North Carolina WOODTURNER

Transcription

1 North Carolina WOODTURNER Journal of the North Carolina Woodturners Association A Chapter of the American Association of Woodturners Volume 8, Number 12 December, 1998 Maple Box By David Bowers, Newland, NC

2 2 December 1998 The President s Message By Jack Stewart In a few days, my family and friends will recall those things for which we are most thankful. By the time your friendly neighborhood letter carrier (once referred to as your mailman) delivers this month's Journal, Thanksgiving Day will be behind us and Christmas Day will be just around the corner. Recently, several NCW members were summarizing some of this year's programs and accomplishments. How do you measure your life of woodturning in 1998? Personally, I stand in awe of our membership and the many talents you have and the way you apply these gifts and abilities. Talent is a much admired quality, however, attitude is more important In the January, 1998 issue, each reader was admonished to "be a viable part of the life of our Association." Our January program focused on the drive train of most of the lathes with which you do your woodturning. Don Olsen, Edgar Ingram, Pete Little, Dave Lewis, Dick Nielsen and Bob Fisher were major participants in that program. Shortly after our first meeting of 1998, Ken Bachand announced that, for health reasons, he was compelled to step aside as editor of our Journal. This presented us with an unexpected challenge to find another editor, ASAP. As time passed, Bonner Guilford saved the day by agreeing to assume this responsibility. To say the least, he has done a superb job. Many thanks, Bonner, from all of us. I will always be in your debt for making my job easier. The next month brought our own Eddie Hollifield to our meeting. Eddie demonstrated the techniques involved using the McNaughton system of turning known to some as coning. From across the "pond", Peter Gill and Mark Baker, representatives of Robert Sorby Tool Company, visited us from England in March. This was an all day demonstration which was made possible by and with the complements of our host, The Woodworking Shop. (Lunch was included). April found us meeting at the Folk Art Center just outside Asheville, NC on the Blue Ridge Parkway. This was another all day demonstration. Our guest, John Mascoll from Safety Harbor, FL, did an outstanding job. In addition, he, along with two other artists, served as judges in our special gallery for that month. The purpose was to select five entrants who would represent our association in the AAW gallery during the symposium at Akron, Ohio in June. The NORTH CAROLINA WOODTURNER Journal of the North Carolina Woodturners Association Published Monthly by the NORTH CAROLINA WOODTURNERS ASSOCIATION, INC Route 7, Box 137, Hendersonville, NC Editor: Bonner Guilford 1371 Perth Road, Troutman, NC (704) bguil@uncc.campus.mci.net Contributing Editor: Mark Sakatos BOARD OF DIRECTORS President: Jack Stewart, Charlotte (704) Vice President: Jane Sunier, Rosman (828) Treasurer: George Wunker, Winston Salem (336) Secretary: Mary Bachand, Hendersonville (828) Dean Amos, Sandy Ridge (Term exp. 1998) (336) Craig Summerville, Charlotte (Term exp. 1998) (704) Dick Nielsen, Gastonia (Term exp. 1998) (704) Edgar Ingram, Statesville (Term exp. 1999) (704) Lee Holt, Swannanoa (Term exp. 1999) (828) Char1es Farrar, Charlotte (Term exp. 2000) (704) Jesse Wilkinson, Conover (Term exp. 2000) (828) J. T. Barker, Hudson (828) HONORARY DIRECTOR Bob Fisher, Asheville (828) entrants chosen were: Bobby Phillips, Terry Martin, Jack Edmonston, Bill Johnston and Dean Amos. After that, Tom Fitz inspired us by demonstrating his methods in turning and constructing kaleidoscopes and mirrors. This was a bit of a repeat performance for Dr. Tom because he had been our demonstrator several years ago and it was time for the many new members to listen, watch and learn from his experience. Marshall Hollifield, a long time member of NCW and a professional woodturner, demonstrated the techniques and tricks of turning multi-axis objects. Murphy's law reared its ugly head for Marshall at this June meeting because some of his work and supplies got lost on the way to our meeting. So, Marshall had to improvise a bit. However he did himself proud. In July, Charles Farrar captured the attention of his audience with his well thought out and planned demonstration on turning a Grecian Urn. It was generally agreed that the quality of his presentation was indicated by the fact that virtually no one left the meeting room and wandered around during his presentation. Also, postage for the mailing of the July issue of our Journal was more than usual because ten pages were needed to include all the material available. The hot days of August found us at the Mint Museum of Art in Charlotte, NC. This was our third all day demo and our special guest was none other than Arthur R. Jones out

3 3 December 1998 of Chuluota, FL. His program was presented without the need of a lathe. Arthur's demonstration, lecture and lesson has been entitled, "Inspiration and Design of Turned and Carved Vessels - Pedestal Conception and Construction." (A long title, a lot of information). The general outline covers Inspiration, Design and Technique and The Union of these elements as he prepares for the work in his studio. Two of our newer members were scheduled for the September demonstration, but, at the last minute, had to be postponed. The real hero of the day was our own Bill Johnston who, literally put together a program overnight. His well thought out demonstration was about "green" wood. This was not the first time Bill has dropped what he was doing and shared with us the benefits of his teaching experience. It was announced that the AAW symposium site for 2000 will be in the Charlotte, NC Convention Center. This announcement was highlighted in our Journal when our editor, Bonner Guilford published our first front page edition in color. Lightning struck the second time within two months. This time, "The Turning Fiesta of October", featuring Dave Lewis, Dave Terpening, Grady Butler, and others met with several last minute conflicts and will be rescheduled at a later date. Enter Pete Little. Pete, our own member as well as an employee of our host, The Woodworking Shop, "stepped up to the plate and hit a homerun. He demonstrated the use of several specialized tools and accessories manufactured by One Way and Robert Sorby." Another relatively new member of our Association, Clyde Hall, reminded us that Christmas is not too far away. His program covered his techniques in making a Lollypop Candle Holder. His project sounds fairly simple, HOW- EVER, it is rather complex. He follows a rather strict "cookbook" sequence of steps to get it right. Our December meeting, as usual, will be a Christmas party and auction of tools, machines and supplies. For those who plan to bring items to be auctioned, please bring only things relating to the general area of woodworking or more specifically woodturning. Please save your hoes, rakes and lawn mower for the neighborhood garage sale. Remember that our December meeting will be at The First Presbyterian Church, 237 2nd Street, NW, Hickory, NC. The voting for the election of the nominees for our Board of Directors will be the only item of business at this meeting. As we recall other things which have happened to our Association this year, it is painful to realize that two longtime members died. -- Walt Hoyles in March and Dade Thornton less than two months later. They are missed. On a lighter side, three dozen of our members, and their spouses, attended the AAW symposium in Akron. Many of our turners have been and are placing their work in galleries. One curious soul, with the help of Uncle Buford, has wandered in and out of several woodturners' shops. It is amazing how much you do not know about a turner and his/her background until you visit the shop. Then the visit is a rewarding experience. There are four ingredients in the makeup of our association which makes us who we are and what we are: (1) Our Members, (2) Our Programs, (3) Our Gallery, and, (4) Our Journal. The pictures of a turning on the front page of each issue of our Journal has featured excellent work by: Clyde Hall, Charles Farrar, Dean Amos, John Mascoll, Don Olsen, Herb Quarles, Arthur Jones, Roy Fisher and Fred Stockhausen. Credit must go to George Wunker, Lee Holt and Bonner Guilford who have done most of the professional grade photography we have seen this year. There is always the very good chance I have failed to recognize someone who has made significant contributions to our Association. To that person or those persons, rest assured that the oversight is not intentional. The North Carolina Woodturners Association is very important to me. If it is half as important to you, you are a proud person. In January, 1999, the new Board of Directors and its Officers will need your continued support. Now, go back and read the first sentence again. One thing for which your president is thankful is NCWA. j.s. Upcoming Events By Dick Nielsen December 12, 1998 Annual Christmas Party and Auction January 9, 1999 Platter Turning Roy Fisher February 13, 1999 Making an Hour Glass Dean Amos Both the January and February demonstrations will be in our Hickory location.

4 4 December 1998 Gallery Report By Dean Amos Our November Gallery was a very busy place to say the least. The first annual New Member, One Year Exhibition brought in several turnings, all of which were exceptional. The winner was Grant McRorie with a beautiful hollow form. Second place was awarded to David Kaylor with a beautiful bowl showing a classical shape similar to turnings of Bob Stocksdale. Hats off to Roy Fisher with a turned cowboy style hat made of beech with our third place winner. And, of course, we had our regular gallery which yielded a fine array of turnings. Those participating were as follows: John Hill, Bobby Phillips, Henry DeGraff, Edgar Ingram, Don Olsen, Bill Jones, Bill Hyatt, Roy Fisher, Dean Amos, Victoria Wells, Scott Ollis, David Kaylor, Grant McRorie, Dwight Hartsell, David Bowers, Lee Holt and Gary Johnson. We had a total of 36 pieces. Thanks to all for their participation. Challenge Projects By Dean Amos November Winner. The November Challenge project was a mixed media turning. One that incorporates some foreign material other than wood in the turning. We had soapstone, basket weaving, elk horn and metal. The winner was David Bowers who turned a wenge hollow vessel with a captive coin inside. Thanks to all for sharing their projects. December Challenge. For December, in keeping with the Christmas Season, it s your choice of turning an item that will enlighten our Christmas Social. I hope everyone will take part in this challenge even if it is only a toothpick painted red and green. January Challenge. Januarys challenge is to create a turning using as much bark as possible (leaving on as much bark as you can). We want your bark to exceed your bite on this one. Schools/Instruction and are valued at $300 each. Hopefully everyone got their scholarship application in on time. Remember, the winners will be announced at our annual Christmas meeting in Hickory. These two awards are to be used for woodturning instruction at an activity chosen by the winner Good luck everyone! Remember, NCWA members were invited to participate in the Winter Arts Showcase exhibition, November 23-December 11 at Mitchell Community College. Try to get by and show It s Showtime support for those who support us. Directions to Mitchell were published in last months journal. I am sure that all of the exhibitors will have a great show. Go and enjoy. Library Notes By Mary Bachand December is our annual meeting when we do things differently. The library will not be open so you have an extra month to enjoy your rentals rent free. Have a wonderful holiday season. Member News By Mary Bachand Please welcome our new members to NCWA. Everyone be sure to introduce yourself to these folks at meetings and get them acquainted with all of the woodturning resources we have available. Welcome James Hanvey, Maiden NC; Phil Billings, North Wilkesboro, NC; Cliff Reynolds, Statesville, NC; Al Dunavan, Lenoir, NC; Jim Merrifield, Davidson, NC. Please feel free to join in and bring your work to our instant gallery. Raffle Report By Craig Summerville The November raffle was our last one for There were several exotic blanks given away including Lacewood, Canarywood, Padauk, Zebrawood, Purpleheart, and Yellowheart. Tools of the Month were an Ellsworth Hollowing Set won by Ken Phillips and a Wahl Corded Filer/Sander taken home by Millie Young. Frank Kohanski won the special member turning, a Mulberry bowl by Gary Johnson. Although the list is long, I want to thank each of our corporate and individual raffle supporters for The following either donated items or provided them at a discounted cost to NCW:

5 5 December 1998 Craft Supplies USA, EZE-Lap Diamond Products, Industrial Specialty, Inc. (Jim Holcombe), John C. Campbell Folk School, Packard Woodworks (Brad and Debbie Packard), The Woodworking Shop (Pete Little and Coleman Fourshee), Woodcraft (David Boyuka), Bill Jones, Bob Fisher, Carlos Kennedy, Dean Amos, Charles Farrar, Dick Nielsen, Don Olsen, Edgar Ingram, Gary Johnson, Gene Dampier, Grady Butler, J.T. Barker, Jesse Wilkinson, John Hill, John Mascoll, Jack Edmonston, John French, Lee Holt, Martin Stevens, Mary Bachand, Phil Hutchins, the Rhodes Batson Estate, Roger Austin, Steve Grahamme, Tom Fitz and Terrell Kanipe. The top winners for 1998 (those winning 4 or more times) included: Bill Jones (4), Bob Fisher (5), Craig Summerville (4), Donna Kelley (4, all at the same meeting!), Ken Phillips (6), Lee Holt (6), Mary Bachand (6), Ron Nelson (4), and Terry Martin (4). We gave away 153 items this year to 73 different winners. Thanks once again for making the 1998 raffles such a success! November Program Review By Mark Sakatos For those of you that have attempted to make traditional candlestick holders, you know that the key to creating an esthetically pleasing piece lies in producing proportional sections, fluid lines and smooth transitions. Detailed drawings, while helpful, are not crucial. The selection of wood species also leaves room for creative flexing. Adhesives are generally not employed, and, as with most projects less than 12 turned between centers, safety is rarely a special concern. But what if we turned a discus shaped holder from varying laminated species, with a segment cutout on the top and a champagne glass shaped base. Behold the lollipop candlestick holder. If you attended our November meeting then you know that wood & adhesive selection, planning and chucking methods might make all the difference in safely completing a structurally stable, functional and visually pleasing candlestick holder. For our November program the North Carolina Woodturner's Association was proud to present yet another of our own creative and talented woodturners - Clyde Hall. If you are interested in making this project, the video of Clyde s demonstration is available to rent from our library for $1/ month. During his program Clyde provided us with his plans for a 6, 7 or 8 holders, including a material cutting list. While these plans could easily be altered to fit your own preference in wood selection and layout proportions, Dave Lewis graciously condensed Clyde s plans for this publication and they are included herein. Finally, Clyde researched and provided citations to some related articles from Woodturning Magazine. My thanks go out to Clyde and Dave. Their efforts made my task in writing this review much easier. (Regarding laminating and decorative plugging see, Plugging a Plaque by Terry Lawrence, Woodturning Magazine, Nov.1997, No.57, p.22.; On discus shaped vase turning without a champagne glass shaped base see, Throw a Vase by John Hunnex, Woodturning Magazine, Jan.1998, No.59, p.46.) To make these projects you ll have to make full size drawings. They should include front view and crosssection views. Stock is chosen based upon several criteria including color, hardness or availability, or any combination thereof. The bite, or turned segment cutout on top, should not be made of hard stock. Tear out, or worse yet, splitting or chipping is a potential result. The reason has to do with the chucking method employed to turn the bite section. Clyde mounts the bottom in a 4-jaw chuck/worm screw and he has found that it is rare when he gets the workpiece to run perfectly true. This slight wobble when combined with a hard dense wood, creates the perfect environment for grain related problems. Clyde selects elm or white oak to diminish this problem. The diameter and thickness of the size of the discus area varies in Clyde s designs: 8 dia. x 1 5/8 w, 7 dia. X 1 ½ w, or 6 dia x 1 ¼ w. The height of the base, or stem, is flexible. However, as the piece tends to be top heavy, excessive stem length would not be practical. One final consideration regarding material selection. Normal carpenter s glue will not shrink or contract seasonally with the wood. Over time the glue lines will be noticeable to the touch. Polyurethane glue might be a better choice. Clyde begins by milling the stock and gluing the laminates. Due to the difficulty in aligning laminates while gluing you should begin with slightly oversized stock. The excess material will enable you to achieve your desired thickness when truing the unaligned stock. Once the laminates are dry, square the laminates. Determine and mark the center points on both faces and on the top and bottom. These reference points are essential to determine the te-

6 6 December 1998 non, insert mounting and assembly screw locations. The main body and the stem are not glued together at this time. Band saw the body into a circle. Using a compass and a center point on one face, scribe a circle the size of the tenon. The tenon will be used later to mount the body in a 4-jaw chuck when turning the discus profile. The tenon should be deep enough to ensure that it seats on the chuck s face, while permitting sufficient room to turn that face unobstructed. Attach the tenon with yellow glue and insert a piece of paper the consistency & thickness of a brown lunch bag in between the body and tenon. When adequately covered with glue the paper will enable sufficient gripping strength, but will not hinder the tenon s removal. Turn the bite on the top. Drill a 3/8 hole on the bottom center point and screw the body onto a worm screw in a 4-jaw chuck. Clyde brings up the tailstock to aid in centering the piece, then screws the work piece on the worm screw, tightening the tailstock while he progresses. Using a 3/8 bowl gouge, he proceeds slowly and cautiously at low r.p.m. s, bearing in mind that the piece will have some wobble. To gauge the depth of the bite section he employs a series of circular templates with the appropriate profile marked thereon. The depth & profile will vary depending upon the size of discus selected for construction. Watching out for his knuckles he sands this section. The discus is then mounted in the 4-jaw chuck by the tenon. The tailstock is employed for stability with a turned flat or cone shaped center. Clyde then makes two inserts. The first (top) insert will replace the section just removed. The second (bottom) insert should be perfectly flat where it meets the body and generally should complete the circular shape of the discus. Both inserts are attached with shallow length screws. The inserts will help minimize the likelihood of tear out when forming the discus and when sanding. The face profile is turned with a side ground gouge. Clyde judges the shape of the profile with one of two templates. The first simply has the profile of one entire face. However Clyde feels that this one cannot gauge thickness and the template s use is hindered by the tenon s placement. His preferred template runs across both faces of the body and permits replication of a precise thickness and profile. It will not gauge the tenon area, but that s not a problem because that section will be turned and sanded to match the already existing profile. Be careful when determining the thickness of the face at the point where it is at tangent to the top center hole. The insert that will hold the candlestick requires no less than 1/8 wall thickness to provide adequate strength. The hole drilled will be 7/8 in diameter, so the thickness of the discus at this point should not be less than 1 1/8. After completing and rough sanding both faces, remove the body from the lathe and remove the tenon with a chisel. Complete sanding the areas previously obstructed by the tenon and tailstock with a random orbit sander. The paper sandwiched between the body and tenon should permit easy removal of the tenon. The stem or base is made from block laminates. Remove the bottom insert from the body and glue the block laminates at this location using polyurethane glue. Mount the entire workpiece between centers using a cone center for the top at the headstock either a screw or spur drive for the bottom at the tailstock. True the work piece as best you can. However, be aware that it is unlikely that you ll be successful. The base s profile will probably not flow perfectly into the main body. Before removing, sand the base on the lathe while rotating. Then stop the work piece and complete your profile sanding on or off the lathe using barrel or random orbit sander. Use your favorite finish and your done. This is a fun project that requires patience, care and some degree of planning. Give it a try for the holidays. Wonderful presentation Clyde! Note: Our roster incorrectly lists my address. The correct address is paprchse@twave.net I apologize for any inconvenience this may have caused. I would appreciate any comments, concerns or suggestions regarding the Program Review section of the journal. For those members that are unaware, as an at home dad it is relatively easy to contact me. I possess an extensive woodworking text, periodical and supply catalog library. If I can provide any research assistance or technical information at my disposal I am happy to do so. If you re not on the web, you can reach me at home (828) If you re mid project with the glue drying and can t wait for the call back, try me at (828) If I m out of the house my portable phone is always on.

7 7 December 1998 Clyde Hall s Lollipop Candle Holders R B A C D E F G H I Plan view Typical section J Clyde Hall's Lollipop Candle Holders BILL OF MATERIALS ITEM Material QUAN. 8" disk 7"disk 6" DISK T W L T W L T W L NOTES A white oak 1 2 1/4 1 3/4 8 1/ /2 7 1/2 1 3/4 1 1/4 6 1/2 1 B bloodwood 1 1/5 1 3/4 8 1/2 3/8 1 1/2 7 1/2 5/16 1 1/4 6 1/2 1 C ash /4 8 1/2 1 3/16 1 1/2 7 1/2 5/8 1 1/4 6 1/2 1 D red oak 1 1 1/4 1 3/4 8 1/2 1 1/16 1 1/2 7 1/2 7/8 1 1/4 6 1/2 1 E cherry 1 1 3/8 1 3/4 8 1/2 1 3/16 1 1/2 7 1/ /4 6 1/2 1 F maple 2 3/16 1 3/4 8 1/2 3/16 1 1/2 7 1/2 3/16 1 1/4 6 1/2 1 G walnut 1 5/8 1 3/4 8 1/2 9/16 1 1/2 7 1/2 1/2 1 1/4 6 1/2 1 H mahogany 2 1 3/8 1 3/4 6 1/4 1 1/4 1 1/ /4 4 3/4 2 I mahogny 1 1 3/4 1 3/4 2 3/4 1 1/2 1 1/2 2 3/8 1 1/2 1 1/2 2 1/16 3 J mahogany 1 3/ /4 3 1/4 3/ /4 3 1/4 3/ /4 3 1/4 4 R= RADIUS OF "BITE" 1 1/2 1 3/8 1 1/4 NOTES: 1 Glued up elements of disks. 2 Screw on one piece to fill out disk for turning, other for top of the stem assembly. file: DAVE/ncw/lollipop.xls 3 Stem ######## 4 Base of stem assembly

8 8 December 1998 Getting Into Galleries By Charles Farrar As many galleries as there are, there are still many more artists who want to show their work to the world. By the time you are determined to sell your art, you have been satisfied with feedback from friends, relatives, and supporters that your product has appeal. Now the question is, how can I get it before the greatest number of people. It is people who buy art and they must see and/or feel it first-- sometimes several times before making a decision. There are several ways to show work--at your home, private parties, craft fairs and festivals, and in galleries. Let's talk about galleries. Getting into galleries can be difficult because some gallery owners limit the kinds of works they show. However, all galleries need the works they show to have good appeal in order for them to recoup expenses associated with mounting an exhibit, ie., advertising, invitations, printing, postage, reception lights, rent, etc. In the case of a solo exhibit, lots of money can be spent before the first dollar of income is seen. And, usually the gallery space is dedicated to the show for thirty days, sometimes forty-five, and less often sixty days. A fine gallery often negotiates its exhibits a year in advance. So, how does one get into galleries? Answer: convince the gallery owner that your work has appeal and that it will sell. If you live in the same area as the gallery you have interest in, and have a natural connection through previous work or have a mutual friend willing to introduce your work, use those connections. If you have no previous connection pick up the phone and try to get an appointment to be seen. For a personal interview you will want to take two or three representative pieces of your work. Let your choices speak to size, creativity/design and finishing. Be prepared to leave with the gallery a portfolio of three photos, a copy of any brochures, news articles, invitations from previous shows, etc. You want to be remembered. When you send packets to galleries outside your area, remember galleries receive packets from lots of artists. Be mindful of the length of your letter and how much information you include in your packet. I am told that, on average, a packet may get three to eight minutes attention and that a video should not be longer than five minutes. Arrangement of materials in the packet is also important--you want your first item to "knock their socks off"-- same for your second and third. Of course, for entries in competitions and juried shows the usual requirement is for three slides of your work. Their quality should be professional. On a personal note, I no longer send slides to galleries unless I know that it is a specific requirement. In fact, I try to gauge a gallery s interest using color copies of quality photos. They are less expensive and I don't worry about getting them back. Now comes what I think is a most critical resource. If you can interest a gallery in not just showing your work once but representing you, that may give you a continuing presence in the gallery. This may require that you negotiate an annual contract. For keeping your work on hand in the gallery you may be asked a thirty, forty or even fifty percent commission on each sale. If the gallery owner wishes to be your "agent" he will seek other galleries willing to show your work. Then, the two galleries will negotiate sharing the gallery commission. You still receive your artist fee. Many artists take advantage of less formal relationships with galleries/consignment shops where their works are shown along with various other artists at the same time. This arrangement can offer excellent exposure. Many artists enter all the shows and competitions they can while waiting for other opportunities to come along. These help to build the artist's resume and reflect how seriously he takes his craft. Let's say your twenty, or thirty piece show is booked, and exhibit time has arrived. The gallery will usually install the work the way it feels best. But, it's your work, so you can insist on "being happy" with the installation before opening. You should also provide the gallery with a list of your patrons, clients, and supporters. It is important to keep your supporters informed and talking positively about what you're doing. In the end, whether sold through a gallery, commission, or otherwise, for those of us who create, there are not sweeter words in the language than hearing a new owner of one of our pieces say with gusto... I love it, I love it, I love it! The North Carolina Woodturner s Society would like to extend best wishes to Shirley and With Regret Charles Farrar for a safe, successful and happy relocation to Virginia. From the moment he joined the NCWA, Charles has gone out of his way to greet and engage members in sincere conversation, and has always provided a word of encouragement with respect to everyone s turned projects and association duties. Charles is a special individual that looks for the best in everyone he meets. While we are certain that our interests will enable our paths to cross again, we will all miss that big smile at our monthly meetings. Also to be missed is the energy and dependability which Charles brought to NCWA. Our recent successes relate in no small way to his dedication. Charles, please keep in touch and drop in when you can.

9 9 December 1998 NCW GALLERY GALLERY Clockwise from top left David Kaylor Roy Fisher John Hill Grant McRorie Bill Jones Bill Hyatt Photos by George Wunker

10 10 December 1998 NCW GALLERY Don Olsen Dwight Hartsell Henry De Graff Victoria Wells Bobby Phillips Gallery Clockwise from top left Photos by George Wunker