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7th January – Gallery

19 January, 2019

3rd December – Gallery

21 December, 2018

Fireworks with Mike Haselden

23 November, 2018

62 members and 3 visitors attended the November meeting, Our Demonstrator this month was our very own Clubman of the Year, Mike Haselden with his continuing annual mystery show.

Placing a spindle blank of sawn pine timber in between centres on the lathe, Mike started the evening by asking if there were any beginners in the audience, he then proceeded to give a quick overview of woodturning health & safety covering the basics of apparel, tools and machine safety. Then starting with a spindle roughing gouge proceeded to round off the edges, quickly stating that this tool wasn’t doing too well, he bent over to his tool bag on the floor said lets try another tool, he then very much tongue in cheek produced a small axe, which he continued to use to remove the edges of the blank, much to the amusement of most of the audience, although this was producing an improved result, he once again returned to the tool bag, this producing a garden spade on which he had ground a sharp edge and proceeded to remove more of the blank. At this point in his very dry humour, he marked the three sections A,G & S with a pen and passed it around the audience for closer examination.


“This part of the demonstration was purely for theatrical effect, Mike is an extremely skilled and experienced woodworker and would never take a risk with these objects, please do not try this at home”.


Moving onto the main demonstration Mike then produced a large section of green Acer I thought it was ash. He explained that this was a log that he had sawn in half with the intention of producing two large bowls. To achieve the best appearance Mike splits the log directly through the central pith, with the aim of getting an even amount distribution of rings on both sides of the bowl.

He mounted the blank between centres with a two prong drive in the tail stock chuck and another centre in the chuck. a revolving ring centre in the tail stock. Though less secure than mounting on a faceplate, Mike favours this method since it allows adjustment of the angle of the blank to optimise symmetry of ring pattern. To aid this adjustment Mike made a pen mark on opposite sides of the log which he then lined up by matching them to a strategically cleverly placed tool post.

To improve security of the drive he prepared the blank by cutting a recess in the centre with an auger bit, to allow the drive centre to sit within the recess.

Moving on he offered tips on safely and efficiently removing stock ? when turning a bowl. (Sorry, I don’t remember this). Another tip was attaching a short ruler to the tailstock for quickly setting callipers.


Mike then roughed the outside removing the bark in the process and then marked a chucking point dovetail recess in the base with callipers which he then cut with his skew. This was to allow the bowl to be shaped mounted in a chuck rather than rather than between centres. The wood was then mounted on the chuck via this recess, a spigot cut into the other end (the top), and then reversed again to shape the outside of the bowl to a shape inspired by a bowl placed on the gallery table by Harry Butler.

We then took the usual tea break, while Mike fielded question around the lathe. After which he was coerced into doing the gallery critique. In which he was complimentary about all of the exhibits with the exception of one piece which of course was his own.


Returning to the lathe Mike started to hollow out the bowl, explain his methods as he went along. Explaining that he like to leave a cone in the centre for as long as he can as this helps to keep the integrity of the wood as he progressed the cone was removed to allow deeper access and another smaller cone built up as the hollowing continued. Mike regularly referred to his double ended callipers to achieve a uniform bowl thickness. As usual he has another great tip. By attaching a small plywood offcut to one of the outer calliper ends he can place a pencil mark to aim the other leg at. The pencil mark is easily removed later as the ply is coated with Typex so can be either erased or repainted very quickly.

Once happy with the overall shape Mike recommends placing the wood in a paper bag with some of its own shavings, storing in a cool dark place and regularly checking for excessive moisture levels which could cause water stains.


In true Blue Peter style Mike then produced a similar piece that had been drying since early 2017, which he started to work on discussing with members of the audience various ways of securing it in the lathe, with a several ideas from the room including a large foam ball attached to a circle of ply or MDF. Another trick of Mikes is to attach a sacrificial piece of plywood to the bowl so that the tail stock centre can be pressed in without damage to the bowl.

With time running out on us, Mike called an early end to the demonstration, and took a couple of questions from the group. If you want more of Mike, check out the Winter issue of “Your Turn” for an article by Mike on how he achieves those wonderful finishes

Andi Saunders

5th November Gallery

10 November, 2018

1st October – Les Thorne

19 October, 2018

As one would expect there was a large crowd in attendance for the next episode of our annual event “Showtime with Les Thorne”

Les Thorne has been on the Register for Professional Turners since 2001 after spending most of his life involved with wood in some capacity. From his workshop in Old Alresford in Hampshire, Les is primarily a production turner and works on a huge variety of jobs and with many different clients.

Les offers a range of woodturning courses from his workshop and also has a small range of instructional videos and his own designed turning tools.

Les offered us an Interactive demonstration in preparation for a major event at the weekend, he was going to ask at various points of the demonstration “how would you do this bit?” he would then tell us what he was going to do anyway whilst explaining why.


“Oh my God, It’s another bowl! Or is it? Is how he introduced us to the subject of the evening a lidded box, the top of which was like a side grain bowl. Using a hexagonal kiln dried European Oak blank, left over from a large commission for McDonalds restaurants in London.

He started by attaching the blank to a screw chuck

Tip Les uses a small amount of paste wax to lubricate the threads on his screw chucks, it stops them binding and rusting when using wet wood.


Discussing which tool to use Les opts for the one that gives the best optimum cut.

He removed the corners and rounded the six corners, and then very quickly turned the outer shape initially with a spindle gouge and then a bowl gouge. Then cutting a small spigot for the Nova chuck.

Once fitted to the chuck, Les then a drilled hole through the centre of the “bowl” with a drill bit in the tail stock chuck. This will accommodate the handle/knob. Then using pull cuts he improved the outer shape.

“No way is perfect for every project”


Reversed into the Nova chuck and hollowed out with ¼” bowl gouge

“No way is perfect for every project”

Les then gave us a short masterclass in hollowing out a bowl, explaining the need to change position and possibly tools at various points, and allowing for differing angles and a lower peripheral speed nearer the centre of the bowl

He then created a small step inside top edge of bowl (that will match the base)

Using his multipurpose tool i.e. a round skew he finished of the inside off the bowl with a larger gouge to counter the additional vibration.

Once turned he moved onto adding a decorative finish, using his preferred Lemon Oil which gives a matt finish and doesn’t go off

Placing the bowl in a pine jam chuck to hold in place with tail stock centre, in his workshop (Les favours using a flat jam chuck, with 360 grit abrasive for grip).


He also recommends using paper inside the jam chuck to reduce noise

Then selecting the parting tool from his Sorby small tool set to cut a series of grooves on the outer surface for decoration.

He then went over these with brass brush in a drill, followed by a quick sand and then liming brush to emphasise the beads. Les the applied an acrylic sanding sealer followed with black ebonising lacquer


We then had a brief Q&A before the tea break

Returning to the lathe Liming wax was applied with liming brush. Les then worked it into the grooves with his ‘“Wife’s” toothbrush promising that he always washes it before returning it. He then broke a cardinal turning rule by buffing it up with small piece of rag not paper, warning the novices in the audience of its inherent danger.


Les then turned a thin base from Ash attached to a blank in the chuck by hot glue gun, this was then supported with his “One Way” Ring & Point Live Centre in the tail stock


Les then used signature spindle gouge to cut the smallest spigot possible (as he didn’t want to remove it later) disguised with a small decorative bead. Then used a round skew to produce a smooth surface.

Reversed on lathe, having removed the base from the blank using a standard chisel to prise it apart, cleaned up any glue residue from the surface. He then measured and turned a lip for the upturned bowl to fit onto, it does not require a very tight fit. Les managed this at his second attempt, quickly finished of the surface and then moved onto a simple top hat shaped finial. This was of course met with a loud round of applause.

Les then moved to the gallery table for the critique, taking his time to mention every exhibit, giving the occasional constructive critique but as is becoming the norm at HWA gave a strong vote of appreciation for the quality of exhibits.

With time running past the usual Ten O’clock finish time, the final event of the evening was the ever-popular raffle with its usual range of quality prizes.

We now look forward to the third of our in house demonstrators with the next episode of Mike Hasleden’s mystery turns at our November meeting

Andi Saunders

1st October – gallery

15 October, 2018

3rd Sept – “Some Turning, Some Colouring and a few other bits” Part II.

16 September, 2018

56 members and 4 guests attended the September meeting which has become a club favourite on the calendar with a demonstration from our very own Adrian Smith, an experienced woodturner who brings to his demonstrations a light hearted approach that is filled with great humour and lots of very useful hints and tips. This years offering was to be a continuation of last years demonstration in which he ran out of time, so I now offer you “Some Colouring and a few other bits”.


Bob Hope standing in for Dave this month kicked off the meeting with a few announcements before introducing Adrian who immediately had us smiling by admitting that he had forgotten to bring a blank that he had prepared earlier, but not to worry he just produced another one which he now needed to quickly paint white, so out came his trusty tin of Zinsser Bin paint, which he opened with a Skew chisel stating that was probably it’s most useful application.


Some Colouring

Moving swiftly on to his first sample of decoration, he produced a couple of cans of spray car paint, and claiming that shaking the cans was hard work, passed the cans to members of the front row to shake them for him. He then produced a selection of  Virginia Creeper leaves (Sometimes called Boston Ivy which he laid out on newspaper and proceeded to spray them with a combination of Red and Green he then quickly applied the leaves to a pot already prepared with Zinsser, he then gave the whole bowl a light dusting over the leaves. Sadly the required effect wasn’t achieved due to the leaves being too limp and the paint not transferring as he had hoped.


Moving quickly on Adrian then produced another bowl this time painted black, and his set of Jo Sonja Acrylic paint tubes. He then dispensed a very small amount of iridescent Blue using the wrong end of a small paint brush dabbed small blobs around the bowl. He then produced a unique piece of kit a car tyre inflator which he powered with a battery charger (reducing 240 volts down to 12). Then attaching a football inflator adaptor to the compressor Adrian used the compressed air to spread the small blobs out into a petal type shape, he then added a further layer of iridescent Violet over them and again spread them out, this produced a very convincing flower effect. Adrian has been using this set of paints for some ten years so they do represent very good value (£3.99 per tube on EBay)


Adrian’s next show piece was a Vase of Flowers, or at least flowers in a pre-prepared vase. Starting with some Hazel branchwood in the chuck, he quickly removed the bark and rounded the wood with a round skew, then using a short length of wire as a drill bit, he bored a small hole in the core of the wood, and then proceeded to shave back layers of the wood to produce the flower heads much in the same way that many of us have produced Christmas Trees. This works pretty much with any soft centred wood. The finished flower heads were then lightly sprayed with red paint, building up to the required finish before parting off. Adrian then inserted green painted cocktail sticks into the base of the flowers to serve as a stalk. This process was then repeated a couple of times to give us the vase of flowers.

This took us up to the tea break, during which Alan and Harry held a critique of the novice gallery entries. After which John Holden was volunteered to carry out the critique of the other gallery items.


A few other Bits

Adrian returned to centre stage for the final session, this time he set up an Beech cube “corner to corner” between the chuck and a hollow ring centre in the tail stock. He turned a chucking point on the tail stock end before reversing the piece into the chuck and then hollowing out a three-pointed winged bowl. This process required a lot of stopping and starting to check the depth of bowl and the thickness of the wings, not a job for the faint hearted.


Adrian then reverted to the original white painted blank from the start of the evening, as this was a lot longer than he required so without explanation he proceeded to reduce by turning a snowman which when parted off left him with the required length of wood to turn jam chuck.  But yet again time ran out on us so the half-finished bowl was passed around the audience for inspection. The demonstration ended with the usual warm round of applause for one of our most popular members and demonstrators. Bob then thanked Adrian for “a most entertaining and informative evening, but mostly entertaining” before moving onto the raffle.


Andi Saunders


Editors Note:-


Jo Sonja’s® Artist Colours & Mediums

Jo Sonja’s Decorative Painting System was developed by Jim Cobb (Director of Chroma) and renowned folk artist, Jo Sonja Jansen.  Both artists wanted a colour system that would meet the needs of the serious artist, so with the up to date technology that Chroma had to offer, the brand of Jo Sonja’s was produced to have both versatility and longevity.  This flexibility enabled the decorative artist to create techniques from the past and develop new techniques for the future.  Introduced in 1985, the brand quickly found its place in the market.  Artists worldwide recognise its value and quality with Jo Sonja’s playing a major role in the decorative painting market, a position that Chroma will maintain with its ongoing commitment to innovative ideas and quality.


The Paint

Jo Sonja’s Artists Colours are flow formula acrylics that offer the look and feel of traditional gouache.  Being made from only the finest quality, pure pigments.  Colour layering within designs can easily be achieved as the colour dries within minutes and can easily be painted over without damage being done to the underlying layer.  It provides opacity of colour and dries to a velvet matte.  While other paint ranges target the craft audience, Jo Sonja’s colours offer a professional paint range for the more serious artist.  Jo Sonja’s Artists colours are two to three times stronger than the bottled craft colours as well as being permanent.  No special instructions are required as they have been created to be used with ease.


The Decorative Painting System

With the range of paints, also comes a range of mediums to allow unlimited techniques.  Acrylic mediums are invaluable if you wish to change the paint consistency or alter drying times.  Chroma has discovered ways of allowing the same set of colours to be applied on a variety of surfaces such as wood, metal, glass and textiles.  The same colours (with the use of the mediums) can be stencilled, stamped, crackled or used in a host of elaborate faux finishes.

The Website contains lots of useful hints & Tips


Also Repeated for those who missed (or forgot) last years report

Zinsser Bin is a Shellac-based primer, sealer and stain killer. Suitable for use on interior surfaces and spot priming of exterior surfaces. Offers excellent adhesion to glossy surfaces, including glass. Blocks stubborn and persistent stains including water stains, marker pens and more. Seals porous surfaces with excellent enamel holdout, even sealing bleeding knots and sap streaks. Permanently blocks every kind of odour. Touch-dry in 20 minutes. Recoatable in 45 minutes. Hard-dry in 1-3 days. Covers approx. 12.5m²/Ltr.


  • Excellent Adhesion to Glossy Surfaces
  • Blocks Stubborn & Persistent Stains
  • Seals Porous Surfaces
  • Permanently Blocks Odour

Andi Saunders