CENTER FOR FURNITURE CRAFTSMANSHIP 2001 … · furniture for Fine Woodworkingand American...

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, businesspractice and 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

2001 WORKSHOPS

WORKSHOPSEvery workshop is an opportunity toimmerse yourself in woodworking withthe guidance of outstanding, professionalcraftsmen committed to sharing theirskills, and the companionship of otherenthusiastic participants.

Students vary in age from seventeen totheir seventies—women and men whoare open to learning new skills and tosharing their knowledge with others.

Enrollments are limited to twelve participants per class. Each workshop isstaffed by two or three faculty members,so you are assured plenty of individualattention, as well as exposure to a broadrange of techniques and demonstrations.


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TABLE OF CONTENTS

4 – 5 TWELVE-WEEK INTENSIVE

6 – 7 BASIC WOODWORKING

8 DRAWER MAKING JOHN MCALEVEYINTERMEDIATE FURNITURE CHRIS BECKSVOORT

9 ORNAMENTAL CARVING CHRIS PYERELIEF CARVING CHRIS PYE

10 CARVING TUTORIAL CHRIS PYEELEGANT BOXES GARRETT HACK

11 HAND TOOL PROJECT MARIO RODRIGUEZRUSTIC BENTWOOD FURNITURE SUSAN CHURCHILL

12 – 13 2001 CALENDAR

14 UPHOLSTERED FURNITURE JIM BAREFOOTJAPANESE HAND TOOLS JOHN FOX

15 ADVANCED FURNITURE FOX & STEVENSWOODWORKING FOR WOMEN LYNETTE BRETON

16 REALLY BASIC WOODWORKING LYNETTE BRETONCARVING CLASSIC ORNAMENTATION PHILIP LOWE

17 RUSTIC STICK FURNITURE WAYNE HALLCHAIR MAKING ROBERT DEFUCCIO

18 FINISHING TERI MASASCHIREPAIR AND REFINISHING TERI MASASCHI

19 DESIGN AND CRAFTSMANSHIP DURFEE & MCALEVEYTRADITIONAL HAND SKILLS ROD WALES

20 – 21 DONOR ACKNOWLEDGEMENTS

22 – 23 GENERAL INFORMATION

24 REGISTRATION

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 Sidney, ME Treasurer

Jim Bowers Washington, ME Secretary

John McAlevey Tenants Harbor, ME

Helen Albert Newtown, CT

John Dunnigan W. Kingston, RI

Ray Gauvin Mapleton, ME

Mark Horowitz Weston, MA

Jeremy Morton Portland, ME

Karin Thomas Camden, ME

Sam Trippe Easton, MD

John Tuton Philadelphia, PA

EXECUTIVE DIRECTORPeter Korn

ADMINISTRATIVE ASSISTANTKaren Brace

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.

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

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 ofmore 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

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Director Peter Korn (right).

TWELVE-WEEK INTENSIVE

February 19 – May 11, 2001

November 5, 2001 – February 1, 2002

February 18 – May 10, 2002

Our Twelve-week Intensive is especially designed tomeet the needs of aspiring professional furnituremakers and amateurs on sabbatical from other pro-fessions. With two instructors available at all timesand only twelve students, each participant is able toindividualize the course of study to fit his or herinterests 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,accounting.

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

six, focuses on solid-wood carcase construction,including door-making and drawer-making. Eachparticipant makes a case piece with at least one doorand one drawer. The third segment starts in weekseven with a series of lectures and demonstrations onsteam bending, laminate bending, and veneer work.Each student’s third project is to design and con-struct a challenging piece using one or more of thesetechniques.

Open to all levels of experience.Tuition: $4500

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

CHRIS BECKSVOORT has beenworking with wood for morethan thirty years. From hisone-man shop in NewGloucester, Maine, hedesigns and builds contem-porary, solid-wood furniture,primarily inspired by theShaker tradition. For manyyears he has been Contribut-ing Editor to FineWoodworking. He is theauthor of The Shaker Legacy(Taunton Press, 1998).

JOHN MCALEVEY establishedhis first woodworking andfurniture design studio in1965. He has written articleson designing and makingfurniture for Fine Woodworking and AmericanWoodworker, served as Visiting Professor in the Arts at


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COURSES

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CD Cabinet by ChrisBecksvoort, cherry and

recycled card catalogs, 2000.

Instructor Andrew Garton working with student.


the University of New Hampshire, and is a founder ofthe Guild of New Hampshire Woodworkers. Johnlives in Tenants Harbor, Maine, where he builds com-missioned pieces in his studio.

LYNETTE BRETON is a professional furniture maker withover twenty years’ experience. Since 1995 she hasdivided her time between teaching at the Center andbuilding cus-tom furniture.For a decadeprevious,Lynette co-owned andsuccessfullyran a customwoodworkingshop makingfurniture andarchitecturalinteriors inFreeport,Maine. Prior to 1985 she worked for three years at Thomas Moser Cabinet-makers, first as a furnituremaker and then as shop manager for custom projects.

ANDREW

GARTON gradu-ated fromParnhamSchool forCraftsmen inWood in 1988.For the pasttwelve yearshe has run hisown customfurniture

workshop in St. Helier, Jersey, U.K., which is hishome. His shop experience has varied from workingalone as a designer/craftsman to managing two full-time employees. Andrew’s work combines a solidmastery of traditional technique with an inventivesense of design.

PETER KORN,the Center’sdirector, hasbeen a furni-ture makersince 1974. Heis the authorof WorkingWith Wood:The Basics ofCraftsmanship(TauntonPress, 1993)

and The Woodworker’s Guide to Hand Tools (TauntonPress, 1998). Prior to founding the Center ForFurniture Craftsmanship in 1992, Peter spent sixyears as Program Director at Colorado’s AndersonRanch Arts Center and four years as Adjunct Asso-ciate Professor at Drexel University. His award-winning furniture has been exhibited nationally in galleries and museums.

MICHAEL PURYEAR has been a self-employed furnituremaker in New York City for over twenty years. Heworks mainly on commission and enjoys the prob-lem-solvingaspects ofdesign, jug-gling his ownaesthetic pur-suit with theneeds of hiscustomers.Michaelexhibits widelyin museum,gallery, and craft shows, including the Sansar Gallery,Washington D.C., the Smithsonian Craft Show, andthe Philadelphia Furniture Show. His teaching experi-ence includes courses at Parsons School of Designand Penland School of Crafts. For an in-depth look at Michael’s work, see the August, 1996 issue ofWoodwork magazine.

COURSES

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

Crossbow chairs by Andrew Garton. Steam-bentEnglish Oak with a laminated upholstered seat.

Bench by Michael Puryear, bubinga and leather, 1997.

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Ebonizedmahogany settee/chest byJohn McAlevey

Hall Table by Peter Korn. Cherry top, ebonized maple base.

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BASIC WOODWORKINGPETER KORN & FACULTY

June 4 – 15 GERALD CURRY

July 2 – 13 PETER TURNER

July 30 – Aug. 10 OWEN EDWARDS

Aug. 27 – Sept. 7 TIM ROUSSEAU

October 8 – 19 CRAIG SATTERLEE

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 ofCraftsmanship (Taunton Press, 1993) is the text forthis course. The small class size allows Peter and hisco-instructors to give each participant extensive indi-vidual guidance throughout.

Open to novice and intermediate woodworkers.Tuition: $880

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 morethan a set of skills; through the process of creatingan object, we transform ourselves.”

COURSES

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Detail of cherry wall cabinet by Peter Korn.

Projects by Basic Woodworking students, October 1999.

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Walnut dictionary stand by Peter Korn.


GERALD CURRY has been aprofessional furnituremaker for over twenty-five years. For most ofthat time his specialtyhas been replicating andrestoring 18th CenturyAmerican furniture. Jerrycurrently devotes all histime to designing andbuilding one-of-a-kindcontemporary furniturein his Union, Maineworkshop.

OWEN EDWARDS designsand builds commis-sioned furniture inMendocino, California,where he is furniturecurator for the High-light Gallery. He has aMasters Degree in ArtsEducation from NewYork University, and is a graduate of JimKrenov’s woodworkingprogram at the Collegeof the Redwoods.

TIM ROUSSEAU is a professionalfurniture maker working outof Hoboken, New Jersey. Agraduate of our Twelve-weekIntensive, Tim has returnedto the Center over the yearsin the capacities of workshopassistant, artist-in-residence,and instructor.

PETER TURNER is a South Portland, Maine furnituremaker with twelve years’ professional experience. He writes for Fine Woodworking (issues 126, 128, 129, and 139) and his work was published in HomeFurniture (issues 3, 7, 11, and 14). Peter exhibits his work internationally, from the PhiladelphiaFurniture Show to the Tullie House Museum inCarlisle, England.

CRAIG SATTERLEE builds furniture on commission inMarietta, Georgia and teaches woodworking at themetro-Atlanta Woodcraft store. He has been makingfurniture for fourteen years, following an early retire-ment from corporate healthcare. Craig is a graduateof our Twelve-week Intensive and has regularlyworked at the Center as a teaching assistant andinstructor in the years since.

COURSES

BASIC WOODWORKINGFACULTY, CONTINUED

Bedroom Bench by Peter Turner, cherry and poplar, 2000.

Detail of Orion’s Study, OwenEdwards, Douglas fir, 1999.

Rocking Chair by Tim Rousseau, cherry, 1999.

Sewing Cabinet by Craig Satterlee,cherry, 1997.

Splayed Chest of Drawers by GeraldCurry, cherry and zircote, 1999.

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INTERMEDIATE FURNITURE MAKINGCHRIS BECKSVOORTJune 18 – 29

The focus of this workshop is solid-wood furnitureconstruction, with an emphasis on design and tech-niques typified by Shaker furniture. Through lectureand demonstration, Chris covers elements of tableand carcase construction, including flush drawers,flat panel doors, dovetailed corners, simple mold-ings, and turned knobs. On Saturday, June 23 thereis an optional field trip to the Sabbathday LakeShaker community.

Each participant designs and builds a small to medium-sized table or case piece, concentrating on simplicity, utility of design, and optimal use of materials. Suggested projects include a hangingcupboard, lap desk, side table, and round stand,among others.

CHRIS BECKSVOORT is a Shaker-inspired furniture makerwith over thirty years experience. He is the author of The Shaker Legacy (Taunton Press, 1998) and haswritten numerous articles on traditional craftsman-ship for Fine Woodworking, to which he is Contribut-ing Editor. Chris lives in New Gloucester, Maine.

Open to intermediate and advanced woodworkers.Tuition: $880

DRAWER MAKINGJOHN MCALEVEYJune 18 – 22

Making and fitting drawers is an art in itself whendone cleanly and efficiently. In this course, JohnMcAlevey shares expertise gained through thirty-five years of casework. The course begins with anoverview of the mechanics and construction of thethree best drawers for fine furniture: flush, overlay,and side-hung. Subsequently, the class explores thedetails and refinements of each approach throughdiscussion and hands-on practice.

Each participant makes a solid-wood drawer usingclassic hand-cut dovetail construction and fits it toan existing case. John covers pertinent topics such as grain selection, stock preparation, sharpening anduse of chisels, saws, planes, and other hand tools,and dovetail joinery.

JOHN MCALEVEY established his first woodworking andfurniture design studio in 1965. He has written arti-cles on designing and making furniture for FineWoodworking and American Woodworker, served asVisiting Professor in the Arts at the University ofNew Hampshire, and is a founder of the Guild ofNew Hampshire Woodworkers. John lives in TenantsHarbor, Maine, where he builds commissioned piecesin his studio.

Open to intermediate woodworkers.Tuition: $470

COURSES

Adjustable Music Stand and Bowback Chair by Chris Becksvoort. Cherry and ash.

Semanier by John McAlevey, walnut, 1998. (20" x 19" x 64")

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ORNAMENTAL CARVINGCHRIS PYEJune 25 – 29

This introduction to incised decoration starts withclear exercises in the holding and manipulation ofcarving tools, and the making of smooth, precise andflowing cuts which characterize good woodcarving.From here, elementary patterns build into adaptableand effective leaf and flower designs which can read-ily be used to embellish interior woodwork and fur-niture. Chris gives particular attention to carving the classic acanthus leaf, teaching students how it‘works’: how to carve eyes, pipes and veins.

Participants learn traditional woodcarving tech-niques, how to carve with regard to the grain andleave work straight from the chisel. They also gainan understanding of how carving tools function andthe essential skill of sharpening.

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 includethe Prince of Wales. Chris has more than twentyyears of experience as a carver, and is the author of 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 information, visit Chris’ web site at: www.chrispye-woodcarving.com.

Open to novice and intermediate carvers.Tuition: $470

RELIEF CARVING CHRIS PYEJuly 2 – 6

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.

Open to novice and intermediate carvers.Tuition: $470

COURSES

Guilloche molding for a staircase carved by Chris Pye, English oak,1994. (8" wide panels)

Detail of limewood bedstead by Chris Pye.

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


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CARVING TUTORIALCHRIS PYEJuly 9 – 13

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: $470

ELEGANT BOXESGARRETT HACKJuly 16 – 27

The intimatescale of boxes isideal for explor-ing design, con-struction, andtechnique in atwo-week course.Garrett guidesparticipantsthrough theprocess of creat-ing their ownboxes, with anemphasis onworking withhand tools,developingdesigns with per-sonal meaning,and gaining con-fidence in one’scraftsmanship.

Instructionaddresses issues such as function, joinery, grain pat-tern, interior details, drawers, and ornamentation.Garrett shares techniques for sizing and fitting partswith planes, cutting joinery with hand tools, makingscratch stocks to cut moldings and details, installinghinges, creating decorative details such as stringinlay, and more. Work may be done with solid woodor resawn veneer.

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 Handtools (Taunton Press, 1999). His arti-cles appear frequently in Fine Woodworking.


COURSES

“Ancestor Cabinet” by Garrett Hack. Pear,beech, ebony, holly, mahogany, 1997. (17-1/2" x 10-1/2" x 24")

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

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HAND TOOL PROJECTMARIO RODRIGUEZJuly 16 – 20

Are you a beginning or intermediate woodworkerwho wants to improve your skill with hand tools?There’s no better way to gain confidence than tobuild an entire project completely by hand. Mariostarts with a review of practical hand tools andquick, effective tune-up tips. Then each student constructs a handsome tool box without using a single volt, watt, or ampere.

To start the project, participants rip, crosscut, andthickness the individual parts out of a mahoganyboard. Then they cut the dovetail joinery for thecase and the mortise and tenons for the handle.Next, they plow grooves for the bottom, shape theparts, and assemble. The range of tools includes:marking and measuring tools such as mortise andcutting gauges; rip and crosscut saws; bench, blockshoulder, and plough planes, chisels and more.

MARIO RODRIGUEZ is a woodworker, author, andteacher specializing in traditional tools andtechniques. Currently, he teaches in the RestorationProgram at F.I.T. and the Joint Technical LaborCollege, both in New York. Mario is a ContributingEditor to Fine Woodworking, author of TraditionalWoodwork (Taunton Press, 1998), and a special con-sultant to Lie-Nielsen Toolworks.

Open to novice and intermediate woodworkers.Tuition: $470

RUSTIC BENTWOOD FURNITURESUSAN CHURCHILLJuly 23 – 27

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, located inMadison, Wisconsin. A builder since 1987, Susan has given previous workshops through the Univer-sity of Wisconsin, The Clearing (Ellison Bay,Wisconsin), the Wisconsin Indianhead TechnicalCollege, and she was a presenter at last summer’sWoodlanders’ Gathering in Pownal, Maine. Her work and her teaching are informed by the idea thatthe finished product is just one facet of a fulfillingcreative experience.

Open to all.Tuition: $470

COURSES

Mario Rodriguez

Susan Churchillwith one of herchild-size bent willow chairs in theclassic gypsy style,2000.

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UPHOLSTERED FURNITUREJIM BAREFOOTJuly 30 – August 3

Participants learn contemporary upholstery tech-niques by designing and building half-scale chairs.Whether you want to create your own seatingdesigns or re-upholster existing frames, this courseprovides the information you need. Jim teacheswood-frame construction, springing up, selectionand cutting of foam, fabric, and leather, patternmak-ing, sewing, and more. The tools and skills involvedare easily accessible, including sewing machines, scissors, and staplers.

JIM BAREFOOT is a freelance furniture designer inWinston Salem, NC. He began his woodworkingcareer with a B.S. in Wood Science in 1976, was aself-employed woodworker, and has gone on to doextensive work in seating design and product devel-opment for such outstanding contract furnituremanufacturers as Brayton International, AGI, andPatrician. His article, “Make a Comfortable Slip Seat,” appeared in the Nov./Dec., 1998 issue of Fine Woodworking.


JAPANESE HAND TOOLSJOHN FOXAugust 6 – 10

Participants learnthe practicalapplication ofJapanese handtools. John teach-es the selection,tuning, and useof Japanese chis-els, dozuki saws,smoothingplanes, dovetailplanes, andspokeshaves,including sharp-ening techniqueswith natural andmanufacturedwater stones.Discussion also

focuses on the difference between Japanese andWestern woodworking traditions.

In addition to tuning up their tools, students prac-tice planing and fitting by making a sharpeningstone stand and a Japanese-style marking gauge.Further projects are possible as time permits.

JOHN FOX is an Acton, Massachusetts furniture makerwho has mastered Japanese hand tools over twenty-plus years of use. He exhibits his work nationally in such prestigious venues as the Smithsonian,Philadelphia, and Baltimore craft shows. Articles on John’s work have appeared in Woodwork (August,1997) and Home Furniture (Summer, 1996).


COURSES

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John Fox adjusting a plane blade.

Jim Barefoot’s 1999 upholstery students with their projects.

Kusaka Sideboard by John Fox, walnut

with bubinga drawers.

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ADVANCED FURNITUREMAKINGJOHN FOX AND CRAIG STEVENSAugust 13 – 24

This course is for more experienced intermediate andadvanced furniture makers. John and Craig sharetheir separate (and complementary) methods ofwork, approaches to design, and extraordinary exper-tise with hand tools. Each participant creates a pieceof furniture with the goals of improving their designprocess, perfecting their hand and machine skills,and making furniture which is a singular and person-al expression of the individual.

Topics of consideration include hand-planed sur-faces, tuning and using Japanese and wooden planes,the challenges of making and fitting drawers anddoors, working with solid wood and sawn veneers, as well as design evolution, organizing your workand making a living with one-of-a-kind furniture.

CRAIG STEVENS studied with James Krenov at theCollege of the Redwoods prior to opening his work-shop in Sunbury, Ohio seven years ago. He is theauthor of four books by Schiffer Publishing on thesubjects of chip carving, marquetry, and coffeetables. Craig has received several awards, includingAmerican Woodworker’s 1998 “Excellence in Crafts-manship” award and an “Individual Artist Fellow-ship” from the Ohio Arts Council. An in-depth look at Craig’s work may be found in the February1997 issue of Woodwork Magazine.

For JOHN FOX’s bio see previous page.

Open to intermediate and advanced woodworkers.Tuition: $880

WOODWORKING FORWOMENLYNETTE BRETONAugust 13 – 17

Lynette introduces participants to wood as a creativemedium. Participants explore the nature of wood asa sculptural material, what it will and will not do,and how to work it effectively and sensitively, pri-marily with hand tools. Suggested projects are acarved bowl and spoon of the student’s design.Instruction includes sharpening and use of toolssuch as the bow saw, adze, scorp, carving gouges,files, and scrapers. Learning these techniques notonly calls for well-tuned tools, but also trains the eye to be able to create curves and hollows that flow effortlessly.

LYNETTE BRETON is a professional furniture maker with over twenty years’ experience. Since 1995 she has divided her time between teaching at theCenter and building custom furniture. For a decadeprevious, Lynette co-owned and successfully ran acustom woodworking shop making furniture andarchitectural interiors in Freeport, Maine. Prior to1985 she worked for three years at Thomas MoserCabinetmakers, first as a furniture maker and then as shop manager for custom projects.

Open to all women.Tuition: $470

COURSES

A hand-hewn bowl and spoon typical of the suggested project for thiscourse.

Autumn Entry Table by Craig Stevens, fiddleback and hardmaple with marquetry, 2000.

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REALLY BASIC WOODWORKINGLYNETTE BRETONAugust 20 – 24

This course is for beginners who want to build sim-ple, attractive objects for home and garden withtools and materials readily available from their locallumber yard. Participants learn to build items such as window boxes, patio tables, and even porch chairsusing standard dimensioned construction lumber.Furniture is assembled with screws.

Lynette’s instruction includes safe use of standardpower tools such as the electric drill, jigsaw, andchop saw. Participants also work with hand saws,screwdrivers, measuring tapes, and other hand tools,learning the basics of measuring, cutting square, fit-ting, and assembly. For those who have no practicalexperience with woodworking tools, Lynette makesthis an enjoyable introduction.

LYNETTE BRETON is a professional furniture maker withover twenty years’ experience. Since 1995 she hasdivided her time between teaching at the Center andbuilding custom furniture. For a decade previous,Lynette co-owned and successfully ran a customwoodworking shop making furniture and architectur-al interiors in Freeport, Maine. Prior to 1985 sheworked for three years at Thomas MoserCabinetmakers, first as a furniture maker and then asshop manager for custom projects.


CARVING CLASSIC ORNAMENTATIONPHIL LOWEAugust 27 – 31

This is carving as traditionally practiced by furnituremakers. Phil teaches the intricacies of carving classiceighteenth century American furniture and architec-tural details such as shells, rosettes, acanthus leafage,and waterleaf moldings. He emphasizes not onlyhow to carve them with efficiency and consistency,but also how they can direct your eye to enhance anoverall design.

The course proceeds through a progression of dailyexercises based on the use of patterns, layout withdividers, the geometry of tools, and a carefullyworked out sequence of cuts. Those new to carvingdevelop a good foundation for incorporating tradi-tional carving in their work or for developing theirown designs.

PHILIP LOWE is a noted maker, conservator, and restor-er of period furniture in Beverly, Massachusetts. He isthe author of numerous articles and videos for FineWoodworking. Phil currently runs his own school,“The Furniture Institute of Massachusetts,” and hisprevious teaching experience included a decade asinstructor and department head at Boston’s presti-gious North Bennet St. School, from 1975 – 1985.


COURSES

A garden trellis with benches, made with products from the local lumber yard, typifies the constructiontechniques taught in this course.

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Ball and claw leg ofmahogany bed made

by Phil Lowe forDerby House, Salem,

MA, a NationalHistoric Site.


RUSTIC STICK FURNITUREWAYNE HALLSeptember 3 – 7

“Stick” furniture isamong the most pop-ular of rustic furni-ture styles. Hardwoodsaplings are tenonedtogether to make fur-niture which is high-ly expressive andevocative, yet thor-oughly 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, tech-niques, and design. Each participant builds one ormore rustic pieces of their own design, primarilywith red maple. Students also learn to harvest theirown materials from the forest.

WAYNE HALL recently moved to Orland, Maine fromNorth Carolina, where he had been making rusticfurniture since 1992. Wayne holds an MFA from theUniversity of Georgia and has taught sculpture andrustic furniture at a number of colleges and universi-ties, including Duke and the University of Maine.


CHAIR MAKING ROBERT DEFUCCIOSeptember 10 – 21

Chairs can be the most chal-lenging and rewarding aspectof furniture making. Sharinghis forty years’ experience, Bob guides each participantthrough the design and construction process, with an emphasis on comfort,ergonomics, aesthetics, struc-ture, and demystifying thedesign process. Each studentcreates a functional chair prototype, either one of theirown design or an adaptation of an existing design.

Instruction includes the history of the wood chair,design development through drafting and modelmaking, and a wide variety of techniques such asbent lamination with solid wood and plywood,steam bending, wood joinery, use of mechanical fasteners, and simple upholstering with polyure-thane foam, webbing, and fabrics.

BOB DEFUCCIO is a freelance furniture designer in EastGreenville, Pennsylvania with extensive experiencein contract furniture design, design engineering, andproduct development. His chair designs have beenmanufactured by prestigious companies such asKnoll International, Castelli, Thonet, and Gunlocke.For many years he was adjunct professor of furnituredesign and woodworking at the Philadelphia Collegeof Art.

Open to intermediateand advancedwoodworkers.Tuition: $880

COURSES

Bob DeFuccio testsa student’s mock-upfor comfort.

Alpina chair, designed byRobert DeFuccio for JackLenor Larsen, white ash,

steam-bent.

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Red maple chair by Wayne Hall, 1996.


FINISHINGTERI MASASCHISeptember 10 – 14

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 finish-er/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 forWoodworker’s Supply. Currently she is a restorationspecialist for Santa Fe Fine Finishing. Teri is a walk-ing encyclopedia of finishing products and tech-niques, from the traditional to the cutting edge.


REPAIR & REFINISHINGTERI MASASCHISeptember 17 – 21

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.


COURSES

Teri Masaschi

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

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COURSESDESIGN & CRAFTSMANSHIPCHARLIE DURFEE & JOHN MCALEVEYSeptember 24 – October 5

The focus of this intermediate course is solid-woodfurniture construction with an emphasis on tablesand case pieces such as cabinets, chests, desks, anddressers. Each participant explores new skills throughthe process of designing and building a piece of fur-niture. Instruction covers design considerations suchas allowing for wood movement, lumber selection,hand-cut and machined joinery, drawer-making,door-hanging, and more. Students engage in a thor-ough design process which includes full-scale draw-ings and mock-ups. Frequent demonstrations arecomplemented by extensive one-on-one instruction.

CHARLES DURFEE has been working with wood for overtwenty years. From his one-man shop in Woolwich,Maine, he turns out high quality made-to-orderpieces for customers across the country. His special-ties are Early American and Shaker styles. A hand-some photo of Charlie graced the cover of the April,2000 issue of Fine Woodworking, in which his article,“Trestle Table with Breadboard Ends,” appeared.Charlie is past-president of the Maine WoodworkersAssociation.

For biographical information on JOHN MCALEVEY seepages 4 and 5.


TRADITIONAL HAND SKILLSROD WALES

September 24 – 28

Participants learn thetune up, mainte-nance, and use ofhand tools throughconstruction of aspecially designedproject. Rod hasgiven this coursemany times atEngland’s respectedParnham college. He provides a solidfoundation in theprinciples of mark-ing, measuring,wood preparation,and cutting essentialjoints such as mor-tise and tenon, bridleand halved joints,

and sliding dovetails. Particular attention is given tosharpening and use of chisels and hand planes.

ROD WALES is a partner, with his wife Alison, in Wales& Wales. Located in East Sussex, England, they spe-cialize in both custom furniture making and designfor production.

Open to beginning and intermediate woodworkers.Tuition: $470

Writing Desk in cherry by Charles Durfee, 1997.

Detail of Shelf with Two Drawers byWales & Wales, sycamore, fumed oak,stainless steel inlay, and silver gilt, 1996.

Chest of Drawers with Door by John McAlevey, cherry,2000.

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CAPITAL CAMPAIGNIn April, 2000 the two-year capital campaignwhich enabled the Center to become nonprofitand acquire the school building and propertyreached a successful conclusion. We wouldlike to thank the following alumni andfriends who contributed after November,1999 for their generosity.

ROSEWOODMorton-Kelly Charitable TrustAndy and Sarah RheaultSam TrippeDavis Family Foundation

TEAK Jim and Blenda Candler

WALNUT David AlexanderRay GauvinAaron and Barbarina HeyerdahlMark HorowitzNorman KellerJohn McAleveyErnie and Connie Rose

MAHOGANY Jay AlexiusFrances BaileyLouis BeasleyJoe BeggGreg BoldtJeff and Julia CarterRon CulbertsonLimond GrindstaffTom HellmichD.J. JohnsonFrank and Sylvia KennedySteve LanierWilliam McKnightNate PodkaminerLes RobisonRick SteinKarin ThomasSteve WagonerRaymond Wendrzycki

WHITE OAKJane HilaryRobert TakachCharlie WarnerLen Young

IN-KIND DONORSWe thank the following companies and individuals for their generosity in donatingproducts, tools, and supplies.

Karen BaischChris BecksvoortCMT USA, Inc. DMT, David Powell, Pres.Warren HaedrichLIE-NIELSEN TOOLWORKSBob McBreenMalcolm von SaltzaLowrie SargentT.J. Shao

VOLUNTEERSWe thank the following individuals for

generosity with their time and skills.

Connie BeasleySandy GauvinTom HellmichDarryl KeilMark KimblePaul Parisi

DONORS

ROSEWOOD donors are listed for gifts of $10,000 or more;

TEAK for gifts between $5,000 and $9,999;

WALNUT for gifts between $1,000 and $4,999;

MAHOGANY for gifts between $100 and $999; and

WHITE OAK for gifts up to $99.


ANNUAL GIVING We would like to thank the following alumniand friends for their generous support of theCenter though the Annual Giving Campaign.

PEARAnonymousJerry and Helene BeaverMartha BonziTed and Nancy DobbsL. Martin Everett, Jr.Ed and Connie FulkersonRaynold A. GauvinDorothy and H. Alan HumeRobert C. JacksonRichard KelloggMr. & Mrs. Patrick W. MorrisseyJeremy MortonHeidi and Paul ParisiErnie & Connie RoseCraig SatterleeT.J. Shao

CHERRYHelen AlbertA. Herbert ErshigDr. Herbert J. LouisSteven Roach

MAPLEMark BalmerJoseph W. BeggByron BlomquistDavid BrendelAlan C. Brown, M.D.Hilton BruchRobert BurnhamGreg Curci and Amy NeileyWalter E. DavisJohn E. DeMottC. Paul Denckla, Jr.John DunlopGeorge EdmondsonBill ElwoodArlene FarreyWade GarntoJohn GoyerBrant GreeneLimond E. GrindstaffEllie and Tom HamburgerDavid B. HastingsRoger HealdTom HellmichPhilip R. and Catherine M. KarsellGary Kennedy

Frank KennedyA. H. Kennemer, M.D.Luther and Carla KinneySilas KopfWilliam D. LillyGregg Lipton FurnitureJames R. MacMahonJohn McAleveyScott MeierRichard D. MuirTom ParchmanWilliam PloogNathan PodkaminerFrank and Laura PoltensonErica RandJerry Rogoff, M.D.Philip RoybalCharles W. SchroederCharles Shackleton FurnitureLeonard SmithJohn SteeleAdam SterlingBobby StevensLee TomanHarley UlbrichSteven ViasCharles WarnerDonald WeaverXavier GoninGary L. YarrowLaird Yock

PINEFrederick BarstowRobert BeinLyle BradleyChristopher Cain Barrett CookeWoodward W. Corkran, Jr.Linda GoldenharLinda HirschMary Ellen KranzMatthew KreslJames MacDonaldMaine Woodworkers Assn.Miguel MarcanoJim PioWalter PlautDaniel SchwartzMichael SlevaLaura SmithDavid SpinaWarner VaughanErich Von RufferGina and Dick WilsonRichard Winchester

DONORS

Gifts received as of December 4, 2000

PEAR donors are listed for gifts of $1000 or more

CHERRY

for gifts between $500 and $999

MAPLE

for gifts between $100 and $499

PINE

for gifts up to $99

Peter Korn, winner of the first annualSilas Kopf Croquet Tournament.

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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 $220./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 sug-gest you book your housing with-out delay, as this is a popularvacation area. We are alwaysavailable to help you find just theright place.

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

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EVENTSMonday evenings we meet fordessert and a faculty slide showat 7:00 p.m. Thursday nights areclass dinners, either a potluck ora visit to a local restaurant.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.

PETSKindly leave your pets at home.

ON-LINEFeel free to contact us by e-mailat [email protected]. This bro-chure is posted on our web site atwww.woodschool.org.

NO SMOKINGSmoking is not permitted in theworkshop.

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.

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 wishing to repeat a course may enroll if there are still openings ninety days prior to the class.

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

FEES• Tuition for a one-week workshop $470• Tuition for a two-week workshop $880• Tuition for Twelve-Week Intensive $4500• Non-refundable application fee $50 per person

• Private room/shared bath $220 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]

CENTER FOR FURNITURE CRAFTSMANSHIP25 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 CRAFTSMANSHIP 2001 … · furniture for Fine Woodworkingand American...

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