News / Articles

September Newsletter 25-9

Ted Lund | Published on 9/13/2025

THE SPIN

STRAIT TURNERS NEWSLETTER

September, 2025 No. 25-9

Our Website Link: https://straitturners.org

TABLE OF CONTENTS

Club Calendar	1-2
President’s Message	2
Programs	3
President’s Challenge	3
Open Shops	4
Featured Article—Flawed Wood	4-8
Library	8
Social	8
Wood Sales	9
Help Wanted	9
AAW Resources—It Goes Around	9-11

CLUB CALENDAR

September 20	Monthly Meeting and Demo, Saleem Shafi, 10:00-1:30, GCC and Zoom
September 20	New Website Orientation, 1:30-3:00, GCC, lunch included
October 7	Board Meeting via Zoom, 6:30
October 20 (Monday)	OPCAAW meeting, 6:30-9:00, Bremerton
Oct. 21 (Tuesday)	Monthly Meeting and Demo, Yann Marot, 11:30-3:00, GCC and Zoom
November 1-2	Port Townsend Woodworker’s Show
November 4	Board Meeting via Zoom, 6:30
November 6	Set-up for Shipley Center Bazaar, 4-7
November 7-8	Shipley Center Holiday Bazaar, 9-3
November 15	Monthly Meeting and Demo, Mike Gonyer, 10:00-1:30, GCC and Zoom
December 2	Board Meeting via Zoom, 6:30
December 20	Holiday Party, 11:00-1:00

PRESIDENT’S MESSAGE

Members of the Strait Turners Chapter of AAW:

Our new website will be going live any day now. To help you get registered in to the new Website and learn its features, there will be a special session following the September meeting. I will be providing lunch. Please bring your laptop, tablet, or smartphone, to get logged in, while here, with guidance from those who understand the process. Please RSVP to president@straitturners.org if you plan to stay for this; so that I will know how many lunches to bring.

Members of your Board of Directors are making great strides in strengthening and empowering Strait Turners. There are several ways that you can help:

Follow the steps that you will see in an email about logging in to the new Website.You will be able to manage what personal information you wish to share in the members-only part of the site.There will be no personal information on the public side.You will also be able to create your own gallery of photos and use a variety of other features.
Join one of the committees that are working on specific projects:
1. New Officer Orientation Procedures
2. Bylaws Review
3. Fundraising and Events
Make suggestions on how Strait Turners can better serve you.
Bring surplus quality wood and tools to a meeting and/or bid in the auction to raise funds for the club.
Volunteer to help with an upcoming event.Two such fundraising events are planned for November.

For any of these, email board@straitturners.org; or utilize the new Website.

Ted Lund, President, 2024-25

PROGRAMS

Our demonstrator for the September 20 meeting will be Saleem Shafi, who lives in Kingston and is a member of the Bremerton chapter, OPCAAW. He will be using multi-axis turning to make a spoon. See https://www.barakahwoodworking.com/.

Our October meeting will feature Yann Marot, from France. Yann is touring the Pacific Northwest. Brian has arranged for him to be here On Tuesday, October 21, between his demonstrations at OPCAAW and Anacortes. He will show how to make a raindrop box.

Our sister club, OPCAAW, has invited all members of our club to their meeting, where Yann will be demonstrating. That meeting will be Monday, October 20, 2025, 6:30 PM until 9:00 PM, at the Westside Improvement Club, 4109 West E St, Bremerton, WA 98312. We are reciprocating with an invitation to their members for our meeting the next day.

Yann is one of the world’s top turners. It will be a great privilege for us to have him here, in person. See https://yannmarot.com/?lg=uk.

PRESIDENT’S CHALLENGE

For September, make some ornaments for the upcoming holidays.

For October, make a spoon or scoop.

OPEN SHOPS

Please contact Brian Johnson, to sign up or talk about hosting an Open Shop of your own.

FEATURE ARTICLE

Embracing Nature’s Quirks: Woodturning with Flawed Wood

From Hunter Tool Systems: https://huntertoolsystems.com/blog/woodturning-with-flawed-wood/

Flaws are usually things people want to avoid, and this is no different when it comes to woodturning. If a woodturner notices flaws in the wood they are using, they may be tempted to put that piece of wood on the burn pile and pick up a fresh wood blank.

However, there is another option: embrace the flaws! You may create a whole new style in your woodturning when you work with the flaws you encounter in your wood instead of against them.

Why Turn Flawed Wood

A woodturner’s first question about turning flawed wood might be, “why?” Flawless wood blanks can be found in abundance, so why take the time and energy to turn flawed wood? There are many reasons, but here are some to consider.

The Character of the Wood

First, flawed wood might have more character in coloration and grain than other, more “perfect” wood. Imperfections like spalting, ambrosia coloration, and mineral streaks can add unique patterns to the wood along with colors that are not naturally found in certain kinds of wood.

The grain, too, can be affected by things like burls, bark pockets, and bird pecks, which can change the grain pattern in a tree. These unique patterns can make specific wood blanks unlike any other blank. Even if you have pieces from the same tree or same kind of tree, you might encounter very distinct grain patterns.

Some woodturners seek out unique wood blanks as they grow in their craft, as these pieces of wood challenge them in new ways and allow them to show off their skills as they incorporate the flaws into their finished product.

The Character of the Woodturner

While it might not be the first reason a woodturner picks up a flawed wood blank, turning imperfect wood can actually change you as a woodturner. Most of us value patience as a virtue, but it can be difficult to practice. Turning flawed wood is not as straightforward as turning unblemished wood, so it requires time and patience to draw out the natural beauty of the piece.

Turning flawed wood can also lead to greater creativity. When a woodturner encounters a knot or burl, or if they are trying to incorporate a section of bark or even a large split in the wood, they may not be able to use the “tried-and-true” methods they have come to rely on. These challenges or difficulties lead to innovation, which can, in turn, make a woodturner more creative.

The Uniqueness of the Final Piece

As anyone who has been to a wood show (such the AAW Symposium hosted earlier this year in St. Paul) knows, the pieces that draw the most admiration are the ones that are unlike any others. Unless someone is looking to procure a full set of bowls or plates (and even if they are!), most people seek out items that are unique and artistic. Turning flawed wood can set you and your work apart in a market of “perfect” pieces.

Sentimentality and/or Practicality

Of course, some woodturners are not looking for wood blanks with personality or looking to build character in themselves. Some have wood on hand that was previously part of other pieces or that belonged to family members or friends they want to commemorate.

On the other hand, some woodturners choose wood with flaws because it’s on hand or free. Whatever the reason, turning wood with flaws is not only possible but interesting and enjoyable!

Kinds of Flaws in Wood

Once you’ve determined that you want to try embracing some natural flaws as you turn your next piece, you might consider what kind(s) of flaws are present in the wood you have, what tools and techniques you’ve tried in the past, and what you want to try next.

Spalting

Spalting is “coloration that is found in wood that is caused by a fungus,” according to the Penn State Extension. Spalting can occur in any kind of wood, but it is hard to find in exactly the right state. If the fungus is left too long, it will rot the wood. If the wood is harvested too early, the coloration from the fungus is not as unique or interesting, or it may be found in only a small part of the wood.

Spalting can produce patterns with red or green pigment, lighten areas of the wood, or add dark lines throughout the wood. Any or all of these types of spalting can make pieces more visually appealing than something turned from a “perfect” wood blank. You just have to know how to turn the wood to show off the unique patterns.

Turning wider, shallower bowls or other objects with spalted wood is often a good idea, as there is a wide area to highlight the patterns and this wide base provides support for the entire piece as it is being turned.

Turning spalted wood requires care; it is not as strong as normal wood blanks because the fungus has started the process of decaying the wood, just slightly. Because of this, it is more brittle and prone to tear-outs. Begin turning at a slower rpm than you would usually, and make sure to use light cuts with a sharp tool like a bowl gouge.

Punky Wood

When wood starts to decompose, it becomes punky or porous. Punky wood is spongy, so it is not as stable as regular dry wood. Often, woodturners are tempted to throw out or burn punky wood, as it is difficult to turn, especially with regular gouges and scrapers. However, for the creative and patient woodturner, punky wood can lead to some interesting pieces.

Many woodturners recommend stabilizing punky wood with CA glue, epoxy, or a thin shellac; Minwax is a go-to product for many woodworkers. These substances saturate the wood and make it harder, which allows you to turn it with regular tools and techniques. Cactus Juice can also be helpful, but it can be expensive, and it requires a vacuum chamber or pressure pot, then needs to be cured with heat.

However, if you want a real challenge, you might try simply applying many light cuts with extremely sharp tools to punky wood without stabilizing it first. Some woodturners suggest soaking punky wood in water to stiffen the fibers to give a clean cut. You might try turning the wood from different directions and using pull cuts instead of push cuts, as well as using negative rake scrapers.

Keep in mind that a piece of punky wood will not yield a totally smooth, glass-like surface in your finished product. Embracing “punkiness” means finding ways to make the inevitable pockmarks and porous appearance a part of the charm in your bowl, ornament, or platter.

Also, this kind of flawed wood is not best to use when creating food-safe utensils or objects that will need to stand up to harsh or repeated use, or objects that need to have a high level of strength. Instead, pieces made from punky wood make better ornaments or decorations.

Wood with Knots

Knots are another kind of flaw that you might want to embrace and incorporate into your final product. Knots in the grain can be characterized as either loose or tight. A tight knot means that there is a darker-colored spot in the wood, but you should be able to turn the blank using normal techniques and tools because the strength of the wood is maintained, even in spite of the knot. The main decision you will need to make is how to feature the knot visually.

Knots can also be characterized as loose. When a knot is loose, there is a gap between the knot and the rest of the wood, and some loose knots might even pop all the way out. Loose knots with gaps need to be stabilized with a glue or filler so that they aren’t shaken loose while you are turning. If they are shaken loose, you could be in danger as the knot flies off the lathe. If the knot in question can be popped out, you might try this instead of stabilization, understanding that your finished product will have a hole in it.

When turning wood with knots, make sure to use sharp tools and keep your lathe speed relatively high. You will also want to make light cuts and use a smaller size tool than you might think to use otherwise. These techniques will minimize the pressure being put on the knot and make it less likely to come out.

Because of their unique coloration and change in the grain, pieces with knots or bark don’t need too much embellishment. If you are someone who likes to add grooves and beading to your pieces, you may want to stay away from turning pieces that have knots or bark.

Wood with Bark

The incorporation of bark can also make for an interesting and unique project. Some wood blanks might have one side or area that includes bark from the outside of the tree. You can keep the bark in one piece, or you might try turning live-edged or bark-rimmed bowls, vases, or goblets. These kinds of items are not meant to be used for food, but they are wonderful decorative pieces.

When turning a piece with bark, make sure you cut the bark with the supporting wood behind or below it. When cutting, work from the bark at the top into the bottom of the bowl. Going the other way can cause the bark to come off. Also, light push cuts can leave the wood smoother and silkier than pull cuts, though you may need to use pull cuts on the outside to cut the bark cleanly without breaking it.

Above all, make sure to handle bark with care. Too much rough handling can cause the bark to separate from the wood. A small amount of CA glue or other sealer can be added beneath the bark to reattach it to the wood, but some of the separation can be avoided if you don’t stack your wood or treat it roughly.

Some Notes on Safety

While safety measures should always be taken when turning wood (see our previous blog post for specific safety gear all woodturners need), there are some special precautions you should take when turning wood with these kinds of flaws.

First, make sure to always wear a face shield. Turning wood with knots or bark means the wood may not turn exactly the way you think it might, and you don’t want to be caught off-guard by a bit of flying wood. You may also want to start at a slower rpm than usual to make sure you are able to adjust as punky wood or uneven grain requires a new speed or tool.

Ensure that your piece is securely fastened to the lathe before you begin and be sure to wear a mask or respirator when turning wood with spalting; you don’t want those spores getting into your lungs.

Lastly, and perhaps most importantly, make sure to conduct an honest assessment of your flawed wood and your ability to turn it before you begin. Turning wood with flaws can be incredibly interesting and rewarding but be aware of the risks included when undertaking these kinds of projects.

Key Takeaways

Why turn flawed wood?

Flawed wood can add beauty and uniqueness — features like spalting, knots, bark, and irregular grain create distinctive character that sets your work apart.
Turning flawed wood builds skill — facing challenges from imperfections fosters patience, creativity, and problem-solving in woodturners.
Personal and practical reasons — some use sentimental wood from loved ones, while others use flawed wood because it’s readily available or free.

Common flaws and how to work with them:

Spalting – Fungus-created patterns; turn at slow speeds with light cuts and sharp tools.
Punky wood – Porous and unstable; stabilize with CA glue, epoxy, or shellac, or turn carefully with sharp tools and light cuts.
Knots – Tight knots are stable; loose knots require stabilization or removal. Use light cuts and smaller tools.
Bark – Handle gently, cut from bark inward, and secure with CA glue if needed.

Safety is essential — always wear a face shield, start at lower RPMs, and use a respirator, especially when working with spalted wood.

Shop Woodturning Tools

STRAIT TURNERS LIBRARY

Please remember to return the items you have checked out of the club library. Also, take a look at what is available to check out at the next meeting. This is a treasure trove of information for the woodturner. Contact Bob Bindschadler, bobbindschadler@gmail.com, 360-775-5864, if you have any questions about the library or want to donate to it.

SOCIAL

Please text Antoinette if anyone needs a cheering up. She will be happy to oblige.

253 315 1303, tegloanto@gmail.com.

WOOD AND TOOL AUCTION

Please plan to bring some quality wood or tools to the September meeting for the auction. This has been a great fundraiser for the club.

If a community member or anyone else needs a tree removed, they can contact Ed Jones, edhikeson@gmail.com, who will organize volunteers to help cut and transport the wood. Members are encouraged to support the effort by assisting Ed with cutting and hauling when needed. If you're willing to lend a hand, please reach out to Ed.

HELP WANTED!

Hosts for Open Shop Events—Can you host a small number of members in your shop for a session on some aspect of turning? If so, contact brian.r.johnson1@gmail.com.

Sponsorship Coordinator—Someone to recruit, communicate with, and document our Sponsors. A new Sponsorship program has been approved by the Board. We just need someone to put this in front of potential sponsors.

AAW

We are a chapter of the American Association of Woodturners. Members are encouraged to join AAW to access the huge selection of resources there for turners. Free trial memberships are available at the Membership Landing Page. See the AAW Webpage, https://www.woodturner.org/, for information like this:

It Goes Around

The Enchantment of Woodturning

by Betty J. Scarpino

Enchantment results from the process of making wood shavings—they pile up on shop floors and are the fuel for compost, regeneration, and growth. Our lathes keep us engaged and interested in working wood in a way that other forms of woodworking do not equal.

Instant gratification is part of the lure—a wooden salad bowl can be created in less than a day, from log to dinner table. Chainsaw a log into turning blanks, mount the blanks onto a lathe, apply a turning tool, and shape the wood. Any form from a bowl to a baluster is possible.

Lathes have been around for centuries, way before the advent of electricity. Powered by waterwheels or human beings, lathes have helped woodturners easily shape wood from square to round, as well as simplified the hollowing of bowls, cups, and other such treenware.

Wood mounted on a lathe can be worked freshly cut (green) or dry, with air-dried wood generally preferable to the kiln-dried variety. And unlike other machines in a shop, the lathe moves the wood, spinning it around. As the wood spins, a woodturner holds a sharp tool, which rests on a toolrest. The turner advances the tool into the spinning wood to remove the unwanted mass inside a bowl. Shavings fly!

There are two basic methods of turning: faceplate turning and spindle turning . In faceplate turning, the wood is attached to the lathe with the grain running perpendicular to the bed of the lathe. For spindle turning, the wood is attached so that the grain runs parallel to the bed of the lathe. Wood grain matters.

To attach a piece of wood to the lathe for making a bowl, the turner can screw it to a faceplate, or grab it in a mechanical chuck. For spindle turning an item such as a rung for a chair or a candleholder, the piece of wood would be held between the drive center and the tailstock. For turning a hollow vessel, the wood could be mounted either way—between centers as for spindle turning, or attached to a faceplate or mounted in a chuck.

Live centers go with the tailstock, drive centers go into the headstock, faceplates and chucks thread onto the drive spindle—admittedly, lathe terminology can be various and confusing. But the basic process of wood- turning remains straightforward and simple: attach a piece of wood to a lathe so it can rotate around and around, apply a sharp tool to the whirling wood, make shavings until the wood that’s left on the lathe has taken the form the turner set out to create in the first place.

Function primarily defines treenware. However, for many contemporary woodturners, function takes back-stage to form and beautiful grain patterns found inside the wood. Bragging rights for burls, curl, crotch wood, and flame patterns are what it’s all about. Function is simply the excuse . . . we need reasons and justifications for the thousands of dollars required to set up a proper workshop. Machine and tool manufacturers have taken heed; the offering of lathes, tools, and woodturning supplies has grown exponentially during these past 25 years.

The field of contemporary wood art is relatively new. Primarily driven by a handful of woodturners, it is enriched by the fascinating combination of hobbyists, amateurs, and professionals. Work from our lathes is expressive and of unimaginable shapes and forms and has spawned sub-categories defined by such words as hollow vessels, multi-axis, eccentric, segmented, therming, lost-wood, reassembly, inside-out, reshaping, carving, and pen making. All are lathe-based, many defy the label of woodturning, but we embrace them all (and you will find them all defined and explained as you turn the pages of this book).

No longer is the thin-walled vessel the line that separated treenware of the past from the contemporary works off the lathe. Woodturners make, exhibit, and sell massive pieces, tiny wonders, wavy green-turned nested vessels, hollow forms, teapots, offset-candle holders, and sculpture. Turned pens fetch thousands of dollars. Museums and private collections vie for the best turned-wood objects.

With as very few exceptions, woodturning programs have not appeared in university art departments. Instead, most woodturners are self-taught through woodturning programs at schools like Arrowmont School of Arts and Crafts, the Center for Furniture Craftsmanship, and Anderson Ranch Arts Center. Many professionals offer small group instruction, held in their private studios. National, regional, and mini-symposiums are ongoing, almost weekly.

The woodturning movement spawned several organizations. Or perhaps several organizations were instrumental in causing the woodturning movement. Arguments abound for every version of our recent history. The American Association of Woodturners, the Wood Turning Center, and the Collectors of Wood Art, are the major organizational players. Within the AAW, local chapters and their national symposiums are hotbeds for information sharing.

And share we do. The woodturning field is perhaps unique in that there are almost no secrets. Why keep techniques and methods secret when the true ingredient of a successful turned object is the craftsmanship and individual approach infused into the wood.

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News / Articles

September Newsletter 25-9

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