Woodcarving Issue 157 July-August 2017

YOUR GUIDE TO CARVING A CLASSIC WELSH LOVESPOON
WOOD
Types
of relief
carving
explored
July/Aug 2017
No.157 £3.95
08 >
9 770965 946071
Make this wonderful Andrew Thomas shows how to Carve your own pierced relief
lapwing with Mike Wood sculpt a shallow maple-leaf dish dragon with Duane Cartwright
WC157 COVER FINAL NEW.indd 1 06/06/2017 15:18

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IFC_WCAR_157.indd 1 5/25/17 9:24 AM

FROM THE EDITOR COMMUNITY
Friendship and support

W hen it comes to
hobbies, we all have
wants, needs and
aspirations. But as we know,
there are balancing factors
called time, money, space,
support and skill/ability.
Everyone has to juggle time
and money. I think we would all like more of
both, but the reality is we have a limited amount
and we do what we can. Space is an interesting
one. My workshop, to put it mildly, is in crisis.
I am reorganising it and it is in a sorry state in
order to get better. That's what I tell myself
anyway. Not everyone is fortunate enough to
have a workshop but carving is one of those
wonderful crafts for which, depending on what
one is doing, space is not necessarily an issue.
Some forms of power carving, which produce
noise and dust, and wanting to create large
sculptures may require dedicated space, but
the rest can, and often is, done in one's home.
Many people have moveable workstations.
These can be as simple as a chest of drawers on
wheels or a small table somewhere with all the
kit neatly stored and ready to pull into position
when they want to carve. Please send me pictures
of your work areas. It is always good to see what
people have made and how they work. Others,
such as knife carvers and whittlers, need no more
space than a chair to sit in as they work in their
lap. The only downside is the chips and shavings
on the floor, but those are easily sorted out.
The issue of support is a case of working
out what you need or, in some cases, want.
Support can come in many forms. It might
be a course to get you started. It might be a
few books, magazines, DVDs, online tutorials
and so on. It might just be a case of having
another carver to call, meet up with, share
ideas with and so on. Support could be a local,
national or international organisation that
will help you with something, point you in the
right direction, direct you as far as obtaining
monetary grants and so on. For many, support
is knowing that someone is there to talk to and
meet up with. This type of support cannot be
overstated as positive. Local clubs, forums,
symposia, shows and such like can be great
places to meet, talk to and learn about people.
Skill and ability are learned over time. I
mentioned that earlier and there is no getting
away from it. There is no magic formula to
become wholly competent at or even a master
PHOTOGRAPH COURTESY OF ANTHONY BAILEY/GMC PUBLICATIONS
of something in a day, week or even month. The

learning process is incremental but noticeable.
But, in truth, the only way of improving is to
practice, practice and practice some more.
Learn the well-established and proven
techniques that help you develop. You can have
a lot of fun at the same time. Most people want
to be able to carve reasonably well and have fun.
So a good thing to remember is to have fun
and make friends.
Mark
To get in touch, please email me:

markb@thegmcgroup.com
WOODCARVING 157 1
WC_157_1_LEADER_MB.indd 1 05/06/2017 16:40

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002_WCAR_157.indd 2 6/1/17 5:07 PM

WOODCARVING 157 JULY/AUGUST 2017
58
45
53 38
PROJECTS TECHNIQUES COMMUNITY

6 Gothic panel 34 Diary of a student carver 1 Leader
Steve Bisco carves and fumes William Barsley looks at letter Mark Baker talks about the
an oak panel in Tudor style carving and his first year of the importance of collaboration
course as it comes to an end
19 Dragon 4 News & Events
Duane Cartwright carves a pierced 58 Fishtails We bring you the latest news and events
relief dragon in cherry Peter Benson discusses how from the woodcarving community and
to use fishtail gouges take your letters from the forum too.
27 Maple leaf
Andrew Thomas demonstrates how 68 Types of relief carving 14 From the community
to carve a shallow Maple leaf dish In an abridged extract from his We take your letters and showcase
book: Classic Carving Styles, Frederick some of your work from the forum
45 Stylised whale Wilbur explores relief carving
Dave Western creates a killer 25 Meet the authors
whale from scrapwood based Meet this month's writers
heavily on the stylisation FEATURES
37 Subscription offer
53 Lovespoon 6 All about Gothic Find out about our latest subscription offers
A step-by-step guide to carving your Steve Bisco explores what defines the
own lovespoon by Bob Tinsley Gothic style in architecture and furniture 61 Next issue…
Can't wait to see what's in store for the
63 Lapwing 38 A passion for carving next issue of Woodcarving? We reveal
Mike wood shows how to carve and We talk to carver Bernard Harris and a sneak peek at what to expect
colour this wonderful wading bird find out why he loves carving so much
77 Advertising index
49 Woodland ways Find all of our advertisers’ details here
KIT & TOOLS Gary Marshall takes a look at
the trees of the British Isles
74 The carver’s toolbag
Bringing you all the latest tools, and 80 Art of carving
products to meet your carving needs We look at Notre-Dame de la Guard
WOODCARVING 157 3
WC157_3_Contents_MB.indd 3 24/05/2017 10:37

News & events...
Bringing you the latest news and event details from the woodcarving community
Sculpt at Kew
The Contemporary Outdoor Sculpture
Exhibition at Royal Botanic Gardens, Kew
PHOTOGRAPH S PIERS MASON, TURTLES SWIMMING THROUGH KELP © MAGA ESBERG, SIMOM GUDGEON REFLECTION.
Turtles Swimming Through Kelp, by Piers Mason Reflection, by Simon Gudgeon
L aunching this autumn, the Sculpt at Explore abstract outdoor sculptures Complementing the outdoor trail
Kew sculpture exhibition at the Royal installed throughout the gardens in a will be an inspiring display of indoor
Botanic Gardens is set to become a scenic trail featuring one of Britain's sculptures from Geoff Jeal, Simon
popular fixture in London's art calendar. The leading contemporary sculptors, Simon Jago, Marcia Raff, Ann Coomber
first show will take place between Monday Gudgeon, and international artist Mark and many others.
18 September and Sunday 15 October Dedrie, incredible life-sized animals by There are numerous artists
(daily 10am-6pm) and will site original Piers Mason and Hamish Mackie and already exhibiting and more will
artworks in and around the beautiful figurative pieces by Paul Vanstone. be confirmed in due course.
natural surroundings of Kew Gardens, Also on show will work by a range of
offering a unique opportunity to enjoy contemporary artists represented by For full event and exhibitor details:
one of the largest and best exhibitions of Sladmore Gallery, including Nic Fiddian Web: www.handmadeinbritain.
outdoor and indoor sculpture in London. Green, Mark Coreth and Kendra Haste. co.uk/shows/sculpt
New online Wood Carving School PHOTOGRAPH COURTESY OF ALEXANDER GRABOVETSKIY
A lexander Grabovetskiy has just launched his online

Wood Carving School. Learning from a master wood
carver will certainly shorten the curve. Videos –
all in real time ‘uncut’ – are uploaded weekly covering all
phases of design, wood carving and tool sharpening, and
Grabovetskiy shares his experience, tips and trade secrets.
Multiple courses are offered, including hands-on advanced
carving in Grinling Gibbons-style for advanced students.
Whether beginner or advanced, all will find the workshops helpful.
Alexander Grabovetskiy was born in the Russian town of
Dimitrovgrad. His grandfather taught him basic wood carving
techniques at six years old and at the age of 16 he was taken on as an
apprentice by renowned carver Vladimir Tokarev. Alex was recognised
as the 2012 International Wood Carver of the Year, and his piece, Wall
Decoration, was awarded first place. In 2015 Alexander was Editor's
Choice to be awarded Woodworking Excellence in the Turnings,
Carvings & Objets d'Art category, by Popular Woodworking magazine.
For further information Contact:
Web: https://grabovetskiy.com/school/
YouTube channel: www.youtube.com/user/grabovetskiy Alexander Grabovetskiy in his workshop
4 WOODCARVING 157
WC_157_4_5_NEWS_&_EVENTS_MB.indd 4 05/06/2017 16:40

NEWS COMMUNITY
BDWCA show report

PHOTOGRAPHS COURTESY OF PAM WILSON FOR THE BDWCA
were trade stands – a treasure trove to be

explored – and seminars and workshops
by some of the top bird carvers who were
happy to share their tricks of the trade
with their audience.
For further information on the BDWCA,

as well as membership details, visit
www.bdwca.org.uk. Membership
includes three issues of the 28-page,
full-colour magazine, Wingspan.
Contact membership secretary: Mrs Janet
Nash, 26 Shendish Edge, Hemel Hempstead,
Hertfordshire, Tel: 01442 247610.
Alternatively, please email: pam.
wilson@bdwca.org.uk.
The UK carvers with their awards RIGHT: Best in Masters Decorative Life-size Wildfowl by Gary Eigenberger
W ith so many shows closing down

it is good to report that the last
weekend in April saw the 47th
Annual World Championship Competition &
Art Festival in Ocean City, Maryland, US – the
first time. Four members had taken birds to
enter into the competition, and all the birds
won awards – a terrific result. Congratulations
to Pam Wilson who, for the second year in
a row, won the Intermediate Interpretive
pinnacle of bird carving competition held over Wood Sculpture Division, Claire Williams who
three days. More than 1,100 carvings were came second in Advanced Wood Sculpture,
entered by carvers of all levels, from youth Richard Rossiter who took Honorable
to world class, in different divisions which Mentions for his entries in the Upland
included life-size and miniature decorative Game Birds and Birds of Prey categories of
bird carvings, interpretive carvings and Advanced Decorative Life-size, and Mark
several categories of working decoys. Langford, in his first visit to the show, who
Six members of the BDWCA travelled over got an Honorable Mention in the Songbirds B
for the show this year – four had been before category of Intermediate Decorative Life-size.
and two were experiencing the event for the As always, alongside the competition there
Events
• Woodfest Wales • European Woodworking Show 2017 Braintree, Essex, CM77 8PD
When: 29-30 July, 2017 This is the best woodworking show of its Web: www.europeanwoodworkingshow.eu
Where: Caerwys, Mold, North Wales CH7 5BP kind in the world, as judged by many well-
Web: www.woodfestwales.co.uk journeyed demonstrators and woodworking • Annual Woodcarving Show
aficionados from around the globe. It is When: 23-24 September, 2017
• Yandles Woodworking Show demonstration-led with an eclectic mix of Where: Stevens Point, Wisconsin, US
When: 8-9 September, 2017 workers in wood from furniture-makers to Web: www.travelwisconsin/events/fairs-
Where: Hurst Works, Hurst, Martock, basket-makers, chair-makers to fabulous festivals/annual-woodcarving-show
Somerset, TA12 6JU woodturners, carvers, bodgers, pyrographers,
Web: www.yandles.co.uk knife-makers, marionette-makers, Japanese • The Surrey Hills Wood Fair
joinery & toy-makers to toolmakers. The show When: 30 September - 1 October, 2017
• Festival of Bird Art – BDWCA Annual opens at 10am on both days, closing at 5pm on Where: Birtley House Estate, Guildford,
Show & Competition the Saturday and 4pm on the Sunday. Surrey
When: 9-10 September, 2017 One-day tickets: Adults – £12.50 advance Web: www.surreyhills.org/events/
Where: Bakewell, Derbyshire ticket (£15 on the day) the-surrey-hills-wood-fair
Web: www.bdwca.org.uk Concessions (OAP/students) – £11.50 advance
ticket (£13.50 on the day) • Orange County Woodcarvers
• Bentley Woodfair Two-day tickets: Adults – £25, Annual Show
When: 15-17 September, 2017 Concessions (OAP/students) – £22 When: 14-15 October, 2017
Where: Halland, Nr Lewes, BN8 5AF When: 16-17 September, 2017 Where: Santa Ana Elks Lodge, Santa Ana, CA
Web: www.bentley.org.uk/woodfair-2017 Where: Cressing Temple Barns, Web: ocwoodcarvers.net/annual_show
If you have something you want your fellow carvers to know, send in your news stories, snippets and diary dates to Mark Baker at
Woodcarving, 86 High Street, Lewes, East Sussex, BN7 1XN or to markb@thegmcgroup.com
WOODCARVING 157 5
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Early Gothic windows – Salisbury Cathedral
The Gothic style

Steve Bisco explores what defines the Gothic style is and how it is depicted in
architecture and furniture
PHOTOGRAPH COURTESY OF SHUTTERSTOCK
T
he Gothic style started around 1150 in
France with the cathedral of Saint-Denis
in Paris and spread quickly outwards
across the realms of France, England and
beyond. As well as having a distinct decorative
style, it was a technological revolution in
stonemasonry. Displacing the thick walls,
stout columns and round arches of the old
Romanesque style, the Gothic church had slim
clusters of columns which soared skywards,
PHOTOGRAPHS COURTESY OF STEVE BISCO UNLESS OTHERWISE STATED
branching out into slender stone ribs which

met in the middle of the roof in high, pointed
arches. The slim columns were braced by
‘flying buttresses’ on the outside to prevent
the roof vault collapsing outwards. With this
structural stone framework, the walls could
be pierced with large windows and delicate
tracery, flooding light into the interior.
During Gothic’s 400 years of domination
there were inevitable changes in fashion,
mainly in the tracery and vault ribs. In the
Early or First Pointed period of the 12th-13th
centuries the arches were quite pointed and
the tracery and vaulting were fairly plain. Early Gothic rib vaulted ceiling – Salisbury Cathedral
6 WOODCARVING 157
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GOTHIC STYLE FEATURE
From the 13th-14th centuries, the Middle

Pointed, or Decorated, period saw tracery
and rib vaulting become more elaborate.
In continental Europe it developed into
Flamboyant Gothic. Some of our greatest
cathedrals were built in this period.
By the 15th century English Gothic
had entered the Perpendicular period
(continental Gothic remained Flamboyant).
Arches became straighter at the sides
and much more shallow across the top,
and window tracery became simpler
again. But the arrangement of ribs in
the ceiling vaulting reached its zenith
with magnificent ‘fan vaults’ and Middle Pointed tracery showing foils, cusps and eyes
carved ‘bosses’. Their shallow arches
and dripping pendants seemed to defy magnificent fan vault of all – King’s College
gravity, and still do 500 years later. Chapel, Cambridge, completed in 1530.
Perpendicular Gothic continued through The Gothic style was almost totally
the Tudor period until it was gradually eclipsed by the Classical styles for 250 years,
eclipsed by the classical Renaissance but made a spectacular return with the
during the later 16th century. But Gothic Victorian Gothic Revival that dominated
went out with a bang with the most the 19th century – but that is another story. Decorated or Flamboyant Gothic – Rouen Cathedral, France
GOTHIC FOR WOODCARVERS

During the whole medieval period, was decorated by carving. Misericords in 19th-century churches in the Old and
carved ornament abounded in wood and are little flip-up seats used by clergy New World you can often find a wealth
stone. The wood used was nearly always and choir members to rest a little while of Victorian Gothic carving, which is
oak, notable for its durability, but 800 standing. On the underside they are usually based on medieval Gothic.
years of decay, religious iconoclasm and frequently decorated with grotesque, But you don’t have to go travelling to find
WW2 bombing have taken their toll on amusing, and even quite rude figures that it. Pugin’s Gothic Ornament is a collection
the woodwork. Much of our inspiration are popular subjects for woodcarvers. of drawings of authentic medieval
for Gothic woodcarving today often has At the ends of the pews in older ornament copied mainly from churches
to be taken from the surviving carved churches you will often find decorative and cathedrals in England and France. It
stonework of ceiling bosses, capitals, finials carved in the popular ‘poppy- was produced in 1828 by AC Pugin – father
corbels, fonts and memorials. head’ design or other forms, including of the more famous AWN Pugin, shining
But there is still original Gothic the occasional figure that escaped the star of the Victorian Gothic Revival.
woodcarving to be found if you look for it. Puritan iconoclasts in Cromwell’s time. It is still in print today from Dover
To find it, take a seat. Seating in churches For original medieval Gothic Publications (www.doverpublications.
is usually made of wood, and much of it woodcarving you will need to seek out com) and is an excellent source of
old churches in Britain and Europe, but Gothic detail for woodcarvers. ◗
Misericord, Ufford, Suffolk
‘Praying lady’ finial, Ufford, Suffolk ‘Poppy-head’ finial, Ufford, Suffolk Illustration from Pugin's Gothic Ornament – Dover Publications
WOODCARVING 157 7
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Tudor Gothic panel
Steve Bisco carves and fumes an oak panel in Tudor style
T he Gothic style that was dominant from

the 12th-16th centuries, and again in the
great Victorian Gothic Revival of the
19th century, is one of the high points in the
history of carved ornament. It is perennially
Anne Boleyn but was sympathetic to Henry's
first queen, Catherine of Aragon, and their
daughter, Princess Mary (later Queen ‘Bloody’
Mary). Carew connived and plotted to bring
about Anne's downfall and execution but,
Tudor dark brown by ‘fuming’ it with ammonia
(see box on page 12). This is a traditional
way of ageing oak that is very easy to do and
looks more natural than using woodstains.
popular with wood and stone carvers. in true Tudor fashion, he was later himself
This authentic Gothic pattern dates from beheaded on charges of treason. Life in the DID YOU KNOW?
Tudor times in the 16th century, when late- court of Henry VIII was short and dangerous. The fates of Henry VIII's six queens are
medieval Gothic was starting to feel the The pattern is a lozenge with ‘cusps’ summarised in the rhyme ‘Divorced, Beheaded,
influence of the Renaissance. It has a noble radiating from the centre, placed over an Died, - Divorced, Beheaded, Survived’. In
provenance – it comes from an illustration oblong with its corners forming four more order of succession they were Catherine of
in Pugin's Gothic Ornament (see page 7), with cusps on the sides of the lozenge. It is Aragon (divorced), Anne Boleyn (beheaded),
PHOTOGRAPHS BY STEVE BISCO
Jane Seymour (died), Anne of Cleves

the description ‘from the monument of symmetrical on the horizontal and vertical (divorced), Catherine Howard (beheaded),
Sir Nicholas Carew’ in St Mary's Church, axes, so each quarter is a mirror image of Catherine Parr (survived). It would take
Beddington, Surrey. This would be Sir Nicholas its neighbours. It is carved in low-relief at a much longer rhyme to list the fates of
Carew (1496-1539), Knight of the Garter, Master a depth of 15mm above the background. the courtiers involved in the intrigues.
of the Horse, courtier and close friend of You can if you wish leave the carving in its
King Henry VIII. He was a second cousin of new oak colour, but I have taken it back to a
8 WOODCARVING 157
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TUDOR GOTHIC PANEL PROJECT
Things you will need • Straight V-tool

Tools: • 20mm flat chisel
• 20mm No.3 fishtail gouge • 10mm skew chisel
• 10mm No.3 fishtail gouge • 6.5mm flat chisel
• 20mm No.9 gouge • 3mm chisel
• 10mm No.3 gouge
• 8mm No.8 gouge Materials:
• 7mm No.5 gouge • Oak (Quercus robur) 250 x 310 x 38mm
• 5mm No.5 gouge • Household ammonia
• 16mm No.9 curved gouge • Dark wax polish
• 10mm skewed spoon gouge
Good mallet
technique
helps when
carving oak
TOP TIP: When carving in oak you will need to use a

mallet most of the time, so learn good mallet technique
to avoid straining your wrist and elbow. Tapping gently
with a mallet held near the top of the handle gives you
more control over your tools when making fine cuts.
When ‘roughing out’ surplus wood you will need to hit
a bit harder, so hold the mallet lower down the handle
and use the momentum of the swing to provide the
power rather than the force of your muscles.
WOODCARVING 157 9

PREPARATIONS
1 Get a piece of oak 250 x 310 x 38mm. If you
are using ‘green’ oak, select a piece that is fairly
straight-grained and free of knots to reduce
the risk of warping. Make a full-size copy of
the pattern and get some carbon paper.
2 Some carvers like to paste a print of

the drawing directly on to the wood and
carve through it, but I prefer to trace the
pattern using carbon paper so I can see
the grain when carving. Make sure your
drawing is securely taped to the wood
to avoid it wandering while tracing.
3 Mark a line around the sides of the

block 15mm from the front. This will be 1 2
the ‘ground’ level’ for the carving.
REMOVING THE
BACKGROUND
4 Fix strips of wood to the bench to secure
the panel. Cut around the edges of the
pattern with a V-tool, taking care to work
with the grain. Avoid the temptation to
‘bost’ down vertically at this stage as you
may crush the wood along the edges.
5 Use deep gouges, such as a 16mm no.9, to

cut away the bulk of the waste wood outside
the pattern. Always keep the ‘wings’ of the
cutting edge above the surface so a split
doesn't run off into the pattern. Be aware not
only of the surface grain direction but also
how it rises or falls below the surface, and 3 4
take care you don't cut into the background.
6 With the bulk of the waste wood removed

you can safely square up the vertical edges
with careful ‘bosting’ cuts using shallow
gouges that fit the outlines of the pattern.
The wood you pare off can now break out into
the open without crushing the grain. Try not
to make stab marks in the ‘ground’ surface.
7 Now work the ground surface down to the

final level with a shallow gouge and a broad
flat chisel. Cut a clean angle where the flat
background meets the vertical pattern edges.
8 To make sure the ground is all at the right

level, make a simple depth gauge. Insert a
screw through a flat piece of wood so the 5 6
tip projects to the required depth. Place the
wood on top of the pattern surface so the
screw projects down to the ground surface. If
the screw scratches the surface as you move
it around, carve down a bit further and try
again until no more scratches are produced.
TOP TIP: Where parts of the original top

surface of the board will remain in the
finished carving, use sharp tools and take
great care not to damage or lift out those
parts while grounding out the background
and carving the detail. Work round the edges
of the pattern with a V-tool first, taking
care with grain direction, to create a gap
between the pattern and the surrounding
area. This ‘stop line’ helps prevent a splinter
in the outer area running into the pattern.
7 8
10 WOODCARVING 157

TUDOR GOTHIC PANEL PROJECT
9 To get a smooth surface on the flat

background, place a flat chisel in an almost
vertical position and draw it towards
you. This will scrape fine shavings off the
surface to create a smooth even finish.
10 Finally, finish the background by

planning a chamfer around the edges.
CARVING THE DETAIL

11 Start the detail carving by making a narrow
hole with a spike in the central point of the
pattern so you don't lose the centre as you
carve down. It is important to distinguish the
valleys from the ridges in the central area. If
you get them wrong it will be hard to correct.
9 10 Refer to the drawing and finished photos
and mark the valley centre lines with a red
crayon before cutting them with a V-tool.
12 Work the valleys down to a V shape,

starting with the long axis of the lozenge
where the V runs along the grain, then
move on to the more difficult short axis
that runs across the grain. As the pattern is
symmetrical it is best to work the opposite
pairs together. Take great care not to
chip out the curlicues of the cusps.
13 Continue to the four diagonal sections

that are broader and more curvy.
14 Reduce the levels of the ridges and valleys

as they dip into the central point, taking
11 12 them down to the background level in the
centre. Take great care with the narrow ridges
that run across the grain near the centre.
15 Now turn your attention to the ‘cusps’

around the edges of the lozenge. Carefully
incise the ‘eyes’ inside them. Use a skew
chisel to get a sharp finish where the V
incisions meet in the bottom of the eye.
16 Shape the curlicues at the ends of each

cusp by cutting a small incision around the
tiny volute with a small gouge. Take great
care not to chip out the centre of the curl.
Tidy up the shape of each cusp and take a
shaving off the top surface with a flat chisel
to remove any tracing carbon marks.
13 14
DID YOU KNOW?
Oak panelling, known as ‘wainscot’, was the
most popular type of wall covering in Tudor
times. After Henry Tudor defeated Richard III at
Bosworth Field in 1485 and became King Henry
VII, there was peace after 30 years of war and
the gentry became wealthy by farming and
commerce. They no longer wanted to live in
draughty medieval castles and started to build
grand houses with warmer and more comfortable
rooms. Much of the panelling was plain, but those
with money paid carvers to create interesting
patterns on the panels. The most popular style
was the ‘linenfold’ pattern, resembling folded
cloth, but more complex patterns were also
carved. Because they were mainly in low relief
and were usually unpainted, carvers made the
patterns stand out by creating light and shade
with sharp ridges and V-shaped valleys.
15
13 16 →
WOODCARVING 157 11

17 Repeat the process to carve the four
cusps that project from the sides of
the lozenge. Carve the ridge that joins
the outer cusp to the lozenge area.
18 Finally, go over the carving to tidy it up

and make sure it has a good, crisp, ‘tooled’
finish. It should then look like this. If you
want to leave it in its new oak colour, just
give it a coat of a good wax polish. But if
you want to go for the ‘full Tudor’ don't
polish it yet – get ready to start fuming.
FUMING
19 SAFETY: Work in a well-ventilated space
and lean away from the fumes as they may
irritate your throat and eyes. Get an airtight 17 18
plastic tub and pour about 50-80ml of
household ammonia (obtainable from
hardware stores) into a shallow dish. Wear eye
protection and rubber gloves when pouring the
ammonia. Place the carving in the tub, raised
above the dish on wooden supports, and seal
the tub. Leave it until the oak ‘ages’ to a pleasing
‘dark roast’ – about six to 12 hours depending on
the temperature, the concentration of ammonia
and the amount of tannin in the oak. When you
open the tub, stand back and let the fumes
disperse a little before you lift out the carving.
The carving will smell a bit ‘whiffy’ at first but
that will go off after a few hours.
20 The finished panel now looks like a

relic from Tudor times. Go over it with a
dark wax polish, buff it up to a soft sheen, 19 20
then hang it where the light strikes it
sideways to enhance the shadows.
FUMING OAK They figured out that the ammonia in the can ‘age’ oak at the rate of about a century
Oak is a pale beige colour when newly cut but animals’ urine was the cause, and found an hour. But, as fuming works on the tannins
it darkens to a deep brown after many years they could speed up the effect with refined found in the heartwood, make sure your oak
of exposure to the air. People noticed that ammonia. The Victorians loved to recreate is ‘all heart’ if you want to fume it. Sapwood
oak beams in stables and pigsties tended to past times, so they used this method to make – the young outer layer of wood under the
darken much quicker than oak inside houses. new oak look ancient. Fuming with ammonia bark – has no tannins and will stay pale. ◗
Oak heartwood (lef t) and sapwood (right) before fuming Oak heartwood (lef t) and sapwood (right) af ter fuming
12 WOODCARVING 157

TUITION & HOLIDAYS
IN SPAIN
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013_WCAR_157.indd 13 6/1/17 10:25 AM

From the community
Here is a personal selection of letters and websites that caught the Editor’s attention this month
Roses
Mark was left the natural colour of the
I would like to share my interpretation timber with the only addition being
of Duane Cartwright's lime Rose the oil chosen for the finish.
from Woodcarving No. 140. The project was finished using Aussie
I have taken the liberty of making Oil, which helped to provide a yellow
some changes to suit my own colour for the rose, which fitted in nicely
interpretation, however the design with the overall aim of the project.
is essentially Duane's and I used The finished carving was attached to
the template he provided. a back board of jarrah, which again was
Timber selection was fairly easy finished using Aussie Oil. The jarrah
for me, was based on what I had used was salvaged from some old
available and was an easy timber fence posts which had been donated
to work. At the point of starting the to the club I attend. The photos show
project I had not decided on whether the finished item as it is hanging on the
I would use colours on the finished wall at home, the recipient (not in the
item, nor whether I would use a photo) very pleased with the outcome.
backing board. The decisions were This is the first time I have attempted
made later but did form part of my an item such as this, as my previous
consideration in the planning stage. carvings have usually been a little
I selected Cypress Pine as the less ambitious. It is also the first time
medium for the rose, with the idea that I have used colours on a project.
ultimately being that the rose, when I have previously used a pyrography
finished, would have a yellow effect. pen to enhance some of my projects.
I roughed out the main shape Overall I have been pleased with
using hand tools, drill, scroll the result, although there are some
saw and finished it off using a improvements I would make if carving
power carver in order to make this particular item again, which relate
the item a little more delicate. more to my technique and process
After much thought I decided to rather than the design of the project.
introduce some colour, which had Many thanks to Duane for
always been something I had wanted sharing his design and providing
to try out on my work. I had purchased me with the inspiration.
some acrylic paint for another project Keep up the good work
and decided that I would add some with the magazine.
colour to the stem and the leaves, to David Harvie, Christies
provide some contrast. The flower Beach, South Australia
Two donkeys
Mark,
In the last issue of Woodcarving magazine
there was an interesting letter and a picture
of a carving of sheep being penned by John
Whiteley. I am a member of two clubs –
Durham Woodcarvers and Northumberland
Woodcarvers. Both groups were interested
in the workmanship that had gone into the
carving and they suggested I should send
in a picture of my carving of two donkeys in
a field. The wood was a challenge because
it has a knot in the top corner which I could
not get rid of so made a feature of it.
Julian Reisner
If you have something you want your fellow carvers to know, send in your letters and stories to Mark Baker
at Woodcarving, 86 High Street, Lewes, East Sussex, BN7 1XN or email markb@thegmcgroup.com
14 WOODCARVING 157
WC_157_14_15_COMMUNITY_LETTERS_MB.indd 14 24/05/2017 10:43

FROM THE COMMUNITY COMMUNITY
ON THE WEB
Website of the month Blog
Neil Turner is a carver, turner, sculptor and cabinetmaker. His Sarah Goss – a carver in Sussex – has a great blog where she
work has always fascinated me and draws me in to explore what shares what she has been making recently. She undertakes a
he is up to. Whether the carving is on furniture, turned work or bewildering range of work and her site is well worth visiting.
sculpture, there is always something to make you look twice. www.sarahgoss.co.uk/blog
www.neilturnerartisan.com.au
YouTube Pinterest
Bowl carving with hand tools: Kris Harbor shows how he carves a This board interested me no end. There is a just a bewildering
western red cedar bowl by hand. The inspiration for the bowl comes from array of wonderful work of all kinds and most of it features
David Fisher. The speeded-up footage has no voiceover but you hear the carving one way or another. Just start clicking on things you
cutting. It is an engaging sequence of the creative process Kris uses. like and it takes you into more areas of work to see.
www.youtube.com/watch?v=-vf0hH9lBnk https://uk.pinterest.com/sandormuzsik52/fam%C5%B1v%C3%A9szet/
FROM THE FORUM
Here we share with you pieces that readers have posted on our Woodcarving forum. If you are
interested in the possibility of your piece appearing here, or would simply like feedback and
advice on your work, visit www.woodworkersinstitute.com and click on the forum button.
Monkeybiter – real name Mike – recently posted an excellent carving of a hand
to the forum. He comments: ‘This one's been a long time in the making, probably –
95% of the time spent waiting to be finished .
‘The hand is mine, main shaping done from photos, details refined from direct
observation. The veins on the back of the hand are done by compressing the
veins into the wood then levelling the surrounding wood, after which water it is
sprinkled on and the veins rise up out of the surface, quite quickly too. It's an old
technique (Ukibori), I saw Ian Norbury demonstrate it and adapted his method.
I need to regrind my tool a bit broader.
As usual I am not completely happy but it was time to call it done. The finish is
sanding sealer and the oak plinth may be temporary.
Jack-in-the-green-1 said: ‘Hi Mike, how can you not be happy with this carving?
I know every maker can be self-critical but from an onlooker's point of view it
looks fantastic. Well done, I love the detail you have put into this carving.’
If you are interested in the possibility of your piece appearing here, or would simply like feedback and advice on your work,
visit www.woodworkersinstitute.com and click on the forum button.
WOODCARVING 157 15
WC_157_14_15_COMMUNITY_LETTERS_MB.indd 15 24/05/2017 10:43

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018_WCAR_157.indd 18 6/1/17 11:14 AM

Cherry dragon
Duane Cartwright carves a pierced relief dragon in cherry
T his little dragon is carved as a pierced another. There are many different types of adding legs or scales to make it more unique
relief and could be carved as a weekend dragon, but the two most easily recognisable and individual as every dragon should be.
project, depending on the species of types are the eastern and western and they
wood you choose and other commitments are both very different beasts in nature and Things you will need
you may have. For this little dragon I chose appearance. The eastern dragon is portrayed Tools • No.39, 2mm
to carve in American black cherry (Prunus as magical, kind, wise and intelligent animal, • Bandsaw/ • 100-400 grit
serotina) for its warm colour and its subtle grain where the western dragon is more of an evil, coping saw abrasives
pattern, plus it's one of my favourite woods to fire-breathing beast that hoards gold, eats • Drill • Sanding sealer
carve. But you could use any suitable timber, maidens and is generally feared. The dragon is • Hooked skew • Microcrystalline wax
just keep aware of the grain direction and generally made from a mishmash of animals • No.3, 6mm
any possible weak areas or knots that could we respect and fear from the past and present, • No.2, 20mm Materials
effect the carving when choosing your wood. such as the remains of dinosaurs and other • No.3, 12mm • American cherry
I've carved this as a pierced relief with the beasts unearthed from the past to the animals • No.6, 6 & 12mm (Prunus serotina)
back carved so as to create shadow and depth. of today like the crocodiles, lizards and snakes, • No.7, 14mm 320mm long x
It also helps to give the impression of the with the wings from bats and the feet and • No.8, 16mm 120mm wide x
dragon flying across the wall. This dragon claws from the birds. Then there are features • No.9, 5mm 25mm thick
could also be carved as a bas-relief by keeping such as the heads and tails from mammals • No.11, & 10mm
the background on, which could make life like lions and camels. The dragon, along with
easier if you don't own or have access to a other mythical beasts, has long been a popular
bandsaw/jigsaw or similar. You could also subject for us carvers and sculptures, as it TOP TIP: Cherry wood is a straight grained
carve it as a pierced relief but with no back gives us loads of possibilities and freedom wood with a fine texture that is easy to work.
carving. Leaving the back flat would make on how we can design and carve them. I've It has more of a grain than lime and basswood
mounting the carving on to another flat designed this one with a serpentine body like and can split on weak areas, so extra care
surface, such as a cupboard door, much easier. the eastern dragon but with the head, wings needs to be taken to prevent fragile areas
The dragon is a mythical creature which and tail of a western dragon. You could try such as the tip of the horns from splitting.
features in most cultures in one form or changing parts of the design, for example
PHOTOGRAPHS BY DUANE CARTWRIGHT
DID YOU KNOW ABOUT DRAGONS

Carving this design as a bas-relief by lowering the background The dragon is a mythical animal and is the general name given to a group
by roughly 5-10mm, once you've carved the dragon's detail you of beasts that include other mythological creatures, such as gargoyles,
could either use gouges and carve in or texture the background wyverns, phoenix, cockatrices, basilisks, hydras and many more. With all of
using punches. The textured background will help to make the the dragons from different cultures past and present, plus with TV and film,
carving stand out and will add to the overall effect of the carving. the dragon is an ever-evolving beast that still captures our imaginations.
→
WOODCARVING 157 19
WC157_19_23_Pro_Dragon_Cartwright_MB.indd 19 06/06/2017 14:58

1 Start by printing the pattern at the
required size for your chosen piece of
timber. Then either glue the printout
or, using a carbon stick or paper, trace the
pattern on to the piece of wood. Now use
a drill to make some pilot holes into the
inner waste areas. If you're keeping the
background then drill to just above the
required depth of the background.
2 Using a bandsaw, jigsaw or something

similar to cut away the outer waste wood,
when sawing try to saw a millimetre
or two on the outside of the line. That
way you have enough wood left to
allow for removing the saw marks.
Alternatively, carve down the background 1 2
to its required depth, cleaning up the drill
marks if you are carving a bas-relief.
3 Now, use a coping saw, scroll saw or

something similar and cut out the inner
waste areas. As before leave a millimetre
or two to allow for removal of saw marks.
If you are creating a bas-relief, carve down
these areas using a spoon chisel, which
will help in lowering the background.
4 Now secure the dragon ready for carving.

I used a peg board attached to a carving
vice to secure the project for carving,
though using glue and paper to fix a scrap
piece of wood to the back of the carving
will work just as well. Using a deep
gouge, sketch around the wing
where it overlaps the body. 3 4
20 WOODCARVING 157

CHERRY DRAGON PROJECT
5 Use a No. 8 gouge or similar to carve

down the body and neck areas to roughly
half the original thickness of the wood, so
the wing, the tip of the tail and head all
stand proud. Then, continue using a deep
gouge such as the No. 11 sweep to refine the
edge of the webbing of the wing and around
the tail.
6 Use a deep 11 sweep gouge or similar to

carve around the dragon's frill, then use
a medium to shallow gouge and start to
shape the contours of the head so the frill
stands proud and level for now.
7 Now start to carve the wing back so the

5 6 top of the wing and its horn slopes back
and tucks behind the dragon's head, horns
and frill, to about half the original wood's
thickness, leaving the ends of the wing at
the original surface level for now.
8 Use a small, deep gouge to redefine

where the wing joins the body, then with
a shallow gouge round over the body and
tail removing the saw marks, blending
and smoothing these areas as you go.
9 Now draw the ridges (the wing's

fingers) on to the wing and the horn in
place then, with the best fitting gouge,
create a stop cut across the wing's horn.
With a hooked skew or similar start
to carve the horn to its rough shape.
7 You will need to finish refining it later
once the head's horns are carved,
10 Using a large, deep gouge start to

carve in the folds of the wing. Keep an
eye on the grain direction as you will
need to change the direction of the cut
so as to keep the ridges clean and
crisp. Also, using a rolling slicing cut
in between the ridges will help to
keep the ridges looking crisp.
11 Back to the head, use a medium to

deep sweep gouge to shape around the
cheek area, the cheek being the second
highest point on the head after the frill
and the top of the horns, the beak/mouth
area will be the lowest part of the head.
8 9 Adding the contours of the head as you go.
10 11 →
WOODCARVING 157 21

TOP TIP: If you have trouble visualising an
area to be carved, say the contours of the
head, then using some modelling clay or
polymer to make a model/marquette can
help to work out how the features look
before committing to the carving itself.
12 Draw the eye, horns, mouth etc. on to

the head, then, once you're happy with
their placement, use a small veiner or
V-tool to carve in the eye and then blend
with various gouges. Use a hooked skew
or similar to define the corner of the eye.
13 When carving in the horns and removing 12 13

the saw marks in between them you will
have to do some carving against the grain.
Using a hooked skew or knife with a slicing
cut and taking off small slithers will help
to leave a clean cut and make life easier.
14 Use a No. 6, 6mm or similar to create

some stop cuts on the mouth, separating
the upper and lower jaw, then use a fishtail
gouge to carve the lower jaw up to the stop
cuts. Continue rounding over, blending
and shaping the mouth beak area.
15 Using a deep No.9, 5mm or similar with

a rolling slicing cut, (which will help to keep
the ridges crisp and prevent them from
crumbling) carve in some grooves on the frill.
14 15
16 Draw the back of the neck in place then,
with a deep gouge, start to separate the spines
from the neck and tail, rounding the neck
and tail as you go. You can now gain better
access to finish shaping the wing's horn.
17 Redraw the curvature of the webbing

between the wing's fingers and the frill,
then with the best fitting gouges add a
slight slice going with the grain as you
cut down, creating a clean edge to the
webbing between the wing's fingers.
TOP TIP: Only undercut the wing &

frill after the back cutting is complete
otherwise you could break these areas
by adding to much pressure to these 16 17
weak areas while back cutting.
18 Using a shallow gouge reversed finish

off shaping the tail, rounding over the
edges of the tip of the tail, giving it an arrow
shape, then, using a No. 11 gouge sweep or
similar, carve in two grooves where the end
of the tail joins the arrow head and blend
them together.
19 Now draw a line along the top edge

of the wing. This will be the wing's thickness
and will help to keep the wing an even
thickness while carving. Also consider the
overall strength of the wing when marking
out the thickness. Then mark out the gap
between the horns on the dragon's head
and any other area that over or underlaps. 18 19
22 WOODCARVING 157

CHERRY DRAGON PROJECT
TOP TIP: When back cutting protecting

the front of the carving with its detail is
most important. The last thing you want
to do is damage or break a part. One of the
most common problems is putting dents
into the wood, quite often from chippings
that get caught between. Using some kind
of cushion will help – a sandbag or foam
can conform to the shape of the carving,
giving it some support and protection. On
very fragile carvings, make a box with the
sides deeper than the carving, then gently
wrap the carving in cling film and place face
down in the box, placing something on-
top of the box so the carving won't rise up,
20 21 then use some expanding foam to fill the
gaps in the box. Once set, remove the cling
film and you can now back carve knowing
the carving is secure plus the foam won't
damage your sharp chisels as you carve.
20 Turning the carving over and securing

it with some clamps, start to back cut it by
sloping the wing back to the line just drawn,
giving it its finished thickness. Also carve back
the tail so it appears to come forward in front
of the body, making it thinner rounding and
blending with the front.
21 Use a veiner or V-tool to carve in between

the horns to start to separate them. Be aware
of the wing's horn as you carve between the
22 23 head's horns, Then use a hooked skew/knife or
something similar to give shape to the horns.
A slicing cut will help as you will have to carve
against the grain in between the horns.
22 As with the front, draw on the back of the

neck and tail where the spines join the body
and the areas that under and overlap each
other. Use a No.9, 5mm or similar to separate
the spines from the neck, making them
thinner, which will add more shadow behind
them giving them a lighter look. Continue
rounding the neck over, blending
it so the neck seems to be almost in the round.
23 Once all of the back cutting is done try

holding the carving against a wall or flat
surface to look at the thickness of the wing
etc. and how the shadows project the carving
forward. Once you're happy with the back
cutting turn the carving back over and use a
fishtail gouge and a hooked skew to undercut
the webbing on the wing and frill.
24 Sanding is a personal choice. Because I am

using cherry which has a subtle grain pattern
with a warm colour, I wanted to bring out the
natural beauty and show it to the fullest, so I
sanded it. But you could leave this dragon with
a tooled finish or even carve in some scales.
If you do sand then go through the grit
grades starting with roughly 100 , 150, 240,
320 grits to remove the tool and abrasive
marks and leave a nice finish.
Then apply sanding sealer all over the carving.
Once dry cut back with your finest abrasive,
wipe down and apply your chosen finish, after
24 which attach a picture hook and you're done. ◗
WOODCARVING 157 23

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024_WCAR_157.indd 24 5/25/17 9:57 AM

MEET THE AUTHORS COMMUNITY
Our contributors
Andrew Thomas has Bob Tinsley has been Dave Western is a Duane Cartwright is a self- Frederick Wilbur has
been a professional carving for more than professional lovespoon taught woodcarver based practised traditional
sculptor since 1993 and 50 years. He particularly carver and the author of in Hartland, North Devon. decorative woodcarving
delivers weekly private enjoys knife carving two books on the subject. He has been carving on and for more than 25 years.
woodcarving lessons and carves all manner He carves to commission off for about 15 years. His He has produced articles
for both beginners and of projects but loves and also teaches carving interest in carving began for Fine Woodworking,
intermediate students. carving lovepoons. classes. His books, The Fine while undertaking an Woodwork and Woodcarving
www.3dsculptor.com bobtinsley785@gmail.com Art of Carving Lovespoons apprenticeship in antique magazines and has
art@3dsculptor.co.uk and History of Lovespoons, furniture restoration. also published three
are both available through www.duanescarving. woodcarving books.
GMC Publications. blogspot.co.uk
davidwesternlovespoons.
com
Gary Marshall has had Mike Wood has been Peter Benson has travelled Steve Bisco has been William Barsley is
a life-long interest in carving all his life and the world teaching and carving for 30 years, currently studying for a
woodlands and the professionally since 1986. judging woodcarving of specialising in decorative Diploma in Ornamental
countryside. He trained in Carving mostly birds, he all standards for the past carving in period styles, Woodcarving & Gilding
countryside management is self-taught and takes 20 years. He has written first in wood and recently at the City & Guilds of
and subsequently ran a great inspiration from the two books on the subject. in stone. His book Stone London Art School.
company working with American bird carvers. bencarve@btinternet.com Carving for the Home & www.williambarsley.com
local county councils, www.mikewoodbird.co.uk Garden is available from willbarsley@
as well as a wide mikewoodbird@ GMC Publications. googlemail.com
range of conservation btinternet.com steve@thebiscos.com
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WC157_25_MEET THE AUTHORS_MB.indd 25 05/06/2017 16:46

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026_WCAR_157.indd 26 5/25/17 9:25 AM

Leaf-inspired design
Andrew Thomas demonstrates how to carve a shallow maple leaf dish
T his project is aimed at the beginner-level

woodcarver, and only requires a small piece
of timber and very few tools. The design
for readers who are new to carving. However, it
isn't very strong, so great care, razor-sharp tools
and a gentle touch must be used throughout the
PHOTOGRAPHS BY ANDREW THOMAS
and form of the maple leaf can easily be modified project, especially on the lower sections of the leaf.
to incorporate the reader's own ideas. For A stronger timber can, of course, be used, walnut
example, the depth of the dish can be made for example being an ideal choice, as it is very
deeper with a thicker piece of timber. strong and far more attractive when finished.
The basswood timber used for this project is Before you start working on the project, please read
a very soft to carve and forgiving species when through the complete step guide and study the stage
worked close to the grain, making it an ideal choice and finished images to see how the leaf develops. →
WOODCARVING 157 27
WC157_27_31_Pro_Maple_Leaf_Dish_Thomas_MB.indd 27 06/06/2017 15:06

Things you will need
Tools Material s
Swiss gouges: • Basswood (Tillia spp)
• No.2, 16mm 275mm long x 125mm
• No.9, 5mm wide x 25mm thick
• No.7, 20mm
• No.11, 3mm or No.12, 3mm
• No.16, 1mm
28 WOODCARVING 157

MAPLE LEAF DISH PROJECT
1 Scan or photocopy the scale drawing

provided, enlarging it to the correct size for
your wood, and print it out on to card to use as
a template. Cut it out accurately and draw the
shape on to your wood, ensuring that the grain
direction is running vertically through the
block. Leave enough spare wood at the base of
the leaf so that it can be attached to your vice.
2 Cut the shape of the leaf out with a

saw, working directly along the outside
edge of the design line, then mount it
securely on your woodcarving vice. The
design of the leaf is asymmetrical, but it
doesn't matter which side is chosen for the
concave top or the convex underside.
1 2
3 Starting with the convex lower side first,
draw the dividing lines of the leaf sections on
to the wood. Use a No.2, 16mm gouge to pare
away the left side of the top section, working
with the grain, from the surface down to the
left edge. If you feel any resistance with the
cut, then try working in the opposite direction.
4 Then use a No.9, 5mm gouge to carve deep

grooves in between each of the dividing sections.
SAFETY: Make sure that a part of your left

hand (or right hand if you are left handed)
is always in contact with the surface of the
wood, which is crucial for balance, control
and directing the gouge cut safely.
3 4 5 Use the No.2, 16mm again to pare
along the right edge of the section and
down into the No.9 gouge groove. Now
repeat this procedure with the centre
section at the very top of the leaf.
6 The tips of each leaf section can be varied

slightly in depth from one another, but
make sure that at least two tips are using
the full depth of the wood and touching the
opposite edge. Draw these all into position
with a gentle curve flowing towards each tip.
Use the No.2 to pare the wood along each
section until you reach these design lines.
The No.9 grooves will undoubtedly need to
be deepened as the concave surface forms.
7 Next, move on to the section immediately

5 6 to the right of the top section. The grain here
is slightly different to that at the top and is
much weaker. Therefore, great care must be
taken with the pressure of the gouge work,
especially later on when the leaf becomes
more refined in its depth. Use the same
techniques as outlined in steps 3 to 6.
TOP TIP: When producing convex forms, if

access allows, it can be very effective using
the gouge upside down, therefore lending its
curvature to the convex shape cut desired.
8 The lowest section is the most vulnerable,

weakest part of the leaf, due to the grain
running vertically through its horizontal
projection. The area next to the stem
can be carved quite deeply here to begin
with, allowing good access to shape
7 8 the lower edge in its convex form. →
WOODCARVING 157 29

SAFETY: If you are ever concerned about
cutting yourself when carving, consider
purchasing and using a pair of high
quality cut protection gloves, which are
available from many online retailers as
well as hardware and tool stockists.
9 Now move to the left side of the leaf and

use the same techniques outlined above
to produce each of the convex shaped
sections of the leaf. When you have worked
around the entire shape, you will find
that you are left with a flat area in the
centre. This area can be shaped into the
direction of each adjoining section of the
leaf. The stem of the leaf will be carved 9 10
last, as this area needs to be kept strong.
10 The leaf can now be further developed

by working deeper into each dividing
section and curving the adjoining high
point into the deep gouge cuts. Blend all of
the surfaces naturally and evenly together.
Your leaf should now look like this.
11 We now turn our attention to the

opposite, top side. If you are working off
a faceplate, you will need to reposition the
leaf to the opposite side first. This side
is concave in its form and therefore
initially needs to be hollowed all of the
way across its surface from tip to tip.
Do this with a No.7, 20mm gouge.
11 12
12 The aim here is to create a concave shape
on the top side of the leaf, in relation to that
of the convex lower side. It is also to create
the illusion that the leaf is somewhat delicate
and thin, particularly on the tips. We do,
however, have to allow for the fragility of the
medium and not go too far with the refining.
13 The top side of each section is notably

flatter than the underside, so do not strive
to create the same level of depth. Mark these
positions around the surface of the leaf.
14 Use the No.9, 5mm gouge to carve a groove

in between each dividing section of the leaf.
15 Use the No.2, 16mm gouge to curve the

adjoining areas into the No.9 gouge cuts. 13 14
Repeat steps 14 and 15 until you are happy
with the overall visual effect of the surface.
TOP TIP: The natural shape of the maple

leaf is very flat, generally with five sections
across its surface. Each of the sections
has a jagged edge with pointed peaks.
When carving leaves, these little peaks
can be exaggerated in depth and form to
produce a more visually effective finish
with a good amount of shadow. They
can also be carved quite flat as per their
real life appearance if one chooses to.
16 Next, reposition the leaf to the opposite

side of your faceplate again. Now work
around each of the sections and draw
these small lines, which radiate from in
between each of the jagged edge peaks. 15 16
30 WOODCARVING 157

MAPLE LEAF DISH PROJECT
17 Now use either a smaller gouge or

V-tool to cut the little separating line
of the leaf sections.
18 Smooth over the details of each section

of the lower side with sandpaper. Sand in the
direction of the grain where possible. Make
sure that you brace each leaf tip with your
fingers as you work over it to prevent it from
snapping off.
19 When working into the V-tool grooves,

fold the paper so that it locates snugly into
each of the little channels, and shape and
smooth them outwards on to the higher peaks.
17 18 20 The last job to do in between each of
the jagged leaf tips is to make a final deep
cut with a very small No.16/1mm V-tool.
21 The lower side of your leaf should now

look something like this. Make adjustments
if necessary.
22 The leaf should now be repositioned on the

opposite side of your faceplate again. Repeat
steps 17 to 21 on this upper side, taking care
with the amount of pressure that you apply to
the gouge cuts so as not to snap the tips.
23 Before carving the final stage of the project,

sand through each grade of abrasive first, so as
not to smooth away the fine details of the veins
later on. Firstly, brush hot water over the leaf
19 20 21 and leave it to dry. Then work through grits
150, 240 and 400, removing all of the scratches
from each previous grit and repeating the hot
water process in between.
24 Add as much or as little detail to the veins

as you wish. Draw the veins in position on
both upper and lower sides of the leaf. Use
the No.16, 1mm V-tool to work along each line,
down from the tips towards the centre of the
leaf. The channels should be even in depth
and width. Make sure that you clean out any
little areas of wood that may have split at the
branching points of the veins. Repeat this on
both sides of the leaf, then use the 400 grit to
smooth the channel and adjoining edges.
25 Sanding and finishing should be done while

22 23 the leaf is still attached to the base, so that
both hands are free for the application of the
wax and bracing the tips. Use a toothbrush, or
similar, to brush the wax evenly into the detail
and over the entire surface of both sides. Use
a clean, soft-bristled brush to buff the polish
up to a good sheen, followed by a soft cloth for
the finishing touch. Repeat twice.
26 The last job is to form the shape of the

stem before the maple leaf is cut off the
base. This can be as long as you wish – the
example is 25mm in length. The stem should
be formed in a curve, from the surface of
the underside up towards the surface of the
upper side. Use the V-tool to carve along the
edges, between the leaf and the stem, and the
No.2/16mm to shape the stem. Sand and finish.
The maple leaf can now be cut off the base,
24 25 26 and the lower edge sanded and finished. ◗
WOODCARVING 157 31

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032_WCAR_157.indd 32 6/1/17 12:08 PM

THE DIARY
of a student woodcarver
In this installment of the Diary
of a Student Woodcarver,
William Barsley looks at letter
carving and his first year of the
course as it comes to an end
Borys Burrough my fellow

woodcarver working on
an upright drawing board
RECOMMENDED READING
There are so many good lettering books
out there that it’s hard to choose just a
PHOTOGRAPHS BY WILLIAM BARSLEY
few, but here are some of my favourites:

The Origin of the Serif – Edward
M Catich, Catich Gallery
Writing & Illuminating & Lettering –
Edward Johnston, A&C Black
The Eternal Letter – Paul Shaw, The Mit Press
→
WOODCARVING 157 33
WC157_33_35_Tech_Diary_Student_Barsley_MB.indd 33 24/05/2017 11:00

E
nd of the first year. I can’t quite believe that the first year and that of my classmates since we started back in October.
of the course is almost up. Luckily there are still two more The degree show of the current final-year students is
years to go, but the speed at which this first year has flown fast approaching, during which they present and have the
by has made me value each day even more. Now feels like a good opportunity to sell the work they have completed throughout
time to reflect on the year and whether it was the right decision the course. The workshops have been spruced up, old
for me to pursue this ‘official’ route of training. Doing a diploma woodchips cleared out and the culmination of their three
is by no means the only way to become a professional woodcarver years of hard work is carefully displayed around the studios.
(one of the best tutors at college is a self taught carver), but I feel I highly recommend coming along if you’re in the area at the
that the structure and guidance offered by a course suits my way right time. The degree show takes place annually in June and
of learning. It’s motivating to see the improvement in my work there are usually a number of days open to the public.
Letter carving
In this series I have touched upon some of
the key techniques we have been learning on
the course, such as relief carving, drawing
and modelling. But I have not yet discussed
the practice of letter carving, which a good
part of the course focuses on. Lettering can
be one of many strings to a woodcarver’s
bow, with clients often wanting inscriptions
or lettering included in their commissions,
or, for some, can be a full-time practice.
Learning to letter carve has been a
revelation to me as I never quite realised
the depth and intricacy involved, nor the
concentration required. We look at letters
every day but rarely do we stop to think
about their form and structure, and even
more rarely do we notice the space between
the words and letters (although this in
itself can be a sign of good lettering).
Our tutor, Mark Frith, who attended
the City & Guilds of London Art School in Drawing out the letters in preparation
1980, is a renowned letter carver, working
in both wood and stone from his London analogy of learning to drive a car, for letters, in particular those found on
workshop. In partnership with Sally Bower, example, you must know the function and the famous Trajan column in Rome,
one of Mark’s most notable works to date importance of the gear stick and clutch which are considered the most
is the Language Pillar at the Tibetan before learning how to use them. With important historical example.
Peace Garden next to the Imperial War lettering, you must know the function In our second year, through a study
Museum in London. This impressive piece and importance of key components, such of calligraphy, we will learn ‘round
features some of the Dalai Lama’s words as the thicks and thins of a letter and the hand’ lower case and how to develop
carved in four different languages. spaces between them, before being able to further scripts. We will carve a lower
fully understand the construct of different case inscription during this time. In
The grammar of lettering scripts to apply the form and composition. the final year, we will be given the
Mark is teaching us what is often described Starting with the basics in our first freedom and creativity to work on
as the ‘grammar of lettering’. Using the year we focused on learning capital a lettering project of our choice.
Carving the alphabet

To put into practice what we learned during this first year, our art of letter carving and the natural grains of the wood.
initial lettering project was to design and carve the alphabet in To ensure we understood the variation and influence that
capital letters. The letterform had to be Trajan but the layout different types of wood can have on our lettering, each of us
and design could be our own creation. I decided to use the were encouraged to carve our alphabet in a different wood.
modern QWERTY computer keyboard layout for my design, The choices were cherry, oak, maple, sycamore and beech –
which made an interesting juxtaposition against the traditional all good woods for lettering. I chose oak for my project.
Finished design for the alphabet Halfway through carving the alphabet
34 WOODCARVING 157

STUDENT DIARY FEATURE
My fellow first
years, busy
DID YOU KNOW? designing their
Historically, lettering was painted on alphabets
with a brush prior to the carver cutting
in the letters. This is thought to be where
serifs come from (where the brush stroke
would start) as Edward Catich describes
in his book The Origin of the Serif.
BELOW: My
first lettering
commission for
a house sign,
received soon
af ter the
alphabet project
Once our designs were complete and our

planks were jointed together and finely
sanded, we carefully transferred the
drawing on to the wood using carbon copy
transfer paper. Over the course of a week, we
tentatively began carving – slowly at first,
nervous about slipping or spoiling the piece,
but faster by the end and with increasing
confidence (an important part of carving).
It was with relief that I finished the project
without any major slip-ups though, as
every carver knows, there are always minor
mistakes that only they are likely to ever
notice but that can be irritating at the time.
Painted lettering for a house sign in Kent, carved in oak The completed alphabet project
TOP TIPS FOR LETTERING

• Make sure the direction of the wood grain is running Next time…
horizontal to your lettering. This makes the letters
easier to carve and they don’t split out as much. Carving Countries goes to Iceland
• When carving letters into oak, the shadow is often Through the college, the opportunity of a summer travel grant
lost. One trick is to carve them just a little deeper to arose, which I made a proposal to travel to Iceland to continue
trap the shadow, aiming for more of a 90° angle. my Carving Countries journey (www.carvingcountries.com)
• One lesson I learned the hard way: make sure you and learn about Nordic carving. In the next article, I will
sand the board prior to carving and not after. This will write about my summer adventures as I set up a workshop
save you from dulling the edges of your lettering. at a traditional craft village in Devon, and explore the
incredible history of woodcarving in Iceland. ◗
WOODCARVING 157 35

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A passion
for carving
We catch up with Bernard
Harris and find what it is
he loves about carving
PHOTOGRAPH BY Anthony Bailey/GMC PUBLICATIONS
WC157_38_42_FEA_MB.indd 38 24/05/2017 11:01

IN PROFILE FEATURE
A
turning and carving friend of mine
told me about ‘an amazing piece of
work’ by Bernard during a call. He
said that Bernard had carved a turtle in
burr elm – seen in last month‘s issue of the
magazine – and that it might be worthwhile
talking to him about him and his work.
So I contacted Bernard and duly set up a
date to visit him in Burgess Hill, Sussex.
On arriving, I was welcomed by Bernard
and his wife Betty. As soon as I entered the
hallway there was an array of carvings on
the walls and even more dotted around the
lounge and dining room. Bernard commented
with a smile: ‘I do a lot of carving.’
Bernard said: ‘I love carving, but my
problem is that I don’t draw. I can follow
a plan though, so most of my sculptural
and animal carvings are ones that have
featured in the Woodcarving magazine or
how-to-carve books that have plans.
‘I do modify them sometimes, and size-
wise sometimes, to create a slightly different
look, but I just can’t generate scale drawings
of my own for my own ideas. I never have
been able to for this type of work.’
Looking around at the work displayed
he commented: ‘That one [pointing
to a flower and fruit carving] is based Horse head inspired by Andrew Thomas
on a piece of work by Steve Bisco. I
like classical decorative items as well ‘When I wanted to carve my turtle I went and am a granddad and great granddad.
as animals and modern items.’ to Bob and discussed what I wanted to I have lived in Burgess Hill in Sussex all
He then went on to identify others. ‘The do and he generated the scale drawings my life. I have two sons and a daughter
whale and horse head were drawings in for me. He helps me when I have ideas for and worked as a carpenter and joiner
articles by Andrew Thomas. That one is carving projects. I just love to carve.’ before finishing up as a building
an otter based on a drawing from Bob Over a cup of tea we started talking about site manager. ‘I enjoyed the work,
Jubb. Bob is a friend of mine,’ he said. how he got started. ‘I am 83 years old now but I almost became a carver.’
Otter in the style of Bob Jubb Flower and fruit carving inspired by Steve Bisco →
WOODCARVING 157 39
WC157_38_42_FEA_MB.indd 39 24/05/2017 11:01

→ Starting carving
I enquired as to what got Bernard into
carving. ‘I first started carving when I
was 13 years old. That was 1949-1950. It all
started with my dad getting me a Saturday
job cleaning out a wood carver’s workshop.
It was a way of earning a bit of money so
I went along with it. The workshop was
owned and run by George Swaysland. He
had five or six carvers working there when
I went. I had to move all the tools in order
to get at the shavings and chips. Once
clean, I had to put everything back again.
‘The benches had lots of chisels and
planes of all shapes and sizes and I was
fascinated by them. Most of the work being
done at the time was repairing or replacing
bomb-damaged items from buildings in
London. I was really impressed by the
quality of the work and what they were
doing. A while after I started cleaning up
there I asked George if I could learn how
to carve. He looked at me and said: “If you
want to learn, finish cleaning in three Bernard‘s first carving
hours or less I will then set you a task.”
‘I finished the cleaning in the right time loved carving. Sadly, George had to close & Son before doing my national service.
and the task he set me was an acanthus his workshop and I had to find a job I then worked for several companies
leaf. He drew it and I carved it. He was somewhere else. After leaving school I did before being made redundant at the
a good tutor. I finished the piece after an apprenticeship as carpenter and joiner. age of 62 and then went self employed.
many weeks of Saturday mornings. I with a building company called Norman I’ve always loved working with wood.’
wood.
15 years later
‘It was about 15 years later I met up with
George Swaysland again and started
carving again. He set up an evening
carving class at Oakmeads School
which I joined, so it was back to square
one. I still go to the same class in the
same school to this day – although
George is no longer with us – and love
meeting up with my carving friends.’
Why did you start again, I asked? ‘I
missed the feeling of bringing the wood
to life by cutting away the unwanted
timber. I tried turning a while back too and
still do a little bit, but I prefer carving.
‘I enjoy carving in relief, letter carving
and in the round but in the past two
years I have been trying to carve more
in the old way, like Grinling Gibbons.
‘It makes me wonder how they managed
with their tools, glass paper and so on
to achieve the finish they did. I know Whale in the style of Andrew Thomas
the tools have not changed much but
the work produced back then was
amazing. I know there are some people
now producing such lovely work too.’
TOP TIPS FOR OTHER TURNERS

• After sharpening your tools, wash your
hands before you start carving again.
Oil water or buffing compound on your
hands can contaminate your work.
• Keep both hands on your carving
chisel and make sure your work
does not move about when you
just spot an adjustment. Blood
is a job to get off the wood.
Pierced relief panel from an article by Steve Bisco
40 WOODCARVING 157
WC157_38_42_FEA_MB.indd 40 24/05/2017 11:01

IN PROFILE FEATURE
Workshop
Bernard’s workshop is about 8m x 3m in size and he shares it with to work. I used to have a lot when I was on the tools, but I don’t
the car. He has a well-appointed workshop with a very sturdy need much now to do the work I want to. I spend a lot of time
bench. He also has sharpening equipment, a selection of tools in here in the summer to autumn months but not so much
and machinery for carving and lathe work and other DIY bits when it is cold in the winter. My latest project is a relief Tudor
and pieces, including a bandsaw. ‘I don‘t need too many items rose. It’s taking me a while but I am enjoying carving it.’
Bernard‘s workbench with some tools Bernard‘s sharpening kit
What is your next major project?

‘My biggest personal achievement carving-
wise has to be the burr elm turtle. It was
labour of love and I loved carving it. I could
have chosen a plainer timber, but think the
burr was the right piece of wood for this. I
won‘t part with it. I never sell anything of
my work. I carve for personal enjoyment.’
What is your next major project?

‘I haven‘t decided yet, but fancy
tackling the project by Andrew
Thomas of the stylised swan.’
What mistakes have you made?

‘I should have built my workshop with
daylight coming in from the north
and have roof light, but I manage with
the aid of a good angle-poise lamp.
‘I came close to giving up carving
when I made a spelling mistake, not
finding it until it was on the wall waiting
unveiling in two days. I was told that
it would not be accepted if they could
see the repair. The 50mm x 460mm
quartersawn board still hangs in place
and I am not going to tell how I removed
the eight-letter word. Let’s just say that
even to this day you can’t see the join.’
What was your oddest challenge?

‘My oddest challenge in carving
was a 250mm
5 longgp
park seat
in oak with 100 x
100mm legs, 150mm x 50mm rails, 50mm ABOVE: One of the many drawings
x 38mm slats. I had to carve the names created by Bob Jubb as he and
and dates upside down in order to reach Bernard discussed the turtle project
the areas I needed to. It was a tricky
job commissioned by a cricket club.’ LEFT: Top view of the turtle
→
WOODCARVING 157 41
WC157_38_42_FEA_MB.indd 41 24/05/2017 11:01

Bernard's latest project awaiting more work
The future
As we sit and talk a while longer I ask Bernard
what he would like to do in the future. ‘I am
starting to get arthritis now so my carving has
reduced somewhat but I would hope my eyes and
hands last quite a while yet. I still love carving
and reading about it. I love seeing what people
are making. I attend the Sussex Woodcraft
Society that has been going for 32 years. I was
there at the first meeting and still love going.
They have a meeting almost every month and
I want to continue going as long as I can.
‘I would like to see more carving teachers to carry
on the craft. If more people knew how wonderful
carving is maybe more would take it up.’
As I left Bernard and Betty's house I couldn’t
help but reflect on Bernard’s love of carving.
He is definitely passionate about all things
carving and I wonder how many more people
are producing wonderful things but rely on
inspiration and articles to work with.
He has never seen not being able to draw as
preventing his love of carving. Yes, he said that
he would love to be able to create more things,
but then he asks a friend to work with him
to create them. This seems to be an excellent
way of working round things for him and he
works with friends closely to achieve things.
I am intrigued to see what else Bernard carves A relief carving
in the future, but one thing is certain – his joy of copying the design
meeting up with people at the various clubs means of the casting
that he is sharing ideas with others and making on the Mary
a contribution to many other carvers he meets. ◗ Rose cannon
42 WOODCARVING 157
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15-129 Woody cross titles ad.indd 44 5/31/17 10:47 AM

Stylised killer whale
Dave Western creates from scrapwood a killer whale that is based heavily
on a dramatic form of stylisation common to Celtic and Northwest Coast Art
I f you are anything like me, you find it really so common to Celtic and Northwest Coast stand unsupported, so the pectoral fins
difficult to get rid of those little scraps art. In these forms, literal representation and the tail act as a tripod, keeping the
of wood that are too small for your usual often gives way to exaggeration and whale surprisingly stable. The beauty
projects, but you just know will be perfect distortion, so, in this particular piece, of this project is that you can play with
for something one day. I have boxes full of the dorsal and pectoral fins become the the design to suit your piece of wood.
PHOTOGRAPHS BY THE AUTHOR UNLESS OTHERWISE STATED
these odd bits but ,to be honest, I never get focal point, with the head and chest areas
around to using them for anything much. A playing a secondary role. The tail is under- Things you will need
case in point is a little piece that has been emphasised so that the idea of the whale • Bandsaw or scrollsaw
teetering on the edge of my bench for about breaking the surface but not leaping can be • 25 & 38mm straight carving knife
three years. I've often considered throwing achieved. I think the result is a lovely little • Fine file
it in the burn box because it is really nothing piece that is both relatively straightforward • Abrasive
special, but have somehow always resisted to carve and attractive to the eye. • Adhesive – fast-set epoxy or cyanoacrylate
the urge. I'm glad I did, because the other No effort was made to ensure anatomical • Abalone/mother of pearl, or similar for
day this little killer whale design suddenly accuracy in the design, rather, the idea was the eye
popped into my head and it worked just to exaggerate the dorsal fin, pectoral fins
right for the little scrap. The design is based and eyes and to give the piece a feeling of Materials
heavily on the dramatic form of stylisation motion. It was also important the piece • 110mm long x 76mm wide x 31mm thick →
WOODCARVING 157 45
WC157_45-47_Pro_Whale_Western_MB.indd 45 24/05/2017 11:02

76mm (3in) 31mm (11/4in)
1 To make this carving, photocopy my finished

drawing, glue the photocopy directly to the
block being used then saw the waste off.
2 With the block roughed out, measure

a centreline around the entire carving to
ensure that the dorsal fin is centred, and
ensure that both sides of the body are
equally thick and the tail fin is even. Then
use a saw to rough out a tapering cut, which
quickly removes material and shapes the
outline of the dorsal fin. This same cut
could be achieved by knife cutting, but the
process is much more rapid with a saw.
3 With the centreline ascertained and the

rough outlines cut, begin the process of 1 2
hogging away excess material. The idea at
this point is to round out the body shape,
form the dorsal fin and clean the areas
around the tail fin. The cutting can be
deep and bold at this initial stage of
proceedings. Continually refer to the
centreline to ensure the carving remains
balanced and both sides appear equal. If
one side looks to be fatter than the other,
spend a bit of time with some shallow,
careful cuts to even both sides back up before
advancing any further in other areas.
4 As you get closer to the final shape, pay

particular attention to the shape of curves
and the depth of your cuts. In this photo, you
can see that the curve on the left side of the
dorsal fin is longer than the one on the right.
You need to make things nice and even. 3 4
46 WOODCARVING 157

KILLER WHALE PROJECT
5 Now outline the shape of the pectoral

fins and begin shaping them. Scribe a line
by drawing the knife along the outline
in the manner of a pencil. Cut down
about 3mm into the wood and then start
cutting away surrounding material to
‘raise’ the fin away from the body.
6 As the pectoral fins take shape, they

can be separated underneath the body.
Use the straight knife or gouge to rough
it out, keeping the knife back for the
cleaning cuts at the end of the operation.
Ensure both fins are equal thickness.
With the fins defined, the body shaped and the
face formed between the pectorals, the whale
5 6 can either be left ‘off the knife’ or it can be
sanded smooth. I opted to sand it for the sleek,
glossy look that a wet killer whale's body has.
7 I used a small disc of abalone – available

from craft suppliers and bead shops – in
the whale's eye but you can carve an eyeball
with a gouge and straight knife. To shape
the cutaway section the disc will be glued
into, use a gouge the same diameter as the
abalone disc to scribe a circle. Then cut the
material enclosed by the circle to a depth just
slightly less than the thickness of the inlay.
8 Ensure the abalone lays flat before gluing

in place to make sure it sits right. Now clamp
the disc in place while the glue sets. Once
set, shape the disc to follow the curve of the
7 8 whale's face. I use a file. Always wear a mask
and work in a well-ventilated area when filing/
sanding abalone as the dust can be both an
irritant and a health hazard. I use a lightly
dampened rag to clear away the dust. Once the
eyeball has been shaped, use a straight knife to
clear away the remaining material around the
eye. Make sure the outlines are cleanly scribed.
9 Scribe all the Celtic ‘swirls’ cleanly and to

a consistent 2-3mm depth before removing
any material. You can use the straight knife
to trace the design outline or you can use
the gouge to shape the curves and the
knife for the straight sections. Keeping a
consistent depth to the cut is the key point.
10 To refine the pattern, angle in and cut from

9 10 either side of the scribe line. The goal is to meet
cleanly at the bottom of the central scribe line
in the manner of letter carving. Once an initial
small V-shaped groove is created around the
entire pattern, sections can be deepened as
required to create a vibrant design. If you find
a knife leaves the curved areas of the Celtic
scrollwork a bit unruly, you can use gouges to
cleanly cut the scrolls for a more refined look.
11 With the cutting and sanding all complete

– make sure all sanding marks are removed
– apply a couple of coats of penetrating
oil to bring out the wood's colours and
make the abalone dot really sparkle.
12 Although I went with Celtic designs for

this particular whale, it would also look
good with NW coast designs, abstract
11 12 markings or just left unadorned. ◗
WOODCARVING 157 47

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048_WCAR_157.indd 48 5/30/17 4:33 PM
Oak (Quercus robur)
Woodland ways:
Native trees of the British Isles
When talking about trees, perhaps ‘native’ should mean any species that colonises a specific area
naturally. Such terminology is never that easy though, as Gary Marshall explains
S ome sources define ‘native trees’ as

those that have resided here since
the last Ice Age glaciations retreated.
Thus the first ‘native tree’ on the edge of the
retreating tundra may have been the downy
Over that time, seas, lakes, rivers, mountains
and land masses have changed enormously.
There have been Ice Ages and warmer spells.
Defining ‘native’
include ‘archaeotypes’, which are trees that
were present from specific human times.
Such lists may then include the English elm
(Ulmus procera) – a tree that is thought to
emanate from clones introduced in Roman
willow (Salix lapponum) – a shrub that can There are constant efforts to standardise the times – or the sweet chestnut (Castanea sativa)
PHOTOGRAPHS BY GARY MARSHALL
still be found in the Scottish mountains. term ‘native’ and make it more conclusive. whose presence is evidenced in medieval
Tree fossils from species similar to Chile Many argue that it should refer only to those records. Trees introduced by man in any
pines (Araucaria araucana) have been plants that were here when the land bridge, era can naturalise and spread, but these are
found in Purbeck rocks. Time has long via Doggerland to mainland Europe, was not generally classed as native. But what if
since swept away the likes of these trees breached by the North Sea some 6500 years new species of airborne tree seeds were to
from our shores, although even garden ago. Different definitions apply to Scotland, reach us naturally now and spread? Should
centres now stock cultivated versions. Ireland and outlying isles. There are lists that these be logically called non-native? →
WOODCARVING 157 49
WC157_49-51_Tech_Woodland-MB.indd 49 24/05/2017 11:06

Hornbeam (Carpinus betulus)
Blackthorn (Prunus spinosa)
Alder buckthorn (Rhamnus frangula)

Silver birch (Betula pendula)
Evidence suspect there is much still to learn. This is a reached us naturally over the last few
Tiny pollen grains are unique to each tree hotly disputed and much studied subject. millennia? You won't find many lists of
species and survive in bogs other soil and natives that include this ubiquitous tree.
sediment. Pollen, submerged forests, Myth busting?
fossilised trees, twigs and leaves have all Any tree I mention or list as ‘native’ here is List busting
helped to build a picture of the trees that likely to be based on my knowledge, belief, So, here's my list, with omissions but with
were here in the fourth millennium BC. The research, findings and – I admit – possible brief observations. It excludes small natives
Online Atlas of British and Irish Native Flora, established misinformation, hearsay and and climbing or short-lived woody shrubs,
compiled by the Biological Records Centre, rural myth. You may have heard the term e.g. heather, myrtle, broom, gorse, rose and
lists some 80 ‘native’ species of tree and ‘honorary native’ applied to the sweet bramble. Also regional sub-species are not
shrub. Other listings contain as few as 30 chestnut – a native of southern Europe – listed. Nevertheless, I hope you find it an
species. I don't dispute any specific records perhaps because it's so useful, often old interesting reference. What may surprise
but, since regionally ‘native species’ can and handsome. Could some storm-blown you are the many common trees that just
change in little over one human lifespan, I sycamore (Acer pseudoplatanus) seeds have aren't natives, such as sweet chestnut, horse
50 WOODCARVING 157

WOODLAND WAYS TECHNICAL
SCIENTIFIC NAME COMMON NAME NOTES

Juniperus communis Common juniper Small, pointy or spread, berries for gin
Pinus sylvestris Scots pine Scots native, naturalised/planted elsewhere
Taxus baccata Yew Old trees in churchyards, longbows
Arbutus unedo Strawberry tree Co. Kerry Ireland only
Acer campestre Field maple Ancient woods and hedges, autumn golds
Alnus glutinosa Common alder Streamside, pilings, clogs and cotton reels
Betula pendula Silver birch Acid and sandy soil pioneer, shiny twigs
Betula pubescens Downy birch Acid sand and rock pioneer, hairy stems
Buxus sempervirens Box Chalky downland – Box Hill
Carpinus betulus Hornbeam Hot logs, mill cogs – but furniture beetle
Cornus sanguinea Common dogwood Hard stems, white flowers and black berries
Corylus avellana Hazel Underwoodsman’s favourite, wattle fences
Crataegus laevigata Midland thorn Two seeds in the haw, shiny leaf
Crataegus monogyna Hawthorn One seed in the haw, matt leaf
Euonymus europaeus Spindle Garish berries – pink with orange seeds
Fagus sylvatica Beech Chilterns, North Downs, big trees, bodgers
Fraxinus excelsior Ash Strong poles, good logs, dying back?
Ilex aquifolium Holly Ivory wood, leaves thornier near ground
Ligustrum vulgare Common privet Food for the privet hawk-moth
Sweet chestnut (Castanea sativa) – not a native Malus sylvestris Crab apple Ancient woods, sour fruit
Populaus nigra Black poplar Common in Bucks by rivers. Sussex rarity
Populus tremula Aspen Hear the tree, leaves loudly rush in breeze
Prunus avium Wild cherry Occasionally large canopy tree, suckers
Prunus padus Bird cherry Mainly a northern native
Prunus spinosa Blackthorn Black thorny twigs, white bloom, sloes
Quercus petraea Sessile oak Prefers lighter soils, wildlife habitat, timber
Quercus robur Pedunculate oak Likes heavy soils, wildlife habitat, timber
Rhamnus cathartica Purging buckthorn On chalk and limestone – berries purge
Rhamnus frangula Alder buckthorn Acidic rough land – charred for gunpowder
Salix alba White willow Graceful tall tree, white leaf backs
Salix aurita Eared willow Small ‘ears’ before main leaf
Salix caprea Sallow (Goat willow) pussy willow, can grow over 15m
Salix cinerea Grey willow Like small goat willow, narrower leaves
Salix fragilis Crack willow Branches and twigs snap – often pollarded
Salix pentandra Bay willow Mainly northern tree
Salix purpurea Purple willow Used by basket weavers
Salix viminalis Common osier Grown in withy beds and by ditches
Sambucus nigra Elder Elderflower champagne and cordial
Sorbus aria Whitebeam Mainly on chalk and lime, many subspecies
Sycamore (Acer pseudoplatanus) – not a native? Sorbus aucuparia Rowan Mountain ash hardy tree in wild places
chestnut (Aesculus hippocastanum), Sorbus torminalis Wild service tree Locally common in ancient woodland
common lime (Tilia vulgaris), sycamore – Tilia cordata Small-leaved lime See Woodworking Crafts issue 3
I daren't list it – and all conifers other than
Tilia platyphyllos Large-leaved lime See Woodworking Crafts issue 3
the first three trees on my list. Several trees
I've included only occur in native stands Ulmus glabra Wych elm Spreading tree, less prone to disease
regionally in the UK or on particular sub- Viburnum lantana Wayfaring tree Smelly wood when cut – it’s not the dog
soils, i.e. Scots pine (Pinus sylvestris) is native
only to the remnants of the Caledonian Viburnum opulus Guelder rose Rosettes of sterile flowers round lace cap
forests in Scotland; whitebeams (Sorbus aria)
you'll mainly find on chalk or limestone and
the strawberry tree (Arbutus unedo) just in
a small area of County Kerry in Ireland.
Which natives that are listed here are
on your doorstep? Happy hunting! ◗
WOODCARVING 157 51

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Welsh lovespoon
Bob Tinsley shows how to carve a classic design with hand tools
W elsh lovespoons have a long history,

the first verifiable example having
been produced in the mid 17th
century. In the beginning these spoons were
carved by young men of the land hoping to
DID YOU KNOW
It is common usage among the carvers and
aficionados of lovespoons that the word is
‘lovespoons’, and is not divided into two words
entice a young woman into matrimony by as is more grammatically correct. The spoon,
illustrating their skills and their plans for in all cultures, has been a symbol of plenty,
much like the cornucopia. For thousands
the future. Due to the time and place these of years the spoon was the primary eating
spoons were carved with the most common implement. It thus took on the cachet of
tools available – axe, knife and saw. domestic wellbeing. If you had a spoon you
As time went on the designs became more had the means to feed yourself and others.
elaborate and lovespoon production passed
out of the hands of the rural swain and into the
hands of professional carvers. With the advent
of affordable power tools the designs became and axe keeps me in physical touch with
even more complex as the time to produce my art. This makes the carving of each
them decreased. Today rotary carving tools lovespoon a unique and intimate act, an
made by Skill, Foredom, Weecher, Dremel act intended to build a bridge between
and many others are ubiquitous and are very me and the recipient.
versatile, but not everyone has the space to I don't use abrasives for any part of
accommodate these tools nor the desire to the spoon other than the bowl, and
tolerate the noise or dust their use generates. I purposely leave tool marks on all
That would include me. Living on a 28ft my work. I want everyone who sees
sailboat I have no room for most power tools one of my lovespoons to know, just
nor even for a vice, so I limit myself to the tools by looking, that it was made by a
of that 17th century farmer – axe, knife and human being for a human being.
saw. The only power tool I use is a battery- My lovespoons are a product of my
powered drill for starting piercings. I've been passion, love, spirit and philosophy.
carving, off and on, most of my life. I feel that Like all artists, I leave a bit of my
using a power tool takes me away from contact soul behind in each of my pieces.
with my material. Wood was once a living, We humans look for things for our
breathing entity, and as such, deserves the homes that we connect with on an
respect of thoughtful handling. I use only emotional level. That's what makes a
domestic hardwoods so that I don't contribute house, apartment or shed a home. My
to the depletion of tropical rainforests. By goal is to give my clients that connection.
using only hand tools I decrease the carbon Eschewing power tools is certainly not to
footprint of my work. The use of knives, saws everyone's taste, and I do not begrudge
anyone the right and pleasure to use
any kind of tool they like. However, I
find that the virtually exclusive use of
WELSH TRADITION hand tools challenges my creativity and
Beginning some time in the mid to late 1500s makes my carving sessions much more
there was a practice among the European enjoyable. Perhaps you will, too.
royalty of exchanging betrothal spoons, which
were typically made of silver and were highly Things you will need
decorated. It is speculated that the peasant Tools
classes thought this was a splendid idea, so • Coping saw or bandsaw
they began to adopt the practice themselves.
But since they were peasants, they didn't
• Drill & drill bits
have the money to give silver spoons, so they • 38 & 50mm carving knives
used what they could get cheaply or for free – • Hook knife
wood. A young man would carve a spoon that
included in the decoration symbols showing Materials
his feelings toward his intended. Once he • Basswood (Tilia spp.)
finished the spoon he would present it to his 305mm long x 75mm
young lady. If she accepted the spoon, that wide x 22mm thick
PHOTOGRAPHS BY BOB TINSLEY
meant his affections were returned, and the

formal courtship began. The most commonly
included symbol of love is the heart. Dates and
initials were also common. The earliest known
Welsh lovespoon is in the Welsh Folk Museum
at St. Fagan's in Wales. It is dated 1667.
→
WOODCARVING 157 53
WC157_53_56_Pro_Lovespoon_Tinsley_MB.indd 53 24/05/2017 11:18

305mm (12in)
11mm
(7/16in)
75mm 168mm (65/8in)
(3in)
75mm
(3in)
38mm
(11/2in)
78mm
(31/8in)
12mm
(1/2in)
22mm
(7/8in)
12mm
(1/2in)
1 After you have transferred the pattern to

your blank begin roughing out the outline.
With woods like basswood (Tilia spp.) I do
this with a knife, usually a sloyd pattern with
a 50mm-75mm blade. A coping saw would
serve as well. I then use a drill to start wood
removal in the piercings. Drilling the holes
now allows for any tear out on the back to
be removed during the thinning process.
2 The panel/handle of the spoon needs to be

thinned by at least half. I draw a line around
the edge at the desired thickness and bevel the
back down to the line. The use of a hook knife
allows for relatively rapid removal of the excess
thickness. The bevelled edge prevents tear out.
1 2
3 Once you have the panel close to the final
thickness, finish flattening the back. I use
a modified farrier's knife as a one-handed
drawknife. You could also use a standard
drawknife or a block plane. As I don't have
a vice or shave horse I must use tools that
allow me to hold the workpiece in one hand.
4 With the back of the panel thinned

and flattened any tear out from
drilling the piercing holes is gone.
TOP TIP: If you make a mistake, don't worry.

Designs are merely guidelines. Most of the
time it takes very little effort to convert a
mistake into a design modification. This
attitude will make the process a lot easier.
3 4
54 WOODCARVING 157

WELSH LOVESPOON PROJECT
5 This is what the side profile should look like at

this point. Now it is time to start making it look
like a spoon. The stem of the spoon should slope
down from the front surface of the panel to a
point at the back of the bowl where it joins the
stem. I generally cut a trench at this point with
a hook knife to the desired level and cut down
to it from each direction. A saw kerf would work
just as well. The tip of the spoon bowl should be
at the same level as the front of the panel. Place
a tablespoon face down on a table and look at
it from the side. This will help you visualise the
proper profile. This photo shows the side profile
almost complete. The stem should be the same
thickness as the panel all the way to where it joins
the bowl. The back of the bowl should slope up
5 from the deepest part to the tip. I refine the shape
of the tip as I round the back from side to side.
6 When drilling the holes for the piercings

I also drill 1/16in diameter holes as near as
possible to the apex of acute angles where I
will be carving against the grain. This allows
me to insert the point of a knife and carve
away from the apex with the grain, minimising
the amount of carving I have to do against
the grain to get a sharp, clean corner.
7 Using a knife with a thin, stiff blade, make

stop cuts connecting the holes within a
piercing. By cutting back to these stop cuts
you can remove the remaining wood quickly.
8 Placing those small holes at the apex of

6 7 the acute angles makes achieving a clean,
sharp corner much easier. At this point the
stem of the spoon should be left a little
thicker than what you intend to be the final
size. Rough hollowing the bowl will require
some degree of force that might snap the
stem if it were taken to its final dimension.
9 I have made stop cuts from the large

hole into each of the apexes of the
diamond. No small holes were needed
at the lateral apexes because you will be
carving with the grain in both directions.
10 This photo shows the initial

cuts for removing the waste wood
between the arms of the rosette.
8 9 11 This photo illustrates a couple of
ways to add visual interest to the panel.
A completely flat surface aside from the
piercings would be boring. By creating
different levels by chamfering the edges
of some of the piercings and giving some
contour to the linear elements such as the
arms of the rosette and the knot you give
the eye places to play.
TOP TIP: A farrier's knife, properly

sharpened, makes a functional planing
tool. I got the idea from a knife, called a
mocotaugan, used by many Native American
tribes. It is held with the palm of the hand
facing up and the blade extending from the
bottom of the hand. The blade is angled to
the wood to create a slicing action and pulled
back towards the body.
10 11 →
WOODCARVING 157 55

12 Now start contouring the bowl. Start
with the back and take it to about 95%
finished before hollowing the front. Start
from the centreline and round down to
the edges. Alternate sides frequently
to make the contours symmetrical.
13 Pay attention to grain direction. The

deepest, widest part of the bowl is the
demarcation line between cutting toward
the tip and cutting toward the back. Always
try to leave an extension of the stem as
a keel on the back of the bowl. This will
strengthen the stem/bowl junction.
14 To avoid an unbalanced final product, skip

around carving different sections of the spoon 12 13
rather than begin at one end and finish at the
other. The piercings in the triquetra are fairly
small. A very narrow, straight blade, what I
call a keyhole blade, helps to clean them out.
As with all Celtic knots the overs and unders
should alternate. Make shallow cuts at each
junction to make sure you have the sequence
right before you cut to the final depth.
15 Save the borders for the last operation

on the panel. The points of the triangles,
especially in basswood, can be a bit fragile.
The best knife for this task should have a
straight spine and an edge with very little belly
near the point. Insert the point at the apex
of the triangle and rock the blade downward
along one side, pivoting the knife around its
point. Make a shallow cut. Now repeat the cut 14 15
using the same technique along the other side.
16 Turn the blade so that the lower bevel is

parallel to the panel surface and slide it into
the wood until the point reaches the apex.
Rotate the blade around the point and the
chip will pop out.
17 Work your way around the entire border.
18 The hollowing can be done with a single

hook knife. Make your rough cuts across the
grain. The finishing cuts should be made
with the grain taking small, thin shavings.
To gauge the depth, stop after several
cuts and use your fingers as callipers.
19 When happy with the bowl finish, refine 16 17

the stem and the keel where it wraps under
the bowl.
20 At this point the spoon is ready for finishing.

I am not a big fan of sanding, preferring an edge
finish followed by burnishing. I find the process
of sanding dirty and boring. Unfortunately
some woods demand it. Basswood is usually
one of those. Sand the panel stem with 220 18 19
grit abrasive and the bowl down to 800 grit,
as a highly finished bowl is traditional.
After the sanding apply your preferred
finish. I use food-grade walnut oil – but
use an alternative if you are worried
about nut allergies – for its polymerising
properties. The oil provides a light amber
tint to the normally white wood and brings
out the grain, lending a very attractive
finish. See page 53 for the end result. ◗ 20
56 WOODCARVING 157

07599 028604
057_WCAR_157.indd 57 6/1/17 11:15 AM

PHOTOGRAPHS BY PETER BENSON
I love fishtails
Peter Benson explains how to use a fishtail
I have shown you a number three and

a number six gouge and the number
four and five gouges vary little in their
function. Obviously they will cut a different
shape of curve due to the differing sweep
as fishtails. Any gouge or chisel with a blade
that gets progressively narrower the nearer it
is to the handle could be loosely regarded as a
fishtail due to its resemblance to the shape of a
fish's tail (obviously). The real difference is more
widest part, the cutting edge, tapering down to
a long thin shank which is quite stout. This gives
a very rigid tool, even when quite small, that can
safely be used with a mallet on even the hardest
of timbers. It also means that the blade can be
but are just as versatile in their own way. about the basic structure and use of such a tool. much thinner at the cutting end as there is less
However, where each of these tools takes on In general, the flattened part of the blade takes risk of the blade bending in use, particularly
a totally new persona is when they are made on the shape of an elongated triangle with the with those of around 6mm width or less.
This shows a fishtail on the lef t and a standard gouge on the right With smaller gouges there is less obvious difference but the shank is thicker on the fishtail (top)
I use 3, 4 and 5mm fishtails with a small stress-free than working by hand without edge are an acute angle as opposed to a
metal mallet, using the lightest of taps on using a mallet. I would never consider right angle on a standard gouge. Some
boxwood and fruitwoods with no flexing or doing this nowadays with a standard have sharper angles than others, giving
damage at any time. The amount of control small gouge as the feedback through the greater versatility. This means you can
achieved is actually quite remarkable on hand with the vibration, and the danger get into otherwise unreachable nooks,
even the finest of detail. There is no danger of the tool bending, are always a worry. crannies and undercuts, giving a much
of slipping or breaking out with the cut One of the other advantages of these tools neater finish to your work, as long as you
and certainly the whole process is far more is that the corners or ends of the cutting keep these corners sharp and not rounded.
58 WOODCARVING 157
WC157_58_59_Tech_Fishtails_Benson_MB.indd 58 24/05/2017 11:20

I LOVE FISHTAILS TECHNICAL
There are carvers who deliberately angle enough with sharpening so that your tools
the cutting edge to make it, in effect, a skew don't need grinding, only regular honing,
gouge. This means you can carve with a thus increasing the life of the tool, you
slicing action as well as having two different might like to add fishtails to your toolbox.
angles at the ends of the cutting edge. One additional point here. You can get
I also find a fishtail more comfortable to fishtails for all sweeps but I question the
use – it seems to be a better balanced tool in wisdom of having them for any sweep
my hand. This is obviously a personal opinion greater than a six. Standard gouges from
and many of you may not agree. They may 7 to 11 have very robust shanks, making
not suit everyone and, from a beginner's them unlikely to flex and the need for very
point of view, they may not be an economic angled corners to the cutting edge seems
proposition. The blade is much shorter than very remote to me. However, if they are
a standard blade and, because of the taper, made, there must be a demand for them so
it will get progressively shorter and narrower I may well be missing something. I admit
the more it is sharpened. Once the shank is that I do have a few such tools but they
reached the tool has reached the end of its are certainly not the first that I pick up.
working life, whereas a standard gouge will As much of my carving is in miniature I have
go on for years longer as it will still function a range of fishtails that are much smaller
as the same tool until it is ground down than standard gouges and can be used with This shows a much more exaggerated splay on the blade but
to the handle. Once you are experienced a pen grip, making control very easy. makes for a shorter life for the tool
This shows a selection of miniature tools, as shown by the 20p piece – all are fishtails
In this range are two skew gouges, left and right skew, that are wonderful
for getting into those really tight corners that nothing else will reach.
Conclusion
To sum up, in the end what tools you use
most will be the ones with which you feel
the most comfortable. Good manufacturers
will produce long tools, short tools, fishtails
and palm tools of various designs to suit
the majority of people and their needs. If
you are carving in miniature you will need
totally different tools from those used for
larger carvings. Obviously, not every tool
will please every carver, so, before parting
with your hard-earned cash, try as many as
you can and buy those you like the best. ◗
These are lef t and right skew gouges giving a sharper angle to one of the corners
WOODCARVING 157 59
WC157_58_59_Tech_Fishtails_Benson_MB.indd 59 24/05/2017 11:20

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Celebrate with us Woodcarving magazine’s 25th Anniversary

Mind, Body & Soul Carve your own
Step-by-step guide to 19th-century mirror frame
carving a 25th Anniversary
contemporary sculpture
Introduction
to chip carving
Extreme lovespoon
carving: the lengths
people will go to
push boundaries
How to carve a
Georgian-style
pierced panel
WOODCARVING 157 61
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Northern
lapwing
Mike Wood shows how to carve
a stunning countryside beauty
I n this article I show you how to carve pastures for them and other birds to breed on.
and paint a Northern lapwing (Vanellus When carving this or any other bird or
vanellus). The bird measures up to subject matter, you need to do your research.
130mm long and has a wingspan of up to Watch video clips, sketch and draw items
870mm. It is a migratory bird that has a when you see them, make note of the features
distribution throughout Eurasia and migrates that define them from other birds. With the
further east as far as China and Japan. Northern lapwing the crest and the colouring
It is a wading bird and nests on arable are of particular note. The iridescent colours
pastures, grasslands, uplands and similar are available in good craft and art stores and
situations. A ground-nesting bird, it lays also online, so you will not have a problem with
well-camouflaged eggs and the parents finding them – but note the subtle blending
guard their nests fiercely. One trick they use and the location of the colouring. This really is
is to act as though they have a broken a beautiful bird and it's well worth carving one.
wing to lure predators away
from the eggs and chicks.
Here are links to video
clips of a breeding lapwing
on the nest and of a
parent defending the
nest: www.youtube.com/
watch?v=3pv8r9yal-c;
and www.snh.gov.uk/
land-and-sea/managing-
PHOTOGRAPHS BY MIKE WOOD
wildlife/uist-wader-research/
video-footage-and-results/.
The Northern lapwing's common
name is the peewit, which is close
to the sound of the call of the bird.
Changes in habitat and usage of its
nesting grounds has resulted in a population
decline and there are now in place monetary
grants for landowners to re-establish the
→
63
WC157_63_67_Pro_BIRD_ Lapwing_Wood_MB.indd 63 24/05/2017 11:21

LAPWING DID YOU KNOW…
Also known as the peewit in imitation of its display calls, its Early in Egypt's history, the lapwing was a symbol of the people of
proper name describes its wavering flight. Its black and white Egypt under the king's rule. On the Scorpion Macehead (c. 3000 BC),
appearance and round-winged shape in flight make it distinctive, the lapwing is a symbol of the rule of the Upper Egyptian king over the
even without its splendid crest. This familiar farmland bird has Lower Egyptian people. The bird was an obvious choice to represent the
suffered significant declines recently and is now a Red List species. Lower Egyptian people due to its habit of wintering in the Delta.
Credit RSPB - www.rspb.org.uk Credit: Ancient Egypt: the Mythology - www.egyptianmyths.net/lapwing.htm
1 2
3 4
5 6
7 8
Paint Swatches
1 - White Gesso
2 - Black Gesso
3 - Med Grey for under coat for all white area
4 - Dark Grey for under coat all dark area Gesso used for this.
5 - Dark Orange for under tail converts
6 - Createx iridescent Green for back and wings.
7 - Createx iridescent Fuchsia
8 - Createx Pearl Blue
9 - Dark Red for tarsus and feet.
The bill is black
Things you will need tapered diamond burr • Plastic wood

• Medium-sized fine grade • Airbrush and/or brushes
Tools: ball-ended burr to apply the colours
• Rotary carving unit • Airbrush/brushes as appropriate • PVA or similar adhesive
• Handpiece to hold various • Pyrography unit with • Cyanoacrylate adhesive
cutters and sanding units scalpel/chisel-edge tip
• Drum sander and abrasives • Legs/feet Materials:
to fit hand unit • Eyes • Jelutong (Dyera costulata)
• Coarse and medium grit • Two-part epoxy putty or Body: 220mm long x 90mm wide
tapered rotary cutter similar to bond the eyes x 90mm high
• Medium grit ball cutter • PPE – facemask/goggles, Head: 50mm high x 70mm
• Fine grit small ball burr dust mask and extraction long x 30mm wide
• Fine grit flame diamond burr • Pyrography unit and shading • Driftwood or piece of
• Diamond point burr and incising/scalpel-type tips softwood for the stand
• Bullnose stone burr • Selections of acrylic colours • Three pieces of wood
• Fine grade flame/ shown in the palette, plus black for the eggs
64 WOODCARVING 157

LAPWING PROJECT
1 First cut out the bird body shape following

the template supplied. A bandsaw, coping
saw or similar will help but you can just
carve your blanks to shape if you want to.
Note the drawing. It shows the beak and
head in line with the body. This is to give
you the scale and look. The head and body
are cut in two parts and joined together.
Please look at the main opening image. I
have positioned the head twisted round and
looking slightly down to give the bird a more
natural look. Glue the head to the body with
whatever head alignment you choose.
Now rough-shape the lapwing using
either hand tools or power carving tools. I
choose to use rotary power carving tools,
1 2 creating all the main shaped sections.
2 Once rough-shaped, sand it all over, mark

the main large features on the bird and
then rough-cut the shape of the body and
head – be careful of the crest feather area,
refine this later on – to represent the main
profile lines of the bird and the main body,
wings and tail sections as best you can.
When your profile looks as you want it to,
draw in the wing feather positions. They
need to look right, in respect of texture, the
number, the size and the lay of them too.
3 With a high-speed rotary carver handpiece

and a small diamond flame burr carve in all the
wing and tail feathers, getting the depths right,
and start profiling them. Then sand them.
3 4
4 Drill two holes where you want to position
the feet. You can make your own or buy
feet. Now use a diamond point to carve
in breast feathers and neck feathers.
5 Use a bullnose stone to create some texture

and soften some of the harsh aspects on
the underside of the bird. Mark and cut
the eye sockets. Now you need to create
the surround for the eyes and fix them in
place. To do this, create a bed of two-part
epoxy putty and press the glass eyes into
the putty. You will end up creating a ring of
epoxy putty around the eye which you can
shape to behind it in the surrounding area.
6 Now draw in all feathers on the head. Once

5 6 the feathers are drawn in, use a small ruby
point to carve in all head feathers,taking note
of how they flow from the beak to the back
of the head. Now you have two options to
carve the crest feathers. They can be carved
in place from the solid timber. The extended
feathers are fragile but if you snap off a
section don't panic, you can always insert
a new piece and carve that. Or, carve the
crest feathers individually and insert them
in the main head section. After the carving
is done, use a pyrography unit to burn in the
feather detail, starting with the shafts. Then
move on to the finer feather detail using
lighter burning to create the layered effect.
7 Work all over the body parts that

need the main burnt detail before…
7 8 8… creating the finer burnt detail.
WOODCARVING 157 65

9 Note that the chest feather detail is different
to those of the back and wing feathers.
10 That applies too to the feathers on the

rear of the wing tips and tail feathers.
11 Fix the feet in place and create your base

from eroded driftwood, or take a section
of softwood and rough-shape it as you
want it, take it outside in your garden and,
on a concrete slab, burn it heavily with a
blowtorch. Then use a soft wire brush to
remove the carbon and you will end up
with a rippled, undulating surface. You
can, of course, carve the base and create
the shape and design of your choosing.
Here you can see the bird temporarily 9 10
positioned on the base and all the feathers
burnt in. Now it is ready for painting. I use an
airbrush, but of course you can use a brush. If
you do use a brush be very mindful to apply
light, delicate coats to build up the colour.
12 All dark feathers on the bird are

undercoated using black and white gesso as
required. Iridescent green is applied in thin
washes on the relevant areas. In this case the
iridescent green is placed on the back and
the wing sections and partway up the neck
13 Here is a view from the side showing the

blackened head and the white underside.
Do check your reference material. You
need can always backtrack if you get
something wrong, so don't panic. 11 12
14 Use a very thin wash of black to highlight

the burnt areas on the iridescent green areas.
Now edge the feathers with white gesso.
15 The feathers on the front of the wings

are airbrushed using iridescent paint
colours dark blue and fuchsia, then finished
with a very thin wash of Paynes gray.
16 The underparts of the bird need

colouring now. The inner end of the tail
feathers have a triangular black area.
The end of the main body is coated with
orange. The main underside feathers are
edged, or rather streaked, in light grey.
13 14
15 16
66 WOODCARVING 157

LAPWING PROJECT
17 18 19
17 The legs are painted the red colour, then

all the feathers are edged with white and
everything is very thinly washed with white.
18 The underneath body feathers now need

to have barring created on the feathers to
give them a realistic look. Use a light grey to
edge the feathers to create the desired look.
An airbrush will work, but you will need to use
cutout templates to help contain the spray if
you are new to using an airbrush. A small
detail brush will work well for this without
an airbrush. This is detailed work so take
your time
19 Now it's time to refine the colours on the

head area. Paint the crest feathers and top
of the head black. There needs to be a white
section surrounding the eyes, which narrows
to a point just shy of the rear of the neck/
head and has a wedge-shape widening from
the beak down either side to the rear section
just above the back section of the bird. But
note the black feathers around the eye. The
beak is black but with white detail right up
to its base. Now, coat the rear of the neck
orange and then apply interspersed black
highlights and a few black bars, all the while
checking your reference material for how
the feathers look and lay on the bird. It is
not just a case of applying colour and a few
highlights. From the moment you carved
in the feather positions and then used a
pyrpgraphy machine to define the feathers
you have been building up to this. The colour
just brings everything to life, but all of the
other aspects define the visual appearance.
20 Before finally fixing the bird to the

base you can add a few more elements on
the base to create those extra little visual
elements to your composition to create
something a bit different. I chose to add a
layer of grit to the eroded wood. The bits
were stuck in place with PVA and then
coated with a light wash of brown paint.
Now you have the option of creating a few
eggs to go on the base along with a little
bit of straw/grass for the nesting material.
Check the colouring required for the eggs. I
chose a buff colour and, using an airbrush,
sprayed on some blurred spots of soft grey.
You should now have a stunning,
20 colourful bird. ◗
WOODCARVING 157 67

WC157_68_73_Tech_Book_Extract_Wilbur_MB.indd 68 24/05/2017 11:25
RELIEF CARVING TECHNICAL
Types of relief carving

In this abridged extract from Carving Classical Styles in Wood, Frederick Wilbur looks at types of relief carving
Drawings of the apricot panel used for the following examples: shaded drawing and outline cartoon
M ost instruction books on woodcarving surfaces are covered with a variety

explain the process of relief carving, of carving techniques, and stylised plants
but fail to explore the entire range are interspersed with naturalistic ones.
of possibilities, the ways in which they may There are no references to classical
be combined, or their appropriate uses. mouldings, capitals, or pediment
The following descriptions centre on a series structure. Even wild parsnip leaves
of carvings which show the same design stand in for the classical acanthus.
carved in a range of different techniques. It is, however, a wonderful example of the
I have designed a twig of apricots various types of relief discussed below – it
and leaves in an uncomplicated form, is a veritable sampler of carving techniques.
without overlapping elements, in order It was carved in 1893-4 by Emma Bepler
to illustrate the simpler techniques and during the flowering of the Cincinnati
the effects of shadow, line, and relief. (Ohio) decorative arts, a movement which
The apricot most familiar to the concentrated mainly on art-carved furniture
PHOTOGRAPHS BY THE AUTHOR UNLESS OTHERWISE STATED. LEFT BY MARK BAKER
grocery shopper is Prunus armeniaca, the and art pottery. It reflects the tenets of the
Mediterranean or California apricot. Seen in Aesthetic Movement, which most reference
monochrome, the fruits look similar to plums books summarise as one of ‘art for art's sake’.
or even peaches. The leaves are somewhat Derived from a variety of sources,
heart-shaped with serrations visible near the including the writings of Ruskin and
pointed end, and the centre vein (actually Eastlake and the motifs of Asian art, the
on the back of the leaf) is exaggerated in the Aesthetic Movement considered art as
carving to emphasise the flow of the design. a life philosophy and propounded that
The round shape of the fruit (technically a the decorative arts, by virtue of being
drupe) and the flattish planes of the leaves handcrafted and inspired by the natural
present an attractive contrast of form. The world, could be morally elevating.
basic design, and the contrasting treatments, The Bepler piece and many others are
are illustrated later on in this article. on view as part of the permanent Cincinnati
Compare these samples with the Wing exhibit at the Cincinnati Art Museum Fig. 2.3o Mantelpiece carved by Emma Bepler, 1893-
mantelpiece in Fig. 2.30. This is decidedly – to my knowledge, the finest group of late 4 (gif t of Mrs Carl W Bieser; photograph courtesy
of the Cincinnati Art Museum, Cincinnati, OH)
not an example of classical restraint: most 19th-century art-carved furniture in the US.
WOODCARVING 157 69

INCISED CARVING FLAT CARVING
Incised designs are those which are carved Older carving manuals use this term too
into the surface of the material and have describe a design remaining essentially ly
no relief, but the technique is included here two-dimensional and at the surface,
because it is sometimes used in conjunction but with a recessed background (Fig.
with relief techniques. Simple V-grooves 2.33). This technique is a good vehicle
made with a parting tool are most like a to practice setting-in by matching
two-dimensional line drawing. The parting the tool sweeps to the curves of
tool is so called because the design is ‘parted’ the design. One should excavate
from the surrounding surface. The panel in the ground only slightly. For this
Fig. 2.31 depicts the outlines of the apricots 152 x 229mm panel the ground is
and leaves, but there is no modelling. The 3mm deep. This technique also
top leaf, which overlaps the twig, is slightly gives good practice in grounding
larger, to emphasise that it is more ‘forward’ evenly to the same depth. To
than the others. The graphic depiction check the depth, site at an angle
of wild asters and goldenrod in Fig. 2.32 to compare the sidewalls. Though
has some shallow modelling within the fishtail grounders No.2 or No.3 in the
outline, but the form is still at the surface. Pfeil numbering (sweep 3 or 4 Sheffield ld
Incised lettering, typical of Greek and List numbering) are very helpful, a narrow rrow
Roman monuments, is similar, but is a front-bent grounder (Pfeil No.3 or equivalent)
uivalent)
specialised field. Incised lines can be found is indispensable for grounding evenly in tight
in other varieties of relief to depict shallow areas (Fig. 2.34). The fruit in Fig. 2.33 has bbeen Fig.
Fi 2.38 Trivet,
Ti showing
h i how h stippling
i li adds
dd
lines, such as veins of leaves or spider webs, lightly modeled – to represent it by a plain circle to the readability of the ‘flat’ carving
or texturing, as on the caps of acorns. Chip would look quite ridiculous. This illustrates that
carving is also classed as incised carving, design and technique go hand-in-hand – some To make the flat surfaces stand out, this
though it is a highly specialised technique. representations work better than others. sort of carving is often stippled, punched,
Flat carving is not necessarily ‘crude’, though or ‘padded’. One woodcarving myth is that
it is uncomplicated. Its bold effect may be punching is to be avoided, as it is often used
entirely appropriate to a context such as to cover poor grounding. This may sometimes
the Art Deco panels of Fig. 2.35. The round be true, but punching is a useful technique
coaster or trivet of Fig. 2.38 has no modeling to make the outlines more visible by way of
at all, except where the tongue lolls from the contrast. A nail can be used for bold work,
mouth. The leaves on the vertical elements but this is quite tedious, as you can imagine.
in Fig. 2.32 are flat to the profiled surface, A punch with many points can be made
with minimal relief to indicate overlapping from a soft metal bar stock or rod by filing
and a few incised lines to represent veins. with a triangular mill file. First make a series
Included in this category are strapwork of parallel valleys, and then a second series
designs, which consist of bands that overlap perpendicular to the first, creating a regular
one another, sometimes combined with scrolls field of pyramids. One can purchase this
or other attached ornament. They are not style of punch in different sizes. Some supply
as ‘tight’ as Celtic knotwork designs, nor do houses also have stamps with designs such
they resemble the running designs known as stars, acorns and flowers. These can be
as frets. Strapwork was a common motif used to create a diaper-like background.
in later Renaissance England, particularly
in the Jacobean period (1603–25).
Fig. 2.31 Incised carving
Fig. 2.32 Detail

of the Bepler
mantelpiece
showing incised
asters and Fig. 2.34 Using the frontbent shallow gouge for grounding
goldenrod, flat in tight spots
carving along
vertical elements,
and below-surface
carving of rosettes
(gif t of Mrs
Carl W. Bieser;
photograph
courtesy of
the Cincinnati
Art Museum,
Cincinnati, OH)
Fig. 2.33 ‘Flat’ carving with only slight modelling Fig. 2.35 Art Deco panels, Richmond, VA
70 WOODCARVING 157 WOODCARVING 157 70

BELOW-SURFACE CARVING
This technique is cousin to incised carving, but
interior areas are fully modelled (Fig. 2.39).
The object depicted does not project beyond
the surrounding surface; the ground usually
slopes from the original surface to ‘behind’
the object depicted. The ground may slope
inward, or it may be implied or barely visible,
as in the rosettes of Fig. 2.32. Below-surface
carving is also termed coelanaglyphic relief,
intaglio rilevato, cavo-rilievo, or ‘sunken’
relief. The door panel in Fig. 2.40 is a good
example, as is the panel in Fig. 2.41. This term
may also be used for the ancient Egyptian
method of relief, in which the object is
outlined with incised lines and then modeled.
The surrounding surface is not part of the
decoration but forms a frame around the
relief, and there is no recessed background.
Fig. 2.41 Below-surface carving, Cincinnati
Bell Building, Cincinnati, OH
Fig. 2.39 Below-surface carving Fig. 2.40 Below-surface carving on a door panel, Florence, Italy Fig. 2.42 Intaglio carving in a butter mould
INTAGLIO
Though the dictionary defines intaglio with
words such as ‘incised’ or ‘engraved’, carvers
often use the term in a more specific way. In
a sense it is the opposite of relief, because the
areas of the design with the most projection
are the most deeply carved. This sort of carving
is used as a negative pattern to impress a soft
material or to mould plaster or composition,
or generally to transfer an image to another
material. The Scandinavian butter mould
in Fig. 2.42 opens to reveal a hunk of butter
with designs raised from the surface. Signet
rings and seals leave a projecting image in the
wax, as does the die used to stamp coins. Fig.
2.43 shows the apricot design with a plaster
cast made directly from the intaglio carving.
As you can see, the carving has to be exactly
opposite to the desired result. Remember
that, in order for the intaglio to be used as
a mould, there can be no undercutting, but
the design must have ‘draft’. This means
that all walls should have at least a few
degrees of outward slope so that the material
Fig. 2.43 Intaglio carving, with the casting made directly from it can be extricated without breakage.
WOODCARVING 157 71

BASSO-RILIEVO MEZZO-RILIEVO
This Italian term has long been used to denote Medium relief is where half the natural
low-relief sculpture (bas-relief in French) in thickness of the object is carved (Fig.
which the furthest projection of the portrayed 2.47). According to art historian John
objects is less than one half of the real-life Canaday: ‘Mezzo-rilievo probably offers
depth. The apricots in Fig. 2.44 are only ¼in the happiest combination of absolute
(6mm) in relief, though they represent fruit integration with architecture along with
with a 1½ or 2in (38-50mm) diameter. Coins are sufficient freedom for independent creative
excellent examples of the illusion of depth in expression on the part of the sculptor.’
extremely shallow relief. Fig. 2.45 shows a cast- Curiously, in order to produce the
iron lamp-post at the Philadelphia Museum appearance of relief one actually carves
of Art. This technique may be appropriate for away the background. As the relief brings
furniture and other items subject to wear and the leaves of the apricot panel away from
tear, for smaller items the background, the two upper leaves turn
and those which will be viewed closely. Fig. more edgewise to the viewer, creating a
2.46 shows a variation of our simple apricot more in-the-round character. This makes
motif, in which more elements overlap. This for a nice contrast with the rounded fruits.
design still retains the flow of the simpler The figures on a fragment in the Roman
version, but has a more three-dimensional, Forum (Fig. 2.48) are in mezzo-rilievo.
naturalistic, and less graphic feel, even though
it remains contained within its frame or border.
Fig. 2.49 Alto-rilievo
ALTO-RILIEVO
High relief depicts approximately
three-quarters or more of the object's
thickness (Fig. 2.49). This implies a
high degree of undercutting to bring
the forms away from the ground.
These distinctions may sound somewhat
academic, but they are helpful in
communicating a general understanding of
the depth of the carving. Of course, several
varieties of relief can and often do appear on
the same carving, especially when a number
of objects are grouped together. Several visual
adjustments can be used to imply more depth.
Size differences between elements, placement
of various elements, and perspective or implied
relative positions all help to portray depth.
On some of the apricot panels, the
Fi
Fig. 2.47 M
Mezzo-rilievo
ili surrounding ‘frame’ has been lowered to
Fig. 2.44 Basso-rilievo allow the twig and leaves to overlap it.
The ground of each has been recessed a
small amount below these elements.
As one can appreciate, the deep recesses of
alto-relievo require lots of time and careful
manipulation of tools, and having a frame at
the level of the original surface adds undue
difficulty. More often than not, the relief panel
is grounded all the way to the edge and held
in a separate frame made of rails and stiles.
The deep voids of alto-rilievo can be wasted
by ‘drilling’ with a semicircular gouge. After
lightly defining the circle, hold the handle of
the gouge between palms and spin the tool.
A similar technique was used extensively by
Roman sculptors in stone, and the effect is
sometimes very obvious. Frontbent gouges
are also helpful in working the severe
undercutting which is often necessary.
We noted above that stippling the
background of shallow relief adds
contrast and readability, but in higher-
relief carving it is quite unnecessary
because the forms create shadow.
Fi
Fig. 2.466 A b
basso-rilievo
ili variation
i ti on th
the apricot
i t design,
d i Fig. 2.48 Fragment with figures in mezzo-
showing more overlap between the elements rilievo, in the Forum, Rome
72 WOODCARVING 157

APPLIED CARVING
In applied carvings the design is cut out, Applied carving allows for back-cutting, should be done before removing the
often pierced, then carved separately which gives the effect of undercutting, but carving from the backing board. Often
from the ground, and finally fastened to working from the back of the carving after the back-cutting can be done with a knife.
another board which becomes the ground. piece has been freed from its mounting board.
Ultimately, the result should appear the same Of course, all other carving and undercutting
as a relief carving, especially when placed
in a framing recess. The panel in Fig. 2.54
comprises a flat background with a parted
line to indicate the frame, and the separate
carving (Fig. 2.55) applied. This technique
allows one to carve the forms nearly in
the round, thus creating an alto-rilievo.
Most of the carvings of Grinling Gibbons
are applied: they are fixed to a wall or a
backing board, often in multiple layers. This
method can be advantageous, as it may save
material, facilitate undercutting, be more
practical in its installation, or give quite a
dramatic effect if carved from a wood which
contrasts in color with the background.
After transferring the design and
cutting it out with the bandsaw, one
can secure the blank by screwing it to
a backing board or work station.
The oft-touted method of glue and paper
is, I feel, a last resort. It is an appropriate
alternative when parts are too thin, or
mounting screws would foul tools. Extreme
care must be taken in extricating the
piece from the paper when complete.
Fig. 2.54 Applied carving Fig. 2.55 The same applied carving before being attached
to its background
PIERCED CARVING
Applied carvings are in effect pierced carvings the negative spaces, the carving method is examples above, there is a fairly direct
applied to a ground. In pierced carving there is the same as for relief. Depending upon the correlation between depth of relief and
no background, as it has been cut away (Figs. location, both sides may need to be carved. the possibilities for realistic depiction.
2.56 and 2.57). Obviously there needs to be In this case the carving becomes The lower the relief, the more dependence
considerable thought as to how the elements truly sculptural, and carved elements there is on outline; whereas deeply
will be supported. It is advisable to have may straddle the frame. modeled forms make their visual impact
some overlap with the frame. After cutting As one can readily see by the comparative through the shadows they produce. ◗
Fig. 2.57 Applied carving for mantel frieze block, Blandfield, Caret, VA (home of Mrs James C Wheat). The photograph shows
the pierced carving before application
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Fig. 2.56 Pierced carving
WOODCARVING 157 73

The carver’s toolbag
Bringing you all the latest tools, machinery and products to meet your carving needs
All prices are correct at the time of going to press but are subject to change without notice. Photographs courtesy of the manufacturers/retailers, unless otherwise stated
Extreme power carving

Peter Benson tries out the new Kutzall extreme cutting discs
O ver the years I think I have got my hands

on just about every type of rotary bit
or carving disc available in an attempt
to remove large quantities of wood very fast
and am always interested to see what is new.
I was sent two discs. One is called a shaping
disc and has a flat(ish) profile on the main
body section with a radiused outer cutting
edge and is available in 114.3mm (4½in) x
22.2mm (7⁄8in) & 17.8mm (7in) x 22.2mm (7⁄8in)
That said, I have to say that my success has The other disc is called a dish wheel and
been as varied as the tools I have tried over this one has a pronounced curve over
the years and, in the main, I have come to the the cutting surface of the disc and is only
conclusion that I would prefer to take a little available in 114.3mm (4½in) x 22.2mm (7⁄8in)
BY THE AUTHOR UNLESS OTHERWISE STATED
more time with the process than suffer the The wheels are colour coded to help identify
noise, vibration and necessity to carve looking the coarseness of each. Light blue – medium,
more like a riot policeman than a woodcarver. dark royal blue – coarse, black – very coarse.
Using an angle grinder fitted with some I only received the very coarse versions.
form of cutting disc can – depending on
the type used – create uncomfortable In use
vibration and kick-back if not used with I must admit that on looking at these new
great care. And, by their very nature, angle Kutzall extreme discs I was a bit hesitant as
grinders are not the quietest of machines. they looked a little scary and aggressive.
74 WOODCARVING 157
WC157_74_75_Kit_&_Tools_MB.indd 74 24/05/2017 11:30

THE CARVER’S TOOLBAG KIT & TOOLS
I donned a powered respirator/faceshield Foredom Tune-up Kit Conversion chart

and gloves. If you don't have a powered Bethel, CT. Foredom has 2mm (5/64 in)
respirator with faceshield, use a dust mask introduced four new 3mm (1/8 in)
and faceshield. I then set about using both 4mm (5/32in)
Tune-Up Kits for current
6mm (1/4 in)
discs on some old yew (Taxus bacatta) logs, and discontinued motors.
7mm (9/32in)
which I secured and worked on in the garden The introduction of
8mm (5/16 in)
to get a general idea of what sort of results I all-inclusive 32-piece 9mm (11/32in)
could achieve. For general use and shaping I Tune-Up Kits is the 10mm (3/8 in)
found little difference between the two discs. company's latest step 11mm (7/16 in)
They both performed well when used in product support. 12mm (1/2in)
with very light or firm pressure. They both Tune-Up Kits include 13mm (1/2in)
gave a surprisingly smooth finish to the items to keep motors 14mm (9/16 in)
surface of both long and cross grain with and handpieces running 15mm (9/16 in)
the flatter disc coming out marginally at peak performance. 16mm (5/8 in)
on top with the quality of the surface. The four kits are: 17mm (11/16 in)
There was no perceptible difference 18mm (23/32in)
in efficiency whichever direction they 1. Kit MSP10 for Series 19mm (3/4 in)
were used. The concave shaping disc did TX and LX motors. 20mm (3/4 in)
produce a slightly scalloped surface and also 2. Kit MSP12 for Series 21mm (13/16 in)
removed a little more wood at each pass. SR motors (models 22mm (7/8 in)
There was no vibration or jumping around produced since 2005). 23mm (29/32in)
during the cut and I felt as though I had 24mm (15/16 in)
3. Kit MSP14 for old and
25mm (1in)
complete control over the amount of waste discontinued Series CC motors.
30mm (11/8 in)
material removed. Unlike some of the 4. Kit MSP16 for old and
32mm (11/4 in)
competitors, there are no shavings or chips discontinued Series S and SR 35mm (13/8 in)
removed, just dust, so, even if you are not motors (1/8HP models produced before 2005). 38mm (11/2in)
completely covered in protective gear, you 40mm (15/8 in)
will not have painful particles of wood being Parts include shaft, sheath, motor brushes and brush caps, 45mm (13/4 in)
fired at you at a million miles an hour and hanging bale, motor connector, and three types of screws 50mm (2in)
ending up in every orifice. You will, however, for holding different parts in place. There's also shaft grease 55mm (21/8 -21/4 in)
make a large amount of fine sawdust so I and a small screwdriver along with parts for Foredom's two 60mm (2 3/8 in)
certainly wouldn't recommend that you most popular hand pieces – the chuck style H.30 and collet 63mm (2½in)
work indoors, and you should still make sure style H.44T – including ball bearings, catch balls, a spring clip, 65mm (2 5/8 in)
you wear the necessary safety equipment. hand piece grip, chuck key, and pin & wrench assembly. 70mm (2 3/4 in)
Foredom is available to support its efforts with 75mm (3in)
a knowledgeable customer service team and a 80mm (31/8 in)
robust website (www.foredom.net) with a library 85mm (31/4 in)
of parts diagrams, instruction manuals, how- 90mm (31/2in)
to videos, and other reference materials. 93mm (32/3in)
95mm (33/4 in)
100mm (4in)
Prices from $68 exclude shipping and taxes
105mm (41/8 in)
Contact: Foredom
110mm (41/4 -43/8 in)
Web: www.foredom.net 115mm (4½in)
120mm (43/4 in)
125mm (5in)
130mm (51/8 in)
135mm (51/4 in)
Conclusion 140mm (51/2in)
If you are aiming to get a good finish the 145mm (53/4 in)
flatter one is for you but, with increased 150mm (6in)
pressure and used flat or on edge, you can 155mm (61/8 in)
remove serious amounts of material at 160mm (61/4 in)
each pass with either disc. To check this 165mm (61/2in)
I used the concave shaping disc to start 170mm (63/4 in)
hollowing out a bowl in oak. With care, the 178mm (67/8 in)
finish I got straight from the cutter was 180mm (7in)
remarkable and I am sure I could achieve 185mm (71/4 in)
a final cut all over that would only need 190mm (7½in)
195mm (73/4 in)
sanding with relatively fine grit abrasive.
200mm (8in)
I needn't have worried at all as these
305mm (12in)
two pieces of kit are probably the most 405mm (16in)
user-friendly of all similar tools I have 510mm (20in)
tried. All in all I was very impressed 610mm (24in)
with both discs and intend to add at Mora hook knives 710mm (28in)
least one of them to my toolbox. Mora hook knives are available in a range of single and 815mm (32in)
double-edge variants with different sweeps – 12mm to 915mm (36in)
Prices exclude shipping and taxes. 25mm radius – to suit a wide variety of projects. Each is 1015mm (40in)
Shaping discs from $65 each supplied sharp and ready to use and has a comfortable 1120mm (44in)
Dish wheel $60 each oiled birch handle that is easy to hold and work with. 1220mm (48in)
1320mm (52in)
Contact: Kutzall From £22.96 1420mm (56in)
Web: https://kutzall.com Contact: Tomaco Web: www.tomaco.co.uk 1525mm (60in)
WOODCARVING 157 75
WC157_74_75_Kit_&_Tools_MB.indd 75 24/05/2017 11:30

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WOODCARVING 157 79
WCAR_157.indd 79 5/31/17 10:58 AM

Notre-Dame de la Garde We take a look at this famous basilica in Marseille
PHOTOGRAPHS COURTESY OF MARK BAKER/GMC PUBLICATIONS
N
otre-Dame de la Garde, which A small chapel was built on the site ornate spaces is not only a place of worship
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80 WOODCARVING 157
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Woodcarving Issue 157 July-August 2017

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Woodcarving Issue 157 July-August 2017

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YOUR GUIDE TO CARVING A CLASSIC WELSH LOVESPOON

WC157 COVER FINAL NEW.indd 1 06/06/2017 15:18

Carvin’ Jack Collection®

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Prices include vat and may be subject to change without notice

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Friendship and support

of something in a day, week or even month. The

To get in touch, please email me:

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Carve in confidence knowing that

• Incredibly smooth control

Shop our complete line of Burrs,

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PROJECTS TECHNIQUES COMMUNITY

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New online Wood Carving School PHOTOGRAPH COURTESY OF ALEXANDER GRABOVETSKIY

A lexander Grabovetskiy has just launched his online

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BDWCA show report

were trade stands – a treasure trove to be

For further information on the BDWCA,

W ith so many shows closing down

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The Gothic style

PHOTOGRAPH COURTESY OF SHUTTERSTOCK

branching out into slender stone ribs which

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From the 13th-14th centuries, the Middle

GOTHIC FOR WOODCARVERS

Misericord, Ufford, Suffolk

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Steve Bisco carves and fumes an oak panel in Tudor style

T he Gothic style that was dominant from

Jane Seymour (died), Anne of Cleves

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Things you will need • Straight V-tool

TOP TIP: When carving in oak you will need to use a

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2 Some carvers like to paste a print of

3 Mark a line around the sides of the

5 Use deep gouges, such as a 16mm no.9, to

6 With the bulk of the waste wood removed

7 Now work the ground surface down to the

8 To make sure the ground is all at the right

TOP TIP: Where parts of the original top

WC157_8_12_PRO_Gothic_Panel_Bisco_MB.indd 10 24/05/2017 10:42

9 To get a smooth surface on the flat

10 Finally, ﬁnish the background by

CARVING THE DETAIL

12 Work the valleys down to a V shape,

13 Continue to the four diagonal sections

14 Reduce the levels of the ridges and valleys

15 Now turn your attention to the ‘cusps’

16 Shape the curlicues at the ends of each

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18 Finally, go over the carving to tidy it up

20 The ﬁnished panel now looks like a

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Woodcarving Chair Caning

Come and enjoy the experience,

013_WCAR_157.indd 13 6/1/17 10:25 AM

WC_157_14_15_COMMUNITY_LETTERS_MB.indd 14 24/05/2017 10:43

Website of the month Blog

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