CENTER for FURNITURE C 2002 WORKSHOPS · lumber; selecting wood appropriate to your design. Joinery – choosing and making the right joint ... Press, 1993) and The Woodworker’s

TWELVE-WEEK INTENSIVEIf you are considering furnituremaking as a profession or as a sabbatical from your present career,this course is for you. Twelvestraight weeks of hands-on wood-working in a fully equipped shopwith daily personal instruction.

The curriculum offers drafting anddesign, joinery and construction,hand and machine skills, finishingand shop maintenance.

With enrollment limited to twelveparticipants, and two full-time faculty in attendance, you areencouraged to develop an individu-alized series of projects to fit yourinterests and level of experience.

We encourage individual excellence in woodworking and design, with a quiet emphasis on self-expression. Our workshops are for novice,

intermediate, and advanced woodworkers who seek an inspiring learning experience in a supportive environment.

C E N T E R f o r F U R N I T U R E C R A F T S M A N S H I P

2002 WORKSHOPS

WORKSHOPSEvery workshop is an opportunity toimmerse yourself in woodworkingwith the guidance of outstanding,professional craftsmen committed to sharing their skills, and the companionship of other enthusiastic participants.

Students vary in age from seventeento their seventies—women and menwho are open to learning new skillsand to sharing their knowledge with others.

Enrollments are limited to twelve participants per class. Each workshopis staffed by two or three facultymembers, so you are assured plentyof individual attention, as well asexposure to a broad range of techniques and demonstrations.

OUR 10TH YEAR

C E N T E R F O R F U R N I T U R E C R A F T S M A N S H I P

C E N T E R f o r F U R N I T U R EC R A F T S M A N S H I P

is a nonprofit 501(c)(3)

educational organization.

Our mission is to provide the best possible

education for people who want to design

and build functional, beautiful, expressive

furniture out of wood to the highest

standard of craftsmanship.

BOARD OF DIRECTORSPresident

Craig Satterlee Marietta, GA Vice-president

H. Alan Hume, M.D. Sidney, ME Treasurer

Jim Bowers Washington, ME

John Dunnigan W. Kingston, RIRay Gauvin Mapleton, ME

Mark Horowitz Weston, MA Richard C. Kellogg, Jr. Houston, TXJeremy Morton, M.D. Portland, ME

Karin Thomas Camden, ME John Tuton Philadelphia, PA

HONORARY BOARDArt Carpenter Bolinas, CA

Wendell Castle Scottsdale, NYJames Krenov Fort Bragg, CA

John Makepeace Beaminster, EnglandWendy Maruyama San Diego, CA

Thomas Moser Auburn, MEAlan Peters Cullompton, England

Martin Puryear Accord, NY

EXECUTIVE DIRECTORPeter Korn

ADMINISTRATORJoyce Steel

RESIDENT INSTRUCTORTim Rousseau

DESIGN & PRODUCTIONSilverline Studio, Camden, ME

CENTER FOR FURNITURE CRAFTSMANSHIP

25 Mill Street, Rockport, ME 04856(207) 594-5611

[email protected]

The Center for Furniture Craftsmanship does not discriminate on the basis of

race, color, religion, gender, national origin or sexual orientation.

TABLE OF CONTENTS

4–5 TWELVE-WEEK INTENSIVE

6–7 BASIC WOODWORKING

8 INTERMEDIATE FURNITURE MAKING ALAN PETERSHANDS-ON DESIGN ROD WALES

9 LETTER CARVING CHRIS PYERELIEF CARVING CHRIS PYE

10 CARVING TUTORIAL CHRIS PYEFINDING A PERSONAL STYLE BRETON/WORKING

11 HAND TOOL SKILLS PHILIP LOWERUSTIC BENTWOOD FURNITURE SUSAN CHURCHILL

12–13 2002 CALENDAR

14 REALLY BASIC WOODWORKING LIZA WHEELEREXQUISITE SURFACES & DETAILS GARRETT HACK

15 CURVED FURNITURE HAIG/PURYEARMARQUETRY GODFREY/MACDONALD

16 ARCHITECTURAL CARVING WILL NEPTUNERUSTIC STICK FURNITURE WAYNE HALL

17 FINISHING TERI MASASCHIREPAIR AND REFINISHING TERI MASASCHI

18 CHAIR DESIGN BRIAN BOGGSVENEERING DARRYL KEIL

19 DESIGN & CRAFTSMANSHIP STEVENS/HJORTH-WESTHHAND TOOLS IN THE WOODSHOP OWEN EDWARDS

20–21 DONOR ACKNOWLEDGEMENTS

22–23 GENERAL INFORMATION

24 REGISTRATION

Peter Korn, Executive DirectorPh

oto

by D

on K

ent

2

3


FACILITYWe are situated on eleven acres of meadow andwoods along the Oyster River in Rockport, Maine.Our forty-two-hundred square-foot workshop consists of a bench room, a classroom, and amachine room.

In the bench room we provide a European-styleworkbench for each student. The classroom is fur-nished with tables and benches to meet the needs of more specialized workshops. The machine room isequipped with high quality woodworking machineryof a scale appropriate to the advanced amateur andsmall professional shop.

The machine room has full dust-collection and issupplied with two 10" tablesaws, two 8" jointers, two12" thickness planers, 14" and 20" bandsaws, lathes,a chopsaw, drill presses, scrollsaws, slot mortisers,grinders, and a stationary disc/belt sander. We alsohave a plentiful assortment of hand tools and hand-held power tools for your use.

The Center for Furniture Craftsmanship

Phot

o by

Tom

Hel

lmic

h

Gluing up a cabinet in a Twelve-week Intensive

Instructor Craig Stevens

TWELVE-WEEK INTENSIVE

February 18 – May 10, 2002

November 4, 2002 – January 31, 2003

February 17 – May 9, 2003

Our Twelve-week Intensive is especially designed tomeet the needs of aspiring professional furnituremakers and amateurs on sabbatical from other professions. With two instructors available at alltimes and only twelve students, each participant isable to individualize the course of study to fit his orher interests and level of experience.

The skills available through our curriculum include:

Design – developing a design brief; drafting, designdevelopment through models, mock-ups, and prototypes; critiques and discussions of aesthetics.

Drawing – Improving your ability to sketch, renderobjects, and think on paper.

Lumber selection – Wood characteristics; buyinglumber; selecting wood appropriate to yourdesign.

Joinery – choosing and making the right joint for every situation using both traditional and contemporary methods.

Traditional hand skills – The foundation of finefurniture making, includes: sharpening; use andtuning of hand planes, saws, and scrapers; hand-cut joinery.

Machine techniques – Use of power tools androuters for stock preparation, joinery, and forming.

Advanced techniques – Laminate bending; steambending; re-sawing and veneering; spindle turning; jig and fixture making; and more.

Surface preparation and finishing – Preparingwood with cutting tools, scrapers, and abrasives;choosing the right finish for the effect youwant; application of finishes.

Shop maintenance – Selection, tuning, and mainte-nance of woodworking machinery.

Professional practices – How to run a business,product development, pricing, marketing, bookkeeping.

The curriculum divides into three segments. For thefirst three weeks we go through the Center’s BasicWoodworking course (see page 6), teaching theessentials of furniture making with an emphasis on hand skills. Each student designs and builds a projectrequiring hand-cut dovetail and mortise and tenonjoinery. The second segment, weeks four through

eight, focuses on solid-wood carcase construction,including door-making and drawer-making. Eachparticipant creates a case piece with at least one door and one drawer. The third segment starts inweek eight with a series of lectures and demonstra-tions on steam bending, laminate bending, andveneer work. Each student’s third project is to designand construct a challenging piece using one or moreof these techniques.

Open to all levels of experience.Tuition: $4900

FACULTYThe faculty for the Twelve-week Intensive is drawn fromamong the following instructors.

LYNETTE BRETON is a professional furniture maker inHarpswell, Maine. With over twenty years’ experi-ence designing and building custom furniture andarchitectural interiors, her knowledge spans the spec-trum from commercial production to one-of-a-kind,studio furniture. Lynette’s work is featured in theFurniture Society’s recent publication, ‘Tradition inContemporary Furniture’ and was selected for theEditors’ Choice exhibition at SOFA Chicago 2001.


4

COURSES

Ancestral Table by Lynette Breton, bog oak, greenabalone, and mammoth tusk, 1998.

Phot

o by

Gili

an L

ittle

Instructor Andrew Garton working with student.

Phot

o by

Mat

t Jo

nes


GERALD CURRY hasbeen a professionalfurniture maker forover twenty-fiveyears. For most ofthat time his special-ty has been replicat-ing and restoringeighteenth centuryAmerican furniture.Jerry currentlydevotes his time todesigning and build-ing contemporaryfurniture in hisUnion, Maine workshop.

ANDREW GARTON graduated from Parnham School forCraftsmen in Wood in 1988. For the past thirteenyears he has run his own custom furniture workshopin St. Helier, Jersey, U.K., which is his home. Hisshop experience has varied from working alone as a designer/craftsman to managing two full-timeemployees. Andrew’s work combines a solid masteryof traditional technique with an inventive sense of design.

PETER KORN, the Center’s Director, has been a furni-ture maker since 1974. He is the author of WorkingWith Wood: The Basics of Craftsmanship (TauntonPress, 1993) and The Woodworker’s Guide to Hand Tools(Taunton Press, 1998). Prior to founding the CenterFor Furniture Craftsmanship in 1992, Peter spent six years as Program Director at Colorado’s AndersonRanch Arts Center and four years as adjunct AssociateProfessor at Drexel University. His award-winning furniture has been exhibited nationally in galleriesand museums.

TIM ROUSSEAU divides his time between teaching atthe Center and building furniture on commission in Camden, Maine. Since completing the Center’sTwelve-week Intensive in May, 1998, he has succes-sively returned in the capacities of workshop assistant, artist-in-residence, and instructor. Prior to making hispermanenthome in Mainelast summer,Tim worked as a professional furniture makerin Hoboken,New Jersey fortwo years.

COURSES

Crossbow chairs by Andrew Garton, steam-bent Englishoak with a laminated, upholstered seat

5

Side Table by Peter Korn, cherry, 1984

Splayed Chest of Drawers by GeraldCurry, curly maple and bocote,(32"x19"x49"), 2001

Phot

o by

Dea

n Po

well

Rocking Chair by Tim Rousseau, cherry, 1999

Phot

o by

Den

nis

Grig

gs


BASIC WOODWORKINGPETER KORN & FACULTY

June 3 – 14 CRAIG SATTERLEE

July 1 – 12 DAVID WELTER

July 29 – Aug. 9 HUGH MONTGOMERY

Aug. 26 – Sept. 6 HEIDI MAHONEY

October 7 – 18 PETER TURNER

This workshop is a thorough introduction to furni-ture making, with a focus on traditional hand skills.Participants range from absolute beginners to moreexperienced woodworkers who want to improvetheir craftsmanship.

After milling a piece of wood four-square and hand-cutting mortise-and-tenon and dovetail joints, eachparticipant makes a simple piece of furniture. A smallbench with dovetails and through-wedged tenons issuggested, although participants may choose otherdesigns.

The workshop starts with instruction in the safe useof power tools such as the table saw, jointer, planer,and bandsaw. Through daily lectures and demonstra-tions, Peter and his co-teachers introduce skills suchas lumber selection, milling, joinery, scraping, sand-ing, assembly, and finishing. They offer extensiveinstruction in the sharpening, tuning and use ofplanes, chisels, and other hand tools.

Peter Korn’s book, Working With Wood: The Basics of Craftsmanship (Taunton Press, 1993) is the text forthis course. The small class size allows Peter and hisco-instructors to give each participant extensive individual guidance throughout.

Open to novice and intermediate woodworkers.Tuition: $900

FACULTY:PETER KORN, the Center’s Director, has been a furni-ture maker since 1974. He is the author of WorkingWith Wood: The Basics of Craftsmanship (TauntonPress, 1993) and The Woodworker’s Guide to HandTools (Taunton Press, 1998). Prior to founding theCenter For Furniture Craftsmanship in 1992, Peterspent six years as Program Director at Colorado’sAnderson Ranch Arts Center and four years asadjunct Associate Professor at Drexel University. His award-winning furniture has been exhibitednationally in galleries and museums.

Peter’s approach to woodworking calls for a balancebetween traditional hand skills and effectivemachine use. “Craftsmanship,” says Peter, “is more than a set of skills; through the process of creating an object, we transform ourselves.”

COURSES

6

Detail of cherry wall cabinet by Peter Korn

Projects by Basic Woodworking students, October 1999.

Phot

o by

Tom

Hel

lmic

h

Dining Chair by Peter Korn,cherry, leather (23"x24"x39"),1984


HUGH MONTGOMERY

runs a small customwoodworking business,Coastal MountainFurniture, in Seattle,Washington. With anoccasional employee,he designs and buildscommissioned furni-ture and custom residential cabinetry.Much of his furniturecombines solid woodwith figured veneer,traditional joinery, andhandcrafted art glass.Hugh exhibits his workat the Northwest FineWoodworking galleryin Seattle.

DAVID WELTER is on the staffof the Fine WoodworkingProgram at the College of the Redwoods, in FortBragg, California, a posi-tion he has held since1986. He studied underJames Krenov at theCollege from 1982–84 andthen worked as an inde-pendent furniture makerfor two years before assum-ing his current position.

CRAIG SATTERLEE builds fur-niture on commission, andoffers private instruction in his Marietta, Georgiaworkshop. Craig has beenmaking furniture for fifteenyears, following an earlyretirement from corporatehealthcare. He is a graduate ofour Twelve-week Intensive and has worked at the Center asa teaching assistant and instruc-tor for the past five years.

HEIDI MAHONEY is a professional furniture maker in Vergennes, Vermont. She trained at the Center for Furniture Craftsmanship, first as a student andthen as a workshop assistant, before becoming afounding member and two-year artist-in-residence of the Ferrisburgh Artisans Guild, from 1998–2000.Currently, Heidi maintains her own studio, buildingcontemporary furniture on commission. She worksprimarily in wood, often combining it with metaland other media.

PETER TURNER is a South Portland, Maine furnituremaker with thirteen years’ professional experience.He writes for FineWoodworking (issues126, 128, 129, and139) and his workmay be seen in TheCustom FurnitureSource Book (TauntonPress, 2001). In recentyears Peter has exhib-ited his furnitureinternationally, fromthe PhiladelphiaFurniture Show to theTullie House Museumin Carlisle, England.

COURSES

BASIC WOODWORKINGFACULTY, CONTINUED

Side Table with Shelf by Peter Turner,cherry and quartersawn maple(26"x18"x27"), 2001

Coffee Table by Craig Satterlee,mahogany and mahogany veneer,1997

China Cabinet by DavidWelter, fir (38"x74"x13"),1984

Sunburst Table by Heidi Mahoney, mahogany (96"x30"x31"), 2000

Phot

o by

Jim

Dug

an

Phot

o by

Ter

ry R

eed

7

Phot

o by

Den

nis

Grig

gs

Three-door Hutch by HughMontgomery, solid maple with figured maple veneer, custom pulls,antique glass (51"x21"x78"), 1999


INTERMEDIATE FURNITURE MAKINGALAN PETERSJune 17 – 28

Legendary English furniture maker Alan Peters shareshis knowledge of tools, construction, and designthrough daily morning lectures, demonstrations, andone-on-one work with students. Topics to be coveredinclude traditional case piece construction, drawermaking and fitting, joinery, hand tool skills, practicalapproaches to design, and effective methods of work.Afternoons, each participant designs and builds asmall solid-wood cabinet, case piece, or table, using acombination of hand and machine tools, with theexperienced guidance of Center staff.

ALAN PETERS began his woodworking career as appren-tice to the legendary Edward Barnsley, in Froxfield,England, from 1949–1956, in a shop without powertools. Considered the leading contemporary expo-nent of the British Arts and Crafts tradition, Alan hasmade a major contribution to the craft as a maker,author, and teacher. He is a compelling exemplar ofthe craftsman working with integrity to the higheststandard of design and construction, earning a livingat his craft. Awarded the Order of the British Empirein 1990 for service to furniture design, Alan is theauthor of Cabinetmaking: The Professional Approach(Stobart & Son, Ltd. 1984) and the revised version ofErnest Joyce’s classic text, The Encyclopedia ofFurniture Making.

Open to intermediate and advanced woodworkers.Tuition: $900

HANDS-ON DESIGNROD WALESJune 17 – 21

As we gain confidence in our woodworking skills,design often becomes the more intriguing challenge.It has the potential to be vastly rewarding, but isoften frustrating at the start. In this course, Rodshares his considerable experience as a professionaldesigner/maker. Participants engage in the full designprocess, from conception of an idea, through sketch-ing, models, scale-drawings, and mock-ups, to cre-ation of functional prototypes. Rod offers practicalapproaches and tools for developing new ideas andtranslating them into workable, fully-realized objects.Students can expect to gain fluidity and comfortwith the design process.

The suggested project is lighting—table lamps, floorlamps, sconces, hanging fixtures—which provideswide scope for creativity at a scale appropriate to theone-week timeframe. Rod is assisted throughout thecourse by lighting designer Richard Dunham.

ROD WALES is a principal in Wales & Wales, a furni-ture making and design firm which he founded withhis wife, Alison, in 1981. Based in East Sussex,England, he is involved in all aspects of furnituredesign, from one-off to limited and commercial pro-duction. Rod trained as a craftsman at RycotewoodCollege before studying design at Parnham College,to which he has returned over the years as DesignTutor. His work is in numerous public collections,including that of the Victoria and Albert Museum.Prominent commissions include gallery seating forthe Natural History Museum in London and theGallery of Modern Art in Glasgow, and outdoor seat-ing for London’sCanary Wharf. Asolo exhibition ofWales & Wales’ stu-dio furniture is ondisplay at London’sGeffrye Museumthrough March 3,2002.

Open to intermediateand advanced wood-workers.Tuition: $485

COURSES

Storage Cabinet by Alan Peters, Devon-grown walnut with 7000-year-old bog oakdoor and drawer pulls, (36"x18"x54") 1994

Hanging light made by previous CFCstudent T.J. Shao

8

Phot

o by

Den

nis

Grig

gs

9


LETTER CARVINGCHRIS PYEJune 24 – 28

The art of lettercarving has wideapplications, fromsigning a piece offine furniture tosign making, andas a decorative ele-ment in furnitureand other wood-work. In this work-shop, participantsacquire an under-standing of good

letter design and layout, as well as the carving skillsnecessary to tackle any letter style.

Beginningwith simpletool cuts,Chris leadsstudentsthrough aseries of infor-mal exercisesand projectswhich buildinto carving the full Roman alphabet—the classicstyle of capital letters with which we are familiartoday. Other styles, such as Gothic and Celtic, arealso covered. Throughout, Chris focuses on correcttool sharpening and efficient carving techniques:incising the clean flowing lines which are the markof good workmanship.

From his studio in Herefordshire, England, CHRIS PYE

works on a broad spectrum of commissions. includ-ing lettering, heraldry, furniture ornamentation,architectural carving, and sculpture. Clients includeHRH the Prince of Wales. Chris has more than twen-ty years of experience as a carver, and is the authorof five books published by GMC Publications Ltd.:Woodcarving Tools, Materials, and Equipment (1994),Carving on Turning (1995), Lettercarving in Wood(1997), Relief Carving: A Practical Introduction (1998)and Elements of Woodcarving (2000). For more infor-mation, visit: www.chrispye-woodcarving.com.

Open to novice and intermediate carvers.Tuition: $485

RELIEF CARVING CHRIS PYEJuly 1 – 5

Chris developed thiscourse over years ofteaching beginners inhis Herefordshire stu-dio. Now it is also abook, Relief Carving: A Practical Introduction(GMC Publications,1998), which serves as the course text.During the week Chrisleads students step-by-step through twoprojects designed togive them a thoroughgrounding in low-relief and high-relief carving.

Chris teaches the functions of the various carvingtools; how to sharpen and handle them; relief designand working wood grain; lining in, grounding out,setting in, modeling, and undercutting; finishingfrom the chisel; and many other aspects of the carving process.

Participants gain a strong base of carving skillsapplicable to traditional and contemporary work.Those who would like a second week to consolidatewhat they have learned can stay over for the CarvingTutorial.

For biographical information on CHRIS PYE, see theprevious course description.


COURSES

Detail of limewood bedstead by Chris Pye

Detail of fireplace surround by Chris Pye, relief carving, 1999. (Height of mouse is one inch.)


1 0

CARVING TUTORIALCHRIS PYEJuly 8 – 12

This course is for more experienced carvers, includ-ing any of Chris’ past students, who would like tofurther develop their carving skills with his guidance.Any aspect of carving is fair game, including reliefcarving, carving-in-the-round, and lettering. Partici-pants may embark upon new projects, follow a seriesof exercises, or bring work in progress.

Through personal supervision, demonstrations,shared class ‘problems’ and individual exercises students deepen their understanding of woodcarv-ing. Correct tool selection, sharpening and handlingtechniques are presented as an integral part of theworkshop. Participants discuss their projects withChris in advance so they can be sure to bring theright tools and materials.

This is a particularly good opportunity for studentswho have completed the previous week’s relief carv-ing course to consolidate what they have learned bycarving a larger relief of their own design. This com-pletes the work described in Chris’ book ReliefCarving: A Practical Introduction.

For biographical information on CHRIS PYE, see previ-ous page.

Open to intermediate and advanced carvers.Tuition: $485

FINDING A PERSONAL STYLELYNETTE BRETON & SUSAN WORKINGJuly 15-26

This course is about finding one’s own voice. Lynetteand Susan work with students to explore creativeapproaches to design. Eclectic slide shows, readings,discussions, technical demonstrations and guideddesign assignments provide fuel for the imagination.Instruction covers construction techniques and sur-face treatments (including texturing and painting)intended to expand participants’ design vocabularies.Students are encouraged to look beyond the world offurniture for sources of design inspiration. Everyonecan expect to develop at least one piece, and to leavewith plenty of new ideas, designs, and skills.

Biographical information on LYNETTE BRETON and aphoto of her work may be found on page 4.

SUSAN WORKING has run her own custom furniturestudio in Oakland, California since 1986. She earnedan MFA with Honors in Furniture Design from theRhode Island School of Design and she teaches at the California College of Arts and Crafts. Susanworks primarily in wood, employing a variety of surface decoration techniques, including veneering,painting, and gilding. In recent years her work hasbeen exhibited from California to New York andMilan, Italy.


COURSES

“Stitched” by Susan Working, mahogany, steel, gold leaf (4"x8"x12"),1998

“Green Man” by Chris Pye, English oak straight from thechisel (8" high), 1998. This carving hangs outdoors over theentrance to Chris’ workshop.

1 1


HAND TOOL SKILLSPHILIP LOWEJuly 15 – 19

Chisels, hand planes, scrapers, marking tools, anddovetail saws are basic hand tools essential to con-struction of the finest furniture. Phil’s goal is to showparticipants how to tune, sharpen, and adjust thesetools so that working with them becomes a pleasureinstead of a chore. After students have tuned uptheir tools and Phil has presented principles of “flat and square,” participants put their tools to useby laying out and cutting mortise and tenon anddovetail joints.

PHILIP LOWE is a noted maker, conservator, andrestorer of period furniture in Beverly, Massachusetts.He is the author of numerous articles and videos forFine Woodworking. His previous teaching experienceincludes a decade as instructor and department headat Boston’s prestigious North Bennet St. School, from1975–1985. In addition to high-end commissionwork, Phil currently runs The Furniture Institute ofMassachusetts, a school which he founded in 1998.

Open to novice and intermediate woodworkers.Tuition: $485

RUSTIC BENTWOOD FURNITURESUSAN CHURCHILLJuly 22 – 26

Rustic furniture is a favorite American genre; thematerials are available in your back yard, the toolsand techniques are simple, the work is fun, andbeautiful results are quickly achieved. Susan teachesparticipants how to select and harvest local woods(primarily alder) and how to work with them to create imaginative designs. The first project is achild’s chair, after which participants create individ-ual designs. No previous experience is necessary.

Although the course is mostly hands-on, Susan alsoprovides background on the history of American rustic furniture and its various styles.

SUSAN CHURCHILL makes and sells rustic furniturethrough her business, Deertail Creek, in Madison,Wisconsin. A builder since 1987, Susan has alsogiven workshops through the University ofWisconsin, The Clearing (Ellison Bay, Wisconsin),the Wisconsin Indianhead Technical College and the Woodlanders’ Gathering in Pownal, Maine. Her work has been featured on Wisconsin PublicTelevision. Susan’s work and teaching are informedby the idea that the finished product is just one facet of a fulfilling creative experience.

Open to all.Tuition: $485

COURSES

Susan Churchill at work outside her Madison, Wisconsin workshop

Photo

by

Will

iam

Gilm

ore

Instructor Philip Lowe in his Beverly,Massachusetts workshop


1 4

REALLY BASIC WOODWORKING LIZA WHEELERJuly 29 – August 2

This course is forbeginners whowant to buildsimple, attractivefurniture for thegarden, patio, orhouse using toolsand materialsreadily availablefrom their locallumberyard.Garden benchesand chairs, plantstands, and patiotables are some ofthe pieces thatparticipants canlearn to buildusing dimen-sioned lumber, common hand and power tools, andscrews for fastening.

Liza’s instruction focuses on choice of materials, cut-ting techniques, simple fastening methods, and safeuse of tools. Participants use hand tools for measur-ing, layout and cutting, including chisels and blockplanes. They also have the opportunity to use powertools, such as the chop saw, jigsaw, electric drill androuter. Liza teaches this course so that anybody canenjoy making simple furniture while gaining basicskills that are useful for all woodworking.

LIZA WHEELER has been a woodworker for thirteenyears, first as a carpenter, then as a cabinetmaker in acommercial shop. She studied cabinetmaking andfine woodworking at Seattle Central CommunityCollege, and in 1996 she began her own businessbuilding cabinetry and commissioned furniture inLiberty, Maine. This year, Liza has returned to hercarpentry roots, as she builds a house of her owndesign for her family.


EXQUISITE SURFACES & DETAILSGARRETT HACKAugust 5 – 9

Delight is in the details. Participants learn to incor-porate a range of alluring detail in their work, frombold patterned bandings to subtle, tactile surfacesright off a plane. Garrett offers instruction in the useof: inlays of wood and precious materials such asshell and silver; patterned bandings, flush beads andproud cockbeads used to highlight table aprons anddrawers; and bevels, chamfers, and other decorativeedges.

Work is done almost entirely by hand using standardbench tools, such as smoothing planes, and specialtools made in class, such as small chisels and scratchstocks. Tool sharpening, tuning and techniques areemphasized. Students work on sample boards ordevelop simple projects in order to practice design-ing and using decorative techniques.

GARRETT HACK builds contemporary interpretations ofFederal and other classic American styles on his farmin Thetford Center, Vermont. A furniture maker forover two decades, Garrett originally trained atBoston University’s Program in Artisanry. He is theauthor of The Handplane Book (Taunton Press, 1997)and Classic Hand Tools (Taunton Press, 1999). Hisarticles appear frequently in Fine Woodworking, ofwhich he is a Contributing Editor.

Open to intermedi-ate and advancedwoodworkers.Tuition: $485

COURSES

Inlaid details on demilune table by GarrettHack, 2000

Patio table by Liza Wheeler, pine (22" diameter x 27" high), 2001


CURVED FURNITUREDAVID HAIG & MICHAEL PURYEARAugust 12 – 23

David and Michael present a thorough exposition ofthe design considerations, techniques, and equip-ment involved in building furniture with curvedcomponents. They give detailed attention to the twoessential techniques, steam bending and laminatebending, but also cover hot pipe bending and kerfbending. Students learn approaches to design andconstruction whichwork well for curvi-linear forms. Eachparticipant designsand builds a piece ofcurvaceous furniturewith one-on-oneguidance from theinstructors.

DAVID HAIG is one ofNew Zealand’s lead-ing furniture makers,with fifteen years’professional experi-ence. He is based inCable Bay, near thetown of Nelson, andhis clientele extendsfrom Hong Kong to Geneva to New York. His award-winning work is characterized by graceful use ofsteam-bent, curvilinear forms. David’s teaching expe-rience includes four years at the Nelson MarlboroughInstitute of Technology as instructor for the VisualArts Department’s Furniture Design course.

MICHAEL PURYEAR has been a self-employed furnituremaker in New York City for over twenty years. He works mainly on commission and enjoys the

problem-solving aspects ofdesign. Michael exhibitswidely in museum, gallery,and craft shows and hastaught at Parsons School ofDesign and Penland Schoolof Crafts. Currently, heteaches woodworking at theState University of New York,Purchase.

Open to intermediate andadvanced woodworkers.Tuition: $900

MARQUETRYJULIE GODFREY & JAMES MACDONALDAugust 12 – 16

Julie and Jim teach thefull marquetry process,including design anddrawing, veneer selec-tion, double-bevel saw-ing with fret and scrollsaws, taping, pressing,and finishing. Theytake students frombasic techniques toelaborate compositions.They also present moreadvanced techniques,including parquetry,inlay, use of metals,repetitive packet cut-ting, saw blade making,and three dimensional drawing and design.

JULIE GODFREY is an independent furniture maker inGreenfield, Massachusetts. A graduate of the Collegeof the Redwoods, she apprenticed with master mar-quetarian Silas Kopf over a six-year period while pursuing her own work. More recently, Julie wrotethe section on marquetry in James Krenov’s book,

With Wakened Hands.She exhibits her worknationwide at venuessuch as Pritam & Eamesin Easthampton, NewYork and HighlightGallery in Mendocino,California.

A woodworker fortwenty years, JIM

MACDONALD creates custom furniture, fea-turing marquetry andinlay, in Burnham,Maine and collaborateswith other high-endfurniture makers as a

marquetry specialist. His Turandot Cabinet appearedin the Current Work section of Fine Woodworking(June, 2001) and his marquetry was featured in “TheArt of the Guitar II,” sponsored by Gibson Guitar atthe Anamazing Gallery in New York in 2000.

Open to all woodworkersTuition: $485

COURSES

“Night Bloom” by Julie Godfrey,Claro walnut, assorted marquetrywoods (39”x14”x56”), 2000

Detail of marquetry from TurandotCabinet (after illustration by GeorgeBarbier) by Jim Macdonald, 1999

Signature Rocking Chair by David Haig,steam-bent and laminated EnglishSycamore, 1996

Detail of table by MichaelPuryear, bleached and dyedash (58" dia. x 29" high)

Phot

o by

Sar

ah W

ells

1 5


ARCHITECTURAL CARVINGWILL NEPTUNEAugust 19 – 23

In this introduction to carving, students learn byfocusing on the embellishments found in traditionalarchitecture. These designs use pattern, repetition,

geometry, and sym-metry to produce asense of order andare also common totraditional furniturework. Examplesinclude egg & dartmoldings, carvedturnings, columncapitals, and brack-ets decorated withacanthus leaves andvolutes.

Through demonstra-tion and lecture,Will teaches toolselection, sharpen-ing, use of patterns,and a range of

carving and shaping techniques that provide astrong foundation for whatever aspects of carvingparticipants decide to pursue in the future. Studentslearn by carving a series of exercises and sampleboards based on details from architectural sources.

From his workshop in Acton, Massachusetts, WILL

NEPTUNE does architectural carving and builds furni-ture on commission, specializing in interpretationsof classic, eighteenth-century American styles such as Chippendale. From 1986 to 2000 Will was a full-time instructor at the North Bennet Street School, in Boston. He gives workshops and lectures aroundthe country and writes for Fine Woodworking, mostrecently on sideboard construction (October, 1999).


RUSTIC STICK FURNITUREWAYNE HALLAugust 26 – 30

“Stick furniture” isone of the most popular rustic furni-ture styles. Hard-wood saplings aretenoned together tomake furniture whichis highly expressiveand evocative, yetfully functional. The course is open toabsolute beginners,who will be attractedby the accessibility of the skills andmaterials, and tomore experiencedwoodworkers whowill enjoy the fluidi-ty, creativity, andproductivity of therustic process.

Through demonstration and one-on-one instruction,Wayne shares his knowledge of materials, tools,techniques, and design. Each participant builds oneor more rustic pieces of their own design, primarilywith red maple. Students also learn to harvest theirown materials from the forest.

WAYNE HALL lives in Orland, Maine and has beenmaking rustic furniture professionally since 1992.Wayne holds an MFA from the University of Georgiaand has taught sculpture and rustic furniture at anumber of colleges and universities, including Dukeand the University of Maine.


COURSES

1 6

Red maple chair by Wayne Hall, 1996Acanthus-leaf mantlepiece bracket carvedby Will Neptune, mahogany, 1991

Phot

o by

Lan

ce P

atte

rson


COURSES

1 7

FINISHINGTERI MASASCHISeptember 2 – 6

Participants learn all aspects of the finishingprocess as practiced in the non-industrial furniture shop. By the end of the course, each participant knows how to fill grain,apply dyes, pigments, and chemical stains,and put on hand-rubbed varnish, shellac, andoil finishes. Work is done on sample panelsand turnings.

Through lecture and demonstration Teriexplains everything from wood preparationto rubbing out. This includes selecting theproper abrasives, sanders, and fillers, layeringof colorants, bleaching, glazing, brushing,French Polishing and, of course, techniquesfor rubbing the final finish to perfection.

TERI MASASCHI worked as a professional finisherand refinisher in New Hampshire for 29 years,specializing in antique restoration and reproduction.In 1995 she moved to New Mexico to becomeFinishing Specialist/Product Manager for Wood-worker’s Supply. Currently she is a restoration spe-cialist for Santa Fe Fine Finishing. Teri is a walkingencyclopedia of finishing products and techniques,from the traditional to the cutting edge. She wroteabout French polishing for Fine Woodworking (June2001), where she has three articles upcoming.


REPAIR & REFINISHINGTERI MASASCHISeptember 9 – 13

In this work-shop, Teriteaches mostaspects ofantique furni-ture repair,restoration,refinishing,and care.Students bringsmall pieces offurniture towork on, theselection ofwhich is coor-dinated withTeri inadvance.

Topics addressed through demonstration and hands-on exercises include: • Adhesives, including hide glue, epoxy, and

polyurethane;• Regluing loose joints;• Drawer and carcase repair;• Regluing and replacing loose and missing veneer;• Regluing and replacing moldings;• French polishing and padding;• Color matching;• Stripping;• Use of brushes and spray guns;• Removing white and black water rings; and• Touch up and refinishing with shellac and lacquer.

Teri also touches upon the difference betweenrestoration and conservation and the importance of appraisals.

For information about TERI MASASCHI see previouscourse description.

Teri strongly recommends that participants either haveprevious finishing experience or that they take the preceding week’s Finishing class.Tuition: $485

Teri Masaschi

Teri Masaschi doing a final rub-out on a varnish finish

Phot

o by

Dav

e N

ufer


COURSES

1 8

CHAIR DESIGNBRIAN BOGGSSeptember 9 – 20

Students createfunctionalchair proto-types of theirown design,gaining a firmunderstandingof what makesa chair success-ful. Brianshares hisdesign process-es, beginningwith gesturedrawing andgoing on toscale modelsand full-sizeprototypes.

He emphasizes basic rules of chair design such as seat pitch and lumbar curvature, along with techni-cal know-how such as using wood movement toadvantage.

Participants can arrive with designs in progress orstart from scratch. Inspiration may come from tradition or from contemporary sources. Chairs aredesigned for construction with kiln-dried hardwoods,rather than green woodworking techniques.

BRIAN BOGGS is a Berea, Kentucky chair maker whoseexceptional designs and workmanship have earnedwide acclaim. His approach integrates a thoroughmastery of traditional Appalachian woodworkingwith continued innovation in tools, techniques, anddesign. In addition to running a three-man shop inBerea, Brian regularly travels to Honduras as part ofan economic development project sponsored byGreen Wood to encourage sustainable use of therainforest. Brian’s work has been featured in numerous national publications, including FineWoodworking and Home Furniture.


VENEERINGDARRYL KEILSeptember 16 – 20

Veneer is increasingly popular for the wide selectionof wood species and figures it offers the furnituremaker, and for the design freedom it brings bydiminishing the constraints of wood movement. Inthis course, students acquire the skill to transformveneer from its raw state into beautiful, finished panels. Darryl teaches basic book matching, four-wayand radial matching, and short-grain borders instraight and circular patterns. He also covers curvedpanel construction and veneering of curved andshaped parts using a vacuum press. In addition,Darryl presents the tools and techniques involved in creating different types of inlay. Participants learnby building one or more small, veneered and inlaidpanels, doors, or table tops.

DARRYL KEIL is a leading expert on veneer work. Hehas made two excellent videotapes on the subject,Working With Veneer and Working in a Vacuum, andwrites for Fine Woodworking. Darryl began makingfurniture in 1976 and was a pioneer in the applica-tion of vacuum pressing technology to woodwork-ing. His company, Vacu-Pressing Systems, operatesout of Brunswick, Maine.


Veneered and inlaid demilune table by Darryl Keil, East Indianrosewood, lacewood, and maple, 1987

Chair by Brian Boggs, ebonized maple withhickory slats, leather seat, 1997

Phot

o by

Geo

ff C

arr

1 9


COURSESDESIGN & CRAFTSMANSHIPEJLER HJORTH-WESTH & CRAIG STEVENSSeptember 23 – October 4

This course is for the experienced woodworker wholooks to furniture making for an enjoyable and creative experience and wants to explore new skills.Daily instruction covers a broad range of topics relating to solid-wood construction, use of re-sawnveneers, working with curves and bent laminations,and making and fitting drawers and doors. Craig andEjler encourage participants to rediscover quiet toolswhich are a source of enjoyment—chisels, handplanes, and scrapers. Each student creates a piece of original furniture, engaging in a thorough designprocess which includes sketching, mock-ups and careful attention to wood selection.

Originally trained as a boat-builder, EJLER HJORTH-WESTH studied with Jim Krenov at the College of theRedwoods before opening his furniture workshop inElk, California in 1992. Ejler works primarily oncommission and has won a number of awards,including first prize in the 2000 Mendocino CoastFurniture Makers show. Ejler’s work has been pub-lished in American Woodworker, Woodwork, InteriorDesign, and other magazines.

CRAIG VANDALL STEVENS also studied at the College ofthe Redwoods, prior to opening his workshop inSunbury, Ohio eight years ago. He has written fourbooks for Schiffer Publishing, on chip carving, marquetry, and coffee tables. Craig has received several awards, including American Woodworker’s1998 “Excellence in Craftsmanship” award and an “Individual Artist Fellowship” from the Ohio Arts Council.


HAND TOOLS IN THEWOODSHOPOWEN EDWARDSSeptember 23 – 27

Participants gain a solid foundation in the use ofhand tools, enabling them to work at a higher levelof quality, enjoyment, and personalized detail. Owenoffers instruction in the tune-up, sharpening and useof Western and Japanese bench chisels, bench andblock planes, cabinet scrapers, marking gauges, anddovetail saws. He also covers the making and use ofwooden hand planes. Students learn to work withtheir tools by cutting mortise and tenon and dovetailjoinery, then are encouraged to begin a small boxwith hand-cut dovetails.

OWEN EDWARDS designs and builds commissioned furniture in Mendocino, California, where he is furniture curator for the Highlight Gallery. He has a Masters Degree in Arts Education from New YorkUniversity, and is a 1988 graduate of the FineWoodworking Program at the College of theRedwoods.

Open to beginning andintermediate woodworkers.Tuition: $485

Dame Granadillo cabinet byCraig Vandall Stevens,granadillo, fiddleback maple,patinated brass, 1999

Desk by Ejler Hjorth-Westh, wenge, redwood burl, Swiss pear,(60"x32"x29") 1999

Phot

o by

Kev

in S

hea

Smoothing plane by Owen Edwards, tulip wood


2 0

LOCALEThe Center For FurnitureCraftsmanship is located in thecoastal village of Rockport,Maine, between Camden andRockland. This is a wonderfulvacation area. Explore PenobscotBay from the deck of an historicwindjammer or the intimacy ofan ocean kayak. Canoe, fish, and swim in our many lakes and rivers, including famousMegunticook and our favoriteswimming hole, Rocky Pond.Hike in Camden Hills State Park,or drive to spectacular Mt. DesertIsland. Visit the lovely fishing villages of Tenants Harbor andPort Clyde. Take a ferry to thequiet islands of North Haven,Vinalhaven, and Islesboro.

The Camden/Rockport area isalso blessed with excellent restau-rants, the Bay Chamber Concerts,the Center For Maine Contempo-rary Art and numerous other galleries, and the FarnsworthMuseum in Rockland. Those wholike to shop will find an abun-dance of antique stores and fleamarkets, not to mention L.L.Bean and Freeport just over anhour away. For more informationcontact the Camden Chamber ofCommerce at (207) 236-4404 [email protected].

ASSISTANTSHIPSAssistantships provide emergingwoodworkers with an unsur-passed opportunity to learn fromoutstanding master craftsmenand acquire teaching experience.Assistants’ responsibilities includemachine room supervision, work-ing with students one-on-one,shop maintenance, errands, andso forth. Assistantships are award-ed for periods of eight to tenweeks from June throughOctober. We provide assistantswith lodging and a small stipend.Contact the Center for applica-tion information.

LODGINGThe best deal during the work-shop season, from June throughOctober, is a private room in ashared house, usually with ashared bath, for $230/week/per-son. These rooms are in privatehouses whose owners rent onlyto our workshop participants. Allare clean, attractive, friendly situ-ations between five and ten milesfrom the school. You can reservea room when you register foryour workshop or you may con-tact us later. Rooms are availableon a first-come, first-served basis.

Also, we can refer you to privateapartments, cottages, motels, bedand breakfasts, and campsites.They are plentiful throughout themid-coast area. However, we suggest you book your housingwithout delay, as this is a popularvacation area. We are alwaysavailable to help you find whatyou need.

To reserve a private room/sharedhouse, send us a $100 deposit.The balance will be due thirtydays in advance. If you cancelmore than 30 days in advanceyour full deposit will be refund-ed. If you cancel less than 30days in advance, your depositwill be forfeit and the full bal-ance will be due.

Participants in Twelve-WeekIntensives will find that winterrentals cost less.

MATERIALSParticipants may purchase lumberand sandpaper from the Centerat normal retail prices, or providetheir own. We stock cherry,poplar, ash, and maple. Studentsin more specialized courses maybe charged a flat fee to cover thecost of materials.

GENERAL INFORMATIONPh

oto

by Ji

m M

cLar

ty

2 1


EVENTSMonday evenings we meet fordessert and a faculty slide showat 7:00 p.m. Thursday nights wehold potluck class dinners andthe weekly croquet tournament.Family and friends are welcomeat both events.

SCHEDULE• Workshops begin at 9:00 a.m.

Monday morning and endFriday at 5:00 p.m.

• Instruction is offered weekdaysfrom 9:00 a.m. to 4:30 p.m.

• We break for lunch from twelveto one.

• The shop is open to studentsevenings and on the middleweekends of two-week work-shops.

SKILL LEVELSEvery workshop description indi-cates the appropriate experiencelevel for participation. If youhave any questions, please call.

AIR TRAVELMost workshop participants flyinto Portland (a 1-1/2-hour driveaway). It is also possible to flyinto Knox County/RocklandAirport (15 minutes away),Boston (3-1/2 hours) or Bangor(1-3/4 hours). Automobile rentalsare available at all airports.

NO SMOKINGSmoking is not permitted in theworkshop.

PETSKindly leave your pets at home.

GENERAL INFORMATION

DIRECTIONS TO THE CENTER

Driving from Portland

• I-95 North from Portland

• Exit 9 (leave Maine

Turnpike, stay on I-95)

• Exit 22 to Brunswick/

Route 1 North

• Follow Route 1 North to

Warren (about 45 miles)

• Left on Route 90 at

blinking light

• Go 6.5 miles

• Turn right on Mill Street

• First entrance on right.


REGISTRATIONPlease complete the registration form and return it withthe application fee, your tuition deposit, and any housingdeposit. Many workshops fill quickly. We suggest you callto check availability.

ACCEPTANCE• Participants must be at least 17 years old.• First-come, first-served, except as follows:

Those who want to repeat a course may enroll if there are still openings ninety days in advance.

• Upon registration you will be sent a supply list, housing information, and directions to the Center.

FEES• Tuition for a one-week workshop $485• Tuition for a two-week workshop $900• Tuition for Twelve-Week Intensive $4900• Non-refundable application fee $50 per person

• Private room/shared house $230 per week

DEPOSITS• The deposit for the Twelve-week Intensive is $400. • The deposit for all other courses is $200 per course.

PAYMENT• Full payment of tuition and housing is due

30 days prior to the first day of class. • We accept personal checks, Visa or MasterCard.

REFUNDS AND CANCELLATIONS• If you withdraw from a workshop more than

30 days in advance, we will refund your deposits, less the $50 application fee.

• No refunds will be given for withdrawal within 30 days of your workshop and full payment will be due.

• For the Twelve-Week Intensive, half of the $400 depositis non-refundable.

• If the Center for Furniture Craftsmanship must cancel aworkshop, deposits and fees will be promptly refunded.

REGISTRATIONName _______________________________________________

Address _____________________________________________

____________________________________________________

Telephone DAY____________________ EVE________________

e-mail ______________________________________________

WORKSHOP & DATE DEPOSIT

Non-refundable application fee $ 50

HOUSING (CHECK ONE)

■■ Private room/shared house ($100 deposit) $■■ Please send me information about

other housing options.

■■ I already have housing.

TOTAL ENCLOSED $

METHOD OF PAYMENT ■■ VISA ■■ MASTERCARD ■■ CHECK

Card # ______________________________________________

Expires ________________

Cardholder __________________________________________

Permission to charge remainingbalance to card 30 days prior?

■■ YES ■■ NO

Signature____________________________________________

CENTER for FURNITURE CRAFTSMANSHIP25 Mill Street Rockport, Maine 04856

Phone/Fax: 207-594-5611 e-mail: [email protected]

C E N T E R f o r F U R N I T U R E C R A F T S M A N S H I P25 Mill Street Rockport, Maine 04856

www.woodschool.org

Address Correction Requested

Non-profit org.US Postage

P A I DPermit No. 76Camden, ME

04843

CENTER for FURNITURE C 2002 WORKSHOPS · lumber; selecting wood appropriate to your design. Joinery – choosing and making the right joint ... Press, 1993) and The Woodworker’s

Documents