Club Meeting: 30 July 2025
Report by: Bob Yandell

A different and fascinating approach to the term them of Nature. Based on an interest in Brian Nash, Artist, and experience with Linocuts, Jonathan demonstrated how the different parts (bark, cambium, sapwood, heartwood and pith) can produce an image when treated as a printing block.

Using a cross section of a tree (branch or small tree) as the starting point for the “printing block”; in the demo a young cross section of a Kauri was used; the surface was cleared of chainsaw marks. The options to “face off” were sanding, router in a sledge or mounted on the lathe (against a face plate using double sided tape, glue or pressure from the tailstock) and once smooth the surface is burnt using a gas torch. The charred surface is carefully using a Japanese wood brush, Uzukuri. Jonathan had one such brush and had made his own. The brush is firm but soft ensuring only the burnt carbon is removed and the surface is not marked. The “homemade” brushes used cordage wrapped in masking, duct tape to achieve a stiff handle.

The next step was to apply a coat lacquer to stop the absorption of the Block Printing Ink. They are either water based or oil bases. Water based are easier for cleaning up. The ink comes in a range of colours and depending on the colour of the paper being used is the choice of ink colour. Samples printed on white and black paper clearly showed the benefit of choosing the right colour paper. The ink colour, of choice, is extruded onto a tray and spread out with a Brayer, a 20mm roller made of a hard rubber. The ink was roller many times to ensure consistency.

The ink is then rolled onto the surface of the wood you have prepared. The open time is around 20minutes. The paper is carefully laid down in the wood, working from one end. The paper is pressed onto the wood using a baren to ensure that an inked design is transferred to a paper surface evenly and clearly without the need for a printing press. Traditional barens were often bamboo-sheathed flat pads of wood or hardened paper pulp whilst modern ones can be plastic with a more ergonomic handle.

The pad is used to smoothly apply pressure to the back of the paper with a gentle circular motion to increase the contact between the surface and the inked design so that a good, clean print is achieved. You can carefully peel the paper back and if needed more ink can be added.

The quality of the paper affects the result. Paper for block printing, ds on whether you’re printing a final piece or practicing. For practice, lightweight papers like computer paper or newsprint are suitable. For final prints, consider archival papers like those used for fine art prints, with a weight of 170-200gsm for a good balance of durability and print quality.

Club Meeting: 23 July 2025
Report by: Graeme Mackay

Dick started with an outline of production turning for an approaching conference. In this case, some 400 pens as conference gifts for a specialist pest removal project gathering. Description was provided for the starting of the process and its relationship to the history of the conference.

The explanation quietly introduced the numbers required. Also , indicating the type of wood to be used for the pens: the sourcing of dated, several thousand-year-old swamp kauri remains from Ahipara.

Also, that became evident that the production of this mass of pens, some 400 in number required planning of both the individual unit production methods and that required to handle larger numbers. While the single unit production for the same for each, there was an additional layer required for the numbers. Quietly, along with the individual step descriptions, there are a number of modified tools and specific jigs that were required.

The batch totals for production were defined by the size and jig type and through some magic calculation, a total of 30 units per production section was arrived at. Slipping under this calculation was the great Woodturners method for individual time units. The overview had timings for every stage, process, workings, and the overall calculation of time per batch of 30 units.

It was easy to succumb to calculations until one thought of each 30 unit sections and posted time numbers covering the 400 pens required. Noting that the target was 400 identical items which included the internal workings, refill, and presentation package chasing. At each point in the demonstration, Dick quietly introduced the size and frequency of the time numbers required for each section, i.e. However, he added a very casual and clear direction that still kept in the open the detailing and production required for each mass production step.

Hidden in this quietness, it was a regular application of very detailed and precise planning and sequencing. The numbering of each individual pen as part of the production batch process. The importance of unit or batch sequencing was not denied or hidden, rather opened up to the audience giving a clear view of the difference between individual one-off and mass batch production.

In a tidy and easy to follow outlines in the SAWG project section. Each step had options available and choice of methods to follow e.g. preparing and dressing the timber. Benefits such as gluing choice options and their advantages are shown. Again, at each step production detail was covered and clearly outlined. A useful tip was that there are no process shortcuts. Each step is required, the choice of action at any step is your own. Dick acknowledged the additional steps to use for working in swamp Kauri. The extra timber work slips back into time calculations. There is no magic wand.

The accompanying presentation cases required to same attention to detail and planning: including wood choice, colour, glue type and surface finishing.

In all, and introduction to pen making, and the covering of the move from one-off to multiples.

Club Meeting: 16 July 2025
Report by: Graeme Mackay
 
Terry used a unique approach to inspiration using nature’s gift. A whole raft of wide range tools used to make the food requirements for filling a salad bowl. The extensive array of items guarded by a well constructed gnome.

A set of garden tools and bits produced the amazing cornicopia for sweet-and-sour salad: apples, pears, lemons, dandelions, flowers for the sweet side. Cabbage, carrots, parsnips, avocado, and of course food safe mushrooms.

The garden tools a diversity covering everyday work items: Waratah (metal post), Axe, tomahawk, sickle, hedge clippers, trowel, and several others all available for rubbing the bevel. The supporting group of pipes, poles, planting equipment all contributed to a variety of sizes and lengths of garden Dibbles.

The opening round of carrots were shaped and formed between centres using standard chucks and Steb centres. Although it was noted that the Steb centres minced both the parsnip and carrots and the initial proto-cuts. The centrepiece was tidied up using the sickle.

Several common tools throughout the demonstration reflected in their own space. The handles on the Estwing Hammer provided a lot of use. Simply, Terry explained that the garden trowel had a variety of bevel angles and provided a range of cut types.

It was no surprise that the hedge clippers provided a useful type of parting tool. There was a short discussion as to whether curly edge or straight edge clippers were best for parting.
 
Care was taken when product testing. Again, this testing raised questions about the sizes of Steb centre and how long they were applied. The inference being that large raw bits of carrot caused some processing problems.

There were useful inspirations: the sickle as a drawknife, number eight Wire as an embellishment tool, plumbing pipes as gouges-plus the associated bevel edges.

The multipurpose, Heath Robertson, well put together, long Dibble and attach planting device and/or specialist arrangements for construction. The device, about a metre and a bit long, was a planting device that can be used when one was standing up.

There were extra devices such as magnifying glass to find things, a drink holder, and a section to guide the seeds to go down. Project Planning included intellectual property coverage as shown in the original planning role-was that roll.

The construction of the Gnome highlighted the need for rubbing of the bevel with all tools including the tools and methods for shaping out the base and ensuring that the 6 feet, eyes and hat were able to be present.

There is motivation: inspiration can come from anywhere.

Club Meeting: 25th June 27, 2025
Report by: Bob Yandell

Our Club is fortunate in having people willing to share their knowledge and an environment that encourages members o ask if they don’t know – There are no dumb questions.

Kieran Fitzgerald was Chairperson and Timekeeper and having received questions, in advance, had passed them to the 2 principal experts Terry Scott and Ian Connelly for them to be prepared. It looked like Terry had brought his workshop minus lathe and bandsaw.

The following are synopsis of the questions posed and of the advice given by the experts and relevant comment from those attending. Many of he answers can also be found on our website under Tips and Jigs.

Chuck size – use appropriate jaws especially for bowls and platters greater than 300mm diameter use of 100 or 75mm jaws achieve a safer result. The opening of the jaws widely to accommodate a larger spigot is not appropriate as it results in 8-point contact, this can result in the spigot being torn off, whereas near total contact is achieved when correctly used. After the item is finished the spigot can be removed or modified, such as transformed into feet.
Chuck – Mounting Safely

Finishes – Key to choice is “What is the purpose is the item”. There is no one Finish for all items. Avoid waxes when the item is for food or will be handled many times e.g. lid in a much-used box. Hard oils such as Danish should be applies in warmer temperatures thus ensuring they dry. Humidity and temperature affect drying time. First coat to be light/thin as it is the one that acts as a key to subsequent coats and best left 24 hours. If applying a spray, the first should be a mist coat as it is again going to be the key to following coats.

Inlays – To fill a void and enhance the look of an item you can use powders such as copper and turquoise. The void should be clean and to reduce the amount of powder used spray the surface with Accelerator the fill with sanding dust to a level below the finished surface. On a curve you may need to build a dam using hotmelt glue. Put in the powder higher in the centre of the void and tap it down, like the dentist doing a filling, apply CA glue (Thin) but no accelerator. Continue until proud of the surface. Tip – Store your powder in a bottle, like that used for CA glue as this will assist in minimising the amount of powder applied. Sand the filled void area with care as the inlay is harder than the wood.

Fingernail And Other Grinds – The choice of grind angle is a personal decision and changing the angle to follow a particular turner won’t solve a problem. The basic principle of rubbing the bevel, angle of the flute and speed, both across the wood and of the lathe must be first and foremost in the process.

Terry’s Fingernail grind starts with the standard 55 grind then by moving the leg of the Woodcut Tru-Grind holder from the parallel to notch 4 and grind the back from the tip.
Go to the links on our website
Sharpening – Other Grinds
Sharpening Process
Sharpening Settings
Sharpening Spacers
Sharpening Station

Gauge the thickness at the base of a Hollow form – Terry showed various ways to measure the wall thickness and base. They were the manufactured, the self-made (using wire coat hanger, wood and dowels, laser light). Too many and too difficult to write about, see Terry!

What makes a good Knob or Finial – The basic rule of thirds or Golden Ratio or Fibonacci sequence (0, 1, 1, 2, 3, 5, 8, 13…), where the ratio of consecutive numbers approaches the Golden Ratio.  The design of the Finial or Knob must not be considered alone but as part of the total image. It is part rather than an add on, it is complimentary. Reference Cindy Drozda (www.cindydrozda.com).

Making a Walking stick – This was explained by Peter Wyatt. Peter has 3 basic sources for the shaft – Old and damaged sticks from Op Shops; square wood 40 x 40 x ?? and Teatree (Manuka) of a diameter suitable. People love the twists and curves. Handles are also from various sources – door handles/knobs; deer antler; golf putters etc. A 7mm hole is drilled in one end of the staff/shaft to a depth of 38mm and a 7mm hole is drilled into the handle to a depth approaching 38mm, subject to material. A 6mm galvanized rod is cut to 75mm and inserted in the staff and glued in place with 2-part epoxy and the handle is also secured with epoxy. Variance in diameter 6mm rod and 7mm hole accommodates alignment. If a Ferrel is required it cut from tubing (Copper, Brass or Stainless Steel. Turning the staff/Shaft requires 2 steadies and the end thirds are turned first.

Paper Joints – This is the method whereby pieces of wood can be joined using PVA before turning and then separated, by a chisel at end grain, before rejoined so the turned profile is now the internal part of the project. The paper of preference is newspaper because of its construction.

A successful event and a future such event may see the remaining questions answered.

Club Meeting: 18 June 2025
Report by: Ian Connelly

The demo started in only a way that it would start with Mr Veitch, where he started by talking about cleaning the lathe bed, do not use oil on the bed it attracts dust, use dri-glide or wax. First clean the bed with 0000 steel wool, then apply the product and spread it over the lathe bed. With wax leave it for a short time and buff the surplus off.

Several years back Dick attended a demo in the USA that showed the emphasised the use of the grain in the wood to look wonderful in every way. Rather than colouring, texturing and other ways to try and make work stand out.

Dicks first piece of wood was a graft from an apple tree, he mounted it on a screw chuck, with the tailstock up.

He then cut a bowl profile using draw cuts, removed the tailstock support and cleaned up the bottom of the bowl.

After examining the bottom Dick declared it to be a bit sappy, so took some more off and reformed a spigot.

He the formed an ogee at the bottom of the bowl to give it more “lift”.

With a couple more cuts, refining the shape it revealed the beautiful grain that had formed around the graft.

Dick then talked about a couple of blanks he had, and questioned how to make the most of the woods features.

A piece of juniper he had, was ideal as a box blank, but with the contrast of sap wood and heart what would make a suitable lid?

A large flat piece of swamp kauri had another piece of wood glued to it to use as a spigot to maximise the use of the available timber.

An important point was if you are planning to carve or pyrography a piece then you need to design the piece with that in mind. Embellishment should not be tacked on, in need to be part of the piece.

Then Dick took two pieces of fir and turned one with the grain cupping up, the other with it cupping down to show the contrast in grain patterns.

As always an interesting and thought provoking demo for Dick.

Club Meeting: 4 June 2025
Report by: Ian Connelly with help of Julies Notes

Julie started by introducing herself as a member of North Shore Woodturners Guild and the treasurer of NAW, then suggested that she was not here to do a “Trefor” and sell everybody on why they need to be memebrs of NAW.

She then talked about Leith Gray. Leith had been a teacher and after he retired he built a large home that had the most enormous workshop she had seen. It appeared that the home was designed around the workshop. All along one wall were deep bays like oversized pantry and each one had a different focus, he had 3 lathes, 4 grinders and most other woodworking tools. One wall had 1m deep shelving full of wood and wet turnings.

Leith was a great wood collector, with many varieties in storage. He also made many of his own tools out of surgical steel, planner or bandsaw blades, screwdrivers, and small tools from concrete nails.

Julie met Leith at the Taupo Jamboree where he was making rattles with double captive rings.

Unfortunately Leith passed away last year, there is a video of him making captive rings on the NAW youtube channel https://www.youtube.com/@naw-org-nz

Julie had other examples of Leith’s work such as helixes cut on a scroll saw, he taught Bruce Wood how to make these. He also made tiny captive rings on finials. It was suggested to follow Leith’s lead and make a number of finials for reference, then when you want one for a box you work out what suits best from these.

Making a Rattle

First you need the right wood, the best is cherry, heart wood from the trunk of the tree. This is the most stable and should give good results.

Rough turn – wax the ends and store until it dries.

Need sharp tools, a disk mounted on the lathe with 1000 grit sandpaper, or on a flat sheet of glass enables the ability to create a finely sharpened tool.

Mount the wood in a chuck, supported by a live centre and round it.

Mark out the rattle, using a story stick.

Use a thin parting tool to defined the rings.

Round over the top of the rings with a spindle gouge.

Then use the custom tool to clean the top of the ring, then sand the top of the ring.

Next another custom tools is used to cut the sides, cutting one side at a time. The tool was blunt on the bit that touches the front side of the ring.

Use a parting tool to create more clearance under the rings, this was then cleaned up with a small custom skew chisel.

Julie then couldn’t help but sneek in another ring under the first rings, after stating she was going to keep it simple for the demo.

The bottom of the rings can be cleaned with a stanley knife that has a carpet hook blade. (ring size matched the blade, also the ring tools had been made with the help of a chainsaw file)

The easiest method for sanding the back of the rings is a long piece of cloth backs sandpaper held at one end with clamp or other device threaded though the ring allowing the ring to be move back and forth with paper conforming to the rings shape.

Just for good measure Julie then used the waste block still in the chuck to turn a finger top, a thing NSWG encourages members to do to add to the gifts they donate at the end of the year to multiple charities they support.

A great demo from Julie, with so much information that it was bewildering where to stop in the write up. A very enjoyable night at the club. Now go off and watch Julie’s video of Leith doing a demo of his rings. https://youtu.be/t6WNqBW0Qdc

Club demo: 28 May 2025

Report by: Kevin McFall

Kieran’s demo of a lidded spoon was a fun demo filled with spoonerisms and heckling encouraged. There was plenty of both!

The Spoon Bowl

Kieran started with a blank 50 x 55 and approx. 150mm long. For the demo this had been pre-prepared with a 20 x 50 piece cut out of it and a waste block of the same size glued in place.
The piece cut out was then glued to another waste block for turning the lid, alignment of the grain needs to be considered here.

The piece that was to be the spoon was then marked out to get the centres. At the end with the waste glued on the centre is marked on the core piece ignoring the waste piece, the other end is marked to exclude the same area as the waste at the opposite end and then marked up.

With what was to be the spherical spoon end in the chuck, Kieran bought up the tailstock and rounded to a blank cylinder (at approx 1750rpm) and added a spigot at the tailstock end. The finished diameter of the cylinder is 47mm.

Removing the blank and mounting it in the chuck he turned a sphere for the outside of the spoon bowl.

This sphere can be mathematically calculated, but in this case, Kieran used Soren Berger designed sphere calliper which does these proportions for cutting away corners to get a rough sphere. Once these are done the rough sphere is then machined to a nice sphere by eye, although using a piece of pipe can assist by rubbing it on the rotating sphere to highlight high spots, and sanded this to a nice finish.

Kieran then bought up the tailstock and used a chuck cub (a pre-turned cylinder of wood with a semi spherical cutout at one end that goes between the sphere and the tailstock to prevent damage to the sphere while between centres) between the sphere and the tailstock.

Kieran then turned the handle with some beads at the spoon end and 3 lines darkened with wire to embellish the handle. This was then sanded and parted off.

This piece was then put into a larger chuck with the glued waste block section exposed and the handle protruding through the gap in the jaws.

A piece of cut cardboard tube with a slit in it was placed around the sphere to protect from jaw damage.

The waste block was then turned off and the bowl of the spoon hollowed out. It is noted that care should be taken to not catch your arm on the spinning handle whilst doing this part of the spoon, as it is moving rapidly in close proximity. Kieran also removed his watch for this.

When hollowing out ensure you leave room for the lip for the lid to lock into and then cut this lip. The inside was then sanded.

The Spoon Lid

The other block that had the piece cut out of the spoon blank and glued to the waste block was then put into the chuck with the glued spoon blank piece exposed.

Kieran turned the wood round, faced it off. He then measured the spoon and turned a tenon to fit and hollowed out the lid of the box, regularly stopping the lathe and testing the fit of the spoon to the lid.

Kieran then shaped the top and parted it off. The then made a jam chuck from the remaining waste block to complete the top of the lid. After the lid flew across the room some hot glue was used to help secure it on the jam chuck! This was checked regularly with the spoon to ensure the spherical shapes match as closely as possible.

Kieran did a great demo filled with useful information and completed with his entertaining and humorous style!

Club Meeting: 9 April 2025
Report by: Ian Connelly

Jon Pearse and Kieran Fitzgerald teamed up to do a demo.

The guys had set up two lathes in the demo area. There was a little explanation of what they were going to do, where one would explain a process/project and the other would turn while waiting for his opportunity to talk.

Kieran started making a treen – a small wooden object for domestic use.

Jon then had a chance to talk, he was making a bowl. First you need to inspect your wood looking for defects.

He then discussed the screw chuck – reminding us to make the hole deep enough. The voyager drill press in the club can assist with this – zero the bit on the wood then watch the screen as you drill down to 20mm.

Cutting off the corners of the blank can assist with turning.

Then tenons, faceplates, tek screws. If the wood wants to run away when screwing the tek screws in clamp it between the banjo and the tailstock.

Kieran then had a turn to discuss his project.

Board 15mm thick

Hot melt glue chuck used to maximise use of timber.

Faced off the piece and made a recess for the 100mm chuck, only 1-2mm deep. Standard jaws have a bevel – this can be ground off the make a sharper edge to grip better.

Kieran made an ogee curve on the outside – divid the length into thirds to assist with this shape.

The treen was then reverse onto the recess mount, faced off…..

Jon then stepped in and talked about sanding – where he finds as you go up the grits, do one grit with the power sander and the next by hand.

Kieran then did a short demo of using spirit based dyes, lighting the meths to flash off the dye before adding another colour, sanding, more dye, more fire…..

The demo was a little erratic making the report quite challenging, but a very entertaining night was had by all, great job guys.

Club Meeting: 7 May 2025
Report by: Ian Connelly

Discussion started talking about the best wood to use. Glenn said he tried this process with wet wood, the issue was it was hard to drill and the hole closed up.

Dry wood, with straight grain seems to give better results, Glenn started with a black 40x40x300 mounted between centres.

He rounded this roughly, then mounted it is a chuck, ensuring it was centered by bringing up the tailstock.

He did a little bit of a tidy up of the rounding with the skew.

There was quite a discussion between Glenn and the audience about the process of drilling out the pipe and trying to stay on centre.

A summary of the discussion: Past experience of people that had made single piece pens suggest that hand holding the drill is often better that using a jacobs chuck and take it many small increments to make sure that the swarf does not build up and drive the drill off course.

Glenn used a long drill in a jacobs chuck to drill the pipe, after swapping out a bent drill for a nice new straight one (always great to have a backup plan for a demo)

A pop rivet shell was then places in the hole, so that tailstock support could be restored without splitting the wood.

Glenn progressively turned the pipe down to approx 10mm.

Then it was time for a little more work on the cup – Glenn drilled the cup out with a 20mm forstner.

Then there was a check done to make sure that the hole in the cup and the hole in the pipe met – success!

Next Glenn cut off much of the excess around the cup with the bandsaw, the remainder is then carved away using a dremel.

To bend the pipe, a wire is inserted down the hole to prevent it closing and the pipe was simmered for 30 minutes in water in a frypan. It was then clamped in a jig and allowed to cool.

A great demo of something different, thanks Glenn.

Club Meeting: 30 April 2025
Report by: Janet McDonald

This demonstrations theme was “Added Value”. Denise Donovan the demonstrator accomplished this by taking the basic turned box formula and adding a wrist bracelet as part of the boxes construction.

At the lower opening area of the box she turned a bracelet from the boxes edge. This making the bracelet removable from the box, when the lid was removed from the finished box.

She shaped the outer box profile to the same contours of the bracelet so when the box was closed you could not tell it was a bracelet, but just part of the overall box design shape.