WOOD

International
Woodcarvers
Congress 2018
SHOW REPORT

PROJECTS TO CARVE Gothic misericord • Carver's vice • Bee eater • Shelf mouse
TECHNICAL ADVICE Size and scale • Spoons explored • Chip-carving letters
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Happy New Year
he New Year is upon
T us and let me wish
you all the very best
for the New Year ahead.
This time of year typically
finds us making resolutions
and many will be quickly
forgotten. As I look back
at last year, there is always the would have,
could have, should have thinking process as
I ponder the events and situations that arose.
The simple fact is that hindsight is a wonderful
thing, but when one is in the flow of daily
life and events we are not always armed
with all the information we would like to
have immediately. We did the best we
can with what he have available to us.
One of last year's resolutions was to spend more
time in the workshop carving. I succeeded in
that and also had a huge reorganization, but
still did not do everything that I planned to do.
This year I only have only one resolution and
that is to spend more time with friends and
family. Oh! I just thought of another, and that is
to do a bit more fishing. I love the countryside
and last year I didn't get many trips in. In truth
I do not care if I catch or not, I just love the
countryside and being with friends. The scenery
at the various locations invariably offers up
wonders and that inspires my creativity. What
resolutions have you made for the New Year?
Changing tack completely, from the
correspondence and conversations I have
had with myriad carvers and carving groups
over the years I decided to collate some
information that might be interesting for you.
Top six problems carvers say they have
• Sharpening tools
• Lack of understanding of the subject
matter they are carving
• Buying the wrong tools for the
job they are tackling
• Not exploring fully what the
tools they have can do
• Lack confidence in their own ability
• Being afraid to fail or fear of failure
Interesting points of note
• The most productive time of the year
FROM THE EDITOR COMMUNITY
PHOTOGRAPH BY MARK BAKER/GMC PUBLICATIONS
for carvers is the lead up to Christmas
• Knife carving is the widest undertaken
aspect of carving in the world
• Unless one is fortunate to have contacts or
people who carve already, to actually start
carving traditional carving with gouges,
there is potentially considerable outlay.
The cost of starting traditional carving
with gouges, typically costs between
£100-£200 and puts many people off.
• There is a reluctance by carvers to ask peoples’
opinions about work they have created.
• There is a tendency by carvers to research
pictures for information rather than going
to see the live versions of what
they intend to carve.
I hope you find these interesting and do let
me know what you find most interesting from
your conversations with fellow carvers.
Have a wonderful New Year and let me
know what you have been carving.
To get in touch, please email me:
markb@thegmcgroup.com
WOODCARVING 166 1
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 WOODCARVING 166 JAN/FEB 2019

61
5

13 56 69

PROJECTS FEATURES COMMUNITY

5 Gothic misericord in fumed oak
Steve Bisco carves a solid block of
oak into a medieval ‘mercy seat’
13 Carving vice
Mark Gough makes a carver's vice that
will be excellent in any workshop
21 Bee-eater
Mike Wood shows how to create
one of the most exquisitely
coloured birds around
33 Bigeye fish
A beginner's guide to knife-
carving a fish, by Terry Nokes
69 Shelf mouse
Duane Cartwright carves
a fun, shelf-climbing mouse
KIT & TOOLS
74 The carver’s toolbag
Bringing you all the latest tools
and products to meet your carving
needs across the Christmas period
38 Art School Master Carver
We talk to the City & Guilds to find out
about its involvement in the renovation
of a classic piece of architecture
49 International Woodcarvers
Congress 2018
Mark Baker showcases some of the
work and moments from the 52nd
International Woodcarvers Congress
80 The art of carving
Budapest's crowning glory is in
the spotlight this month
TECHNIQUES
28 Size matters
Peter Benson explores size
and scale of carvings
42 Birth spoon evolution
Dave Western explores carving
commemorative spoons
54 Wooden spoon design
Don Nalezyty explores the various
spoon designs and the relationship
between handle and bowl
1 From the Editor
The editor looks back over the past year
10 News & events
We bring you the latest news and events
from the woodcarving community and
take your letters from the forum
58 From the community
We take your letters and showcase
some of your work from the forum
66 Meet the authors
Meet this month's writers
67 Subscription offer
Find out about our latest
subscription offers
72 Next issue…
Can't wait to see what's in store
for the next issue of Woodcarving?
We reveal a sneak peek at what
to expect
77 Advertising index
Find all of our advertisers’
details here

61 The next stage in letter carving

Murray Taylor looks at different ways of
carving letters and introduces a new font

WOODCARVING 166 3
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 Gothic misericord
in fumed oak
Steve Bisco carves a solid block of oak into a medieval ‘mercy seat’
ur Gothic churches are usually
O decorated with elaborate carved
stonework and woodwork, but some of
the most interesting examples of the medieval
woodcarver's art are hidden under the seats
in the choir (or quire) where the monks
PHOTOGRAPHS BY STEVE BISCO UNLESS OTHERWISE STATED
held their daily services. The monks had to
remain standing during services so, to help
the elderly and infirm brethren, little corbel-
like shelves were created under flip-up seats
so they could lean back and sit a little while
standing up (see next page). These were called
‘misericords’ which comes from the Latin
misericordia meaning pity, sympathy or mercy.
The misericord, or ‘mercy seat’, is like a
narrow shelf, supported by a corbel-like
structure on the underside, which is frequently
decorated with grotesque, amusing, and
even quite rude figures. The subjects are not
religious as it would have been unthinkable
to sit your backside on a holy object, so
secular subjects were used illustrating
scenes from medieval life, representations
of popular tales, or monstrous beasts. Freed
from the constraints of religious propriety,
the carvers could have a bit of fun.
I have based this project on a misericord in
Christchurch Priory, Dorset (see Woodcarving
164), where there are many fine examples.
It shows the shelf being supported by a
demon with pointed ears, sharp claws,
bulging eyes and a vicious-looking mouth.
Laid across its back is a feature called a ‘bale’
– a smooth cylinder representing a roll of
woollen cloth with a finely inscribed pattern.
English misericords, unlike Continental ones,
usually have a curly pattern at each end,
often with supporting figures. This one has
an acanthus pattern with diaper hatching,
suggesting it is a fairly late example from
the 1500s. I have dispensed with the rest of
the seat board outside the carved area as it
is superfluous. Unless you have a frequent
need to sit while standing up, I suggest you
use this misericord as a wall-mounted shelf.
Medieval woodcarvings were nearly always
in oak (Quercus robur) and to recreate the
medieval appearance I have darkened the
oak by the traditional practice of fuming
with ammonia. The process is easy, as shown
in step 22, and it looks more natural than
woodstain, but if you really don't fancy
fuming you can get somewhere near a natural
aged colour with a dark oak woodstain. →
WOODCARVING 166 5
 Things you will need
Tools:
• No.3, 10 and 20mm
fishtail gouge
• No.9, 20mm
• No.3, 10mm
• No.8, 8mm
• No.5, 3, 5 and 7mm
• No.9, 16mm curved gouge
• No.5, 13mm curved gouge
• 10mm short bent gouge
• 10mm skewed spoon
gouges L&R
• 12mm back bent gouge
• 2 and 6mm straight V-tool HOW A MISERICORD WORKS
• 3, 6, 15 and 20mm flat chisel
• 10mm skew chisel SHUTTERSTOCK / ALASTAIRE GRIFFITHS

• Jigsaw
• Bandsaw

Materials:
• Oak (Quercus robur)
115 x 115 x 410mm
• Household ammonia
(for fuming)
• Dark brown wax polish

When the occupant of the choir stall is fully seated, the main seat is folded down with the
misericord hidden underneath. When the occupant stands up during services, the main seat hinges
upright setting the narrow shelf of the misericord at a height where the bottom can rest on it.

6 WOODCARVING 166
 GOTHIC MISERICORD PROJECT

PREPARATIONS
1 Get a piece of oak (Quercus robur) 115 x
115 x 410mm. Make a full-size copy of the
drawing and trace the patterns on to the
relevant faces of the block with carbon
paper. Also make tracings on to OHP
transparency film to help you position the
elements as you carve away the pattern.

2 Use a bandsaw if you have one to cut out

the shape of the top shelf through the full
depth of the block. If you don't have a bandsaw,
make several vertical cuts back to the line of
the shelf, then chisel away the surplus wood.

3 With the outlines of the end profile traced

1 2 on to the back of the block, you can cut
round the ends. Use a jigsaw for the thinner
edges, then resort to cutting back to the
line with handsaws, gouges, a rasp, and
finally spokeshaves (don't use the bandsaw
as the unsupported ends may jam it).

ROUGHING OUT
4 Use the transparencies to redraw pattern
detail that has been sawn away. Start the
roughing out by chiselling away the surplus
wood at the ends of the bale and the
demon's hands. Use a deep gouge to
‘bost’ down vertically, a slice at a time
to remove the bulk, then straighten up
the edges in line with the pattern. Work
down to about 40mm from the back
edge at this stage. This is hard and
3 4 heavy work in the solid oak.

5 Now, leaving the head and ears untouched,

and using the underneath pattern for
guidance, chisel away the surplus wood in
front of the demon's arms and the bale.

6 Use a tenon saw, chisels and gouges to cut

away surplus wood under the top shelf. Use
callipers to check the thickness is an even
18mm. Now carefully rough out the shape of
the head with the ears sloping back and the
mouth facing downwards. Keep checking
the positions with the transparency, and
don't remove wood you may need later.

7 With access now a bit easier, reduce the

thickness from the back of the block to the
5 6 front of the acanthus to 35mm. Mark a line
18mm from the back along the bottom of
the block and chisel out a ‘floor’ between
the acanthus, the bale and the arms.

8 With the ‘floor’ level set, now you can

rough out the shape of the arms and
shoulders of the demon, shape the bale,
and reposition the ears as necessary.

TOP TIP: Roughing out a three-dimensional

carving in solid oak is hard and time-
consuming work. It can be a bit dispiriting if
you just want to get on with the detail carving,
but it is an essential foundation for the detail
and you have to learn to love it just as much.
Think of it as a physical workout that will
build your muscles and keep you fit, and will
entitle you to eat more cake afterwards.
7 8 →
WOODCARVING 166 7
9 Now the roughing out is complete, this is a
good time to fit your hanging fixings. I used
slotted mirror plates rebated into the back that
can be hooked over screws in the wall. You can
then hang the carving up frequently to check
how it looks at shelf height as you proceed.

CARVING THE DETAIL

10 With everything positioned in roughly the
right place, we can now proceed to the detail
carving, starting with the top shelf. Make sure
the underside of the shelf is smooth and of
uniform thickness. Draw the position of the
3mm cove on the underside, set back 10mm
from the front edge, and cut a 3mm rebate.
Note how the cove turns inwards at the end
of the straight section. Use moulding planes 9 10
if you have them, and suitable gouges, to
shape the 15mm bullnose moulding and the
3mm cove along the straight front edge.

11 The ends of the shelf get thinner as

they merge into the acanthus swirls.
Shape the underside into the thinner
part and use a back bent gouge to
mould the bullnose into the swirls.

12 Now carve the detail of the acanthus.

Use a V-tool and shallow gouges to
create elegant, swirling lines that flow
from the top and underside to the tips
of the leaves. Although the swirl is fairly
shallow, try to make it look lively.

13 Faces are always difficult, even when they 11 12

are meant to look hideous. The tendency
is to carve too flat, so force yourself to cut
back deeply and be bold with the features.
The eyes are deep set and have heavy,
overhanging brows, so cut away deeply
beneath them. The nose, by contrast, is
shallow, but note the crease below the brow.

14 Check the position of the mouth against

the transparency, then carve the lips with a
sharp crease in the corners. As you hollow
the inside of the mouth with a spoon gouge,
leave two rudimentary teeth in the upper jaw.
Keep hanging the carving up at head height
to check the look of it before moving on.

15 Use the spoon gouge again to hollow

the ears to their final shape. Excavate 13 14
above and below them to make them look
slightly detached from the shelf and bale.

16 Finish the head by shaping the area

around the throat, neck and shoulders,
and slightly undercut the edge where the
head lays on the bale. Use an 8mm, No.8
gouge to cut a couple of grooves under
the eyes and across the cheeks to make
the creature look more menacing.

TOP TIP: When working on a symmetrical

carving, carve the same elements on both
sides together before moving on to the
next section. Carving a mirror image in
opposite directions can be surprisingly
challenging. Try to make the two sides
look balanced, if not entirely identical.
15 16

8 WOODCARVING 166
 GOTHIC MISERICORD PROJECT

17 Now carve the shoulders and arms. The

creature must appear to be supporting the bale
on its back as well as pushing its head upwards
to support the shelf. Try to make it look muscular
and monstrous with folds of thick, leathery skin
and a couple of rings round each wrist.

18 Finish the arms by carving the reptilian

‘hands’ with their pointed claws. Slightly
undercut around the body, arms and claws so
they all appear detached from the ‘back board’.

19 Now add the surface detail to the bale of

woollen cloth. Scrape the bale surface to a
smooth finish, and add the ‘bindings’ to the
projections at the end. Draw on the pattern
17 18 that represents the design on the cloth lightly
with a fine pencil. As the pattern is flat on the
cloth, the lines are simply ‘pricked in’ using
various gouges to fit the particular curves. Rub
or scrape out the pencil lines afterwards.

20 Finally, carve the diaper cross-hatching

at each end using a 2mm V-tool, with the
lines about 6mm apart. Also use a straight
chisel held vertically to sharpen the definition
at the bottom of the V. Use a punch or a nail
to punch the small holes in the middle of
each of the ‘diamonds’.

21 The carving phase is now finished. Photos

21a to 21c show the finished carving from the
front, underneath and side. Use these for
reference when carving. If you want to leave it in
19 20 its new oak colour you just need to polish it, but
if you want to go for the full medieval Gothic,
leave it unpolished for now and start fuming.

FUMING WITH AMMONIA

22 To darken the oak by fuming (see box),
get a plastic tub and place the carving in
it, raised on wooden supports. Put about
50-80ml of household ammonia (obtainable
21a from hardware stores) in a shallow dish
and seal the tub. Follow the manufacturer's
safety instructions, work in a well-ventilated
place, stand back at arm's length, and wear
eye protection. Leave it until the oak darkens
to a pleasing dark brown – about 6-12
hours depending on the temperature, the
concentration of ammonia and the amount
of tannin in the oak. When you open the tub
21b 21c afterwards, stand back and let the fumes clear
before taking the carving out.

FUMING OAK
New oak is pale, but it darkens to a deep
brown after centuries of exposure to the air.
Placing new oak in ammonia fumes replicates
nature's ageing process at the rate of about
a century an hour. The ammonia acts on
the tannins found in the heartwood - but
sapwood (the young outer layer of wood
under the bark) has no tannins and will stay
pale, so make sure your oak is ‘all heart’.

23 With a coat of a dark wax polish, and buffed

up to a soft sheen, the finished carving now
looks like a relic from the Middle Ages. By fixing
it on the wall at a high-level you can get a good
22 23 view of the demon lurking under the shelf. ◗

WOODCARVING 166 9
 News & events...
Bringing you the latest news and event details from the woodcarving community

BDWCA NEWS

© FRANCES MILLBURN FOR THE BDWCA

Guillemot, Oil Victim,
by Anton Visser,
British Bird Carving

O nce again the BDWCA Annual Competition

& Show – the Festival of Bird Art – was held
on the second weekend in September 2018
at its usual venue, the Agricultural Centre in the
picturesque town of Bakewell in Derbyshire. We
Champion and
BDWCA Champion

set up the show on the Friday afternoon in the

company of a lot of sheep and farmers wearing
muddy boots. The clue is in the name of the venue,
the Agricultural Centre, where they were selling
breeding sheep in the auction rings behind the
hall, and the farmers then walked through the
hall to pay for them at the auctioneer's office. Sparrowhawk
Numbers were slightly down on last year, a trend Ambushing House
Sparrow by Alan
which we hope will not continue, but the quality of Pickersgill, Best
the carvings just seems to keep getting better and Intermediate
it was good to see some new carvers entering for
the first time. Congratulations to all who entered,
you all deserved a prize. Photographs of all the
entries can be seen on the Bakewell Show page Canada Geese in Flight
of our website – www.bdwca.org.uk – together by John White, Best
Decorative Miniature
with the winners from the previous four years.
The British Bird Carving Championship, the
top award which is competed for at Advanced
level, was introduced to the competition back in
2002 when it was won by Anton Visser, a BDWCA
member from the Netherlands. This year, 16 years
later, he returned and walked away with the
Championship yet again with a beautiful carving
entitled Guillemot, Oil Victim, which was entered
in the Advanced Sea Birds & Shorebirds category.
We won't have to wait that long again, though, as
he intends to be back in 2019 to defend his title.
Carvers are closely watching the progression
of Alan Pickersgill and John White. In 2015
Alan won Best Novice, this year he won Best
Intermediate with his carving of a Sparrowhawk
Ambushing a House Sparrow, and also took the
Visitors’ Choice award. He will now compete
at Advanced level in 2019. John, who won Best
Intermediate in 2016, was competing at Advanced
level for the first time this year and was awarded Black-Necked Grebe in Water, For further information on the
the trophy for the Best Decorative Miniature Breeding Plumage, by Maggie Port, BDWCA, as well as membership
Runner-up to British Champion
with his carving of Canada Geese in Flight. and Best Textured Waterfowl
details, visit www.bdwca.org.uk.
There were some very good carvings to be
seen on both the Novice and Intermediate
tables, and some of those carvers will be
moving up a level next year. Particular mention
should go to Paul Tully who, in his first year
entering the competition, won Best Novice and
Best Newcomer with his interpretive carving
of a Great Crested Grebe, 75% lifesize.
We still struggle to encourage young carvers,
with only one 14-year-old entering this year,
but it is good to see her progress in this, her
third year of competing, winning Silver (second
place), and we continue to hope that there will
be others for her to compete against next year.
The 2019 Competition & Show will take
place on 14 and 15 September 2019
at the same venue.

10 WOODCARVING 166
 NEWS COMMUNITY

160th Great Yorkshire Show 2018

carving competition results
T he Great Yorkshire show, held in Harrogate each year, reached
its 160th anniversary in 2018. One of the many events and
exhibits for people to see is the carving competition. The
2018 entries were on full display for people to view and, as with
previous years, there were delightful carvings to see. The 2018
• First place was awarded to Michael Weston
• Second place was awarded to Leith Taylor
• Third place was awarded to Norman Walsh
• Fourth place was awarded to Antony Griffiths
• Fifth place was awarded to novice Ann Niland
competition was judged by Ian Barrand. In addition, 557 people • Special place was awarded to Stephen Hartley
took part in the public vote for which the winner is awarded • Public vote winner this year was Michael Weston
the Bill Hodgson Trophy Cup and gets to keep it for a year. for his Shell

PHOTOGRAPHS COURTESY OF JOHN MILNER

1st place went to Mick Weston Leith Taylor won second place for his carving Normal Walsh with his 3rd place certificate and winning piece

2019 Events
• CHANGE 2019 World Wood Day • Mid-Wis Chippers 45th Annual Woodcarving Show
When: 19-24 March 2019 When: 9 am-4 pm. Sunday 5 May, 2019
Where: Austrian Open-Air Museum Stübing and Stefaniensaal in Graz, Where: The Oshkosh Convention Center, 2 N. Main Street, Oshkosh,
Austria Wisconsin, US
Web: www.worldwoodday.org/2019 Cost: US$3 admission. Under age 12 free
We will also have naturalist Rebekah Weiss of Aves Wildlife Alliance
• Midlands Woodworking Show give a live Birds of Prey Presentation featuring a couple of the hawks,
When: 22-23 March 2019 falcons, kestrels and/or owls that her group rehabilitates.
Where: Lincoln Rd, Winthorpe, Coddington, Newark, NG24 2NY Contact: Paul Wolters, 1-920-727-2139, or visit www.
Web: www.nelton.co.uk midwisconsinchippers.weebly.com

• 49th Annual Ward World Championship Wildfowl Carving • International Woodcarvers Congress
Competition and Art Festival When: 8-16 June 2019
When: 26-28 April 2019 Where: Jackson County Fairgrounds, 1212 E Quarry Street,
Where: Roland E.Powell Convention Center, 4001 Coastal Hwy, Ocean Maquoketa, IA 52060, US
City, MD 21842, US Web: www.awcltd.org
Web: www.wardmuseum.org
• International Woodcarving Symposium Brienz
When: 2-6 July 2019
Where: Verein, KUNA 3855, Brienz, Switzerland
Web: www.symposium-brienz.ch

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 166 11
 Chip. Relief.
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sharing expertise
 Carving vice
Mark Gough makes a carver’s vice that will be excellent in any workshop
PHOTOGRAPHS BY MARK GOUGH
good vice is an essential piece of workshop equipment for all
A woodworkers. This wooden vice is easy to make and robust
enough for most carving projects – in fact, it can be scaled
up for large sculpture work if required. This is undoubtedly the
most used item in the workshop, so I have taken the opportunity
to remake my old, substandard timber, vice, which I had for nearly
15 years and was getting quite battered, and document it as a
self-build project for you, the reader, using a more suitable timber.
I used European beech (Fagus sylvatica), but other suitable timbers
would be Canadian hardrock maple (Acer saccharum), iroko (Milicia
excels), or any sustainable, hard-wearing, close-grained hardwood.
The main and most important part of the project is the
vice screw, so I have opted to use a trade vice screw from
Axminster Power Tools here in the UK, which is a hefty
piece of equipment. Other makes are available.
For me the benefit of this vice is that it is mounted on top of
the work bench and is at the perfect position for carving. I am
quite tall, so-front mounted traditional woodworking vices give
me backache, although they are perfect for planing timber.
The vice could be mounted on a custom-built stand of your own
design if desired to tailor it perfectly to your own requirements.
There are many versions around of this style of vice, all
good in their own way. Here I have added some hardware
of my choice and fitted reusable faceplates for longevity.
You can opt to use different hardware if you find it difficult
to get hold of the parts, for example any strong angle
brackets cut to size will do for the rear jaw guides. Likewise
, steel can be used instead of brass for the runners. →
WOODCARVING 166 13
 15mm 37mm 21mm 37mm 15mm
(19/32in) (11/2in) (13/16in) (11/2in) (19/32in)

45mm
(13/4in)

23mm 21mm 37mm 21mm 23mm

(15/16in) (13/16in) (11/2in) (13/16in) (15/16in)
45mm
125mm (5in) (13/4in)
45mm
10mm 35mm 10mm
(13/4in) 10mm (13/8in)
(3/8in) (3/8in) (3/8in)

75mm 140mm 250mm

(3in) (51/2in) (93/4in)
110mm
(43/8in)

GRAIN
200mm (8in)
CORK LINER
205mm 21mm
(81/16in) (13/16in)

GRAIN
VICE SCREW GRAIN
CL 150mm (6in)

CL

12mm (1/2in)
45mm
(13/4in)

25mm 125mm (5in)

CL
(1in)

475mm (183/4in)
520mm (201/2in)

50mm
(2in)

75mm
(3in)

21mm
(13/16in)
21mm D = 30mm 21mm D = 30mm
(13/16in) (11/8in) (13/16in) (11/8in)

CL
83mm
(39/32in)
25mm 25mm
(1in) GRAIN (1in)

12mm
(1/2in) 45mm
35mm 20mm (13/4in)
40mm (13/8in) (3/4in)
5
(1 /8in)
CL CL
25mm
(1in) 125mm (5in)
125mm (5in)

R = 62.5
125mm
(5in) CL
D = 16
D = 16mm D = 35
(5/8in)

520mm (201/2in)

14 WOODCARVING 166
 CARVING VICE PROJECT

Things you will need The base

Tools: • Brass countersunk screws: 24 @ 1 Cut the base to size, 475mm x 125mm x
• Drill press 25mm x 4mm, 10 @ 20mm x 4mm 45mm, and mark the top and front, taking
• Circular saw • Steel countersunk screws: 4 @ 100mm note of the grain direction. Draw a centreline
• Router and crosscut saw (optional) x 6mm, 2 @ 40mm x 6mm, 6 @ front to back on the top of the base and
• Ripsaw 25mm x 5mm, 4 @ 40mm x 5mm, 6 @ measure 125mm from the front and 25mm
• Crosscut saw 40mm x 4mm, 8 @ 25mm x 4mm from the back at points that intersect the
• Fine-tooth saw • Sandpaper, 180g-240g line. Mark these points with an awl ready
• Smoothing plane • PVA glue for drilling. For the front hole, using a 35mm
• Block planes • Danish oil Forstner bit, drill to a depth of 15mm then
• Small hammer • Wood filler (optional) continue through with a 16mm flat bit. For
• Marking gauge • Two 16mm coach bolts nuts and the rear drill a 16mm hole right through.
• 25mm paring chisel washers of a suitable length
• Square 2 Using a circular saw or router with a groove
• Centre punch Cutting list timber: cutting disc, cut the grooves on each side of the
• Awl • European beech (Fagus sylvatica) base. Set the cut 12mm from the top edge and
• Steel rule & tape measure Base: 1 @ 475mm x 125mm x 45mm cut to a depth of 20mm. This dimension will
• Clamps Front jaw: 1 @ 250mm x 125mm x 45mm differ if using a router depending on the size of
• Forstner bits, 30 and 35mm Rear jaw: 1 @ 205mm x 125mm x 45mm the cutter. Cut the groove to a width of 4mm.
• Flat bits, 16 and 30mm Rear jaw sides: 2 @ 150mm x 105mm x
• Twist drill bits, 2, 4 and 5mm 21mm 3 Use a block plane to cut the
• Suitable plug cutters (optional) Rear jaw top: 1 @ 200mm x 125mm x 21mm rebate for the flat bar
• Compass Rear jaw cross brace: 1 @ 83mm x 25mm x
21mm Front jaw
Materials: Faceplates: 2 @ 125mm x 110mm x 10mm 4 Next cut the front jaw to size 250mm x
• Tail vice screw and handle: Axminster Faceplate liners: cork tile of suitable size 125mm x 45mm, noting grain direction. Mark
power tools cat no. 102474 • Template: plywood or hardboard the top and face then draw a centreline
• Brass flat bar: 2 @ 12.7mm x 6.35mm x 125mm x 110mm from top to bottom on the face side.
150mm, 2 @ 12.7mm x 6.35mm x 475mm Draw a line 140mm down from the top
• Brass angle: 2 @ 50.8mm x edge, intersecting this line and mark with
25.4mm x 3.2mm x 190mm an awl ready for drilling. Using a 30mm
• Steel angle: 125mm x 35mm x Forstner bit, drill a through hole to accept
35mm x 3mm or similar the vice screw. The top of the jaws can be
left square or, in this case, chamfered.

1 2

3 4 →
WOODCARVING 166 15
5 To achieve this, refer to the diagram
and measure 50mm each way from the
centreline on the top edge, then measure
75mm down each side and join the marks
with a diagonal line back and front. Remove
the waste with a saw and plane smooth.

6 Draw a line on the top 10mm from the

front edge and 75mm down on the face,
then join these lines on each side and
remove waste with a smoothing plane.

REPLACING LINERS
To replace the faceplate liners, break away the
cork to reveal the screw heads and remove 5 6
the plates, then clean off the remaining
cork, re-fit and replace the cork liner.

Faceplates
7 To make the template for the faceplates, cut
a piece of plywood or similar to size 125mm x
110mm then, referring to the diagram, mark
centreline and fixing holes and drill 2mm
holes for the fixing points. Clamp to inner
face of front jaw, aligning the centrelines,
and plane down to match chamfers.

8 While clamped together, mark the screw

holes by tapping a small nail through
the fixing points on the template.

9 Drill 4mm holes to a depth of

20mm at these points. 7 8

Dovetails
10 Now scribe a line 46mm from the
front edge on to the top and bottom of
the base then, referring to the diagram,
mark out for the dovetails. This will give
approximately a 1:6 dovetail. Shade in the
waste side of the dovetails for clarity.
Now remove the waste with a fine-tooth
saw and clean up with a 25mm paring chisel,
taking care to clean out the corners for a nice,
neat joint, then transfer the marks to the
front jaw and cut out the waste for the pins.

11 Check for a tight fit then glue and

clamp, making sure the front jaw is
90° to the base. This will leave 1mm
protruding on the tails which can be
planed down once the joint has set. 9 10

12 Cut the back jaw to size 205mm x 125mm

x 45mm, noting grain direction, then mark
top and inner face. Next, place the jaw on the
top of the base snug up against the front jaw
and clamp together with a thin piece of card
underneath. Transfer the chamfer lines on
to the inner face of the rear jaw. While still
in this position, mark the hole for the vice
screw by pushing the Forstner bit through the
front jaw to mark the centre point for drilling
the hole in the rear jaw. Remove the clamp
then transfer the chamfer marks to the outer
face, remove waste with a saw and plane as
before. Drill the hole for the vice screw.

11 12

16 WOODCARVING 166
 CARVING VICE PROJECT

13 Before assembling the rear jaw parts the

holes for the back nut need to be drilled. To
do this clamp both jaws together as before
and fix the vice screw to the front jaw with
2 x 40mm x 6mm c/s screws, making sure
the thread is centrally positioned through
both holes. Thread the back nut on as far as
it will go and position it square to the rear
jaw then mark the fixing holes. Remove vice
screw and clamp and drill holes to accept
40mm x 5mm screws. Using the template drill
holes for the faceplate on the inner face.

14 Cut sides to size 2 @ 150mm x 105mm

x 21mm, noting grain direction, and mark
top and outer face. Optional: the bottom
13 14 edge can be rebated to accept pieces of
brass flat bar runners 12.7mm x 6.35mm.
Set the cut so that the bar sits just proud
of the edge and flush to the side. Fix with
6 x 25mm x 4mm c/s brass screws.

15 Cut the top to size, 200mm x 125mm x

21mm – the grain direction can go either way
on this piece – then cut cross brace to size
83mm x 25mm x 21mm. Fix the sides to the
rear jaw with 4 x 100mm x 6mm c/s screws
and fill screw heads with plugs or filler. Fix
the top to the sides with 4 x 40mm x 4mm
countersunk screws and fill screw heads as
before. Fix the cross brace to the bottom rear
edges of the sides with glue and 2 x 40mm x
4mm c/s screws fill screw heads as before.
15 16 16 The cross brace will also act as a stop
against the rear mounting bolt to prevent the
screw from being wound out completely.

17 To complete the rear jaw assembly cut,

paint and fix a piece of steel angle to the top
and jaw using 6 x 25mm x 5mm c/s screws.

18 Cut 2 @ 125mm x 110mm x 10mm then,

using the template as a guide, plane down
the edges to match the jaw chamfers on
each piece. Mark the screw holes and drill
5mm clearance holes, then countersink
deep enough so that the screw heads sit well
below the surface. Now fix the faceplates to
the jaws with 8 x 25mm x 4mm c/s screws.

19 Now is the time to apply the finish of

17 18 your choice prior to fitting the hardware.
Here Danish oil has been applied, which can
be touched up from time to time without
re-sanding. Note the screw holes have been
covered with tape to prevent glue from
clogging the screw heads. The cork liners
are simply pieces of cork tile glued on to the
faceplates and trimmed back with a craft knife.

20 To fit the hardware, cut the brass flat bar

to size and fit into the rebates on the base
with 10 x 25mm x 4mm brass c/s screws. The
bar should be slightly proud of the top surface
of the base. Place the rear jaw in position and
fit the brass angle guides using 10 x 20mm x
4mm brass c/s screws. The brass guides will
need to be cut back to approximately 18mm
on one face to fit into the groove. Check
for free running and adjust if necessary.
19 20

WOODCARVING 166 17
 PREPARING BACK NUT
PRIOR TO FITTING
The back nut is supplied countersunk for
recessing. For this project it will need to
be countersunk on the reverse side.

21 Fit the vice screw parts using 2 x 40mm

x 6mm countersunk screws for the handle
and thread assembly and 4 x 40mm x 5mm
c/s screws for the back nut. Refer to article
sidebar for pre-fitting detail. Check again for
free running and adjust if necessary – the only
touching parts should be the brass runners.
A little candle wax will ease any resistance. 21 22
The vice is now ready to mount on to
your work bench, ideally on a suitable 22 If you have cut a groove right through 23 The finished vice ready for use.
corner position. Using 15mm coach bolts, to the front of the base, as in this example,
nuts and washers of suitable length. you can fill the gaps with small fillets 24 The vice is easy to use and versatile, which
of matching wood for a neat finish. makes for a useful workshop addition. ◗

23

24

18 WOODCARVING 166
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 Bee-eater
Mike Wood shows how to create one of the most exquisitely coloured birds around

here are around 25 species

T within the bee-eater

(Meropidae) family, most of
which live in Africa and Asia with
a few species found in southern
Europe, Australia and New Guinea.
In June 2017 there was a rare sighting
of bee-eaters in the UK when seven
birds were spotted at a quarry near
Loughborough. Bee-eaters usually
breed in southern Europe and Africa,
but the effects of climate change mean
that more of these birds are moving
north and they may become a more
common sight in Britain in the future.
Bee-eaters are very brightly coloured
birds, often with brilliant green
plumage, although some species have
red, yellow, blue or purple feathers.
The name Meropidae derives from the
ancient Greek word ‘Merops’, which
means ‘bee-eater’. Their main source
of food is flying insects – bees, wasps
and hornets – which they catch in
mid-air after observing the prey from
their perch. The bee-eater's beak
prevents it from being stung as it kills
the insect then removes the stinger
by wiping the insect against its perch.
Bee-eaters are mentioned in Aristotle's
writings, who advised bee-keepers to
kill the birds to protect their hives.
Bee-eaters live in colonies and form
his project
monogamous is based
pairs on one of the five
for breeding, angles (see photo below) which suggests it

T carved
with both
caring1,200
for the
burial described
burrows
nominally
the
animal
male
year
which they
sides ofcalling
heads found
and female
old Oseberg
young.
in the
cliffs, it
digprevious
birds in the
Their nestsViking
usually into
a dragon
sand bankshead
areShip
pages. I am
or onas all Viking
was attached to the front of something, like a
throne, ceremonial cart or part of a ship – we
will never know. The carving is very finely
executed in the Oseberg style (see page XX).
creatures
level ground. are diffi
Thesecult to identify
burrows can and the It has cross-hatching and texturing so skilfully
University
reach up toof3m Oslo cautiously
deep. The nests refers
are to them as executed in microscopic detail you'd think it
‘animal heads’,
vulnerable but dragons
to attack figuredand
from rodents strongly in had been done by fairies, and it is very hard to
Viking mythology
snakes, and the adult andbirdstheyarelookpreyed
as much like replicate. It certainly grabbed my attention
dragons
on as anything
by raptors. else. I am also not the first
Their conservation when I visited the Oslo Viking Ship Museum.
to call them
status dragons,
is currently so we willasgo with that.
categorised The timber used for the Oseberg head is,
The concern’
‘least five Oseberg by theanimal heads are all
International despite spending 1,200 years buried in boggy
different
Union forand appear to of
Conservation beNature.
the work of five ground, a rich golden brown. Wikipedia
different
In Hinduism,carvers. The one are
bee-eaters I have chosen is
associated says it is maple (presumably Norway Maple
PHOTOS BY MIKE WOOD

the best
with archerpreserved
gods and and,
theapart from having
Sanskrit (acer platinoides) but this is not confirmed in
parts of
name foritsthe
ears andmeans
birds a few teeth
‘Vishnu'smissing, is in the Viking Ship Museum information which
a remarkable
bow’. state of preservation.
This association came about Like the just describes it as ‘a hardwood’. Maple is
other heads,
because it has a long
the bee-eater neck with
in flight looksa shaft not especially durable, so its preservation in
mortised
like a bowthrough the lower
with its beak as the end at right-
arrow. the ship grave is even more remarkable. →
WOODCARVING 166 21
 Things you will need
Tools:
• Personal and respiratory
protective equipment
• Bandsaw, coping
saw or fretsaw
• Carving knife
• Rotary power carving unit
• Coarse taper burr 1 2
• Medium flame or
taper burr
• Bull-nose stone burr
• Round-nose burr
• Fine ruby taper burr
• Drill and drill bit for the feet 3 4
• Sanding drum
• Pyrography unit
with scalpel nib
• Eyes
• Feet
5 6
Materials:
• Jelutong (Dyera costulata)
• Paintbrushes
• Airbrush
• Gesso
• Plastic wood 7 8
• PVA
• Fine sand
• Abrasives 120-240 grit
• Acrylic colours as per the
colour palette shown right
• In addition to the colours
Bee-Easter
shown in the palette,
you will need cadmium 1 - Aqua
yellow and cadmium red 2 - Phthalo Blue
3 - Burnt Sienna
4 - Cadmium Orange
5 - Yellow Deep
6 - Black
7 - Pine Green
8 - White Gesso

The body
1 Start by cutting out your bird blank, leaving
just a little bit of extra wood for shaping it
later. While finished size isn't critical, this one
is a life-like size, about 250-300mm long. Use
the plans provided and scale them up to the
size you require. The scrap of wood stuck on
the underside helps with keeping the bird
stable, allows it to be clamped and is easily
removed when not needed.

2 Once you have your rough-cut blank, mark

out the primary shapes and start shaping it
using a knife, gouge or rotary carving unit
with a coarse and medium-grit burr. Once
rough-shaped, sand it roughly and then mark
in the fine detail such as the feather positions. 1 2

22 WOODCARVING 166
 BEE-EATER PROJECT

Feather location and detail

3 Now you need to create the medium and
fine feather detail. I do this with a rotary
unit using medium and fine burrs. If you are
power carving, remember to wear personal
and respiratory protective equipment. Go
slowly and check your reference material to
make sure you are getting all the key feathers,
shape and the textures right. Do the top
area first, so you get this section right.

4 Texture the finer detail around the head

and refine the shape of the beak. Once done.
place some plastic wood into the eye sockets
and push the eyes into this. There will be some
squeeze-out. Remove the excess and shape
3 the plastic wood as required to create the right
shaped surrounding for the eyes. Once the
surround is shaped, leave it to set.
I buy the eyes. There are many outlets where
one can buy such things, including feet for
birds etc.

5 Move on to the underneath areas.

Again, look at your reference material
and use a combination of a taper and
bull-nose burr to create the detail and
the softness required. By that I mean
the look of the soft, pillowy feathers.

Pyrography
6 Carefully check your reference material and
draw in the relevant main feather forms. Use
a pyrography unit with a scalpel-type tip to
4 5 detail the main parts of the feathers, such as
the central rachis and outlines. The depth the
lines are burnt to needs to be deep enough
to show through after the gesso is applied.
Cross-check your reference material
as some feathers are very prominent
and others are softer and more muted.
If you are unsure, practise on some
waste material before you commit to
burning in detail on your shaped bird.

7 Continue the marking and burning in

until you have done the complete bird.
Once done, you need to work out the position
and angle of the feet. Once you have that, drill
holes in the right position and angle to suit
the feet you have bought, I make mine, and
then fix them in place with plastic wood.
6 It is best to drill the hole slightly oversized
so you get a bit of plastic wood squeeze-
out which you can then shape and texture
as required. Then leave it to set.

The stand
8 Part of the process is to create a suitable
stand for the bird. This needs to be as
naturalistic as possible and also show off
the bird to its fullest effect. I felt simple
grass/reeds and a branch would work
well for this project. How you choose
to display the bird is up to you.
When displaying birds, it is best to pick
something that is pertinent to the bird
being carved. It is best to consider and
work this out before carving the bird. The
position you choose to seat the bird will have
a bearing on feet shape and position and
7 8 also the head position and bird posture. →
WOODCARVING 166 23
Gesso
9 Prior to colouring it is vital that the bird
is sealed and prepared properly. Brush
over the piece to remove any loose carbon
created by the pyrography, then apply a
coat of white gesso.
You may need to thin down your gesso if
you have bought the ready-made variety.
The consistency needs to be such that it
coats and seals the work and creates a base
layer on which the colours will sit, but not
be so thick as to fill the pyrographed detail.

Applying colour
10, 11 & 12 You now need to block in the
main colours in the following sequence. The
colours are clearly labelled in the palette on 9 10
page 22. The beauty of this richly coloured
bird is that there are clearly defined blocks
of colour as a starting point. The easiest
way of explaining them is as a list.
• The outside beak is black and the inside
is red, which is a mixture of cadmium red
and a tiny bit of black.
• The throat area is cadmium orange.
• There is a collar of black around the throat
and part of the head. Note in pictures 12
and 13 you can see that it stops on either
side of the brownish top section.
• Then comes a fine band of aqua with a
delineating band of white.
• The strip running though the eye is black.
• Above the strip of black is an band of aqua
which runs over the head and across the
other side. Note in picture 11 you can see 11 12
that the top front of the head is white.
• The top crown of the head, the front
shoulder of the wings and the back
V-shaped area are a mix of burnt sienna
and cadmium orange.
• The middle and lower wing areas are
phthalo blue with dark grey feather tips
and edges.
• The two angel-type creamy yellow
wing areas on its back, as viewed
from the top of the bird, are a mixture
of cadmium yellow and white.
• The section in the middle of the back
below the two cream sections is burnt
sienna with a light wash of aqua.
• The tail feathers are phthalo blue with a
wash of aqua over the top middle ones.
There is a light edging of dark grey. 13

13 This image gives an alternative view to

be better able to see the coloured areas.

14 Now back to the throat. This is given a

light wash of white gesso and then, while
still wet, a light brushing of cadmium
orange to create the slightly streaked look.
The feathers on the shoulders of the wings
are edged with a mix of gesso and cadmium
orange to create that barred look. The
aqua bands are edged with white and the
crown of the head and back V-section are
dry-brushed with a light wash of cadmium
yellow and white gesso.

15 The underneath belly area is now dry-

brushed with aqua then light streaks
of white. The feet are painted dark grey. 14 15

24 WOODCARVING 166
 BEE EATER PROJECT

16 The lower V-section now has a graduated

light wash of burnt sienna and pine green.

17 The back section abutting the lower

neck collar now has a dry-brush of burnt
sienna. Note again the graduation of
colour down towards the tail section.

The stand
The branch for the stand was stripped
back a bit and light washes of brown were
applied to create the mottled brown effect.
The base was coated with PVA then fine
sand was applied to create the shingle/
stone effect. The grass/reeds were sprayed
a light fawn colour and then flecked with
a darker colour to give the mottled look.

Red-veined darter dragonfly

18-19 I added one other element, an
optional extra so to speak, that has not
been mentioned yet and that is a red-veined
darter dragonfly held in the bee-eater's
mouth. The body was constructed using
a combination of copper-coated steel rod
and thin copper wire for the head, body
and legs. The various sections were cut and
then soldered together, then a coat of gesso
was applied and, once dry, it was painted.
The wings were created using thin acrylic
sheeting. These were cut to shape with a very
fine saw. The veining was done with a very
fine permanent marker. Then and these
were glued in place. I think they finish off
16 17 the piece nicely. ◗

18 19 →
WOODCARVING 166 25
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B McNamee & Co Ltd, Strabane,
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D & M Tools, Twickenham, TW1 4AW.
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Axminster Tools & Machinery,
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The Woodsmith’s Store, Whitley Bay,
NE26 3TN. 0191 2524064

Frank Clark Ltd, Cork, Ireland.

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045 883 088
John J Ronayne Ltd, Thurles, Ireland.
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 Size matters
Peter Benson explores size and scale of carvings
I n this world where fashions seem to dictate
how successful anyone is going to be,
those who don’t conform to the current
trend are likely to have a much more dificult
time than those that do. Pop stars and ilm
stars are seldom unattractive, maybe lacking
in character and personality but generally
good to look at. We ordinary people have to
work just that bit harder to make our mark.
As someone who loves to carve very small
pieces when I have the opportunity, I am aware
that, unless I become very famous – which is
highly unlikely – I am never going to earn a
living or get paid anything like a worthwhile
sum with any of my little carvings. On the other
hand, if I tackled a tree stump with a chainsaw
and spent a fraction of the time producing a
PHOTOGRAPHS BY PETER BENSON
strikingly large piece for someone’s garden or
park, or even carved a series of village signs, I
could expect a good return for my efforts.
This is not to say that either approach is
preferable or has more merit, it is simply that
size does matter. The general public seems to
consider that, the more there is of something,
the more it is worth, whereas, so often,
28 WOODCARVING 166
something large is much easier to tackle than
something that is very small. It really boils down
to scale. Small will mean that you will have little
dificulty getting hold of materials and the tools
you use will probably go into a spectacle case,
error was signiicant. However, working with
ive other carvers on the same piece certainly
tested our trust in each other and each piece had
to be carved in either a double garage or in the
open. Movement was sometimes a problem.
whereas carving large is a whole different ball
game. You have to search for suitable timber,
have the equipment to transport it and have
a suitable vehicle to carry all your tools. Then
you inevitably have to carve outside in all
weathers as the partner would not be keen on
having it in the lounge or on the trendy patio.
Enjoyable experiences
I must admit that I thoroughly enjoyed the
experience of carving large – with a small
team of carvers from Essex I was responsible
for producing some very large carvings for the
National Memorial Arboretum in Staffordshire.
The largest of these was a two-and-a-half ton
polar bear, followed by a 7ft-wingspan golden
eagle, a very large wren and a full-sized male
lion, among others. While the experience was
very different, it was actually quite relaxing as
all the detail was very large and the room for Carving as a team on a large piece of work

Polar bear in the National Memorial Arboretum in Staffordshire
Planning
You are probably wondering by now what this all
has to do with the sort of carving you undertake.
I suppose, really, that the relevance is in how we
plan our carvings. So often with my classes I am
faced with a problem from a carver that, more
often than not, has no satisfactory solution
as he or she would never have got into that
situation if some more thought had gone into
the preparation. Subtle changes in the design
or pose can very often make the difference
between whether it is easy or dificult to carve.
When planning your next carving I feel
that probably your irst consideration
should be how big you want it or does it
need to be. To a large extent this will be
determined by the size of wood you can get.
Most kiln-dried wood that you can buy
Starting to carve a deer
Other issues to deal with
I suppose I am jumping the gun a bit because I
haven’t mentioned any of the other issues you
face. Have you got the right tools and, do you
have what is necessary to hold a large piece of
wood securely while you are hitting it with a
mallet and large tools? Are you actually strong
enough to keep up the continuous banging that
will be necessary? Have you got somewhere to
put the inished product? Many carvers I know
get all enthusiastic about what they are carving
only to end up with the inished piece being
consigned to a box in the loft because a partner
Wren
nowadays is not going to be more than 4in
thick. You should be able to ind air-dried
pieces thicker than that from specialist
suppliers and, of course, you can carve
from a log which can be almost any size.
Movement
The problem is that the thicker you get the more
chance there is of the wood splitting as it dries
or as you change the stress in the wood as you
remove waste. Even very old, dry wood, such as
old oak beams, will split as it is worked as a result
of this change in stress. If you want to carve from
a large log I would advise that you get on with it
before it dries out too much. Keep it at a constant
temperature, remove as much as you can as
quickly as you can manage, oil it with something
The inished deer
doesn’t like it, or there is nowhere for it to go.
What a shame and possibly a waste of time.
If you are still determined to carve big, think
a little about what wood you want to use.
Some woods, such as lime, do not laminate
well. You can end up with considerable
colour variation as well as pronounced joint
lines which can spoil the end product.
On the other hand, woods such as mahogany, oak
and walnut, in all their variations, laminate very
well with little sign of joins and colour differences
providing the right care is taken in the preparation.
SIZE MATTERS TECHNICAL
like Danish oil each time you inish carving it and
cover with a polythene or dustbin bag if you can
to retain the moisture until you start again. This
way it will dry slowly and you run far less risk of
it splitting. I have done this with several quite
large logs of yew (Taxus baccata) and walnut
(Juglans spp.) and have not had one split yet.
If you can get hold of large pieces of air-
dried Lime (Tilia spp.) or similar, I suggest that
you treat it similarly – you could get away
with not oiling if you want to keep it light
coloured. Don’t be tempted to use water on
it as you will encourage mould to form.
If all you can get hold of is kiln-dried timber and
you want it more than 4in thick, you will need to
laminate the wood to whatever thickness you
require. This is where the fun starts.
Carving in relief
If carving in relief in any fairly thin wood,
especially lime, care needs to be taken to
ensure that you carve on the inside of any
circular pattern formed by annular rings as,
otherwise, the wood will almost certainly
bow as you carve it. With oak, as well as
any strong-grained wood you may choose
to use, I would always advise that any wide
board is cut into narrower boards and then
turned from top to toe before gluing back
together again. This will prevent bowing. →
WOODCARVING 166 29
Thick timber laminations
If you intend to make up a thick block by
laminating, it is important to match grain
pattern and colour where possible and check
with the end grain to make sure that you
don’t join pieces with the annular rings going
in the same direction. It is essential that all
joining faces or edges are absolutely flat so
that glue can be spread evenly and leave no
glue lines. This can be achieved with careful
planning and regular checking. I have found
that using good quality PVA glue, suitable
for the conditions of where the wood will be
placed, has never given me any problems.
One other consideration with laminating is
whether your bandsaw, if you intend using one,
will cope with a large piece of wood. If not, you
would be well advised to do any cutting out
before you glue the pieces together. Just check
that you can still clamp the different pieces
together satisfactorily once they are cut out.
The big advantage of carving larger pieces
is that you shouldn’t have too much trouble
carving any detail, provided you have done
your homework, as you may well have several
attempts before you have gone too deep into
the wood. Generally any carver will seldom
take off enough wood in the irst two or three
runs at it so carving can be fairly stress-free.

This has been joined for a restoration that will be painted or This is actually made up of ive pieces of American white walnut (Juglans cinerea) laminated vertically with almost
gilded. If lef t natural the join lines would be very obvious no sign of any joins

Small carvings
Things are very different when you start to carve small or
very small. The easy part is that there should be no dificulty
obtaining suitable pieces of wood. Anything will do as long as it
has a close grain able to take ine detail. This means that it will
probably be very hard so good, sharp tools are essential.
A number of manufacturers nowadays produce suitable
micro-tools, but most miniature carvers that I know still make
their own tools or modify others to suit what is required. Gouges,
chisels and scrapers can be made from masonry nails, old iles and
rotary bits similar to those used by dentists. Dental scalers and
probes can also be modiied to make very good tiny chisels and
gouges. What it generally boils down to is that the carver reaches
a point where they haven’t got a tool to do the job required, or that
will not reach an inaccessible corner, so a new tool design is born.

This snail on a plum (carved by my friend Russell Birch) is less than 50mm long and shows The underside of the snail
the amount of detail that needs to be put into a netsuke or netsuke-style carving

30 WOODCARVING 166

Form and detail
While carving netsuke or other very small pieces does mean that the
carver is often creating challenges that frequently are doomed to failure,
the average person probably won’t want to spend the hundreds of
hours that are necessary, especially if there is a risk of failure. Therefore,
before any carving is proposed, a few questions need to be asked.
• Do you have the tools to give good, crisp cuts that will
stand up to examination under a magnifying glass?
• Are your eyes good enough to see what is needed? If not
you will certainly need a magniier of some sort.
• Do you possess the skills to make ine, delicate cuts and are your
ingers strong enough to hold the piece while you are carving?
All right, you might not want to carve that small, but you could
apply some of these questions to many of the carvings that you can
This figure has no face or hands carved yet the body language is still there
SIZE MATTERS TECHNICAL
see today. Remember that the smaller your carving the smaller
the detail will be. You cannot expect to carve realistic eyes in a
face that is only an inch or less tall, yet many try to do so.
The smaller you go the more you need to ask yourself how much detail
you really need to include. Correct posture or face shape in a igure can
give character, expression and movement; drapery can have flow and
direction without individual creases being carved. In general, the smaller
you go the more you can tend to try to over-carve a piece, thereby spoiling
it. In many cases the inclusion of ine detail can enhance a carving
but it cannot convert an indifferent design into something special.
A closing thought here is that, if you imagine how far away
from your subject you would need to be for it to be the size of
your carving, how much detail would you be able to see? w
This shows a mother and child at firework night. The heads are 50mm tall and I think about
the minimum size on which an average carver should expect to be able to carve realistic
facial detail. Very detailed minute carvings are a self-indulgence to prove that you can do it;
they have little to do with reality. And why should they? But, as my old mother used to say:
‘Nothing worth doing is easy’. Or was it: ‘Nothing easy is worth doing.’ Something like that
WOODCARVING 166 31
 Bigeye fish
A beginner’s guide to knife-carving a fish, by Terry Nokes

F or this project I chose to carve a lunar-

tailed bigeye fish (Priacanthus hamrur)
because is it is an ideal subject to carve
and is also a delightful fish with oversized
eyes that can grow up to 400-450mm. But
the knife handle is homemade and the
blade has been modified and ground back
to be thinner at the tip than originally
supplied, so is ideal for detail carving.
All tools need regular sharpening to not
Sharp tools need little force to cut with,
so remember to strop the blade regularly
to maintain the cutting edge and wear a
slash/cut/stab-resistant safety glove, which
also protects the wrist against a slip with
for this project I will carve small ones just only cut the wood cleanly, but also for safety. the knife when holding the workpiece.
under 100mm in length. You can scale the
plans up or down to suit your requirements.
The colouration on this species of fish can
vary from red-silver orange, to silver with red
or orange stripes. I have chosen the orange
variant. The fish inhabits the tropical waters
of the Indo-Pacific and is often seen on reefs.
This project is designed to be carved with
just one tool – a carving knife. Of course,
carving chisels can be used if preferred,
PHOTOGRAPHS BY TERRY NOKES

but carving with one tool, a knife, is a

wonderful way to start your journey into
carving and keeps the costs down.
The knife blade I have used is manufactured
by Murphy Knives USA, but there are many The modified knife with homemade handle from coloured ply. Note the rubber band wrapped around the knife handle. I find
other makes to choose from. However, this useful as it gives me extra grip and ensures it does not slip →
WOODCARVING 166 33
 Things you will need
Tools
• Personal and
respiratory protective
equipment
• Safety knife-carving gloves
• Carving/whittling knife
• Pointed bradawl
• Drill
• 8mm drill bit
Materials
• Lime carving blank
90x45x13mm
• 8mm fishing lure eye
• Template
• Glue stick
• Paint – red oil based paint
• Abrasives down to 320 grit
• Nitrile gloves/
protective gloves
• Bright-red stain,
dye or paint
• Finishing oil
• Finishing wax
• Mixing tray
• Brushes
• Cloth/paper towel
• Optional mounting:
piano wire/pin drill

Blank preparation
1 Create two paper templates to the required
size, one for each side of our fish blank. This
helps us to align the two eyes later and keeps
the carving symmetrical. The fish shown in
this project example is approx. 85-90mm
in length. Align your front template length
ways along your timber, so you have the grain
of the wood running along the length of the
fish. This will minimise any short-grain areas
which can easily snap across the grain. When
happy, glue on the front template only with a
glue stick and then carefully cut out the fish
with a bandsaw, scrollsaw or coping saw.
Please note: If you plan to carve with
gouges and chisels, perhaps leave additional 1 2
wood behind the tail, just enough to
secure the work piece by vice or clamp.

2 Once the shape is cut, glue the back

template on the reverse of the blank. This
will help with the carving later. Now, draw
a centreline around the entire piece.

3 Make vertical cuts through the paper

template to mark out the stop cut lines for
detail. Please note the dotted lateral line along
the fish body is not to be cut as it's a finely
painted, white-dotted line if desired. Mark
the centre of the eye with a pointed bradawl.

4 Now you need to draw the symmetrical waste

lines for the sides along the top of the fish.
Hatching the waste areas makes it even clearer
what timber to keep and what to remove. 3 4

34 WOODCARVING 166
 KNIFE-CARVED FISH PROJECT

Carving
5 Wearing a knife safety glove, with a
sharp knife use a push cut to remove
waste towards the tail. Good practice is
to hold the knife relatively still, create a
fulcrum (pivot) with your thumb and move
the workpiece with your other hand.

6 As you remove waste the stop-cut

detail lines will slowly vanish. With
your knife put them back before
they disappear completely.

7 Here is the fish tapered back towards

the tail. Now repeat on the other
side – make the fish symmetrical
5 6 before moving to the next stage.

8 Cut in the mouth lines. Go gently

here – make multiple light strokes until
you get to where you need to be. Once
done, round off the front of the fish.

9 You now need to mark out the lower

and upper dorsal fin width, which is
about 1mm either side of the centreline.
Continue these lines around the whole fin.

10 Mark out the waste areas.

11 Here I am using a push cut to remove

waste. It is advisable to try to cut with the
grain where possible. This image shows
me using a push cut against the grain and
7 8 ending up with a rough, torn cut. So, if
you find the knife cuts are tearing wood
fibres and leaving the surface rough, you
need to carve in the opposite direction.

12 This is the pull cut, where you carve

towards your thumb. Safety gloves or leather
thumb guards are a must. But note how I
am cutting with the grain and the shaving
off the knife is clean and not jagged. The
surface of the wood is also nice and smooth.

13 Carve along the dorsal fin to make it

thinner. Note this needs to be a depth-
controlled pass. Try not to leave any
unwanted cut lines in the fish body.

9 10

11 12 13 →
WOODCARVING 166 35
14 Perhaps try – grain permitting – to
make a vertical slice down the fin's
length. Do the same on both sides.

15 Now carve away the square edge where

the top of the body meets the dorsal fin
and thin out the body towards the tail.

16 The tiny pectoral fin behind the gills needs

to stand out. Remove about 0.5mm, just a
minimal amount, away from around its sides. If
any paper is left on the pectoral fin, just scrape
it off. Don't alter the height of the wood.

17 Design and draw in the tail end. Make it

straight, curved or S-shaped as you wish.
14 15
18 Draw in the desired shape of the lower
two pelvic fins. Perhaps make them a
little fatter than the template guide.

19 This needs time as it's really easy to

snap these pelvic fins off due to the short
grain of the timber, so go gently at this
stage. Ensure the knife is sharp. Start by
making V-shaped cuts in between the fins
and gradually deepen. Best to always carve
towards the fish's body for strength. As
these will be so brittle, perhaps leave chunky
and finish shape later with abrasives.

Sanding
20 Now you need to sand the wood smooth.
I would advise to use a dust mask. I use a
combination of soft and firm-sided hook- 16 17
faced sanding block on which is affixed
loop-backed abrasive. If you sand away details
cut them back in with your knife. For the
trickier areas like the tail, roll up abrasive into
a tube. I worked down to 400 grit. Remember,
always finish by sanding with the wood grain
direction and be aware that any defects
and unwanted marks left in this sanding
stage will appear in the final colouring.

The eyes
21 I bought some eyes from a craft store.
The eyes I bought adhere better if stuck on
a flat surface. Although not shown in the
images, one option to fix the eyes in place
is to surface mount them – draw an 8mm
circle on the eye position and flatten its
inner surface with your knife or abrasives. 18 19
Another method, which looks better and is
the one I have used here, is to slightly recess
the eyes. I don't have an 8mm Forstner bit so I
used an 8mm brad pointed drill bit to make an
eye recess. The Forstner bit or a Bullet tipped
drill bit would make a cleaner cut. A shallow
hole is required somewhere between 0.5-1mm
deep. Beware, after all this work there is a
chance that surrounding wood fibres around
the hole may tear. To minimise this use a brand
new brad drill bit and ensure the bit is spinning
before making contact with the workpiece.
Perhaps try on some scrap wood first. With
the hole now made, depending on the drill bit
design used, you might have to still flatten
the area inside the hole circle with your knife.
Although the eyes are self-adhesive,
it's perhaps best to add some contact
adhesive as well and then insert the eye. 20 21

36 WOODCARVING 166
 KNIFE-CARVED FISH PROJECT

22 Once the eye is fixed in place it is

time to add fin detail. With the knife,
finely cut/score all the little fin lines.

Colouring and finishing

23 The colour stain and finish I used is made
by mixing a small amount of bright-red
oil-based paint with neat Danish oil. Blend
the two together, approx. ratio 1/10 mix.
Apply the stain or dye to the fish and leave
for 5-10 minutes then remove surplus with a
cloth. Repeat this process if a darker colour is
desired. All the detail lines are now visible and
highlighted as more stain is held in these cuts.
Be aware that oil-based finishes on
cloths can self-combust and can be a
potential fire hazard. Read and follow the
precautions for safe use on the containers.
Leave it overnight to dry and in the
morning apply a thin layer of wax with a soft
toothbrush or cloth. Follow instructions,
but likely you'll leave the product for so
many minutes and buff to a shine

24 I did an optional mounting extra.

For this example, I chose to drill a tiny
hole in the bottom with a pin drill and
suspend the fish on piano wire.
An alternative would be to suspend the
fish from wires on a frame so they can
move and sway with any movement of air.
I hope that you find this project is
a great example to show you do not
need a lot of tools to create something
22 23 wonderful and have some fun. ◗

24

WOODCARVING 166 37
PHOTOGRAPHS BY ROBERT RANDALL / COURTESY OF CITY & GUILD OF LONDON ART SCHOOL
Art School
Master Carver
central to renovation of
Kew Gardens’ Great Pagoda
We talk to the City & Guilds of London Art School to find out about
its involvement in the renovation of a classic piece of architecture

PHOTOGRAPHS BY TIM CRAWLEY / COURTESY OF CITY & GUILD OF LONDON ART SCHOOL
ead of Historic Carving at City &

H Guilds of London Art School, Tim

Crawley has been at the centre of
a major renovation project on the Great
Pagoda at Kew Gardens. The project
was completed earlier this year and the
pagoda reopened to the public in July.
When originally built in 1763, each corner
of the eaves of this octagonal structure
was adorned with highly polychromed
dragons, varying in length from around
5ft at the top of the tapering tower to
around 8ft at the bottom. In the 1780s
the dragons were removed. Tim was
selected to design a new set of dragons
to be reinstated on the building. The
original colour scheme of the building was
resurrected, with the dragons painted in
iridescent glazes with gilded highlights.
A host of carvers worked on the project, The clay model designed and created by Tim Crawley
which required 80 new dragons to be

PHOTOGRAPHS BY ROBERT RANDALL / COURTESY OF CITY & GUILD OF LONDON ART SCHOOL
crafted, and a number of carving tutors
and alumni from City & Guilds of London
Art School were commissioned to carve the
sculptures. Seventy-two of the dragons were
3D printed and eight carved from African red
cedarwood.
In creating the design of the new dragons,
Tim researched the originals with reference
to engravings and paintings from the time
of the construction and analysed similar
works from the period. He then modelwled
prototypes in clay that were translated into
full-size carvings by Art School alumnus
Paul Jewby in his workshop in Suffolk.
These carvings were then 3D scanned.
The 72 dragons that have been 3D
printed are fixed to the top levels of the
10-storey structure, while the eight pieces
carved in the traditional manner adorn Ashley Sands inspecting the construction and progress
the lower storey. Art School alumni,
John Shield assisted by David White, and architectural sculpture on such buildings of the building, with their dramatic
Robert Randall, assisted by Ashley Sands as Temple Bar, St George’s Bloomsbury silhouettes and sparkling finish, so it was
and David Mendieta, were part of the and King’s College Chapel, Cambridge. important that they should be reinstated.
team involved in carving the dragons. Commenting on the restoration, Tim It was also a wonderful opportunity for
Tim was selected to take a lead role in this says: ‘These ornamental dragons play a a large group of woodcarvers to work on
restoration due to his projects restoring the very significant part in the exotic effect this unusually grand architectural scale.’ →
WOODCARVING 166 39
 A set of short videos following the creative
process involved in recreating the dragons
can be found on the Historic Royal Palaces
website (www.hrp.org.uk/kew-palace/
explore/the-great-pagoda/#gs.6wExCGE)
and on YouTube (https://www.youtube.com/
watch?v=lW-ObFZe67k&feature=youtu.
be and https://www.youtube.com/
watch?v=W1brDqeC7TE&feature=youtu.
be). The Art School’s Tim Crawley and
Robert Randall are featured explaining
their part in the restoration.
All the tutors at City & Guilds of London
PHOTOGRAPHS BY ROBERT RANDALL / COURTESY OF CITY & GUILD OF LONDON ART SCHOOL
Ashley Sands working on the dragon
One of the completed dragons installed on the Pagoda
40 WOODCARVING 166
Art School are practising professionals
working in their specialist fields. This
can often lead to unique opportunities
for students and recent alumni and
also provides an important professional
network on graduation. Recent Art
School collaborations with important
historic buildings include the design
and replacement of corbel heads and
other restoration projects at Southwark
Cathedral and the creation of grotesques
to adorn St George’s Chapel, Windsor.
City & Guilds of London Art School
The carved dragon with carver John Shield
offers the UK’s only Diplomas and
Postgraduate Diplomas in Stone Carving
and Woodcarving and has been teaching
these historic craft skills since 1879. As such,
it plays a crucial role in keeping alive the
skills essential for preserving the world’s
most important monuments and buildings.
The Art School also offers undergraduate
and postgraduate courses in Fine Art and
the Conservation of Historic Objects. ◗
For further information contact: www.
cityandguildsartschool.ac.uk
PHOTOGRAPHS BY TIM CRAWLEY / COURTESY OFCITY & GUILD OF LONDON ART SCHOOL
PHOTOGRAPHS BY ROBERT RANDALL / COURTESY OF CITY & GUILD OF LONDON ART SCHOOL
 Alec Tiranti Ltd

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THE FOLK SCHOOL

CHANGES YOU.

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BRASSTOWN NORTH CAROLINA
 Birth spoon evolution
Dave Western explores carving commemorative spoons

hen I irst began carving lovespoons

W professionally, among my irst

orders were a couple for Christening
spoons. Although not a lovespoon in the
classic sense of the word, a spoon celebrating
a new life can be every bit as passionate
and emotional as a spoon given to initiate a
romance or commemorate a wedding. Parents
and grandparents are justiiably proud and
honouring a newborn with a lovely spoon is
certainly a marvellous tradition. Although
the trend has been to present silver spoons
because of their association with prosperity
and good fortune, I believe that wooden
birth spoons can easily rival metals and,
when done right, surpass them entirely.
When I irst began carving Christening/
PHOTOGRAPHS BY DAVE WESTERN

birth/baby spoons, I merely copied normal

spoons, but on a slightly smaller scale. My
initial designs were fairly straightforward
and unadorned. Sometimes I would dress
them up with the addition of an occasional
Celtic knot or carver’s trick. Most followed
the classic order of a straight handle
and bowl with no unusual shaping.

42 WOODCARVING 166

As I warmed to the subject, I began
introducing more diverse elements and
started to tell more of a story as I do with
my larger lovespoons. I began to jazz up the
handles a bit and broke away from the straight
handles I had been previously making.
A selection of spoons with more ornate handles
Chance discovery
However, it was the chance discovery of a
remarkably unique little bent spoon that entirely
changed my way of approaching birth spoon
design. I kept noticing a quirky style of spoon in
museums and auction brochures which stood
out both for its simple elegance and its unusual
design. With a bowl sitting at almost 90° to the
handle and a curious bone-like crown detail, it
certainly caught my eye. Like many things to do
with traditional lovespoon carving, knowledge
of its original purpose seems to have been
lost to the sands of time, but it is suggested
spoons like these were used to feed the baby.
The mother could sit with baby on her lap or
could stand with it wrapped in her shawl and be
able to find baby's mouth without having to reach
around. The curious crown detail was, in fact, a
finger grip that would allow the mother to hold
the spoon by the tip without fear of dropping. It
certainly seems a sensible and plausible notion.
A slightly less romantic and believable scenario
is that the spoons were made to feed invalids
– plausible, but less likely as the need to reach
around would not be very common. Personally,
and as unscientific as it is, I'm siding with the
baby-feeding theory since it suits my needs.
It also set me on the path to developing
my own versions of the birth-style spoon
BIRTH SPOON EVOLUTION TECHNICAL
Examples of my early Christening and baby spoons
and to modernising and completely altering
much of the design around it. I'm hoping
that after you've carved a couple of these
little beauties, you'll also be inspired to try
your hand at variations on the theme.
Fun
As it turns out, this style of spoon is loads of fun
to carve, presents several entertaining (but not
insurmountable) challenges and makes for a
wonderful conversation starter. You can approach
it with bare minimum tools and carve it with
only a straight and a bent knife, or you can take
the more modern route and shape it up with a
scrollsaw, leaving the knife work for the detailing.
For this one, I started with a 20mm-thick
piece of walnut and freehand sketched out the
spoon outline on top of carbon paper. You can
photocopy and glue the sketch at the end of the
article if you are uncomfortable with freehand
drawing. The spoon I made is approximately
135mm long by about 70mm wide. The bowl
measures about 55mm long by 32mm wide.
I also orient the grain to be running straight from
the handle through the bowl. Although it adds a
bit of extra work shaping the bowl, I have found it is
the strongest orientation for the grain at the stem/
bowl junction and results in the fewest breakages. Spoon with offset bowl
WOODCARVING 166 43
 19mm
70mm (23/4in) (3/4in)

133mm
(51/4in)

Template Mark out your templates on to the timber of your choice

Cutting out the blanks

If you have a bandsaw, use it to cut to as near
the line as the blade will allow. My blade is
thick so doesn't turn well, meaning I leave
some space to be safe. If I use the scrollsaw,
the blade is very accurate, so I can cut right
to the line for a huge saving in time. If you
are using a knife and/or axe to shape the
spoon, remember to be very cautious in
the area above the spoon bowl and just
below the crown. It's easy to get carried
away and split these sections right off. Use either a bandsaw… …or a scrollsaw to cut out your spoon blank

Carving the spoon

With rough-shaping complete, I take the
opportunity to cut out the top curve along
the handle and a bit of a tilt into the top of
the bowl. This gives the spoon a bit more of
a dynamic feel and makes it much less static
than a straight, flat carving. Only cut away the
front faces at this point – it will make it easier
to clamp the spoon if need be and will give you
extra strength and support while carving.
I like to smooth the front face of the stem
and slightly raise the bowl at the stem joint.
Once that is achieved to a depth of about
1.5mm, I begin shaping the bowl with a bent
knife or gouge. The grain is short through
this area, so take your time and use shallow
cuts. Be very conscious of the edges where
you can have chipping or full splits occur if
your cutting becomes too enthusiastic! Cut in the curve of the handle

44 WOODCARVING 166
 BIRTH SPOON EVOLUTION TECHNICAL

I generally completely inish the bowl before

I move on to other carving. Doing it this way
means I can clamp the spoon if I need to and
don’t have to worry about putting stress on and
snapping the stem. I sand right through the
range of papers to 320 for a super-glassy inish.
I rarely leave these ‘from the knife’ as I want
that silky inish, but there is certainly no reason
why a good knife inish wouldn’t look good too.
With the bowl inished, I shape a inger-grip
hollow into the crown end of the spoon.
I use a bent knife or gouge and inish once
again with abrasive paper for a smooth
inish. With the front face inished, I repeat Shaping the bowl Sanding the bowl
the same hollow on the back and then get
to work shaping a groove around the outer
edge of the crown. The foreinger will rest
in that groove as you hold the spoon, so you
might have to work the groove until you get it
comfortable for your hand. Try to leave about
1.5mm un-carved at the edge to give you some
wiggle room if things go a little bit askew.

Refinement
Once the crown is shaped, I remove the back
stock from both the stem and the bowl. You
can use a saw to remove it in bulk, or simply
take it down with a knife. It’s subjective
how thin you take things. I leave the handle
about 6mm thick and then use my ingers as Carving the finger grip in the crown end of the spoon
callipers to judge how thin I am getting the
bowl. I try to get the bowl as elegant as I can
without risking a break or cutting through
anywhere. Take your time and be careful
not to exert undue pressure on the stem
as the spoon is much more fragile now.

Showing the thumb hollow and finger grip channel shaped

When the bowl, stem and crown have all but if you feel bumps or awkward
been carved to your satisfaction, spend a spots, spend some time shaving, iling
moment testing the hand-feel. If the spoon and sanding to achieve a flowing,
Removing waste from the stem and back of the bowl is comfortable in your grip, you are done, comfortable feel. It is time well spent.

Finishing
Give the spoon a inal once-
over with your inest abrasive
and then apply inish. If
you will be using the spoon
for feeding, I would highly
recommend a non-toxic,
food-safe oil or a straight
beeswax inish. If it is for
show, you can use an oil inish
with driers. On mine, I used a
couple of coats of pure tung oil
followed a week or two later
with two coats of wax polish.

All curves finely smoothed Lightly oil or beeswax to finish

WOODCARVING 166 45
Experimentation
As I mentioned earlier, while fun in its own
right as a project, this spoon was a wonderful
jumping-off spot for me as I developed my
own ideas of what a birth-type spoon could do.
At first I experimented with some sinuous
Celtic designs, which allowed me to keep the
bend, but also have a more decorative handle.
I then got a bit more adventurous and began
involving animal shapes or flowing outlines
which were a bit more abstract, eventually
playing with ultra-minimalist designs.
With that out of my system, I began working
Development of shapes and handle design
A more complex form of handle
46 WOODCARVING 166
on ways to tell stories with the spoons. As you
can imagine, a baby doesn't necessarily have
a lot of history to work with, but the family
always does. Their hopes and aspirations,
the things they love and the places they've
been are all grist for the design mill. But no
matter how complex the designs became,
I always kept that vaguely S-shape and the
wonderful bent bowl to honour tradition.
Over the years, I have found myself shallow S-bend in the handle. The designs
making two main styles of birth spoons. can vary widely and there is much scope for
The first has a modern and very sleek experimentation, but the overall shape is less
heart-shaped bowl, followed by a slightly flamboyant than the second type I make.
The themes that can be carved are myriad
 BIRTH SPOON EVOLUTION TECHNICAL

Alternative shapes
The second type has a more oval bowl
shape, which is subdued and acts as a foil
to the more extravagant handle designs.
On these ones, I keep the S-curve fairly
pronounced and will often have the design
‘climbing’ the handle. Often, the design
will have a theme which might revolve
around things the family like to do or
which have been signiicant in their lives.
I will often spell out the baby’s name as
part of the design and use other elements
to commemorate dates or places.
As with a traditional romantic lovespoon,
there is no end to the design possibilities
and to the personal statements which
can be made through the spoon. As a gift
which both commemorates a new life
and will give that life a link to its past, it
simply cannot be surpassed. I sincerely
hope that seeing my experiments will
inspire you to carve one as well. w

More variants to provide ideas for your own spoons

WOODCARVING 166 47
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 International
Woodcarvers
Congress 2018
Mark Baker showcases some of the work and moments
from the 52nd International Woodcarvers Congress
PHOTOGRAPHS BY MARC FEATHERLY

Watches the Sky by Brian Hartman

– Best in show 1st runner-up →
WOODCARVING 166 49
T
his year saw the 52nd annual
International Woodcarvers Congress,
sponsored by the Affiliated Wood
Carvers, take place at the Jackson County
Fairgrounds in Maquoketa, Iowa. The
organisers believe it is the longest-running
competitively judged woodcarving show
in the US. It is truly the most prestigious
show of its kind. Artists from all over
the US, Canada and overseas compete
for cash and awards at the Congress.
The event comprises a week of
seminars/teaching classes, which vary
in length from one to five-day courses,
according to the class type being
undertaken. All are run by respected
tutors/carvers in their chosen field.
Seminar instructors for 2018 included:
Janet Denton Cordell, John Engler,
Leah Goddard, Carol Jean Boyd, Josh
Guge, Vic Hood, Chris Howard, Jan
Jensen, Denny Neubauer, Ryan Olsen,
Michele Parsons, Bruce Shostak,
Rick Harney and Alec LaCasse.
In addition to the courses there is a
competition featuring more than 100
categories. This is judged by a team of
three who are rotated yearly to provide a
different flavour and viewpoint. The many
categories include: relief or in-the-round;
large and small carvings; impressionistic;
lifelike; caricature; animal; human figure;
human head; bird; aquatic; mythical or
religious; hand, power and chip carved or
created using a chainsaw. In addition, all
entries are broken down into age groups.
The categories also cover items that are
all the entrant’s own work, made from
a rough-out, or are instructor assisted.
The list above is by no means exhaustive,
but it does show that this is an inclusive
competition which gives as wide a scope as
possible for people to find a category that
suits them. The competition pieces are put
on display to the event attendees and open
to view for the public for three days too. Beyond the Reflection by James Wall – Best in show 2nd runner-up
One of the special features of the congress
is the critique sessions by two judges. These
sessions exist to help people understand
what judges are looking for in competition
entries and also for them to ask questions
to help them understand how to improve,
seek pointers on what to do and what
no to do and how to present work.
Dates for next year’s International
Woodcarvers Congress are: 8-16 June 2019.

For further information about

the Affiliated Wood Carvers and
The International Woodcarvers
Congress, go to: www.awcltd.org

Jan Jensen won 2nd place in the ornamental carving category

50 WOODCARVING 166
 INTERNATIONAL WOODCARVERS CONGRESS 2018 FEATURE

Lee by Carol Levy – 1st in the people involvement category →

WOODCARVING 166 51
Bob Hershey's Pickin’ & Grinnin’ won 1st place in the Jerry Wilson award group
memorial award category

Floral in the round category winner was Jim Keuppers’ piece called Flower Drop Dragon Spawn walking stick by Steven Newport won 1st place in canes and walking sticks

52 WOODCARVING 166
 INTERNATIONAL WOODCARVERS CONGRESS 2018 FEATURE

Mahogany Cassetta by Mike Allen, ornamental carving section, Judge's Choice

Bill Frerking won 1st place in the animals, birds and fish John Sharp won 1st place in the combining humans and Penguin on Ice by Jason Gordon, instructor assisted 15-18 year
category with Fox Head animals category with his piece called Lost Shoe old category

Watering Elephants by Bridges Dillehay won 1st place in the animals category

WOODCARVING 166 53
PHOTOGRAPHS BY NIC WESTERMANN
Wooden spoon design
Don Nalezyty explores the various spoon designs and the relationship between handle and bowl
he wooden spoon has been around for
T millennia and has been making a big
comeback recently. One only has to
look at the number of articles, rapidly growing
groups and events around the globe focused
on spoon carving to know it has exploded in
the past few years. With so many adherents
to the cult of the wooden spoon, questions
of good design are constantly in the ether. Ask
a dozen spoon carvers, from the occasional
hobbyist to the dedicated professional, what
makes a good spoon and you may get
a dozen answers. But there are common
themes: functionality, appearance, hand-feel
and mouth-feel. Functionality is certainly
easy to understand. Appearance too is fairly
easy to understand in terms of finish, form,
fairness of curves and overall visual balance.
Hand-feel and mouth-feel may be less obvious.
Hand-feel is the culmination of how a spoon
feels in the hand during use and is impacted
by many factors such as shape, size, and
relation to the bowl. Mouth-feel is the
54 WOODCARVING 166
culmination of how an eating spoon
feels in the mouth and adds factors
of texture, finish, and usability.
The anatomy of a spoon
A spoon at its most basic level has two parts –
the bowl and the handle. We often refer to the
bit between the handle and the bowl as the
neck, when viewed from above. The neck has a
second named section – the keel is the bottom
section of the neck that runs from the handle
to the bottom of the bowl. Like its namesake
on a ship, the keel provides structural support
to the spoon. An important part of the spoon is
crank. Seen in the side profile of a spoon, crank
is the bend between the bowl and the handle.
Finally, at the terminal end of a spoon, one
sometimes finds a finial. An embellishment,
the finial can define the character of a
spoon and balances opposite the bowl.
Spoon bowls come in many shapes, but the
three most common are egg, ficulate, and
squoval. The egg-shaped bowl is an oval that
narrows as it approaches the tip of a bowl.
The ficulate bowl is shaped like a fig or
teardrop and widens as it approaches the tip of
the bowl. The squoval bowl is rectangular with
rounded corners and, like the egg, typically
narrows as it approaches the tip of the bowl,
but most importantly it has a relatively flat tip.
One can, of course, mix bowl shapes and this
often results in the most interesting shapes.
Spoons can also have handedness – meaning
they work better for a left or right-handed
individual. This is generally visible via an
asymmetric bowl with a pronounced curve
leading to an off-centre tip. Looking at the
bowl face up, a big curve on the left to a point
offset to the right is a right-handed spoon and
vice versa for a left. This may be confusing
at first, but if one considers that the origin
was not in spoons carved with handedness,
but rather evolved as a right or left-handed
user eroded the opposite side of the spoon
through use scraping clean dishes for every
meal until the handedness emerged.

Asymmetric forms (lef t to right): right-handed eating spoon, Spoon bowl forms (lef t to right): ficulate, egg, squoval
right-handed eating spoon, lef t-handed pocket spoon
Crank
The most challenging part of a spoon to understand is crank.
It is measured as the angle between the top of the bowl and the
bottom of the handle where it rests upon the hand. Crank ensures
that when a given spoon is used for its intended purpose and
Cooking spoons
Cooking spoons are often the simplest spoons of all as they have the
simplest functions to perform. Meant for stirring and scraping, the
best tend to have very little to no crank, allowing them to predictably
hit all corners of a pot as one moves, twists and turns them about.
The handle must be comfortable in the hand and easy to hold for
Cooking spoon plan view
Cooking spoon side profile
WOODEN SPOON DESIGN TECHNICAL
More bowl forms (lef t to righ): round,
oval, egg with embellishments
held comfortably in the hand that the top edge of the bowl
remains level and retains the contents easily. If the handle has
one or multiple bends, each may impact crank depending on
where and how a spoon is held. It is different depending
on the type of spoon, which falls into three broad
categories: cooking, serving and eating.
extended periods. The front edge of the bowl on a good cooking
spoon is flat enough to scrap the bottom of a pan well and the
handle is long to keep the hand from hot food. The bowl is typically
about 1⁄4 the overall length of the spoon. Overall length varies, but
favorites are somewhere between 250 mm and 330 mm long.
→
WOODCARVING 166 55
Serving spoons
Serving spoons are more complex and come in many forms based on
purpose. A generic serving spoon for serving up a healthy dollop of
mashed potatoes has a large bowl around 1⁄3 the overall length. This
sort of spoon often has more crank than a cooking spoon – sometimes
as much as 45° but more typically 30° or less. The bowl can be of any
shape and depth. For serving liquids such as gravies, soups and syrups
we have ladles, which have significant crank – often as much as 90°
between the top of the bowl and handle. This allows one to reach into
a deep vessel such as a soup pot and have the bowl top remain level
and full of liquid. Ladles such as cooking spoons tend to have longer
handles with the bowls only accounting for ¼ or less of the overall
length. Small ladles for gravy may be only 200mm long, whereas
those for soup may be 400mm or more. The bowl of a ladle is quite
deep with an overall hemispherical shape which maximises volume.

Serving spoon plan view Serving spoon side profile

Eating spoons
Eating spoons are considered by many to be the most complex
and challenging to carve well. Unlike cooking and serving spoons
that need to serve their purpose and have good hand-feel, an
eating spoon must also have good mouth-feel. The bowl or a portion
of it has to slide easily into the mouth with food and a simple closing
of the mouth should gently pop the bowl out of the mouth clear
of food. The bowl of the eating spoon should be rather shallow so
the upper lip can easily remove all of the food without the need
to flip the spoon to vulgarly lick the bowl clean. Soup and cawl
spoons have a larger, deeper bowl allowing more soup that can be
easily supped from the edge of the bowl. A pocket spoon is meant
to be carried about in a pocket. It is small enough to easily tuck
into a pocket and sturdy enough to survive it. The bowl of a typical
eating spoon is 1⁄3 the overall length of 150mm to 180mm, but a pocket
spoon is shorter with the bowl accounting for up to half or more.
Having the right crank is critical to a good eating spoon. Crank is
best placed 1⁄4 to 1⁄3 of the way into the bowl from the handle
or at the widest part of the bowl. The top edge of the bowl must be
level while the wrist is resting is in a neutral position and
the handle rests comfortably in the hand. One should not
have to hold an eating spoon at a peculiar angle or perform
gymnastic gyrations of the wrist to get food from a dish to
the mouth; it should be as effortless as breathing. The secret
is in the crank, which is optimally between 27° and 32°. ◗

Eating spoon plan view Eating spoon side profile

SPOON BOWL, HANDLE, CRANK AND BOWL SHAPE GUIDELINES

Spoon type Typical Overall Bowl: Crank Bowl Shape
Length Handle Ratio

Cooking Spoon 250 – 330 mm 1:3 Less than 15° Shallow- Flat front
Serving Spoon 200 – 250 mm 1:2 Between 15° and 45° Any
Ladle 200 – 400 mm 1:4 Between 45° and 90° Deep: Hemispherical
Eating Spoon 150 – 180 mm 1:2 Between 27° and 32° Shallow: Egg, ficulate, or squoval
Pocket Spoon Less than 140 mm 1:1 Between 27° and 32° Shallow: Egg, ficulate, or squoval

HEWN & HONE

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a blacksmith and creator of carving tools and sharpening accessories, Don Nalesyty, an IT specialist
and respected Kolroser and carver, Alex Yerks, an internationally renowned green woodworking teacher
and kuksa carver and Adrian Lloyd, a UK-based full time craftsman, teacher and toolmaker.
To learn more visit: www.hewnandhone.co.uk

56 WOODCARVING 166
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 From the community
Here is a personal selection of websites and letters that caught the Editor’s attention this month

Eclectic interests
Dear Mark,
Here is a sample of some projects I have made.
I began carving a little under six years ago and
my interests are eclectic. Much of what I do is
in relief. During the summer months I work
once a week under Jeff Harness, a local, very
patient, carving coach. I wouldn’t tackle half
the projects I have without him being around
to guide me. Other than using a saw to cut out
a proile, everything is done with hand tools.
The canalscape was based on a photo I
took on a visit to Burano a couple of years
ago. It is about 600 x 600mm. I chose to do it
looking through a window so I could use three
pieces of 200mm-wide basswood and hide
the seams behind the interior framework.
I believe the thistle came from a pattern in
Woodcarving, I like the piece, though judges
complained about the dark-green background.
The cross is done in iroko. It was a gift for
my god daughter. It is beautiful wood, but
don’t tackle it unless you like stropping.
I do enjoy your magazine and some of the
projects it features.
Jerry Boone

58 WOODCARVING 166
 FROM THE COMMUNITY COMMUNITY

Having fun
Hi Mark,
We have been in touch before and I thought you might like to see the
latest carving I completed.
I love carving mushrooms. I can sit anywhere and carve, and my
apron holds most of the shavings. The mushrooms in this carving are
secured to the cherry slice by dowels. I used a satin shellac to preserve
the cherry wood, and I used a matte polyurethane for the mushrooms
and the snail. None of the wood is stained, it's all natural colour.
I used different varieties of wood to create the colour
combination.
The hardest part of this project was
carving the snail. I found some reference
material that helped. The four antennae
came from plant stuff that my brother
collected from his garden. Because I
was afraid that the wood would split,
I used a push pin to make the
holes for the antennae. With
a ton of patience and a little
glue, I secured the antennae
to the snail's head. Now I can
sit back and enjoy my carving.
I hope you enjoy
my story of the
mushroom carving.
Linda Reznikiewicz
Massachusetts, US

Snail among mushrooms

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.

www.woodworkersinstitute.com/forum/
selfportrait_topic22033.html

Claude posted: Just to show you all that I can

carve things other than Santa Claus. I did this self-
portrait back in 2006. Carved from walnut, finished
with clear, water-based varnish. 90mm tall.
Claude

Jack-in-the-green commented: Hi Claude

A great carving and good to see something a bit different from
you. The facial proportions all look good - I reckon if this was
carved 12 years ago you ought to have another go at a realistic
carving, or at least show us some more of your efforts. I have
just started a new portrait, slightly bigger than the last, and am
finding it a bit easier to work around and define expression.

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

WOODCARVING 166 59
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Tools for the toughest demands

 The next stage
in letter carving
In this article Murray Taylor looks at some different ways of carving letters and introduces a new font

S o far, we have looked at the origins and carving of the Roman

alphabet, the spacing and layout required to give a balanced
and pleasing overall effect and some project ideas.
In this issue, I will look at the Becker font. It is widely used,
but I am going to use a variation of the font adapted by the
modern-day master of chip carving in America. I am, of course,
referring to Wayne Barton, and I recommend all his books
on the subject. It was the finding of one of his books in
a secondhand bookshop in Canada that got me started,
so my thanks to him for setting me on my way.
PHOTOGRAPHS BY MURRAY TAYLOR

My variation of Wayne Barton's Becker font The modified font in lower case →
WOODCARVING 166 61
Order of cutting
The grouping of letters for carving the modified Becker font are as follows. I have shown the first letter
of each group as a diagram showing the order of cutting and the progressive carving of the five first letters.

Group 1
This group comprises straight line letters H, I, L, T, Z

The numbers 1-4, are removed as three-cut chips. The cuts 5, 6, 7 and 8 are cut to remove perpendicular sections, then cuts 9-10 are made to cut the horizontal bar. Now round off the serifs and
generally tidy up RIGHT: The progressive cutting of the letter H

Group 2
This group includes letters with straight lines and open curves A, E, J, K, M, N, U, V, W, X, Y

The order of cutting the letter A The progressive cutting of the letter A

Group 3
Letters with straight lines and closed curves B, D, P, R

Letters with straight lines and closed The progressive cutting of the letter B
curves B, D, P, R

Group 4
Letters with open curves C, F, G, S

The order of cutting the letter C The progressive cutting of the letter C

62 WOODCARVING 166

Group 5
The enclosed letters O and Q
The order of cutting the letter O The progressive cutting of the letter O
If you have started to practise carving the Becker font you will
find it much easier than its Roman counterpart. First you do not
have the problem of the acute angles on the A, M, N, V, W etc. and
letters are made up of small sections. Do not expect the letters to
appear perfect on the first cut. As you can see from the five boards
I have prepared of the progressive carving of the letters H, A, B, C
and O, the letters take shape and develop right up to the final cuts.
I want to emphasise at this time that it takes a lot of practice to
The Becker font drawn out on the wood
Project idea
If you have successfully mastered the Becker font you might like
to try a project idea. As with all my projects they are given in the
form of general ideas rather than a list of specific instructions.
In this project I have carved a turned lime plate with the words:
Preparing to trace the letters on the plate. Note that the centre is cut out – this is to avoid the paper being moved during the tracing process due to hand pressure on the paper
RIGHT: The letters traced on the plate
LETTER CARVING TECHNICAL
achieve really neat lettering, so don't get despondent if at first
you don't succeed. I have carved the complete Becker font as
a sample board.
You could, of course, do something like this as a project
or just keep going with bits from the scrap box.
If you feel you are making progress and would like to show me
how your letter carving is progressing, or if you have any questions
about carving the letters, please don't hesitate to email me.
The completed sample board of the Becker font
‘Give us this day our daily bread.’ If you are not able to turn a
plate you might be able to persuade a friendly turner to do it
for you or you could, of course, use a flat piece of timber and
make a breadboard.
→
WOODCARVING 166 63
Carving the plate – note the cushion RIGHT: The completed plate. The ears of corn were drawn freehand on the plate and chip carved

Different ways of carving letters

One of the easiest ways to produce neat lettering is to trace the letters on to your
wood and simply chip carve the outline – it is both simple and effective. You will
get a very pleasing result if you fill the chip-carved lines with a dark liquid wax.

LEFT TOP: The letters C, E and Y drawn on to the wood and underneath
the chip-carved outlines LEFT MIDDLE: The chip-carved lines filled with
a dark liquid wax, a really simple way to produce clear lettering LEFT
BOTTOM: A made-up font which lends itself well to this form of lettering
as it consists of straight lines without curves and is therefore much
easier to carve

The letters from the Becker font produced by chip-carving the outline

Raised lettering
The traditional way of starting any relief carving – for
that is what raised lettering actually is – was to do the
setting in using a selection of chisels and gouges.

CARVER'S NOTE: ‘Setting in’ is the term applied

to the vertical cuts which outline the subject to
be carved

This requires a selection of tools when, in fact, for

shallow raised lettering a single chip-carving knife
will suffice. The outline of the letter is traced on to
the wood and then a vertical cut is made around
each part of the outline with your knife. Now, with a
shallow gouge, say a No.3, you cut up to the vertical
cut from about 3 or 4mms out. When this is completed
around the letter you have a simple form of raised
lettering, or you can go on to remove the rest of the
background to produce the traditional form of raised
lettering. The background can be taken down to a
fine finish or left with quite prominent gouge marks.
You might even try a hammer and punch finish.

64 WOODCARVING 166
 LETTER CARVING TECHNICAL

LEFT: Starting to remove the background up to the

vertical cut MIDDLE: The background removed to reveal
the raised letter RIGHT: A variation on the theme. Here
the background has been removed to a vertically cut line
to produce a border

CARVER'S NOTE: If you want the

letter to stand out more, just go
around again with the knife and
remove the background

These two methods of carving letters can produce good results very easily using a minimum of tools and can be used on a variety of projects.

3 Photographs by kind permission of Plas Newydd Llangollen (Denbighshire County Council)

A wall panel at Plas Newydd, Llangollen, Denbighshire, A door at Plas Newydd showing raised lettering
showing raised lettering and dated 1673

Ideas
With your newly found skills in letter carving firmly established,
it should be a simple task to think of project ideas. These are a few
to stimulate the thought process.
The first is a ‘Welcome’ sign. In this case I have carved some acanthus
scrolls to decorate the piece, but you could of course use a chip carved,
pierced or other decorative motif.
I hope this article has given you food for thought and a basis for
some experimental techniques of your own and some project ideas.
Keep your eyes open and your camera handy. There are
hundreds of things you can make with your letter-carving skills –
children's bedroom door plaques, initialled fobs for key rings,
notice boards, house names and monogrammed coasters to
mention but a few.
Keep your tools sharp, don't carve when you're tired and work
in a comfortable position. Above all remember to practise,
practise, practise.◗

Carving the sign with a mill knife

The letters marked out on the ‘Welcome’ sign

The completed ‘Welcome’ sign A multi-lingual ‘Welcome’ sign for a local craf t centre

NEXT MONTH In the next article I will be looking at the Celtic font and its origins and giving some more ideas for producing letters.

WOODCARVING 166 65
 Our contributors

Dave Western is a Don Nalezyty is a passionate Duane Cartwright is a Mark Gough is a self-taught Mike Wood has been carving
professional lovespoon hobby carver who started self-taught woodcarver woodworker, woodcarver all his life and professionally
carver and the author of carving as a child. He based in Devon. He has been and stickmaker who since 1986. Carving mostly
two books on the subject. has spent the better carving on and off for 16 runs a small business birds, he is self-taught and
He carves to commission part of the past decade years. His interest in carving making commissioned takes great inspiration from
and also teaches carving dedicating all his free began while undertaking an sticks and other design the American bird carvers.
classes. His books, The Fine time to carving, kolrosing, apprenticeship in antique projects. Previous jobs www.mikewoodbird.co.uk
Art of Carving Lovespoons and finishing wooden furniture restoration. include timber building, mikewoodbird@
and History of Lovespoons, spoons and other treen. duanescarving. construction and signwriting btinternet.com
are both available through www.hewnandhone.co.uk blogspot.co.uk & narrowboat art.
GMC Publications. www.stickcraft.info
davidwesternlovespoons. mark@stickcraft.info
com Facebook woodstickcraft

Murray Taylor was a Peter Benson has travelled Steve Bisco has been carving Terry Nokes has been
jeweller and silversmith the world teaching and for 30 years, specialising in woodcarving for more than 20
before retiring 15 years judging woodcarving of decorative carving in period years and is a past member of
ago and devoting time to all standards for the past styles, first in wood and the Rock Horse Makers Guild.
woodcarving. Murray has 20 years. He has written recently in stone. His book, Launched in 2013 the
made three DVDs related to two books on the subject. Stone Carving for the Home Bedfordshire region of
woodcarving, one of which bencarve@btinternet.com & Garden, is available from the British Woodcarvers
is on chip carving, and he GMC Publications. Association. He currently
is involved in teaching and steve@thebiscos.com manages woodcarving clubs
promoting chip carving. and classes and demonstrates
murraytaylor@hotmail. locally at shows.
co.uk nokes_terry@hotmail.com

Editor Mark Baker Marketing Anne Guillot Cheques made payable to GMC Publications Ltd
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Woodcarving is an inherently dangerous pursuit. Readers should not attempt the procedures described herein without seeking
training and information on the safe use of tools and machines, and all readers should observe current safety legislation.

Woodcarving magazine will consider articles for publication, which should be sent to the Editor together with a stamped self-addressed return envelope. GMC Publications cannot accept liability for the loss or damage of unsolicited material.
Views and comments expressed by individuals in the magazine do not necessarily represent those of the publishers and no legal responsibility can be accepted for the results of the use by readers of information or advice of whatever kind given in this publication,
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66 WOODCARVING 166
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 www.thestoneyard.co.uk

Long Barn, Sidbrook Orchards, Taunton TA2 8NH

Email: info@thestoneyard.co.uk
Web: www.thestoneyard.co.uk
Tel: 01823 476369

TheStoneYard.co.uk is your premier

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 Shelf
mouse
Duane Cartwright carves
a fun, shelf-climbing mouse

have carved this fun little shelf-climbing/

I sitting mouse in walnut, which is the most

popular timber I carve these mice in, though
I also produce them in cherry and lime. You
could carve these mice in any of your favourite
timbers – a wood species with a nice grain
pattern would look great. As these little
mice climb up and look down they look great
when you carve two and have one climbing
up the corner of a book case or shelf etc. and
the other looking over the opposite edge.
As the mouse will climb up and rest
on the corner of a shelf, the underside
needs to be flat and the body needs to
be at 90° to the head and front feet.
To help keep the underside flat and at the
right angle, cut the whole pattern profile out
on the bandsaw, then draw on the shape of
the tail – giving it some curl will add character
to the mouse and to the overall look. Then
drill a few 3mm holes in the waste areas
around the tail. Now rest the mouse on a
scrap block of wood and screw a few screws
through the pre-drilled holes around the tail,
fixing the mouse to the scrap block securely.
Then you can attach the block of wood to
a carving vice, or use a longer/bigger scrap
PHOTOGRAPHS BY DUANE CARTWRIGHT

block with a G-clamp or similar to hold the

project securely to a table while you carve.

→
WOODCARVING 166 69
 Things you will need • No.3, 6mm fishtail (Juglans regia) 50 mm thick x
Tools: • No.3, 10 and 20mm 185mm long x 90mm wide
• Bandsaw & coping saw • 2mm V-tool • 120-240g abrasives
• No.11, 3 and 6mm • Carving knife • Sanding sealer
• No.9, 5 and 15mm • Riffler • Wax
• No.6, 4 and 7mm • Piece of wood, I used walnut

1 Start by transferring the design on to

your timber. You can use a carbon stick
and rub over the back of the design, then
trace over the design to transfer the
carbon on to the wood, or, you can glue
the printed pattern on to the wood,
Once done, use a bandsaw or coping saw to
cut out the profile of the mouse. Now draw on
the rough shape of the tail, the ears and the
top of the head. Use a square and draw some
lines from the paws etc. across to the other
side and draw on their placement so both
sides match equally. Now, use a scrap block of
wood to attach the project to a carving vice.

2 Start to remove the waste wood from

both sides of the head and the front of 1 2
the ears, to the profile lines you drew
earlier on top of the head. The front paws
should stick out on each side equally.

3 Repeat for both sides of the body. Use the

No.11, 3 mm or similar gouge to outline behind
the back of the ears and around the back legs
and paws, then carve in around the shoulders,
taking them back to the body's profile lines and
slope the back of the front legs (the elbows)
so they appear to go behind the back paws.

4 Draw the cheeks on to both sides of the

head and check they are level with each
other. Once happy with their placement,
use a No.9, 5mm or similar to carve along
the cheeks, then use a shallow gouge to
remove the waste wood above the cheeks
so they stand proud by a few millimetres. 3 4

70 WOODCARVING 166
 SHELF MOUSE PROJECT

5 Draw a rough circle above the cheeks for the

eyeballs. The circle needs to be big and a small
part of it will be part of the cheek. Once happy,
draw some lines from the circle across to the
other side of the head, then draw the eyeball
on the other side, making sure they are equal in
size and placement. Use a No.9, 5mm to carve
around the eyeballs, then use a shallow No.3
sweep to round over the eyeballs and cheeks so
the contours flow.

6 Draw in the gap between the ears, then

use a deep No.11, 10mm or similar to carve in
between the ears, separating them. Keep the
ears chunky for now.
5 6 7 Draw on the shape of the inner ear then use a
No.9, 5mm or similar to carve in the ears before
hollowing them out. Once done, you can finish
shaping the outside of the ears, blending them
into the head and body,

8 Use the No.11, 10mm to carve behind the

back legs around the heel. Use a shallow gouge
to continue shaping the body so the shoulders,
back and limbs all blend together, but keep
away from the screws in the tail area.

9 Back to the eyes. Draw a line from the top

corner of the ears to the tip of the nose on both
sides. This is the centreline for the eyes. Now
draw on the top eyelids. The corners of the eye
go just under the centreline. Once happy, use a
gouge to cut in, creating a stop cut, then use a
7 8 shallow fishtail gouge or similar reversed and
carve up to the stop cut. Once both sides are
done draw on the bottom eyelids, then cut in,
creating the eyelid stop cuts. Use a skew chisel
to carve down to the stop cut and carve in
deeper in the corners. Keep the eyeball round
and equal on both sides.

10 For the nose, use a small, deep gouge to

carve down both sides so the tip of the nose is
narrower than the cheeks. Now draw on the
sides of the nostrils and the front of the mouth.
The mouth starts under the centre of the nose
and forks out under the chin area. Use a gouge
to cut in a curved stop cut for the nostrils, then
carve up to the stop-cut, creating the nostrils
and giving the nose its detail. Now use a small
V-tool for the mouth detail.
9 10
11 Abrade the surfaces to create a smooth
finish and remove the mouse from its fixing
block. Then re-secure the mouse on the block
so most of the tail is free, but held with two of
the screw holes to add stability while using a
coping saw to cut around the tail to remove the
waste. When you get close to the body,remove
the mouse from the block and finish sawing
the tail. Use a knife to round off the tail giving
its final shape, then sand.

12 On the underside, draw in the paws. Use

a No.11, gouge to carve around them and a
shallow gouge to carve in between them so
they stand proud by a few millimetres.
Finish off sanding the mouse and, once you're
happy that the surface is smooth and free from
blemishes, apply a finish of your choice to create
11 12 the look and lustre you require. ◗

WOODCARVING 166 71
 Next issue...
On sale 28 February

PHOTOGRAPH BY STEVE BISCO

Step-by-step guide
to carving a
Jacobethan-style
strapwork panel

Carve a hare gazing at the moon

Guide to carving hens on a fence
How to carve a redwing
Exploring chip-carved Celtic letters

72 WOODCARVING 166
PYROGRAPHY
The art or craft
of decorating wood
or leather with
a heated tool
Fire Writer kit
INCLUDED
• Temperature controlled
Fire Writer
• Slim Pyrography pen
• 1 x Writing tip
Made in England
• 5 x Different Nickel
Chrome gauge wire
• Full instructions.

Pyro Master kit

ANTEX (Electronics) Limited, 4 Darklake View, Estover, Plymouth, Devon, PL6 7TL
Tel: 01752 695756 Fax: 01752 695666 Email: deborah@antexcraft.com
www.antexcraft.com
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 butt are subject to change without notice. Photographs courtesy of the manufacturers/retailers, unless otherwise
other stated

Sloyd knife sharpening jig

Designed by Hewn and Hone this Sloyd jig is specifically for putting an accurate, repeatable
hollow grind on smaller sloyd type blades using a wetstone grinder, the jig body is made
from solid steel to maintain accurate alignment of the jaws, the disc is moved along the steel
guide rod to provide adjustment for different bevel angles. Allen key and basic instructions
provided but please see this video for comprehensive details: https://bit.ly/2PPUq5W

Price: £84.00
Contact: Hewn & Hone
Web: www.hewnandhone.co.uk

Clarke Bandsaw
The Clarke CBS250B 250mm band saw
is ideal for both DIY and trade use with
accurate cutting for all types of wood
and suitable polymer materials. With
a large cutting capacity, this unit also
features a large cast iron work table and
dust extraction port for reduced clean
up. The included work stand ensures a
comfortable working height at all times.
• 230V
• Power: 370W
• Throat depth: 245mm
Axminster Rider sharpening station
This sharpening station is made from synthetic resin laminate board is unaffected by oil and
• Running speed: 730m/min water and measures 250mm x 315mm x 13mm Four rubber feet give stability whilst sharpening
• Maximum Cutting Depth at 45°: 75m and ensure the board will not creep across the bench in use. It is supplied with leather strop,
• Maximum Cutting Depth at 90°: 100mm paste and instructions. It can be bought with or without a diamond sharpening stone.
• Mitre gauge tilt: L60° R60° The stone recess is 228mm x 89mm and the leather strop is 203mm x 65mm. It is designed
• Table Size (WxD): 333 x 336mm to work in conjunction with Eclipse-type guides. The edges of the board feature recesses
• Dimensions (LxWxH): 556 x 427 x 1502mm which act as set-up guides for bevel angles of 25°, 30° and 45° for plane irons plus 25° and
30° bevel angles for chisels.
Price: £263.98
Contact: Machinemart Price: £54.95 – 87.96
Web: www.machinemart.co.uk Contact: Axminster Tools & Machinery
Web: www.axminster.co.uk
74 WOODCARVING 166
 THE CARVER’S TOOLBAG KIT & TOOLS

Guinevere Scuff & Buff balls

The Wave Scuff & Buff Balls comprise individual layers of
Conversion chart
2mm (5/64 in)
3mm (1/8 in)
non-woven material with the patented wavy-edge design.
4mm (5/32in)
The layers are assembled and compressed into a ball. They
6mm (1/4 in)
are designed for cleaning surfaces, rust removal, smoothing 7mm (9/32in)
textured surfaces and applying an oil or wax finish. 8mm (5/16 in)
Available in two sizes: 50mm and 75mm and are 9mm (11/32in)
fitted to a 6mm shaft to hold in a drill. All five balls are 10mm (3/8 in)
replaceable and color-coded: Tan - 60 grit, Green - 180 11mm (7/16 in)
grit, Maroon - 320 grit, Grey - 600 grit, White - 800 grit 12mm (1/2in)
13mm (1/2in)
Prices: $17.99 - $18.49 individual units 50 & 75mm 14mm (9/16 in)
$85.45 – $87.85 for boxed sets of five 15mm (9/16 in)
50mm or 75mm Scuff & Buff balls 16mm (5/8 in)
Contact: King Arthur's Tools 17mm (11/16 in)
Web: http://katools.com 18mm (23/32in)
19mm (3/4 in)
20mm (3/4 in)
21mm (13/16 in)
22mm (7/8 in)
23mm (29/32in)
Trend Burrs
These solid carbide-head burrs are designed for use
24mm (15/16 in)
25mm (1in)
30mm (11/8 in)
on metal, glass reinforced plastic (GRP), plastic and 32mm (11/4 in)
wood, weld removal and drilling hole enlarging. 35mm (13/8 in)
There are eight different head profiles in different 38mm (11/2in)
diameters they come with either a 3mm, 6mm or ¼in 40mm (15/8 in)
shank size depending on the burr/cutter selected. 45mm (13/4 in)
50mm (2in)
Price: from £17.36 55mm (21/8 -21/4 in)
Contact: Trend Machinery & cutting Tools 60mm (2 3/8 in)
Web: www.trend-uk.com 63mm (2½in)
65mm (2 5/8 in)
70mm (2 3/4 in)
75mm (3in)
80mm (31/8 in)
85mm (31/4 in)
90mm (31/2in)
93mm (32/3in)
95mm (33/4 in)

Rustins Danish Oil

Rustins Danish oil is an easy-to-use wipe on finish, which brings out the
100mm (4in)
105mm (41/8 in)
110mm (41/4 -43/8 in)
beauty of the timber and gives a natural, open grained, soft lustrous 115mm (4½in)
finish. Rustins Danish Oil conforms to The Articles in Contact with Food 120mm (43/4 in)
Regulations and to the Toys (Safety) Regulations 1995, BS:EN71 Part 3. 125mm (5in)
Available in 250ml – 25ltr tins, Prices from £7.00 130mm (51/8 in)
135mm (51/4 in)
Price £11.58 140mm (51/2in)
Contact: Rustins 145mm (53/4 in)
Web: www.rustins.ltd 150mm (6in)
155mm (61/8 in)
160mm (61/4 in)
165mm (61/2in)
170mm (63/4 in)
178mm (67/8 in)
Mirka Mirlon Total
Developed using Mirka's innovative Total Coating™
180mm (7in)
185mm (71/4 in)
190mm (7½in)
Technology, Mirlon Total is more aggressive than
195mm (73/4 in)
Mirlon and produces a rapod result. Suitable for use
200mm (8in)
in wet and dry modes, it features an open and flexible 305mm (12in)
structure and strengthened fibres which make it 405mm (16in)
strong and long-lasting. The grit range is 360grit 510mm (20in)
(red), 800grit (black), 1500grit (grey)and 2500grit 610mm (24in)
(beige). Available as finishing pads, discs or rolls 710mm (28in)
815mm (32in)
Prices from £0.75p 915mm (36in)
Contact: Mirka 1015mm (40in)
Web: www.mirka.com 1120mm (44in)
1220mm (48in)
1320mm (52in)
1420mm (56in)
1525mm (60in)

WOODCARVING 166 75
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range of Tools, finishes. We will cut to
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models, Hobby Visits to clubs welcome.
books, Glues, Mail order available.
Building Plans
and a massive
range of Model Tredegar House
making supplies. Newport NP10 8TW
324 pages Mob: 07854 349045
info Hobby’s Knights Hill Square. London SE27 0HH.
Tel: 020 8761 4244 mail@hobby.uk.com
www.iscawoodcrafts.co.uk
Visit: www.hobby.uk.com
iscawoodcrafts@yahoo.co.uk
THE MODELMAKER’S YEARBOOK

‡ Hardwoods
pfeil

For your passion

‡ Wood finishes Woodcarving tools
‡ Australian Burrs made in Switzerland
t: 01798 861611 f: 01798 861633
W.L.West & Sons Ltd

‡ Exotic Timbers
Selham, Petworth, GU28 0PJ

More than 600 high quality products

‡ Woodturning Blanks www.pfeiltools.com
‡ Woodworking Tools
‡ Fencing, Gate & Decking Products
Advertising in the UK’s only woodcarving
‡ Bespoke Garden Furniture
magazine can ensure your message reaches your
specific target audience throughout the year.

Contact Russell on
Off A272 Midhurst to Petworth road opp The Halfway Bridge Inn 01273 402841 or russellh@thegmcgroup.com

78 WOODCARVING 166
 FULL CARVING RANGE
AVAILABLE IN THE UK!

New Products Professional ‘Profi’ Range Starting Range

This new carving drawknife is just one
of the many new products from Narex.
The Narex range is regularly increasing
to make it one of the worldwide market
leaders in carving and woodworking
tools.
Profi are handmade tools of the highest
quality, designed especially for
professional carvers. Blades are made
of Chrome-Vanadium tool steel and heat
treated to the hardness of 61-62 HRc.
Sold in kits or individually with a wide
selection to choose from.
Thinking of getting into carving?
Narex offer a range of styles to help
you, such as the pictured set which
contains 5 tools, a block of Lime and
instructions to get you on your way.
A great gift for you or someone else.

Whether you’re just starting or an experienced carver, Narex have FIND YOUR NEAREST NAREX
something in the range for you. CARVING CENTRE AT
Manufactured in Europe with almost 100 years experience, Narex
really know what is needed when making the finest quality hand tools.

LIKE US ON FACEBOOK TO KEEP UP TO DATE

WITH NEW PRODUCTS AND EVENTS. www.tomaco.co.uk
 Parliament of Hungary
Budapest's crowning glory is in the spotlight this month
lso known as the Parliament of
A Budapest, the domed Neo-Gothic
Parliament of Hungary boasts the
honour of being the world’s third-largest
parliament building and is regularly
cited as one of the most beautiful.
The product of an open tender to
design the building in the 1880s, this seat
of the National Assembly of Hungary
faces the two runner-up designs, now
the Museum of Ethnography and the
Ministry of Agriculture, and the structure,
sited on the banks of the Danube, can
be seen to also display elements of the
Renaissance and Baroque styles.
The building - some 268m wide and
80 WOODCARVING 166
PHOTOGRAPHS BY MARK BAKER
118m long, boasting 691 rooms and 12.5
miles of stairs - is said to have been
inspired by its British counterpart
and was constructed over a period of
17 years, with completion in 1902.
While the scale of the parliament
makes it difficult to see detail from
street level, designer Imre Steindl –
who died five weeks before completion
– incorporated many of the tropes of
medieval buildings, such as monkey dogs
and gargoyles, while the facades are
alive with representations of Hungary’s
kings as well as chamois and dragons. In
total there are 365 Gothic turrets aith 88
statues adornig the building’s exterior.
Sparing no expense, the powers behind
the construction employed 1000 top local
artisans to work on the building, and the
interior is decorated with 24-carat gold
foil, amounting to 40kg and thought to
be worth 1.3m Euros at today’s prices.
As is the case with so many of Europe’s
beautiful historic buildings, the ravages
of war and revolution have left their
marks. The soft limestone exterior was
pockmarked with bullet holes and,
although repaired a few years ago,
some spots remain as testament to the
struggles. However much of the building is
suffering from erosion, so the parliament
is constantly under renovation.
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TOOL S

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Quality cutting tool range which includes

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Range of the toughest tool bags with a 5 blades, holesaws and many more from
year downtime warranty. Italy.

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 ...Powered to Fire Your Imagination...
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by Cam Merkle
Oil on Tupelo • PO Box 910, 301- 9th Street North, Martensville, SK Canada S0K 2T0
Photo ©2016 Cam Merkle
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