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Who are the "great" turning teachers of today?

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Thought it would be interesting to talk about today's great turning teachers. (It's partly self serving as I would love to study with some of them but need to live vicariously for now...) I see different names mentioned here and there. Share your class experiences, favorite lessons, projects etc. David Ellsworth is only about 40 minutes from me so I hope to work with him some day. I know there are some other great teachers too and it would be interesting to learn more about them.
 

Bill Boehme

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There's so many that I don't know where to start. What is your experience level? What are your interests? Do you want to sell stuff at craft shows? If you can attend a regional or national symposium, I think that you can get a sampling of what others are doing and that will help spark your interest in selecting a direction rather that just picking out a "great" teacher based on somebody's recommendation of who they like. I could list a bunch of names of great teachers from whom I have taken classes. I have learned from each of them as well as numerous other turners. I would say to interact with as many other turners as you can. Some may not be so good, but you actually learn from them as well because you can identify how you would improve on what they do. You'll probably retain about 15% of what you did in a class anyway.

I'll mention one name since David Ellsworth is in Quakertown, Pennsylvania which is about an hour's drive from where you live. You can't go wrong by taking a class from him.
 
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hockenbery

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The best teacher for you is the one who offers what you want to learn.
My technical ability took major leaps with Liam O'neil and David Ellsworth. I often think I learned more in Christian Burchard's class than any other; not much turning technique but methods of holding work on the lathe, how to sign my work, and his critiques of my work have been invaluable.

There a hundreds of capable teachers. The major craft schools Campbell, Arrowmont, Anderson ranch and others are a good starting point to find ones to add to your research list..

The following I have had a 5 day class with as a student. I recommend them all highly for what they do. All do many more things than I list. All are excellent with design. Michael Peterson probably isn’t teaching turning now.

1994-1998
Liam O'neil – side ground gouge, bowls might be the best with a gouge I have seen
David Ellsworth – Ellsworth ground gouge, bowls hollow forms natural edge
Michael Peterson – does do much turning now carving, sculpture, hollow forms
Christian Burchard –spheres, hollow forms, sculpture
Johannes Michelson- turning thin, Michelson gouge, wooden hat he originated.
2012 - My last class was a 4 ’hour workshop with Dixie Biggs - relief carving she is excellent.

2000-2015
I have been the administrator, host, assistant instructor for week long classes with:
Trent Bosch – bowls, hollow forms, texture. Carving, simple tools.
Al Stirt - maybe the best bowl teacher I have worked with, platters, carving
Lyle Jamieson - bowls, hollow forms
Jimmie Clewes - bowls, boxes, colored platters, end grain turning
Cindy Drozda - lidded containers, finials, ornaments
David Ellsworth - signature gouge, hollow,form bowls, natural, design, edge.
I have done a dozen club classes and workshops with Rudy Lopez- turning thin, goblets, natural edge platters, hollow forms.

You cannot go wrong with any of these folks if your interest lies in what the do.
If your interest is pens or segmented you don't want anyone on my lists.

I know Jimmy Clewes, Trent Bosch, David Ellsworth, are teaching in their own studios. A weekend with anyone them will make you a better person as well as take your turning to another level.

Al
 
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odie

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Obviously, there are many good and great woodturning teachers, and the one who was the most influence on me is Richard Raffan. His books and early videos were popular at a time when I needed help with the basics of woodturning. His work, and my work, are very different, but it was his influence that was the starting point for me. After that, it has been me pioneering my own paths to wherever it took/takes me......

Some current woodturners seem to be habitual students and go from teacher to teacher, seminar to seminar, technique to technique.......and, that's all well and good if that's the path they wish to take. I feel a little differently about it.......tending to think that at some point the current overwhelming input leads to a "short circuiting" of conflicting and confusing data. Add to that the great abundance of tools available. All of the techniques, and all of the various tools available lead to questioning oneself what methods are best.....when, results indicate that "all of the above" can produce refined results....but, it takes practice, and some people just don't understand that it's not the external input that makes the turner.....it's the internal input that makes the difference. The overwhelming availability of tools and techniques are fine, but unless the individual finds a way to open his/her own doors which lead to freedom of personality and ingenuity, the process can be stymied without some grasp of the abstract.

Hope that makes some sense to anyone else.......but, it's a guiding philosophy for my woodturning efforts.

Once that process is started, it's a continuing method of personal evaluation and revision of those things which lead to ever refined results....and that is the matrix derived from one's own applied spirit.....not what is taught, but comes from an inner unique force.

ko
 
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I have been inspired by so many people it is hard to say. I would have to say my biggest learning experience comes from the questions other turners ask on the forums and when I demo. Makes me think about how and why I do things. My favorite work shop/class was a day with Allen Batty. I do like John Lucas's approach to teaching, and Mike Waldt too. I have seen a number of the big name people like Stuart Batty, Mike Mahoney, Lyle, Cindy, Ashley Harwood, Bonnie Klein, Richard Raffen, and others. Get some thing different from them all...


robo hippy
 
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Thought it would be interesting to talk about today's great turning teachers. (It's partly self serving as I would love to study with some of them but need to live vicariously for now...) I see different names mentioned here and there. Share your class experiences, favorite lessons, projects etc. David Ellsworth is only about 40 minutes from me so I hope to work with him some day. I know there are some other great teachers too and it would be interesting to learn more about them.

Doug,

I have not experienced many pro turners/teachers have been to several demos and day sessions. I did like Jimmy Clewes' humor, Frank Penta's prolific variety, enthusiasm and helpful nature, Raffan's experience. After watching Glenn Lucas at the TAW symposium I'm ready to go take his course in Ireland (as soon as my wife pays for it!)

John Lucas is somewhat local and is a fantastic teacher. Come visit the farm and shop here and we can drive over to John's place and twist his arm into teaching us something! Maybe he'll take a cheeseburger for payment.

JKJ
 

Bill Boehme

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I must be one of those perennial students that Odie is talking about. :D. I have an insatiable desire to learn. I think that it must be a natural characteristic of engineers to continually expand one's horizons. However, I'm still awaiting that short circuiting from being overwhelmed by conflicting data. :rolleyes: But, who knows ... maybe my next class will be my unraveling. :rolleyes: At this point of my journey, taking classes under the masters of our craft has been a most rewarding experience.

Aside from learning the basics of turning and then precision in execution of aesthetically pleasing forms, the big hurdle is developing your own creativity. I believe that interaction with other woodturners as well as studying other forms of art such as sculpture and painting and forms found in nature help you in developing your own voice. For most of us this is a never ending process of growth.
 

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Obviously, there are many good and great woodturning teachers, and the one who was the most influence on me is Richard Raffan. His books and early videos were popular at a time when I needed help with the basics of woodturning. His work, and my work, are very different, but it was his influence that was the starting point for me. After that, it has been me pioneering my own paths to wherever it took/takes me......

Some current woodturners seem to be habitual students and go from teacher to teacher, seminar to seminar, technique to technique.......and, that's all well and good if that's the path they wish to take. I feel a little differently about it.......tending to think that at some point the current overwhelming input leads to a "short circuiting" of conflicting and confusing data. Add to that the great abundance of tools available. All of the techniques, and all of the various tools available lead to questioning oneself what methods are best.....when, results indicate that "all of the above" can produce refined results....but, it takes practice, and some people just don't understand that it's not the external input that makes the turner.....it's the internal input that makes the difference. The overwhelming availability of tools and techniques are fine, but unless the individual finds a way to open his/her own doors which lead to freedom of personality and ingenuity, the process can be stymied without some grasp of the abstract.

Hope that makes some sense to anyone else.......but, it's a guiding philosophy for my woodturning efforts.

Once that process is started, it's a continuing method of personal evaluation and revision of those things which lead to ever refined results....and that is the matrix derived from one's own applied spirit.....not what is taught, but comes from an inner unique force.

ko


Hey Odie,

I'm probably like Bill - the eternal student (but probably a slower learner :)

You have a valid point that it is one's internal drivers that make the difference. But I'd say that it requires training to reach a point where one can articulate successfully that inner vision. Kind of like the difference between journeyman carpentry and a weekend warrior. Those inputs, put to work, make the difference.

As a kid and teen, I wanted to be an oil painter, lived very near the quarter in New Orleans, and spent nearly all my time learning from anyone I could. I'd say that it was being exposed to all the different - often divergent - approaches that allowed me to develop my own aesthetic in painting. On the other hand, you're right that it can be confusing for all the same reasons: a zillion brush types, pigments, tools, techniques, and so on.

I'd say that you really can't get too much information, but everyone has pursue it at their own speed. Of course, you can become a slavish follower of one thing or style, and then the next, but that's not really anything more than copying. I think we all have to go through that process to sort of "break through" to the level at which our own creativity takes over and we focus more on the result than the method, because of the practice. You, over time, have developed a sense of purpose about your work that I'm still trying to find through classes and as much practice as I can get in. :)

And as you know, I surely admire your work.
 

Mark Hepburn

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Thought it would be interesting to talk about today's great turning teachers. (It's partly self serving as I would love to study with some of them but need to live vicariously for now...) I see different names mentioned here and there. Share your class experiences, favorite lessons, projects etc. David Ellsworth is only about 40 minutes from me so I hope to work with him some day. I know there are some other great teachers too and it would be interesting to learn more about them.


Douglas,

I'd highly recommend that you go that short ride to Quakertown. That was the first class I had the chance to take and, as Paul said, I learned more in a weekend than I could have imagined. And regardless of your turning goals, style, etc. you can learn so much about basic or advanced technique from him, and just spending 3 days getting little insights from him has been invaluable to me as a new(ish) turner. Plus, he's a really patient, genuinely nice guy who can really tune in to what you may need - even if you don't know you need it.

I also want to mention Steven Kennard. I saw him demo in Phoenix and again in Pittsburgh and really enjoyed it. It was a highlight for me and I spent a week with him at his shop in Nova Scotia. He's a really really great turner and teacher. I'd say that it was the best time I've spent in a class. One-on-one for a week. Oh, and he spent 10 years doing piano finish as well as several decades doing architectural turning. Anyway, I ramble but Steve is in my opinion at an elite level.

Just my two cents.

Mark
 
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Plus, he's a really patient, genuinely nice guy who can really tune in to what you may need - even if you don't know you need it.

Mark, did you play snooker on his table upstairs?

I haven't had a class but he when I visited it was obvious he loved his snooker!

JKJ
 

odie

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Hey Odie,

I'm probably like Bill - the eternal student (but probably a slower learner :)

You have a valid point that it is one's internal drivers that make the difference. But I'd say that it requires training to reach a point where one can articulate successfully that inner vision. Kind of like the difference between journeyman carpentry and a weekend warrior. Those inputs, put to work, make the difference.

As a kid and teen, I wanted to be an oil painter, lived very near the quarter in New Orleans, and spent nearly all my time learning from anyone I could. I'd say that it was being exposed to all the different - often divergent - approaches that allowed me to develop my own aesthetic in painting. On the other hand, you're right that it can be confusing for all the same reasons: a zillion brush types, pigments, tools, techniques, and so on.

I'd say that you really can't get too much information, but everyone has pursue it at their own speed. Of course, you can become a slavish follower of one thing or style, and then the next, but that's not really anything more than copying. I think we all have to go through that process to sort of "break through" to the level at which our own creativity takes over and we focus more on the result than the method, because of the practice. You, over time, have developed a sense of purpose about your work that I'm still trying to find through classes and as much practice as I can get in. :)

And as you know, I surely admire your work.

Howdy Mark......thanks, and it's good to hear from you once again! :D

I doubt that very many people relate to what I had to say in a previous post. Sorry that it made a few people feel defensive....but, my beliefs are what they are. If there is anyone, at all, who agrees with the gist of my post, they are in an extreme minority. I was aware of that while I was typing.....This topic has been discussed before.

It's my feeling that instruction by a competent turner is a good thing for a newbie.....up to a point. The new turner should practice the basics until there is some level of competence, before exposing himself to a multitude of opinions......some of them completely opposed, or different. This is where the "short circuit" comment comes into play. IMHO, being bombarded with information isn't as productive as it would seem on the surface to others. It's best to get some instruction regarding basic concepts, and then give yourself some time in the saddle....so, that some of the elusive thought-work that only experience can initiate, can be repetitive, ingrained, and EVOLVE. It's that word, evolve, that leads to individuality.......something that can separate oneself from the "herd".

I don't know......maybe some people just can't evolve, or maybe they don't have enough fortitude to get their "time in the saddle", without input from others......? :eek:

ko
 
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I think there are many paths up the mountain. That seems as evident in the way we learn as the way we turn. I for one am enjoying hearing about the different experiences. I was watching a Jimmy Clewes video today. He mentioned that he is self-taught. He turns beautiful works, as does Stuart Batty who apprenticed with his father who was an apprentice himself. Hard to say one is a better path. In fact I would bet that most of the woodturners in America have not studied woodturning, and are basically self taught. Doesn't that make THEM the "herd"? ;)
 

odie

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I think there are many paths up the mountain. That seems as evident in the way we learn as the way we turn. I for one am enjoying hearing about the different experiences. I was watching a Jimmy Clewes video today. He mentioned that he is self-taught. He turns beautiful works, as does Stuart Batty who apprenticed with his father who was an apprentice himself. Hard to say one is a better path. In fact I would bet that most of the woodturners in America have not studied woodturning, and are basically self taught. Doesn't that make THEM the "herd"? ;)

Hi Douglas......Yes, I suppose your are right, to a degree. The "herd" as I'd define it, are those who "group think"......and, there certainly seems to be those who fit that parameter! :p

ko
 

john lucas

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I think there are so many. I'll just name a few and then probably think of many more after I hang up. Micheal Hosaluk, Stewart Batty, JImmy Clewes, Nick Cook, Eli Avisera, Betty Scarpino, Bonnie Klein, Mike Mahoney,
 
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Just a quick note: David Ellsworth's classes are full out a very long way. When I contacted him in February the next open class was December, so it might be wise to set a date and get on his wait list if you're thinking anytime in the next 12 months or so.

As for you comments, Odie, I can sympathize. I'm just an advanced beginner...but I know the feeling of thinking that classes can learn our way into knowledge without the day-to-day practice. There must be a magic formula of hundreds of hours at the lathe to classes.

I've seen this chasing of classes in much more than just woodturning. That said, there's nothing like expert mentorship and teaching when you're ready for it. I think of an advanced timberframing course I took a dozen years ago, and in the space of a few days I suddenly understood trigonometry as it related to roof framing. It was a revolution for me as a carpenter.

I'm getting ready for my first turning class. Can't wait.
 

hockenbery

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I have a good freind who is one of the better turners in the country by many measures.
Classes let him get really really good in a short amount of time.

He tells me I did the first demo he saw. 2005
He began with basic lessons from Ron Browning.
Then he turned and turned and..... He asked a lot of questions,
He went to a lot of demos
In a year he was turning terrific bowls.
He began helping with the classes we ran with big name turners.
In his third year of turning he was getting asked to do demonstrations.
He demonstrated at the Florida Symposium
2010 took a class at Arrowmont with Trent Bosch
He got picked as best new artist at juried arts festival, sold a piece form$1800, selected as emerging artist by the AAW POP , demoed at the AAW 2012.

He had a strong artistic background and was in a local club whose members included nationally known & professional turners.
 
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Just a quick note to "second" all of the turners mentioned. You're in a good spot, as you can't make a bad decision. Ellsworth is a great place to start, the current "grand old man" of turning and practically next door to you. I took his class about a dozen years ago.

There were rank beginners and seasoned turners in the room. He quickly determined where everyone's skill level was and helped each turner take it to the next level with kind words and gentle encouragement. I think that was the strength of his class. You'll have fun and learn lots with whoever you choose.
 

Mark Hepburn

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Mark, did you play snooker on his table upstairs?

I haven't had a class but he when I visited it was obvious he loved his snooker!

JKJ

John, I didn't, but did get to spend a good bit of time looking at his personal collection up there. And I sat in his Sam Maloof rocker :).
 
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