  Also, with the thick unweilding cord it is difficult to hold the wand so the tip is at the correct attitude to the wood.

Dad, meantime, had thought to buy me a slightly larger present for my birthday and Christmas (both fairly close together).  He'd bought me a lathe.  It was sat in its box in his garage waiting for my new workshop.  We'd had a few discussions about lathes, especially whenever he heard of one for sale.  I had made it clear that I needed one that was easy to use and that had a swivel head because of my duff shoulders.  Dad had said he wanted to buy me a lathe.  In my innocence I thought I would have some say in what lathe I had, so again imagine the emotions when I find he's already bought me one.  So profuse thanks and there it stayed in its box until the end of March 2013.

Finally, the workshop was in a state to have its first piece of machinery.  So the lathe was duly unpacked by yours truly with help from both nearest and dearest, ferrying parts to the car to take home, and later in the day it was unloaded by Simon, daughter Ginny and yours truly.  Gin and I put the legs together to form the stand and assembled the lathe.  The Axminster 900 has a different set up on top compared to the 1000 (the one Dad has and that I have been using successfully for the past year).  We mount the head which sits in a dip next to the bed which the tool rest and tail stock move along and it has another section of bed that can be attached to the other side of the head stock which the tool rest can be put on.  The head rotates 180 degrees so it can face the end to work on large pieces (if you have an external tool rest).  Great you say - what more do you want?  I had the same thought until I tried to move the head stock.  Well - everything was wrong.  I would have to have the lathe set up in the middle of my small workshop because the release pull button to swivel the head stock was on the end to the left when in normal position but when the head was moved round 90 degrees it was at the back and moved round 180 degrees it was over the bed.  I couldn't pull it out to release in either of those positions - just not strong enough.  The release bar to allow the head to move was on the front in a ridiculous position, so I kept catching my knuckles on the speed control.  The head flopped everywhere once released and when moving because of the weight of the motor.  So there I am trying to hold the head upright so it'll swing round and not catch, then pushing against it from the side while trying to move a lever on the front and to cap it all it only has preset positions at 45, 90, 135 and 180 degrees.  All this and I haven't even put a piece of wood near it.  My heart sunk and I was quite put off the thought of turning anything, so time to go indoors and reflect.  Well it was pretty obvious that I wasn't going to be able to use this lathe as I always move the head round to do the insides of bowls (it makes it easier on my shoulders) - so - what to do next?  I slept on it.

The next day I saw Dad and I said to him 'There is only one way to say this and please don't take it the wrong way, but I can't use the lathe you very kindly bought me.'  I went on to tell him the problems.   His answer 'Oh well, we'll have to sell it on eBay and get you another one.'  'Stop' I said, 'I'll speak to Axminster.'  So I spoke to them and explained my predicament - bad shoulders, too heavy and awkward to move head stock, Christmas/ Birthday present from my Dad, only just unpacked because finally somewhere for it to go.  'No problem, send it back and you can have another one', they said.  'Well, actually I want some technical advice about lathes, extraction units and static sanders.'  'No problem we'll see you Monday.'

So to cut a long story short, we took the lathe back, spent three hours with a very good technical advisor and I came home with my wallet much lighter.  Dad's old extraction system consigned to eBay and the following day all my goodies were delivered free, including an updated version of Dad's little lathe, the 1000, a super uprated  hobby static sander (which has Dad red with envy), and a pneumatic extraction system which has a big bore hose and a normal sized vacuum hose.  Plus other little bits and pieces and some very useful freebies.

So to all wives/ partners who want to buy a new toy for their husband's workshop, it isn't easy, as you can see; even the men get it wrong.  Don't second guess what your loved one wants.  I had already learnt this with Simon's hobby, so now it's the men's turn to learn.

Ellie Thompson, June 2013

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 A Poem by Ian Hooker

Ian and the WI

Ian had been invited to the W.I.
He didn't ponder or think to ask why.
So off he trotted with thoughts in his head
"I'll just chat away" - to himself he said.

But, opening the door his face it fell
Oh no he thought this won't go well
The ladies were dressed in twinsets and pearls
With faces so perfect and hair set in curls.

Ian was smart, but casually so
He thought he'd just chat, and go with the flow
So, not feeling too brave, he walked on to the stage
And opened his notes to find the first page.

So good afternoon ladies - I hope you'll be good
And not be too bored when I go on about wood
It's so enthralling for me every day
I can spend hours in my workshop just sanding away…

At first they looked at him all sour-faced
Then first one, then another they all grimaced
Then they all laughed and gave him three cheers
And from under their chairs they all produced beers
We thought we'd have fun - to relax you a bit
So, good luck with your talk on - Woodturning Innit?

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Photographs from the AWGB Show held on 9th - 11th August 2013 in Loughborough

Club Members Ken Crittle and Joe Kerrawn attended the show and took the pictures.  Both had entries in the show and
Ken's entry entitled "Silver Birch" was selected for the TOP 50.

Click these links for the Top 50 from the show: www.awgbseminar.co.uk/2013/Loughborough2013Top50
and here for the Index of Entrieswww.awgbseminar.co.uk/2013/Loughborough2013INDEX

Click on any of the photos below to display an enlarged image.

    On the LEFT
Ken Crittle's entry entitled "Silver Birch" - selected for the TOP 50.
The timber is a silver birch burr, with cast and turned pewter rims to the top and bottom - the size is approx. 5 1/2" diameter by 2 1/2" high.  One of the AWGB critics thought the base was unnecessary!

On the RIGHT - Ken's other entry in the show

    Joe Kerrawn's entries - segmented and turned platters (Click HERE to see how the platter was made)
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Review of Spiralling Chuck from Axminster Tools

Ron Headon has been using the Club's Axminster Eccentric Spiralling Chuck and has
compiled a brief report - click HERE to download a PDF file of his report.

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