A Chapter of The American Association of Woodturners

Northwest Woodturners meetings are held on the 1st Thursday of each month at 7:00 PM. See www.northwestwoodturners.com for details and map. Next Meeting: April 2nd Turning Challenge: Embellishments

STAFF

President Mike Meredith (503) 522-0531 mmeredith23@comcast.net V. President Joe Jedrychowski jjedro@comcast.net Secretary / Treasurer Owen Lowe (503) 538-5325 Board of Directors Walt Brown Jim Hall Fred Kline Bob Mach Mike Stalder Librarian Chris Dix Raffle Tom Willing Supplies Bob Mach Newsletter & Web Scott Blackman

QUICK UPDATES

I’m sitting in the Olympic Nordic Center in Soldier Hollow, Utah while my wife skis the Olympic cross-country course. I do downhill, not cross-country. Cross-country skiing isn’t really a sport; it’s how Swedes get to work. It’s a lovely building sitting on bluff above the Heber Valley. It has the intent of being Timberline Lodge but doesn’t achieve the goal. The stone fireplace is very nice but it’s cut and mortared too neatly. The beams and joists are too perfectly planed and jointed. Coffee tables lack the sliding dovetail that should hold the skirt siding in place. The lodge has the look but is devoid of the character of handwork that makes Timberline unique.

This month, we turn to the questions about the club that must be answered. As we consider changes, we need to remember that no is a valid answer, too. We address the questions of club organization. Northwest Woodturners has grown and developed without fundamentally changing. The prospective NWWT looks significantly different to many mem-bers. Currently, we are trying to sort out the ques-tions of incorporation. I already know more that I ever wanted to about the LLC and 503.c.x (503.c.7 being the designation for a hobby or recreational nonprofit corporation). The thing I am sure about is that the club, more par-ticularly the officers and board members are exposed significant liability. The questions I still need to have answered concern the changes in NWWT pursuant to mitigation of that risk. What would the club look like after incorporation?

I think it will be unchanged: Don will still uphold the finest traditions of woodturning cur-mudgeons everywhere, Bob Tuck will still oppose painting turned wood, Tom will still be bald, Fred will still eschew the skew, and Jerry would still be a lovable but curious charac-ter. On a day-to-day basis, it will be the same club. But some things will change. We will be represented by an attorney who, hopefully, will have little to do and, therefore, will ask for a very small retainer. We will very likely have to file a postcard with the IRS once a year, though as an all volunteer organization, none of our income under $25,000 will be taxable. We will have to figure out how to issue a form 1099 to anyone we pay more than $600 per year. We will have a solid insurance foundation to protect us, and the facilities we use, from litigation.

The process will take some time and is not how I would choose to expend our efforts; it’s a pain in the ass. However, we need to settle these issues and get back to what we are sup-posed to be doing, having fun and spreading the word about woodturning. We’ll be dis-cussing all the incorporation issues at the meeting this coming Thursday. Hope to see you all there! Mike.

PRESIDENT’S MESSAGE

APRIL , 2009 THE WOODTURNERS ’ LOCAL RESOURCE

VOLUME 14, I SSUE 4 WWW.NORTHWESTWOODTURNERS.COM

PAGE 2 VOLUME 14, I SSUE 4

B INH PHO : IN A CLASS BY H IMSELF (BUT W ITH E IGHT STUDENTS) Let me set the scene for the recent and remarkable class with Binh Pho. I'll use Binh's own words:

On April 30, 1975 the war was ended in Vietnam. It made a dramatic turn in my life. I was in my sophomore year of college majoring in Architecture but the "Red Peace" ended that. At that time there were only two schools. One taught Communism, the other was a Re-education Camp.

I refused to accept the reality of Com-munism. Six months later I attempted my first escape to find freedom, but instead I ended up in a Re-education Camp. I spent one year in there to supposedly get my brain-washed, then they let me back in the city. After that I tried three more times. Finally my day had come... On September 29, 1978 I and my 38 companions reached the Freedom Soil after seven days on the small boat float-ing across the Gulf of Siam to Malaysia. Due to vast numbers of refugees at that time, I spent eight months in a Refugee Camp located on a deserted island outside of Kuala Lumpur.

The date was May 7, 1979 when I was re-united with my family in St. Louis, Missouri after four of the longest years of my life. Now I reside in Maple Park, Illinois, a western suburb of Chicago, where I designed and built a 1,500 square-foot studio next to the house.

From a heavy log of timber to a light, thin vessel, negative spaces interlock with solid surface. The color, grain and natural look of the wood all reflect the principle of Yin and Yang. My work comes from memories, culture, Zen mind and my own thoughts. Negative spaces inspire me, as they represent the unseen weight of the unknown, which I use to take

the viewers into my work.

The make-up artist does not only know the script of a play, but also feels the characters that the actor and actresses are portraying. The make-up artist's goal is to express that feeling to the audience.

What do I do? I put a soul into every piece I create. I don't make objects; I create charac-ters. If the viewers can pick up on that soul, I've accomplished it. Creating figurative and abstract imagery on delicately pierced wood vessels opens the doors for me to share my life and interests. There was a period of time that I looked through the window and asked myself the question, "What is it like on the other side of that win-

dow?" I then just let my imagination go.

What Binh omits from this narrative are some compelling facts: he was in the U.S. embassy grounds in Saigon, down by the swimming pool, when the last helicopter left from the roof top. He had to send messages to his family members

(Continued on page 3)

UPDATE ON H ILLSBORO H IGH TURNING PROGRAM We recently received a grant from AAW for more equipment for Hillsboro HS. I'd also like to thank the following people for their support of the Hillsboro HS turning education program.

• Don Woodward: face shield, box of hardwood • Andy Johnson-Laird: 10 kilos of Klingspor sandpaper • Scott Blackman: Nova chuck • Alain Bally: countless hours of teaching, bringing tools for student use, and repairing machinery

If you would like to volunteer equipment, supplies, or your time to benefit students, please let me know.

Thank you

Joe

Binh’s demonstration piece, showing airbrushing, piercing in both negative and positive space.

PAGE 3 VOLUME 14, I SSUE 4

B INH PHO CONTINUED. . .

who had escaped to the USA before the fall of Saigon for more "shirts" – the code name to foil the communists for gold used to pay for his escape attempts.

When he finally escaped from Vietnam it was by boat, starting upstream on the Mekong River. People had learned that the communists only seemed to worry about people escaping on boats departing from near the Mekong delta. Neverthe-less, the boat he was on was shot at and holed by the communists but managed to reach an island off-shore to Malaysia. So many boat people had reached the island before them that they were turned away, so the passengers voted—and they de-cided to enlarge the holes caused by communist bullets and scuttled the boat just off shore – the question of whether they could come ashore then became moot. There was no alternative.

Pause here and insert your own life story into this narrative. If it's anything like mine (born in England, grew up, applied for a credit card, lived in France, lived in Canada, came to the US as an illegal im-migrant after my employer botched my immigration application, sued the INS

and won the right to live in the States) it pales into insignificance with respect to Binh's story.

Oh. Did I mention that on the boat was a lady named Vi ("Vee")? Some years later, Vi married Binh in the USA, so there's a love story woven into Binh's escape story too.

Why is all of this relevant? Well, con-sider the title of one of Binh's signature pieces, "River of Destiny." Yup. That river. The Mekong. This also happens to be the title of a book about the life and art of Binh – more on that later.

Binh's pieces tell so many of his stories in such a (literally) artful way, it is little wonder that he has a piece in the White House, a piece in the Smithsonian, and in 2007, a collaborative piece that he did with the late Frank Sudol sold at the AAW Symposium in Portland for $30,000. (Binh confessed to me that he left the ballroom when the bidding hit $20,000 – I think he was having trouble dealing with it!) Binh's work is also car-ried by the Del Mano gallery in Los An-geles, along with the work of several of his students.

So, thanks to the efforts of Tom Reiman and Mike Meredith, we in the Northwest Woodturners had the privilege of wel-

coming Binh to our meeting in March. Binh told of his "river of destiny" at the club meeting, illustrating his story with a PowerPoint presentation showing his work.

Binh also taught a two day class on Friday and Sunday, sandwiching in a full day demonstration on Saturday. His class was a full-up practical session of his surface enhancement techniques, starting with a Xylene pen transfer of some of his photo-copied images (a kimono, and butter-flies). We practiced creating blends of transparent airbrush paints (graciously provided for free for the class by Iwata Medea here in Portland). Just using sim-ple masking tape, an X-Acto knife, and basic airbrushing techniques, Binh showed us how to create very pleasing Japanese-style artwork (see image on page 3). I was amazed at how easily we all managed to produce quite respectable results. I'll be calling the Smithsonian shortly to assess their interest in my work.

Airbrushing is definitely something that requires a creative mind and a moder-ately steady hand. But the results in the

(Continued from page 2)

(Continued on page 4)

Binh and Andy sharing the stove in Tom’s Arctic Climate Simulator (a.k.a. “workshop”)

I wonder if Jim's OK, he's not moved for a while. Photo - Andy Johnson-Laird

Works in Progress

PAGE 4 VOLUME 14, I SSUE 4

B INH PHO CONTINUED. . .

hand of a master like Binh are spellbind-ing. You use a thin, low-tack adhesive backed, plastic film called “frisket” on bare wood. With an X-Acto knife (and a very sharp blade) you cut a design into

the frisket using no more pressure than the weight of the knife itself. Then you peel away pieces of frisket leaving the areas you want to airbrush exposed, but protecting the surrounding areas. You need to stop and think about which bits of frisket you peel away, and which you leave, according to the current color you want to spray. There were several class mutterings of “Oh dear” (or equivalent) as we discovered which were the wrong bits of frisket to remove, but fortunately, the frisket can be put back in place by relying on low tack adhesive and some four letter words like “stickdammit.” All

of this frisket work is augmented by large amounts of “delicate surface” masking tape to shield the piece from the air-brush’s overspray. If you get into air-brushing seriously, be sure to buy a fac-tory that makes delicate surface masking tape. You’re going to need a lot of it.

When all the airbrushing is done, there comes that magic moment, the “reveal,” where you peel off all the frisket and masking tape and there, revealed for the first time, is your handiwork. If you fol-lowed what Binh said, resisted the temp-tation to put on too much paint, and have the creativity of a lower primate or better, the results can be quite stunning. (Or as Kay (I’m her husband) said of my piece “If you didn’t have Binh’s example next to it, yours would be really quite acceptable.” I’m still pondering the deeper meaning of that.)

Following this we then practiced his trademark style of piercing using a dental drill. Tom Reiman's Arctic Climate Simulator (a.k.a.. "workshop") never sounded more like a dental school with a compressor-testing facility attached. Even Joe Jedrychowski (a retired professor of dentistry) got in the mood and wore the same style of eyeglass mounted telescope as my own dentist uses. And, to give credit where credit is due, let the record show that Tom, by burning some of his furniture, managed to get his replica of the Amund-sen-Scott South Pole Station up to a blis-tering 62F (there being some dispute as to whether it was 63F depending on the angle you looked at the thermometer). Both Binh and I stripped down to our glove liners.

Binh uses a "random" style of piercing that flirts with positive space (where objects of interest are left unpierced) and "negative space" (where objects of inter-

est are pierced and surrounded with piercing) so it takes a while for one's eye to find them, but produces pleasure at their discovery.

Before I'm corrected, I should really say "pseudo-random" style of piercing be-cause there is a definite technique to it and, like comedy, it can only be done well with a great deal of practice that makes it seem random. Since the class, I've spent several relaxing hours practic-ing just with pencil and paper rather than savaging innocent sheets of 1/16" ply-wood – which act as a flat substitute for a thin-wall turning.

As a side-bar, it is only fitting that I pause and give Tom Reiman the credit he really deserves. Not only for his work as Presi-dent in recent years, but also for allow-ing the club to use Chemwest for meet-

(Continued from page 3)

(Continued on page 5) Do you have this bowl? Contact scott-blackman@comcast.net

Joe Jedrychowski - Making it easy with his second butterfly (closeup

of the butterfly to left.

PAGE 5 VOLUME 14, I SSUE 4

B INH PHO CONTINUED. . .

ings and to use his Arctic/Tropical Cli-mate Simulator for classes.

While I am giving credit, let me also extend my thanks to Darrell Davis who taught a "Pre-Binh Pho" class on thin wall turning a couple of weeks before Binh's class. Not only did Darrell get us well prepared for Binh's class, but I suc-cessfully managed to turn some thin wall pieces without parental supervision. My wife and I were equally surprised by this.

Darrell also passed on part of the oral tradition of wood turning, recalling sev-eral anecdotes about Frank Sudol (Darrell studied and traveled with Frank

for five years). I must confess to being a bit overwhelmed at the time by all the anecdotes, and ended up teasingly calling Darrell's class a "wood talking" class. But make no mistake, I, and the others who attended, are indebted to Darrell for passing on his knowledge and the stories about Frank Sudol.

But let me return back to the Binh Pho story. Binh is a remarkable teacher. He holds nothing back and is passionate about his teaching and passionate about his students' learning ability. As you might imagine, his passion and his free-dom in communicating his ideas quickly becomes apparent when you are learning from Binh.

Those who attended his Saturday demon-stration saw Binh's passion too. He dem-onstrated thin wall turning, airbrushing, and piercing. Those of you that attended saw me videotaping Binh – in part to use the camera feed to drive the display pro-jector so that everyone in the room could see and, in part, because Binh had gra-ciously agreed that we could use the re-sulting videotape for the education of NWWT members. I will be working on the editing down of the six hours of videotape over the weeks ahead in my "copious free time," but, when I'm done, we will have the DVDs in the club li-brary.

Binh explicitly advocates that his students should copy the design of his hollow forms and even his artwork designs. Rather than spark a debate here, I must observe that this is somewhat at odds with what I understand some other world class woodturners' positions to be. Binh's rationale is that art students learn by copying the Great Masters (European art museums are dotted with students copying the paintings hanging on the wall), and even if you produced a good copy of Binh's work, it still would not be a Binh Pho piece.

Of course, Binh would not appreciate it if a student then attempts to pass off a

copy as being Binh's work – that goes without saying. That "passing off" is both inappropriate and illegal. Binh also need have no fear that my work might acci-dentally be mistaken for his — at least for the next few years — but then watch out, Binh!.

(Continued from page 4)

(Continued on page 8)

It’s like unwrapping a surprise at Christmas. You never know what you’ll get.

Tom proves to Andy, it’s not that cold (note Tom’s goosebumps please!)

Binh speaks bowls to the crowd

Binh teaching the airbrush basics: “the paint comes out here…”

PAGE 6 VOLUME 14, I SSUE 4

LAQUER F INISHES This month brief discussion is on Lacquer. Lacquer is a term that is used to describe a clear, or colored, varnish that dries by solvent evaporation and often a curing process that produces a hard durable finish, in any sheen level from ultra matte to high gloss and that can be further polished as required. Usually lacquers are sprayed but they can also be brushed but it takes a

very good brush to keep the brush marks from showing. .

Today lacquers specifically refer to polymers dissolved in Volatile Organic Compounds (VOC’s), such as nitrocellulose and acrylic compounds dissolved in a solvent generally referred to as lacquer thinner but today can be water based. These are: Urishiol-based lacquers, Nitrocellulose lacquers, Acrylic lacquers, Water-based lacquers, Japanning, Japanese lacquer, and Korea lacquer The first three of these will be briefly discussed, but if you want more information, on any one of them, there is more information on the inter-net than you can ever want or need.

Urishiol-based Lacquers – These lacquers derived from a tree resin indigenous to China. The manufacturing process was introduced to Japan and remained a secret for many centuries.

Benefits – These lacquers produce hard durable finishes that are beautiful and very resistant to damage by water, acid, alkali or abrasion.

Problems – The main problem with these lacquers is that they are slow drying and set up by oxidation and polymerisation rather than by evaporation alone. To set the finish properly it requires humidity and warm temperatures. This, along with the fact that the resin can induce sever dermatitis, is a major limitation for wood turners and as a result this lacquer finish is little used by wood turners outside of Asia.

Nitrocellulose Lacquers – Quick-drying solvent base lacquers that contain nitrocellulose, a resin obtained from the nitra-tion of cotton and other cellulostic materials, were developed in the early 1920's and used almost exclusively in the automo-bile industry. These lacquers are today used on all sorts of wooden objects including art, musical instruments, and furniture.

Benefits – The finish is quite fast drying and each coat of lacquer dissolves some of the previous coat thereby deepening the visual impact of the finish. You in effect have one coat instead of many coats. It is usually much easier to fix a problem in this situation than with several coats. In other words it is relatively easy to work.

Problems – The major problem is the hazardous nature of the solvent used in lacquer which is flammable, volatile, toxic and the handling of nitrocellulose in quite dangerous.

Water Based Lacquers – Due to the health risks of solvent-based lacquers, much work has gone into water based lacquers. These lacquers are considerably less toxic and more environmentally friendly and in most cases produce acceptable results. More and more water based lacquers are replacing solvent based lacquers in the automobile industry. The major use of these lacquers is in wood finishing.

Benefits – These lacquers have the same benefits as the Nitrocellulose Lacquers and are quite easy to use. In fact in recent years there has been some major advances in these types of lacquers.

Problems – These finishes do not have the same problems as the Nitrocellulose lacquers and are quite safe to use as long as you take the usual safety precautions when spraying materials.

The other lacquers - Japanning, Japanese Lacquer and Korean Lacquer are specific to uses other than wood turning and as a result will not be discussed. I only men-tion them to make you aware of the fact they exist and if you are interested look them up on the inter-net.

Jim Hall

Well, as I was putting this newsletter together, my 9+ year old main PC finally gave up and failed. My data is still there; I just can’t access it at this time. I’m on my laptop for this therefore the index numbers of the pictures are unavailable. Thus, I’m currently unable to match the names of a pictures in this newsletter. I’m hoping to salvage my data over the next couple weeks with a replacement PC and will post them later (hopefully). You can find show and tell/challenge pictures through-out the newsletter. At next months meeting, we will be only focusing on the challenge (surface embellishment).

PAGE 7 VOLUME 14, I SSUE 4

Art With Heart Event CASA of Marion County

Coming soon and they can use your help.

Check it out on the myfamily site

SHOW AND TELL

Binh's advice on forms also resonates for those who wish to express their voice in the language of surface enhancement: Pick two forms to turn that please you. Stick with them for two years. Turn nothing else. After that, if you decide to change the form, make only small changes. And yes, you can copy Binh's forms if they please you.

I can heartily recommend buying a copy of Binh's book, either from Binh's web

site http://www.wondersofwood.net or this link at Amazon.com. It is a remark-able book – even my wife read the book in detail! Binh also sells the specialized tools, airbrushes, paints, and the NSK piercing tool he uses. His prices are very competitive – as was borne out by the fact that he pretty much sold everything he brought with him.

Overall, I have to say that the days I spent in Binh's company were some of the most creative and artistically stimu-lating that I can recall – even considering the great group of turners that NWWT

has brought to Chemwest over the years. My thanks to those at NWWT who made Binh’s visit possible. I now have a whole new set of tools I “wanneed” to buy. Re-member that “wanneed” means “want” when you consider buying a tool and “need” when you explain it to your spouse. Hmm. And I thought the lathe was going to be the most expensive tool in my workshop. “Well, dear, I really need this <insert name of tool>.”

Andy Johnson-Laird

(Continued from page 5)

PAGE 8 VOLUME 14, I SSUE 4

B INH PHO CONTINUED. . .

ROUTER TABLE PLAN REVIEW I was working on a project for our Girl Scout troop and I had to per-form a few routes in several boards. The cuts were 3/4 inch wide dados about 3/8 inch deep and 24” long. The routing was not an is-sue, but I haven’t setup any dust collection system on my router table at this time. I have a older Rockler table and a Jessem Router lift sys-tem. Well as usual, I knew I would have some dust pile up in the area; but this was one of the biggest router jobs I’ve done so far. When completed, my shop was covered with a fine dust like a winter snow storm. I now had a motivation to solve this dust issue once and for all. Amazingly with just a little research on the net, I found some plans for a collection project specifically for router tables provided by the Incra Corporation. You can download the plans at the following link.

http://www.incrementaltools.com/Free_Plan_s/149.htm

I choose to use MDF for materials as I had several sheets of it laying around. Following the plans, I was able to quickly make the collection system. I was very skeptical about the rotating door, but it turned out to be a very nice feature. Start to finish, I believe I put in just under eight hours, plus a couple trips for hardware and a dust port. While I didn’t make a fancy door as pictured above, it functions wonderfully. I did a quick test with a 3/8 deep by 1/2” rabbet and I had no snow storm of dust in my shop. My floor was clean. I’m very happy with the results. Ironically, cutting all that MDF on the table saw created my next project for dust collection. Those table saws create a lot of dust as well. Go figure!

Scott Blackman

April Meeting Lineup

Show and Tell - will not be part of the April meeting. The Chal-lenge, surface embellishment, will be held.

Bylaws - The board has been working diligently to update the clubs bylaws. Check the Myfamily site for the latest version.

Demonstrator - Don Nelsen of Mirka Abrasives. He's a native Port-lander and has been in the abrasives business for 30 years. He will demonstrate how abrasives are not created equally and show how the differences in construction and composition are important to wood-turners. There will be a rough turned piece on the lathe so club mem-bers can try the abrasives.

The fruit repels insects in our laboratory experiments, affirms Dr. Joel Coats, Department of Entomology researcher at Iowa State University. “We’ve cut up the fruit in chunks and tested its ability to repel roaches, flies, mosquitoes, grain beetles and spiders. We’ve concluded there are chemicals in the fruit which are insect repellents.”

As a result of the work of Coats and his cohorts, the Iowa State Research Foundation has filed for several patents. They believe commercial possibilities exist for Osage orange chemicals in the insect repellent industry, which will also be environmentally friendly.

But don’t expect to see products on the shelf with Osage orange on the ingredient list.

“The downside of utilizing natural chemicals to repel insects is that the commercial processing pipeline for getting these chemi-cals to the market isn’t there,” submits Coats. “We’re still stuck on the best way to extract the chemicals. We’ve used steam dis-tillation in the lab, but solvents may be a better method. We don’t know yet how much of the chemicals are needed.

Coats reveals another product of the Osage orange. If you’ve ever cut the stem or fruit, a milky juice oozes out. The texture is latex-like and gooey. A myth persists that this substance irritates human skin, but Coats says no one in his lab has reacted to it– although it’s possible someone, somewhere has. The substance is patented as an adhesive and looks and behaves similar to Elmer’s glue. Coats also nixed the myth that livestock and wild mammals avoid eating the fruit.

“Rodents will dig out and eat the seeds in the fruit, so the seed nutrition must be pretty good. The fruit itself is very hard and sticky, so the only danger to animals is that they might choke on it.”

There you have it. Go ahead and use Osage orange or hedge balls to keep insects away. However, you might attract a rodent sniff-ing out a good treat.

By Mindy Kralicek

Story from Iwoa Outdoors Magazine

Web link: www.iowadnr.gov

PAGE 9 VOLUME 14, I SSUE 4

HEDGE APPLES, OR OSAGE ORANGE FRUIT, REPEL INSECTS

Image from http://fireflyforest.net

13500 SW Pacific Hwy, #185 Tigard, OR 97223

EDITOR’S NOTE

CLASSIFIED ADS

Date Class/Demo Location Instructor

04/11 Beginning Lathe Turning Woodcraft Bob Tuck

04/12 Basic Bowl Turning Woodcrafters Bob Tuck

04/19 Pen Turning Woodcraft George Hays

05/03 Learn to Turn A Pepper Mill Woodcraft Bob Tuck

05/06 Art with Heart - Auction Www.marioncountycasa.org

For more information and many other fine classes

available from these stores contact:

Woodcraft Store at (503) 684-1428 Email portlandretail@woodcraft.com

Rockler Store at (503) 672-7266 Email store17@rockler.com

Woodcrafters Store at (503) 231-0226 Web page: http://woodcrafters.us/

04/18 Pen Turning Rockler Staff

04/04 Turning Screwdrivers Rockler Staff

Submissions to the newsletter are due by the 20th of the month. Articles, tips, web links, classified ads, or other items pertain-ing to woodturning are welcome. Scott Blackman Newsletter Editor Phone: (503) 807-8100 E-mail: scott-blackman@comcast.net All other business should be directed to: Northwest Woodturners 13500 SW Pacific Hwy, #185 Tigard, OR 97223

LOCAL EVENTS, CLASSES, AND DEMO ’S

For Sale: Legacy Ornamental Milling Machine. This machine was purchased by my father-in-law about 15 years ago when he was some 90 years old and he only used it for three short spells. The machine has been in storage ever since. As a result, it is in an almost new condition and my father-in-laws eldest son is now wanting to sell it. The machine is a "Legacy 1200" which now markets for $3,095. You can see the machine and its details on line at: www.legacywoodworking.com/products.cfm?product=5. They are asking $1,000 for it and along with the machine there is a Hitachi router to operate on the machine along with about a dozen 1/2" drive router bits. If you are interested or have questions regarding the machine, please call Jim Hall at 503-655-1716. Guidelines for Classified Ads: Ads will run for 3 (three) consecutive months. Please submit your ad by the 20th of the month. The Editor takes no responsibility for spelling or grammatical errors. All woodworking items, for sale or wanted, are welcome. Show your NWWT Membership Card to receive a discount of your purchase at Gilmer’s, AllSharp Sharpening Service & Sales, Rockler, Woodcraft, Woodcrafters, and Crosscut Hardwoods. Membership has benefits.