CLICK HERE for tips about photo lighting.

CLICK HERE for tips about photo composition.

CLICK HERE for tips about photo focus.

CLICK HERE for tips about photo resolution.

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The benefits of a custom handle are enormous! You can fit the tool to the exact size of your hand, creating a comfortable grip for a safe, enjoyable carving experience. You can also extend the life of a favorite blade if the handle has become worn or broken. Once you have crafted your own handle, try out your knife by chip carving a flower ornament.

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By Dave Browne

I find stropping carving tools rather time-consuming and uncomfortable thanks to a touch of arthritis, not to mention fiddly when I’m trying to get a precise angle. To remedy this, I created my own rotary strop, using odds and ends from around the shop. Once your carving tools are nice and sharp, try them out on carving a jaguar or black panther!

I secured a piece of an old leather belt to a wooden cylinder with some contact cement. I beveled the ends of the leather with a razor, so they’d fit together without a rough joint. Then I attached the entire thing to a lathe. It does all the work! I just have to steady it to prevent unnecessary movement. Since my lathe does not have a reverse option, I move the tool rest to the opposite side and strop my tools with the cylinder turning away from me. I can monitor the angle by sight, keeping the bevel constant while rotating gouges with my right hand. My left hand keeps the cutting edge under control.

I use the lowest speed possible when stropping, which in my case, is about 640 RPM. The diameter of my strop is 2-7/8″ (4.5cm) wide. A person could use a larger cylinder, if desired, as long as they could achieve low turning speeds. Be careful not to turn the strop too fast or your tools will burn.

I’ll warn you, applying the belt to the cylinder made a bit of a mess, so when I got the leather in place, I secured it with a couple of hose clamps until the glue dried. A bit of contact cement got onto the working surface, so I smoothed it off with a piece of 120-grit sanding medium. The entire stropping brings up a mirror-like finish and only takes a few minutes to achieve, as opposed to the much longer and more tedious hand-stropping method.

Dave achieves  a mirror finish on his tools with minimal time and effort.

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By Donald K. Mertz

The rule of three is an easy way to envision a human figure in a block of wood before and during the carving process. All human figures have the same basic elements. These elements need to be in proportion to avoid creating a carving that looks distorted. The rule of three is a simple guideline to keep human figure carving in proper perspective and proportion. After learning about the rule of three, try the technique out on the hobo caricature below or a magical wizard from issue #64.

I carve my figures out of a block of wood with square corners. This raw carving medium gives me more freedom and allows me to be creative, rather than being limited by a predetermined pattern or outline of the sawn-out blank or rough out. This freedom allows me to come up with a unique design. Carving from a patterned sawn-out blank or a rough out limits creativity. While exercising your creative freedom, it’s important to maintain proper proportions in your figure. While you are engaged in cutting down the block of wood to the basic shape and form of the subject, it is helpful to have guidelines for the basic proportions. Proportional guidelines, such as the rule of three, will help you create a well-balanced and proportioned figure carving.

Use the rule of three to block out the elements on the figure’s head. Note the head fits up into the cap; the cap does not sit on top of the head. Envision the top of the head inside the cap to produce the proper proportions.     Add details to the carving only after you have blocked out all of the elements. Continue using the rule of three to ensure the figure maintains good proportions.

• Sharp can be sharper. Make sure your tools are sharpened as much a possible and strop often. A sharp tool using a slicing cut creates a slick surface that makes the carving dance and the paint or finish sparkle. • Soak thin cross-grained areas with cyanoacrylate (CA) glue, such as Super Glue, to strengthen these areas, which are prone to breakage. • While a good carving relies on correct proportions, it’s important to add the details that transform a good carving to a great carving. Details such as seams, tears, patches, and worn out shoes help your carving tell a story. • Woodcarving is the journey more than the destination. There are no mistakes, only learning experiences. Relax and enjoy the journey.

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In this week’s video, longtime contributor and CCA member Bob Hershey demonstrates how to carve natural-looking rocks. Be sure to also watch Betty Padden’s video on how to paint realistic stone texture so you can take your carves to the next level!

Also, be sure to check out these fantastic new Fox Chapel books:

Carving & Painting Adorable Animals in Wood by Desiree HajnyWith helpful tips and notes throughout to capture a realistic yet playful essence of 12 animals, this advanced pattern book is perfect for woodcarvers looking to challenge their skills.

Carving Creative Walking Sticks and Canes by Paul PurnellThis book features 13 step-by-step projects for both intermediate and advanced woodcarvers, progressing from simple sticks to a couple of highly detailed and decorative cane heads.

About the Author

Bob Hershey is a retired truck driver who began carving in 1982. He is a member of the Conewago Carvers and Lancaster County Woodcarvers clubs. He enters the local club shows; Artistry in Wood in Dayton, Ohio; and the Caricature Carvers of America competitions. Bob carves a great variety of subjects, and teaches classes in animal caricatures and themed bark houses. He lives in Lititz, Pa., with his wife, Debby.

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In this week’s video, regular WCI contributor James Miller demonstrates how to carve and paint a simple, flat-plane gnome in one short sitting.

Interested in more? Check out Carving Flat-Plane Style Caricatures by Harley Refsal. Learn how to carve and paint charming caricatures in the traditional flat-plane style, with step-by-step instructions and 50 patterns.

Also, stay tuned for James Miller’s upcoming book, Carving Animals in the Flat-Plane Style—containing 16 step-by-step projects, from bears to squirrels to reindeer, as well as expert tips and detailed painting guides. Coming this fall and available for preorder now!

About the Author

James Miller started carving at the age of 11 under the tutelage of a supportive community education carving group. He has since become deeply immersed in the world of Scandinavian folk art. A software developer by trade, James enjoys the creative challenge of simplifying and abstracting forms in unique ways. For more of his work, visit Facebook.com/jrm.woodcarving.

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Looking to perfect your realistic carvings? Alex LaCasse makes the daunting look easy in this week’s video. Follow along as he demonstrates how to add hair texture to a friendly woodspirit in cottonwood bark. Happy carving!

Be sure to also check out Harold Enlow’s Carving Faces Workbook. This wonderful read includes clear, easy-to-follow instructions and detailed patterns for carving a variety of faces that are full of life and expression. Each project is done in small steps that guarantee success. For anyone looking to carve faces that stand out in a crowd, this is a must-have addition to your woodcarving library.

About the Author

Alec LaCasse is 24 years old and lives beside Cranberry Lake in Oakland Township, Mich. He has been carving since age 12 and teaching about carving the human face since age 16. For more information about Alec’s work, classes, or to request a private Skype lesson, see aleclacasse.com. 

Also, be sure to check out Alec’s new online carving school HERE!

Get the Spring 2020 issue: [button link=”https://foxchapelpublishing.com/woodcarving-illustrated-issue-90-spring-2020.html” bg_color=”#ff0000″]Purchase the Issue[/button] For more articles like this, subscribe to Woodcarving Illustrated magazine. [button link=”https://www.foxchapelpublishing.com/wood-carving-illustrated-subscription.html” bg_color=”#ff0000″]Magazine Subscription[/button] Plus! Get digital mini magazines in your e-mail between printed issues. [button link=”https://woodcarving.zeeframes.com/enews/” bg_color=”#ff0000″]Subscribe to Strop Talk[/button]

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This week, Betty Padden demonstrates how to create realistic stone texture. Betty has taught carving and painting tips to students for more than three decades. Her most recent work—the Mythical Woodland Cottage—was featured in WCI Spring 2020 (Issue 90), and the upcoming Summer 2020 (Issue 91). Be sure to subscribe to Woodcarving Illustrated to learn how to carve and paint your own ethereal escape.   Now, sit back, relax, and enjoy this week’s video!

For more of Betty Padden’s paint guides and blending techniques, be sure to check out her recent book Carving and Painting Noah’s Ark: Easy-Build Ark Plans Plus Step-by-Step Instructions and Patterns for Classic Animals. This comprehensive guide shows you how to create your own big in-the-round Noah’s Ark to use as either a delightful children’s toy or a functional art collectible. Betty also reveals her layered techniques for transforming a major project into simpler, doable carvings, while adding a touch of whimsy along the way.

About the Author

Betty Padden and her husband, Bob, own Wooden Apple Signmakers in Auburn, Mass. They have been professional sign carvers for 35 years and have been teaching their craft to students for more than 30 years. They are the creators of SantaCarls®, a unique figure that has been sold at Disney parks and Busch Gardens. Betty also designs and paints for Ne’Qwa Art and Blossom Bucket, among other companies. Visit bettypadden.com for cut outs, patterns, and designs, and help for woodcarvers struggling with projects. See more of Betty’s work at woodenapplesignmakers.com.

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This web extra accompanies the full article by Don Swartz in Winter 2019

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Santa is a well-traveled individual! As such, we imagine he picks up fashions from some of his favorite places. In Don Swartz’s carving, he is dressed for a Christmas holiday in Scotland. His kilt and cap are tartan, a colorful crisscross pattern that is often associated with specific Scottish clans. Don’s Santa is sporting a modified version of the ancient Clan Munro tartan, with festive red and green alongside bands of blue, yellow, and white.

Painting and Finishing

Before you paint the carving, dunk it in a satin lacquer, such as Deft, and let it sit for 2 minutes. Remove and let the carving drip-dry for 5 minutes. Wipe with a clean cloth and let dry. Then paint the carving with thin washes of acrylic or oil paint (thin acrylics with water and oils with mineral spirits). First, paint the shirt and the base coats for all remaining clothing. Then add the clothing details, boots, stockings, belt, tassels, buckle, skin, hair, and eyes. Drybrush the entire piece with titanium white. Once dry, finish the body and base with satin lacquer and the face with semi-gloss.

Say Yes to the Tartan!

You can customize your own Scottish St. Nick by accessorizing him with the tartan of your choice! Whether you have Scottish ancestry or just want to pick an attractive pattern, there are hundreds to choose from. We selected a few images courtesy of the Highland Kilt Company to make the decision a bit easier:

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By Harold Enlow

Many carvers add beards and mustaches to avoid carving lips and mouths. If you plan to carve a woman, though, it’s impossible to hide the lips. Learning these few simple steps for carving lips allows you to carve any face.

1: Prepare the blank. Round the corner of the blank and smooth the area for the lips with a carving knife. Because women have smoother skin than men, the area must be smooth. Draw the lips. The top lip is usually wider than the bottom lip.	2: Carve the area between the lips. Make a stop cut along the area between the lips with a carving knife. The curve of the blank makes this cut curve on both sides as you press it into the rounded wood. Taper the upper lip from the top line down to the center cut. Use the same technique to shape the bottom lip.
3: Shape the corners of the lips. Carve up alongside the bottom lip to the top lip with a 1/8″ (3mm) #11 gouge (or veiner). Cut the chip free with the veiner or a detail knife.	4: Outline the upper and lower lips. Carve above the upper lip and under the lower lip with a 1/8″ (3mm) veiner. The upper lip is slightly pointed and the lower lip is more rounded.
5: Carve the angel’s kiss. Use a 1/8″ (3mm) veiner to carve the slight groove between the top lip and the bottom of the nose.	6: Continue shaping the lips. Use a 3/16″ (5mm) skew chisel. Then, use a carving knife to create the rounded, pouty top lip.
7: Deepen the area where the lips meet. This area, called the embrasure, is the deepest part of the carving. With a carving knife, make a deep cut at a slight angle from the top. Then cut up to the stop cut from the bottom to create a thin, deep groove.

Materials & Tools

Materials

• Carving wood

Tools

• Knives: carving, detail
• Skew chisel: 3/16″ (5mm)
• #3 gouge: 3/8″ (10mm)
• #5 gouge: 1/8″ (3mm)
• #11 gouge (veiner): 1/8″ (3mm)
• V-tool: 1/8″ (3mm)
• Denture brush

Learn To Carve Faces: Eyes and Lips
By Harold Enlow

Master carver Harold Enlow guides you through the nuances of carving these important but tricky facial features. Study stick also available.

Available for $5.99 plus $3.99 S&H from Fox Chapel Publishing,  1970 Broad St., East Petersburg, Pa., 17520, 800-457-9112, foxchapelpublishing.com, or check your local retailer.

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By Curtis Badger

Photography by Tom Badger

This article originally appeared in Woodcarving Illustrated Spring 2006 (Issue 34).

Bob Swain spends days carving an intricate dragon from 10 separate pieces of white cedar. Finally, with the pieces assembled, the form takes shape. The head is high and alert, the body curves in a graceful arc, the wings and crest sweep back as though the dragon is moving at great speed. Bob turns the piece from side to side, and reaches for a well-worn paintbrush. He soaks the brush in dirty mineral spirits, douses the carving, lights a wooden kitchen match, and in seconds the dragon is ablaze.

Bob uses fire as a complement to carving and painting his wood sculptures. The dragon emerges from the flames with no structural damage, but with a dark, rich patina that later shows through a thin application of oil paint. “Burning makes a carving appear worn and aged, like it has been handled and used a lot,” Bob said. “And that’s a quality I like. I want them to be handled. I want people to feel the form and texture. It involves a sense other than vision.”

It is something of a miracle that Bob sculpts wood at all. In 1965 he was a college student majoring in business. He and some friends were heading off on a weekend trip one rainy Friday night, when the car went out of control and struck a culvert, and Bob’s spine was snapped. Barely out of his teens, Bob faced months of rehabilitation and a future in a wheelchair. However, the accident seemed to kindle some latent spark of independence in Bob. Rather than giving in to the physical limitation, he uses it as motivation. He completed rehab, moved back home, and began running the family’s farm supply business, expanding it to include greenhouses, ornamental plants, and garden tools.

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Bob lives on Hunting Creek on Virginia’s Eastern Shore near the Chesapeake Bay. He began carving 20 years ago when he began collecting antique hunting decoys. Bob enjoys the weathered patina of old decoys, and attempts to replicate it in modern carvings. Bob admits that early in his career he used the wheelchair to get noticed and to stand out from the legion of bird carvers who attended the art shows and carving competitions. “It helped people remember me,” he said.

Now the 60-year-old carver spends 10 to 12 hours a day carving, despite being diagnosed with Parkinson’s disease nine years ago. The additional physical setback seems to have made him even more driven to carve. “With the Parkinson’s, it’s like blinders on a horse—I can’t deviate from the straight and narrow,” he said. “I don’t know how much longer I’m going to be able to do this, so I’m very focused on it now.”

Bob studied with the noted decoy-maker Mark McNair, who uses fire as part of an aging process, and Bob adapts the process for his own work. “Mark uses fire on a very limited basis in his work, but I use it extensively,” Bob said. “I burn the raw carving with stained mineral spirits to provide a base color of aged wood. And then I burn the oil paint as I apply it to darken and enrich the color. Finally, I scrub the carving with soap and water, and that removes any burn residue and thins the paint enough to let some of the aged wood show through.”

While Bob’s early interest in woodcarving reflects his passion for antique hunting decoys, his work has evolved to cover a wide range of subjects, from the dramatic to the whimsical. In his studio overlooking Hunting Creek you will see a carving of a peregrine falcon with a dying shorebird in its talons. You also will find a carving of a cow jumping over the moon, a carved cat with moving joints sitting on the edge of a shelf, and several carvings of dragons.

Using Fire to Finish a Carving

Bob’s general procedure is to apply paint to an area, burn the paint, and buff it with a bristle brush. He uses Ronan brand oil paints, which are very concentrated, dense paints used in the sign-painting business. Bob applies the paints with worn brushes, blending the colors on the carving.

Bob is also very careful to only light the carvings on fire over a concrete floor with no combustibles near it. Use common sense if you use any of his techniques—fire can be very dangerous.

	Step 1: Apply dirty paint thinner to the carving, and light it on fire. The paint thinner burns away and creates an “instant patina” that will show through thin layers of paint.
	Step 2: Apply white Ronan paint diluted with mineral spirits. Bob uses thin washes of paint so texture and some wood color can show through.
	Step 3: Carefully set the paint on fire. When the fire burns out buff the carving with a coarse brush.
	Step 4: Add raw sienna to the white. Apply this to the face of the bird. Then light this on fire.
	Step 5: Paint the bill with Van Dyke brown mixed with a small amount of raw umber. Add a little raw umber to the mix and paint the sides of the bird.
	Step 6:  Carefully light the bird on fire once you are satisfied with the painting. This gives the carving an aged look.
	Step 7:  Add texture and feather patterns. Dab a stick into a can of Van Dyke brown and press the stick onto the bird to create an irregular line. Then tie a small piece of sandpaper around a pencil, creating a U-shape. Dip the sandpaper into the paint and transfer the paint to the bird. Be sure to have the closed end of the “U” to the back.

TIP: A Thin Coat of Paint Looks Best

Bob uses thin washes of paint. If he gets too much on the carving, he will wipe it off with a cloth dampened with paint thinner. Here you can see that the paint on the wing got too thick. After wiping it with mineral spirits, the paint on the wing is now lighter, with some of the patina and texture of the wood showing through.

About the Author

Curtis Badger, a former director of publications for the Ward Museum in Salisbury, Md., has written widely about natural history and wildlife art. He has done numerous books on bird carving for Stackpole Books, and he recently wrote a book on the natural history of the Atlantic Coast entitled The Wild Coast, published by University of Virginia Press. Tom Badger is Curtis’ son.

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