The magazine of the Register of Professional Turners Public Edition #1, June 2025
Cover Art
Sandra Adams RPT
I was deeply honoured and pleasantly surprised when invited to feature my work on the cover of this magazine. I’ve been a woodturner for many years and was proud to be accepted into the Register of Professional Turners in 2013.
Living near the stunning coast and moor of North Devon it felt only natural to incorporate the sea into my designs, while also focusing on using locally sourced materials whenever possible. Ash being my choice of wood is readily available from my local sawmill or using branch wood as in the teardrop grass vases featured.
For colouring, I use an acrylic waterbased dye, applied with a brush as I feel this gives me greater control when fading into the wood’s natural tones.
Once dry, I sand it finely, then apply liming wax to enhance the grain and finish with a paste wax. When making my bowls I like to add some carving giving the impression of a shoal of fish or bubbles rising to the surface. I occasionally use an embellishing wax as Ash having an open grain lends itself to this perfectly.
After the pandemic, I chose to continue to focus on offering tuition from my workshop near Exmoor National Park, as I lacked the technical knowledge and finances tor IRD demonstrations.
Alongside teaching, I also supply several galleries and undertake commissioned work.
Web: www.beechtreedesigns.co.uk/ Facebook: Click Here
Welcome to this first edition of The Professional Turner - the new quarterly magazine from The Register of Professional Turners.
I have to say it’s quite an honour to be writing to you all from our impressive, new publication.
After all the hard work Les Symonds put into our Newsletter - Orbit - over the years I have to say he left some rather large shoes to fill. When Les stepped back from editing I did have a few offers to take on the role (and I thank those individuals) but I wasn’t quite sure how to continue with it… until a late night chat with Martin Saban-Smith sparked the creation of this wonderful magazine.
Martin put together the basics in a matter of hours and I have to say I was impressed.
Previously, the newsletter was published for the eyes of the RPT membership only, but now we are pleased to be sharing our news far and wide.
Our new magazine will encompass the many different aspects of being a Registered Professional Turner by sharing with you our stories and
Chair of the Register of Professional Turners, Emma Cook, introduces this edition of our new look magazine.
adventures, hints and tips, as well as work and commissions from many within our membership. We will proudly update you on our most recently successful applicants and share the various events we will be attending throughout the year. All in all, it is shaping up to be a very exciting read!
The most recent update from within the RPT was our AGM, held on 26th March this year. Although we have had a relatively quiet year since I became Chair last March, there was of work taking place behind the scenes to repot on.
The meeting, followed by the Worshipful Company of Turners’ Craft Meeting was a pleasure to be a part of and the talk by Master Carver Michael Painter was fascinating. The atmosphere was buzzing with positivity and discussions for the future.
I hope you all enjoy reading this is much I as I have watched it develop over the past few weeks.
Emma From the ChairEmma Cook RPT
MASTERS OF THE LATHE II
Letters from the Lathe
Steven Gordon RPT
Each quarter, one of our members is invited to write a letter from their lathe about their take on their life as a professional turner.
Hi, I’m Steven Gordon. I t’s an honour to be the first to introduce myself “From the Lathe”. I’ve been immersed in the world of Woodturning for over forty years.
My Woodturning journey began as a young boy, working alongside my Grandad in his workshop - a place where I first discovered the magic of transforming raw wood into something beautiful. He worked for Rolls Royce where he produced humidors and drinks cabinets for the back of the cars. Aged eight, I was brought a drill powered Lathe that was either on or off! So, with a sharpened screwdriver, I set about gouging and scraping away. You can learn technique, but understanding wood is a must. By the age of around fifteen, I could read how a piece of veneer was produced and what side was best to lay it on, and I could cut a fine dovetail.
Academics wasn’t my strong suit at school (I am dyslexic), but I found my passion in Woodturning. I have a very clear memory of watching my
Woodwork teacher make a pair of simple salt and pepper shakers. I think we all have a memory like this, but I remember it like it was yesterday and can picture them so clearly. I would often skip lessons because I was would help around the school, putting up shelves or fixing chairs.
In my spare time I was already turning replacement knobs and alike for antique dealers and making and selling various bits on craft stalls. When I left school, I completed a City & Guilds Cabinet Making course at college.
Dennis White
When I was 17, I became a selfemployed professional woodturner, taking on various commissions from antique dealers in Buckinghamshire and London.
I was very fortunate to be mentored by Master Turner - Dennis White.
I first met Dennis when I popped into Hapfo Pollards in Milton Keynes to get some bits and saw this old fella demonstrating. As I was watching, Dennis caught my eye and shouted “what the hell are you doing here! This is for old blokes, you’re not a woodturner are you?” I replied “yes” and he asked, “Who do you work for then?”, by this time I had started working as a subcontractor for a very old company called R.Cattles. The company was over a hundred years old and at one stage employed rows of Turners that worked either side of a centre shaft that ran fifty odd lathes.
When I told him where I worked, he was shocked as he had also worked for the same company when it was in London. From then, a firm friendship was formed, and he went on to teach me a lot of the old skills like thread chasing, twist work and much more.
To this day I remain thankful for his advice and guidance. I have very fond memories of driving him around to demos, carrying his tools and setting up the lathe. I would even have to apologise to people when he made them look small for a question he felt they should have known the answer to! Dennis didn’t suffer fools and was a tough person to please, if your work was good, he would say nothing and put it on the and if it wasn’t up to scratch, he said nothing, and it was put on the floor!
The best part of doing work for such a well-respected family business as R. Cattles was the ability to meet and work alongside lots of different trades who were at the very top of their game.
I watched and learnt what real craftsmanship was, and how everyone planned the project and worked together, ensuring that each part of that project would come out the very best it could. The workforce was supported and respected by their employer too. I often think companies today could benefit from this approach.
Canisters for John Lewis
Over my career. my work has graced many prestigious locations, including Portcullis House, Winsor Castle and endless refurbishment projects, not to forget thousands of steamed beech gallery spindles for every Little Chef in the country. I can still see those spindles in my sleep! I've received commissions from various sectors including the Ministry of Defence, Churches, Automotive, Aerospace and Yachting. For many years I made Gear knobs for Aston Martin and fifteen-foot 24-inch dia. Two start twisted columns for a Saudi Prince; this was my biggest job I ever took on.
Later, I expanded into making bespoke furniture, collaborating with Architects, Designers and leading Retailers. I also developed an apprenticeship scheme to mentor young talents, especially those facing life challenges, offering them a chance to learn and grow in the craft.
In 2020, during the COVID-19 pandemic, life dictated I took a step back to reassess my work-life balance as my family needed more of me.
This period of reflection led me to return to the lathe. I found solace and purpose in my workshop and started to make things I wanted to make instead of working from drawings or copying something.
I also found my passion for sharing my skills, joining the Association of Woodturners of Great Britain (AWGB), initially as the Training Officer but more recently the Vice Chair role. I also oversee the Youth Programme, supporting the next generation of Woodturners; something I am passionate about!
I also joined the Register of Professional turners and was assessed by Phil Irons, who’s work I very much admire.
During a recent trip together to the RPT AGM in London, I was able to ask him lots of questions and have learnt a lot from him.
Initially, I didn’t know much about the RPT but thought it would be a good way to meet other professional Turners and a good source of Tutors for the AWGB.
It was great to meet up with other RPT members at Trent Valley earlier this year, which I hope will continue.
With Emma’s enthusiasm following on from Jay’s great work and a fantastic committee, I can see a great future ahead for the RPT.
I’m also very proud to be a Freeman of the Worshipful Company of Turners, Assessor of the Certificate and Diploma and Tutor for their Training portfolio and work alongside Peter Bradwick MBE. Without his advice and support when I first took on the Training role within the AWGB and throughout my roles in the various organisations, I would have been lost!
Most of my work now includes private commissions, working on my own pieces, teaching, demonstrating, assessing, and volunteering. I'm also an advocate for therapeutic Woodturning, collaborating with organisations such as Workbridge, St Andrew's Healthcare, Op Courage and specialist schools, supporting individuals with mental health challenges, learning difficulties and neurodiversity.
I am also a committee member of the Heart of England Woodturners club, where we share knowledge, techniques and have a mutual love for the craft.
I have found that the organisations supporting Turners are founded and run by volunteers who give their time willingly and for the love of the craft. Being a part of the Woodturning community is something I cherish.
In closing, may I ask my fellow Turners professional or not, to please introduce a young person to our fantastic craft if they have an hour or two spare? You just may spark a passion that will stay with them their entire lives, like it did for me!
Steve’s workshop is in Warwickshire.
Web: Click Here Instagram: Click Here
Welcome to our Newest Members
Becoming a Registered Professional Turner is not easy. It takes years of graft followed by an application process and a throrough assessment.
Here, we introduce our newest members who can now wear our distinctive patch and have the initials ‘RPT’ after their name in recognition of their acceptance onto the register.
There is information on applying to become a member at the end of this section over the page.
Stewart started turning over fifteen years ago as an antidote to his day job as a teacher in a large comprehensive school.
As his skills developed, he became interested in embellishing his work with colour and texture, and alongside this interest, he started making YouTube videos.
Stewart Furini RPT
East Sussex, UK
This led to him demonstrating at the UK and Ireland Woodturning Symposium in 2018. Since then, Stewart has demonstrated at clubs across the UK as well as online to Europe, Australia and the USA, and at other national and international events.
He has also written articles for Woodturning magazine and now runs courses teaching embellishing skills. Stewarts workshop is in East Sussex. www.stewartfuriniwoodturning.co.uk
Jeff Hornung RPT
Florissant, MO, USA
Based in North West Leicestershire, Ian produces hand turned items made primarily from native British timbers to show their natural beauty, incorporating other media and techniques where the design of the piece demands it. Ian is available to demonstrate for clubs, organisations and craft shows, and happy to undertake one off commissions. As an AWGB approved tutor and tutor assessor, I also provide training for small groups.
Website: www.icewoodturning.co.uk
Post Concussion Syndrome casued by a car accident in 2011 saw Jeff at the John C. Campbell Folk School in North Carolina for craft as therapy. Woodturning was the class he chose and that not only began the healing process but also launched his woodturning career.
He is an award winning juried artist, Craft Alliance Artist in Residence (2019), a woodturning instructor at Craft Alliance and the John C Campbell Folk School. Additionally he’s also an experienced virtual instructor and has been providing remote demos since early 2019 as well as being a national and international demonstrator.
Website: www.jeffhornung.com
Andy is one half of Turn and Burn UK working with his wife, Bee. He turns items which form the blank canvases that Bee decorates using carving and pyrography.
Andy has been turning for nine years and has developed his skills through professional training and the AWGB Certificate in Woodturning, initially focusing on improving his tool presentation and technique but now focusing on Hollowing.
Andy is influenced by nature and Oriental culture utilising the simple shapes and forms which he likes to incorporate these influences into his work and his collaboration pieces with his wife. Instagram: Click HERE
Tim worked as an apprentice woodturner with Albert Lain from 2000 to 2005, mentored by the late Allan Batty. He was part of a small team making traditional Windsor chairs including projects for the Royal Family. Initially training at Ipswich University College Suffolk from 1998 to 2000, Tim is now known for commercial production work and large columns including twist work and pattern making.
Tim runs Suffolk Millwright LTD, a company specialising in restoring traditional windmills and TWCM Woodworking which focuses on traditional cabinet making and woodturning featuring two automatic hydraulic copy lathes, several standard lathes and an equipped Holtzapffel ornamental lathe.
Andy Matthews RPT Ringwood, Hampshire, UK
Joining the RPT
The Register or Professional Turners requires all new applicants to undertake an assessment of their work and their professional attitude towards woodturning.
The Register works towards supporting its membership, promoting their expertise, professionalism, the expansion and growth of woodturning and the public awareness of the craft and we expect all potential applicants to echo these values.
We welcome turners from any and all aspects of woodturning to apply; whether your specialism is in architectural, functional, treen or artistic woodturning. The Register comprises skilled wood turners who have a professional approach to all areas of their work. This could be making, selling and/or marketing to public, trade, galleries and museums, teaching or demonstrating. The key factor being that wherever their expertise may lie, they will be offering work and a service of professional-quality.
The most important element is that you have a professional outlook to producing quality work; therefore you will be a highly competent wood turner in your particular field of woodturning, always adhering to the highest standards of work and complying with the health and safety guidelines as set out in HSE government website.
Interested turners should apply via the register website at: www.registerofprofessionalturners.co.uk
Sally Burnett RPT
5 Five Questions with Colwin Way RPT
Colwin is a professional turner known to many thousands of turners around the world.
In his five questions, learn a little about his motivations, his timber, teaching and business as a pro turner.
What inspired you to pursue woodturning professionally, and how has your approach evolved over time??
I was inspired to become a professional turner really by accident after taking a 3 week work experience place at school. I spent time with Lyme Regis woodturner, Geoff Manley who had a buisness making and selling craft items. I then went on to serve with his as an apprentice after leaving school, which lasted for five years which really honed my woodturning skills. Not just on the technical side, of it but also in the buisness side of prepping timber and handling finances. I then went on to become a sell employed production and craft turner, and farmer working on a local farm where my workshop was
at the time, looking after the animals, woodland management and game keeping. All of this led to using the farm timber for my work. Then in 1997, I was asked to teach for Axminster Tools which led to a full time job teaching and advising on everything woodturning.
Now I run a a woodturning school of my own with my wife Vicki who runs a shop selling all the bits we make.
How do you choose the types of wood you work with, and what unique qualities do different species bring to your pieces?
I choose my timber sometimes depending on the project, for instance if I’m making salad bowls I mainly use Ash, Beech or Tulip. However a lot of the time I’m driven by the inspiration timber gives me. What I mean by this is as a full time turner I fell, cut and prepare most of my own timber. This gives me a lot of scope to get the good bits, and prepare it in the most cost effective way for my future stock. At the moment I’m working on a downed Brown Oak tree and a standing burr Oak which my son and I are prepping to fell and plank over the next couple of weeks.
What are the most challenging aspects of woodturning that beginners often underestimate??
I think a lot of beginner woodturners don’t appreciate the time it takes to become good. Practice is so important with anything we do and turning is no exception. Impatience to be like the demonstrator you’ve just watched face to face or on social media can lead to frustration and stop you becoming better. The Skew chisel is a point in question, so many people dont use it just because it takes a lot of practice to use it well.
I often say at the beginning of any class that you need three things to become a good woodturner, Practice, Practice, Practice !
How do you price your pieces fairly while reflecting the time, skill, and materials involved?
Pricing can be a fairly contentious exercise because it has so many variables. I’m fairly lucky having my wife running the shop selling my work, so she takes the emotion away from me. She generaly asks me the time its taken, the cost of the timber and what I would price it at. At that point she works out a price understanding our customers and the location we are situated in. This is going to be bespoke to every piece as I source and prep my own timber, understand the area we are in, and the speed at which my training has given me. Production turning however is very different and is worked out on an hourly basis which can then be calculated in so much per minute, this was a formula I learnt from one of the best in the buisness (Richard Finley).
What advice would you give to someone looking to turn their woodturning hobby into a sustainable business?
Turning your woodturning hobby into a business is not an easy thing to do. I would stop thinking about the turning and more about your customer base, and how are you going to generate cash!
Overthinking is a big issue I see in a lot of students. Don’t worry about the perfect cut or perfect grind on your chisels, what angle is best and what finish to use, just turn and make. then find an outlet to sell through. This could be face to face or online, but just remember if you have to stand somewhere and sell your work, you are not making more.
You will have to embrace social media and become fairly savvy with the internet if you are not already and be versatile. This may mean writing, teaching, demonstrating as well as making, of course, and take on every job offered as long as that doesn’t mean over committing. There’s nothing worse than letting people down.
Colwin’s workshop is in Gammon’s Hill, Axminster in Devon.
Web: www.colwinwaywoodturner.com
Instagram: @colwinwaywoodturning
PUBLIC OPENING
Tuesday 28th to Friday 31st October 2025
Showcasing
work from leading UK woodturners
Live demos plain, ornamental and pole lathe turning
Curated talks and special events
View, love, buy works from Exhibitor stands and the Turners’ Company competitions
Plaisterers’ Hall One London Wall
London EC2Y 5JU www.turnersco.com
to Turners’ Company Competitions 2025 as part of Wizardry in Wood at Plaisterers’ Hall, London
Showcase your craftsmanship and creativity at the 2025 Turning Competitions. Whether you are an experienced professional, an enthusiastic amateur, or a promising student, this is your opportunity to shine and gain recognition in the world of woodturning.
Monday 29th September Final date for competition entries
Monday 27th October Competitions judging day
The Worshipful Company of Turners launches its acclaimed Wizardry in Wood 2025 - the quadrennial celebration of woodturning and wood art. From 28 to 31 October 2025, the event will transform London’s largest livery hall, Plaisterers’ Hall into a stunning showcase of craftsmanship, artistry, and innovation in wood.
Featuring master artisans from across the UK and internationally, it promises to captivate attendees with extraordinary works and an opportunity to engage with leading experts in the field.
Since its inception, it has become one of the world’s premier woodturning events, drawing art lovers, collectors, and wood enthusiasts alike. The 2025 exhibition will continue this tradition, presenting both contemporary and traditional turning art across a diverse array of styles.
Highlights will include exclusive exhibits from renowned woodturners, live demos and educational workshops, all showcasing the evolving techniques, trends and possibilities within this ageold craft.
“We’re excited to welcome everyone back for Wizardry in Wood 2025,” says the Master of the Worshipful Company of Turners, Christopher Scott.
“It’s a unique platform for sharing the beauty and versatility of wood, celebrating the incredible talent and dedication of artists who push the boundaries of woodturning and inspire future generations.”
The Master’s Exhibition: Discover works by world-class woodturners, including pieces that explore contemporary design and artistic innovation. The theme ‘responding to the environment’ is based on the Company’s commitment to sustainability and the environment.
The V&A Museum has again accepted an invitation to view the pieces exhibited with a curator’s eye and will be bestowing a ‘Choice’ award on the piece that particularly catches their attention.
Demonstrations: Watch live master woodturners st work.
Curated Talks: On specialist turning subjects by a variety of experts in their field.
Turning Competitions: Held biennially, the Turners’ Competitions provide a platform for both professional and amateur woodturners to demonstrate their creativity and technical expertise. With categories ranging from traditional turning to innovative contemporary designs, and with many prizes to be won, the event encourages participation from all skill levels, including young and emerging turners.
Interactive Experiences: Engage with woodturners as they share insights into their techniques, materials and inspirations.
The opportunity to buy: The event features a carefully curated marketplace, offering attendees the chance to purchase unique, handcrafted wood items and gifts directly from the artisans.
Dave Dalby RPT
A Plinth for the Officers’ Mess
One of the joys of being a jobbing woodturner is that we never know what is going to pop up in our inbox next.
We were contacted to see if we were able to produce a plinth for a new statue gifted to the Royal Artillery Regiment. After a few emails back and forth, it soon appeared that this was going to be a very interesting project. The statue turned out to be an incredible piece of sculpture, 1200mm high and weighing some 650kg, depicting a WWII soldier and gifted to the regiment to be housed in the officers’ mess at Woolwich.
Our introductory correspondence provided an image of the statue, along with a few images of the room and the final location of the plinth and statue. The initial work was to come up with a design and cost before the commission was granted.
A very rough sketch with some dimensions, scaled off known dimensions in the photos, soon developed into several photoshopped images of the kind of thing we envisioned; showing options differing in material, height, and base design, in place, in the desired location.
A few more emails and a decision was made on the basic design of a round plinth with a square top, not only to carry the square base of the statue, but also to provide room for a brass plaque. The profile of the skirting boards around the room should be reflected in the round base, which will be 700mm diameter with a total height of around 1150mm — a big old turning! It should be painted white to match the majority of the woodwork in the room.
All four turned components were to be hollow in the centre to save a little weight and help maintain an even moisture content. This 200mm square hollow was formed at the gluing up stage. These four sections would be joined with shallow recess and spigot combinations, for location more than strength of fixing.
The lower three sections were to have the grain running vertically, whilst the top ring and the top plate would have grain running across them.
Material was to be Tulipwood (poplar) — sustainable, inexpensive, readily available, stable, and relatively free of defects so a good painted finish would be possible.
Gluing Up The Blanks
Experience has taught me to follow a few rules when gluing up large blanks like these.
Make sure all the timber is dried to a similar moisture content and use a consistent size of timber — I use 40mm (1.5”) boards. Consistency in the laminates will mean consistency in seasonal movement, which helps prevent any joint failure.
Laminate from many small pieces, not wide boards as, again, many small pieces will lead to less movement.
Over the years we have developed a method of producing these large blanks which has proved successful.
Firstly, we make staves of the required length ripped to 80mm wide and planed to a thickness of 33mm. These staves are glued together to produce slabs. The number of staves glued is governed by the size of the blank required.
These slabs are then planed to thickness and the slabs are then glued to produce the finished blank. Sizes can vary depending on the work and clamping is either by sash clamp or in our large custom made glue press.
After many years of doing this sort of thing and trying many different options we have settled on a good quality PVA glue for this kind of work.
Don’t ’pump and press’ it’s worth the effort to spread the glue into a consistent film before placing in the clamps and pressing, giving a better glue line and saving a considerable amount of glue.
On To The Turning
After all this planing and gluing and planing and gluing and planing and gluing, I’m left with five pretty big components, all but one of which need turning.
My Wadkin RS10 can swing 800mm with the gap removed from the bed and 500mm over the bed so each of the components is easily within spec. The first two base rings have the corners removed and are screwed to my largest 300mm dia faceplate with some nice big screws.
The speed was set at the 850rpm belt setting, however, I’m equipped with variable speed so the finite speeds set by changing the belt are infinitely variable via the electronic speed control. I spin the thing up and off we go!
I see little point in giving a blow by blow account of the turning process, just to say that turning large items like this requires respect just as any other work, paying close attention to keeping the tool rest as close as possible to the workpiece, constantly adjusting to keep it close.
Watching the speed is also important with such large pieces. Variable speed is useful on jobs like this. I set the acceleration to around 3 seconds which ramps up the speed nicely without any nasty shocks. The speed can be set quite low and as the piece gets lighter and balance improves, the speed can be ramped up.
The first, lowest ring of the plinth is turned to a plain cylinder of 700mm dia and 175mm high, faced off on what will become the underside. It is then turned around and re-mounted on the face plate when I can face off the top and form a recess to locate the next piece of the plinth. The second section, again, 700mm dia and 175mm high, but this time the turning is profiled to match the profile of the skirting board
as measured on my site visit. It’s important to plan the turning to minimise the amount of mounting/ remounting, so this second ring was turned with a shallow spigot on the faceplate face, to coincide with the recess in the lower piece. Turning a recess in the upper face to locate the next section completes this section in a single mounting.
The third section is the main column, 570mm long and tapering from 480mm to 400mm dia. This piece is simply mounted between centres like any other spindle, albeit quite a chunky one! Two pieces of timber were made up to form caps over the central 200mm square hole to provide the locations for the drive and tailstock centres. This was the most straightforward
turned section — just a simple straight taper with a shallow spigot top and bottom for locating in their adjoining sections.
The fourth and final turned section is a turned moulding which marries the top of the column to the square top section. This piece was mounted on the faceplate and faced off flat before being reversed on the faceplate. Then it was faced off to 80mm thick, a recess turned to accept the spigot in the column and finally, the profile was turned to marry the 400mm dia column to the underside of the 600mm square top.
The last piece of the jigsaw is the large flat top, and whilst this looks like a simple big lump of laminated tulipwood, it’s actually hollow, not just to save wood but also to, once again, keep things stable and less likely to split and crack.
Putting It All Together
With all five components turned and sanded it was time to put it all together. It was actually assembled upside down, the square top section placed inverted on some skids on the workshop floor, and the spacer ring was screwed directly to the top section.
The other three turned pieces were simply stacked up, located on their spigots in the correct order with some PVA to glue them together and the sheer weight of the piece being enough to hold it all in place whilst the glue went off.
I decided the next day to glue some latts of tulipwood down the inner, hollow sides of the pedestal just for a little added strength. Probably not required but I’m a belt and braces kind of guy!
The completed piece was delivered to our finishing subcontractor to receive a sprayed finish of an off-white colour as analysed from my site visit.
Following curing, the finished piece was delivered down to Woolwich where it was well received and now looks wonderful in its alcove with the superb sculpture sitting pretty in its new home. I was lucky enough to get down to the barracks a few months later and take some photos of the finished piece looking wonderful in the dining room of the officers’ mess. After talking to a few of the staff and officers in the dining room I know that the piece is very highly thought of, which is good enough for me.
This was a fantastic project to be part of with some interesting problem solving and challenging work. I have to thank the WCT for the project opportunity and I am absolutely delighted with the outcome!
Dave’s workshop is in Heckmondwike in West Yorkshire.
Web: www.stairpartsuk.co.uk
Instagram: @davedalbywoodturning
Creative woodturner and tutor with over 30 years experience teachi beginners, inter and advanced sk
15, Bramshill Drive, Chesterfield, Derbyshire, S40 2DG
The Full Range of ProComfort Turning Tools NEW
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103661 ProComfort 1/2" Bowl Gouge, Standard Grind, 12” Handle 103662 ProComfort 1/2" Bowl Gouge, Hybrid Grind, 12” Handle 103641 ProComfort 3/8” Bowl Gouge, Standard Grind, 12” Handle 103642 ProComfort 3/8” Bowl Gouge, Hybrid Grind, 12” Handle
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103761 ProComfort Carbide Roughing Tool, 15 mm Square Tip, 12” Handle
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103762 ProComfort Carbide Detailing Tool, 9.6 mm Diamond Tip, 12” Handle
Perfect for intricate designs and fine details. The flat base of the shaft helps register the tool securely on the tool rest and achieve the correct position for turning.
From Paralysis to Professional
John Dilley RPT
My journey into woodturning began as a teenager, when I spent as many hours at the school lathe as possible while studying woodwork for My CSE exams between 1985 and 1987.
However, it wasn’t until a life-altering industrial accident in 1988 whilst training to be a Plumber resulting in a broken back and severe spinal injuries that woodturning would take on a much deeper and more personal significance.
I was paralysed from the waist down and it was feared I wouldn’t walk again, but after major spinal surgery to repair the spine including 4 titanium bolts and 2 rods I had to spend 8 weeks completely flat on a specialist bed that carefully turned me from side to side every hour to stop bedsores.
After 8 weeks I was due to go to a specialised hospital in Salisbury to get trained how to live life in a wheelchair but 2 days before I was due to go, I started to get feeling back in my toes and within a week I had regained full feeling apart from a small patch in my thigh which I still have today, the spinal cord luckily hadn’t been severed, only crushed, and as the swelling went down the feeling slowly came back, I then started the hard task of rehabilitation to learn to walk again.
Woodturning has played and continues to play a vital role in my rehabilitation, using the lathe pushes me to focus and concentrate making me stand for longer periods and build strength in my legs, Woodturning gives me a purpose and sense of achievement. After three major operations with seven years of rehabilitation, I was fit enough to return to full time work. I lived in Dorset for 9 years right next to Chesil
Beach and made and first started to sell my work in the local pub under “Chesil Woodcraft” and have kept the name ever since.
In 2014 I Joined my local woodturning club (Weston-Super-Mare Woodturning Club) having moved back to North Somerset and after a short time was encouraged by the Chairman and Secretary at the time to apply for the 2017 Worshipful Company of Turners Bursary Award.
I really didn’t think I had much chance but was amazed to be invited to attend an interview in London at Skinners Hall.
I was interviewed by Simon Hope, Joey Richardson and the then Master and chair of the Howe committee, Christopher Scott
After the successful interview, I put the bursary funds towards a new Portable Lathe and training and tools to assist in my progression.
I was given a Mentor from the company to check on my progress and this was Major General Bill O’Leary who was a great help to me and always showed a huge interest in my journey.
I wanted to push further ahead and applied to complete the AWGB demonstrator course and approved Tutors course and started to demonstrate at my woodturning club first and now I have demonstrated to clubs around the area.
In 2018 I then applied to attend the Certificate in woodturning at the Max Carey woodturning trust, the course was run by Peter Bradwick, Stewart Bradfield and Jay Heryet and I got so much out of this course apart from just turning, it was wood knowledge, tools and machinery and various techniques receiving my certificate from the Master at the Time David Batchelor.
During COVID-19, I was asked to trial the Diploma in Woodturning as a pilot, which involves turning multiple projects and document them, building a file to be assessed. It was a great success. Helen Bailey and I were the first to complete the diploma and were invited to receive our certificates at a Company luncheon in London where Peter Bradwick received his gold medal.
I was invited to work on the educational stand at Wizardry In Wood 2021 and was able to talk to people about the diploma and started speaking with Jay Heryet about the RPT.
In 2022 I was invited to become a Yeoman of the Turners company which offered more support and assistance in woodturning.
After a couple of years deliberating and confidence building, in 2023 applied for the RPT and after speaking with various members, sent my application. I was assessed by Andy Pickard at my studio at the craft centre, and later was accepted as a member.
In 2024, I became a Freeman of the Company and was enrolled by the Master Christopher Scott who had seen me on my first ever meeting the with company back in 2017.
I am looking forward to getting more involved with the company and RPT where I can, and will also be working with Colwin Way and Peter Bradwick at Wizardry in Wood 2025 on the Education / Yeoman stand.
John’s Workshop is in Clevedon, Somerset.
Web:
A Tale from TurnFest 2025
Jason Breach RPT
It is the afternoon of the 21 st of March, and I am on the train to Gatwick, which is lucky as Heathrow was at a standstill due to a fire. This adds to that uncertain feeling of having to get there on time. Bag drop done and cleared the departure process, then maybe a little time to relax. Having arrived, and checked-in the bag with the tools, I have time to focus and look forward to the 20+ hours of flights.
The first flight to Dubai over and a brief walk around the airport, followed by a 14-hour flight from Dubai to Brisbane. Seven hours into this we fly over Port Headland, which is on the northern coast of Western Australia, but still another seven to go.
So why am I doing this? A question that I asked myself regularly on the flight, the answer is to demonstrate at TurnFest 2025.
This is my fourth visit in 11 years; I always enjoy this event. What is TurnFest? I hear you say. This is the only woodturning symposium held in Australia. The USA has 8 or 9 in a year that I can think of.
The event is organised by David Drescher, a great woodturner is his own right, he runs a woodworking supply shop, and has a large “bus” which he uses as a mobile tool shop, travelling the east coast of Australia.
The starting point of TurnFest was attending Turn2000 in Newcastle (Australia). David was in attendance as a sponsor and inspired by the attendance and demonstrators.
This event became the starting point, the motivation, to organise a woodturning event.
In 2013 David attended the Utah Woodturning Symposium, this event further motivated David. Inspired by what Dale Nish had put together; home and international turners, instant gallery and a banquet evening. Taking these ideas back to Oz, TurnFest was born and has now been going for 23 years.
My first introduction to David was when he attended the AAW (American Association of Woodturners) in San Jose. Having watched my Pagoda demo, he came and found me and asked if I would come to Australia to do that demo.
TurnFest is currently held at the Seaworld Resort on the Gold Coast south of Brisbane. Despite the longdistance, David manages to draw demonstrators from around the globe. The attendees come from all over Australia, Perth, (a mere 7-hour flight) Adeliade, Tasmania. It also attracts international attendees from New Zealand, guests from the USA are common.
I’ve arrived on Sunday, what happened to Saturday? I am collected by David and have a quiet rest day. On Monday, David decides to put my work experience to use to help him and his brother Terry to start to set up. The aim of the day is to get the demonstration rooms set up. First task to cover the demo floor areas and then get the large Vicmarc lathes into position. There is nothing like wheeling a lathe through a posh hotel foyer, you get a few odd looks.
Tuesday, I get greeted with Gary Lowe (above) at breakfast who David collected at 1.30 am (that’s what you call commitment!) Time to sort out my demo kit and materials.
Wednesday to the shop to collect the bus, Gary got a ride, then back to Sea World to help set up the shop area and ensure that things are in place.
TurnFest officially starts on the Friday (28 th ) at lunch time, but due to the distances that the attendees travel, some of them arrive Thursday. With this in mind, the shop area opens after lunch with two demonstrators.
Simon Begg covers a number of turning project as challenged by the group, and Dave Drake a young and talented carving covering several carving techniques, between them they entertain the gathered early arrivals until the official opening.
The hotel is clean, tidy and very friendly. Everything is under a covered walkway to get to the conference area, and yes it did rain. No more than a 5-minute walk between demo area. The food, there is something for everyone, I have never had anyone complain about the food.
Who had thought you could live on Prawns, and not the little one we get in the UK!
I often wonder how David manages to get the lineup of demonstrators; this year is no exception. Gary Lowe, Glenn Lucas, Eli Avisera (Israel), Micheal Blankenship (USA), Cindy Drozda and Mike Mahoney via IRD (USA), Jason Breach, plus Marilyn Kunde, Ken Rays, Brendon Venner, Gary Fields, Simon Begg, Dave Drake - the locals from Australia.
The opening ceremony begins at lunch time on Friday, each of the demonstrators is introduced and given the converted TurnFest green and yellow smocks to wear, then onto the demonstrations.
Each of the demonstration rooms are laid out with about 80 chairs, a projection screen and camera set up which is operated by a camera operator (not a woodturner) air condition rooms, with refreshments and toilets all within a two-minute walk.
Having watched the demo, the onsite trade area will sell you what you require, at any one time there are 6 demo sessions running. For those that attend that don’t turn, there is a non-woodturning craft room, or the swimming pool area.
The Instant Gallery is positioned within the main hotel foyer area and attracts an amazing array of work and admired by woodturners and non TurnFest hotel guests, some of whom possibly find a new hobby.
Gary Lowe and myself shared a demo area; I have the first two sessions covering a few different boxes, then Gary is on making a flask, I think the kilt also attracted a lot of interest. Each demonstrator has five one and a half hour sets and one 45-minute set to do. On Saturday morning the first demos start at 7.30 am, and last finishes at 5.45 pm.
Sunday, another early start 7.30am with demos until 12.40pm followed by lunch and the closing ceremony, with a raffle and a thank you to all involved. Then the line up for next year is announced, yep at this point next year’s demonstrators are already booked!
I go back is that this is such an enjoyable event. I have made some amazing friends within this group, The set up is great; everything is there, not just as a turner or demonstrator but also as a delegate. The hotel is a proper hotel. The weather is normally good (granted it rained this year) The demonstrations, yep, I go and watch them, they turn and can entertain.
We all have some fun, the TurnFest family, the combination of all these factors is what make this different.
The real credit behind this event is one man, David Drescher, he organizes TurnFest from start to finish; from the demonstrators, the hotel, the food, the accommodation, the trips to and from the airport, setting up of the rooms, he is there.
The small team that helps him with the running of this all help to make this as great event, something I am proud to have ticked off my bucket list.
The line up for 2026 is amazing, so if you would like a holiday and have a little turning within this, TurnFest is an amazing experience.
Neil Turner, Colwin Way, Ian Moss, Pat Carroll, Helen Bailey, Emiliano Achaval, Ernie Newman, Emma Cook, Phil Irons, and Guilio Marcolongo. Gary Field and Dave Drake hands on carving classes.
For more information on TurnFest 2026, visit: www.woodworkingsuppliesqld.com.au
Jason’s workshop is in Axminster in Devon.
Web: www.jasonbreach.co.uk
Facebook: Click HERE
The new look magazine of the Register of Professional Turners is distibuted quarterly, free of charge to our membership, woodturning clubs through the AWGB, The Worshipful Company of Turners and the general public to provide an insight into the life of our members. An identical edition, with additional member only content is distributed to the membership.
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Advertisers and members interested in being included in the next edition should contact the editor, Martin Saban-Smith by email on editor@rpturners.co.uk with their enquiry.
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