Category: My Carving

Posted on

Critical Tool?

Articles regularly appear in the woodworking periodicals about the essential power tool in your shop. The authors make convincing arguments for their choices. I prefer to think in terms of what suite of crucial tools makes your work possible. What you answer will vary with the materials you work with, how you change them, and the product you produce.
I’ll use my work as an example. In my work carving portraits of boats and ships, I need to resaw thick stock into thinner frequently. I then need to plane stock to final thickness. My indispensable power tools are my bandsaw and my planer. I also have a small power jointer, but I have a shooting board and an old jointer plane that work as well. The shop is too small for the sort of jointer that you might find in a boat shop or cabinetmakers. As a result, the blades on the hand plane are sharp, and the sole polished for when the little 6-inch power jointer won’t do. Without the jointers, I wouldn’t be able to glue up the panels I need for portraits. This suite of tools speeds my work. Could I do without them? Yes. There was a time before I could afford these aids. I used small portable and manual tools to complete the tasks just like my 18th and 19th-century antecedents. I am thrilled that I no longer have to do that.
If I was a cabinetmaker, my bandsaw might gather dust because the star of my tool suite could be the table saw. But, as you see from the picture my table saw does yeoman service as a place to stack recently resawed boards for a series of mast hoop portraits of small sailing craft. My router table is serving as a place to stack small logs before I resaw them; it’s a power tool that sees heavy use in many woodworking shops.
Most of us have limited space, and limited funds to spend on tools. You must think in terms of space available, and which tools are critical to your work. That large console table saw with digital readout to ten decimal points might have you drooling and daydreaming. But putting together a suite of tools that gets the job done is a better use of resources.
My primary goal is to get the wood to my carving bench with the minimum work, cost, and effort. Not till then do I start the most enjoyable aspects of my work. Think about that as you plan tool purchases.

  • blank for a catboat portrait
  • Celtic knot design in cherry

  • Based on the first USS Pennsylvania transom
Posted on

For Beginners

I’ve prepared some materials for beginners, which I hope will make the first steps in carving easier, and help to make you a more successful woodcarver.

Please bear in mind that without attention to safety woodcarving can be dangerous. Always use protective goggles against flying chips, be careful to plan out cuts so that you don’t cut yourself. If a cut looks unsafe, it probably is; reposition your work for safety. 
Consider taking a course with a carver at either an adult education center, or at one of the many exceptional craft education centers. Safety comes first. Personal protective gear for carvers includes safety glasses, finger guards, cut resistant gloves, and an anti-skid surface on which to place your work.

Tools:
Tools for carvers come in a wide variety of shapes, sizes, and qualities. When I was getting started, it was easier to get badly cheated on carving tools. They were hard to find, and sometimes of very indifferent quality. I was lucky and unlucky: my first set was an old Millers Falls set that is no longer made; my second set was an expensive full-size set of truly awful English tools. When the whole kit was stolen in Philadelphia, I was heartbroken at the loss of my Millers Falls tools and grateful that those terrible English things had gone on to a more deserving owner.
Your decisions on tools have long-lasting effects. Take the time to do it right.

Tool kits:
The Sayres tool kit. This is a compact, and versatile toolset available from the Leigh Valley website. Lee Valley has these available pre-sharpened ( which I advise strongly).
3/8″ 60° parting tool
5/8″ #5 gouge
3/8″ #7 gouge
3/8″ #3 gouge
1″ #3 gouge
This kit around $ 259 at the time I am writing (2019). Yes, good tools are not cheap.

I mostly use Pfeil ( Swiss made tools). Here is a basic tool kit that I’d take traveling if I needed to do some necessary work.
I have given you the sweep and size of the tool. You can purchase these tools online from Woodcraft Supply.

# 5 sweep – 20mm
#7 sweep – 20mm
#7 sweep fishtail – 14mm
#8 sweep- 25mm
#11 veiner- 7mm
#12 V-tool – 8mm
Skew firmer – 16mm ( a chisel beveled on both sides)
I have been satisfied with my Pfeil tools, and have used many of them for over forty years. If you needed to cut the size of the purchase initially, you could eliminate the veiner, and one of the number 7 gouges.

Either of these tool kits can be added to, but Sayres kit cannot be subtracted from. This is a very flexible assortment of tools for carving, and with your knife, it is a good foundation tool kit.

Knives:
Knives are very personal. If a knife is not comfortable to hold, it’s irrelevant how good the design or steel is. To start with you’ll need one knife: a curved back, straight-edged chip carvers knife ( sometimes called a sheepsfoot shape.
A couple of things to remember:
Don’t buy a stainless steel carving knife. Stainless steel will be hard for you to restore a really sharp edge on. Stainless is also brittle. You don’t want a blade snapping the first time you put a bit of pressure on it. The vendors I have listed will have a wide variety of knives available. Avoid folding knives, utility knives, knives made for modelers work. I advise chip carvers knives. Avoid thin blades. although most of mine come custom made from a smith ( Mudd Sharrigan in Wiscasset, Maine) I also have many from Murphy Tool, and from Lee Valley

Additional Tools:

Things you’ll need which are probably around your home:
safety glasses; ruler; number 2 pencils; transfer paper (carbon paper for transferring designs); erasers; nail or vegetable brush- for cleaning out dust and chips; box or case to hold your kit,
Ceramic stones: pocket size extra fine and fine
Importantly, you’ll need something to keep your work from slipping around dangerously. A piece of work that moves while you are cutting is a danger to you, and you may see hours of work ruined. A few clamps are of use for securing work. I also use anti-skid materials like drawer liners and carpet backing. Look at my post on carvers hooks for how to make a portable work surface. You will not be the only carver to start out on a table or countertop.

What brand tools to buy:
I buy from Pfeil (Swiss made Tools), Henry Taylor, Warren, Harmon, Murphy, Addis Brothers and whoever else has what I like and want.
Reputable companies include those above and: Sorby, Stubai, Ashly Isles, Two Cherries, and others.
Not all tools made by a manufacturer are of equal quality. Sorby makes fantastic turning tools. But I don’t care for their carving tools. Pfeil gouges are my preferred manufacturer for gouges, but I would not use their knives. This is a personal preference.

What to expect from a tool manufacturer:
Most of the time, the tools you order will arrive and be fine right out of the box. But you should be aware of a few points:
1.) Many manufacturers sell tools ground, but not finely sharpened or honed. For beginners, I recommend that they get their tools honed and ready to use by the company they are ordering from.
2.) All manufacturers use mass-produced handles. Some of these are very good, but others are awful. Watch out for too much finish on these handles. You may need to take a bit of steel wool to them and knock off a bit of the gloss and excess. If you don’t do this, the tool might slip in your hand, or give you blisters.
3.) Gross defects. You probably won’t find any, but look for misaligned handles, unevenly ground bevels and any other sloppiness. Send the tool back. It’ll take too long to fix the defect, and you paid good money for a useable tool.

An online search will show many tool vendors. Not all are reputable. Among the ones I deal with and have found trustworthy are:

Woodcraft Supply – one of the premier tool dealers for carvers and woodworkers in general. Source for Swiss Made Pfeil tools

Woodcarvers Supply, Inc. – This Florida based operation has a good selection of supplies for carvers. Sourceõ for Henry Taylor Tools.

Lee Valley/ Veritas – The Sayres tool kit is available through these folks – pre-sharpened. I’ve had some good experiences with their service and tools. There is an emphasis on hand tools which has been declining in the offerings of other retailers.
Reading list:

One of my favorite carvers, Ian Norbury, has pointed out that many woodcarvers don’t read works on the craft. The mystical experience of staring at the wood is overrated; it has less to tell us than the accumulated wisdom of skilled carvers. Read.
The first two books mentioned are essential to marine carving. The others are general carving texts:

Jay S. Hanna – The Shipcarver’s Handbook, WoodenBoat Publications, Inc. 1988. An excellent book for the beginner and advanced carver. This is the text for our course.

David Hassell – Woodcarving Decorative Signs and Eagles. Tiller Publishing, 1997. While he shows a different approach to letter carving than I use his book is one of the most valuable resources for marine carvers available.

These are some excellent beginners text works:

Charles Marshall Sayers – The Book of Woodcarving: technique, designs, and projects. Dover, 1948 – Dover edition – 1978.

Richard Butz- How to Carve Wood: a book of projects and techniques. The Taunton Press, 1984.

These days the issue of a book being in print and available new is less of an issue than it was ten years ago. All the titles I’ve mentioned are either in print or are available at many used book sellers; the internet is your friend.

Posted on

Slow

Almost every week Sensei says this in practice: “It does not matter how slowly you go as long as you do not stop.” — Confucius
Studied deliberation seems harder than going fast.
But, at this time I’m under little economic compulsion to produce in haste, and going slow allows me time to master what I previously left unmastered. Which I guess is what both Confucius and Sensei meant.

Posted on

What’s Old, Stays New

What’s old is not necessarily discarded. Not in tools nor skills. My shop is soooooo small that I can only fit one of those tiny 6-inch jointers in it — this is fine for most of the hoop tray portraits that I do. But, the carving of the Cunard liner Servia is much larger, and I could not use the small jointer for the task. Out came the old reliable jointer plane procured in the early seventies. Back then I owned almost no power tools, and if I wanted to thickness or joint stock, this was one of the tools I used. Today the tool and the hard-learned skills came in handy because it wasn’t gettin’ done otherwise. What’s old, stays new.

Posted on

Blade Work: in search of perfection

There are some interesting parallels between Japanese swordsmanship and effective carving technique. No, I am not suggesting that they are just alike, just that both involve very sharp steel blades, and reliance on muscle memory to complete accurate cuts. Let’s start at the beginning.
I always begin my classes in carving with sharpening. Nothing gets done effectively or safely without a sharp blade. After sharpening students have an opportunity to test the edges of their knives in chip carving. That being said sharpness is not the only thing needed to be successful. To be competent in chip carving you must have a sharp blade, and be able to cut at the correct angle and do so consistently. An incorrect cutting angle leads to irregular cuts and lopsided designs. Sharpness will not help with this.
A sword similarly needs to have the correct hasuji to achieve the intended effect; a clean, effective cut. Hasuji is the path your sword takes in a cut and the edge alignment which you maintain while you cut. Yes, one is with a very large blade, the other with a blade of an inch length, but the principle is the same.
In chip carving an angle too steep or too shallow dooms your project to failure; so correct hasuji is essential. With a sword, correct cutting angle will use less energy and will cut cleaner as well.

You can go to books on chip carving and find the correct angle at which you should cut to a degree. But, you are not going to get too far lining up each cut with a protractor. You have to learn it, and through practice put that angle into your muscle memory. This is pretty much what we do with a Japanese Katana too.
As with a Katana so with a knife; we learn correct hasuji through practice.

An additional piece of wonderment in blade work

You may have heard of a state called mushin ( mushin no shin), sometimes referred to as “no mind.” I have yet to achieve this state in martial arts, but when I was carving every day for hours on end, I’d frequently find myself awakening from mushin after an hour of doing something like hollowing the wings on an eagle. My body knew what needed to be done, and my training took over leaving my mind to relax, and think of no thing. You cannot achieve this sort of state if you are consciously thinking things through all the time.
My first martial art was Judo. My Japanese sensei heard me complaining one day that we practiced all these throws thousands of times. His response was to throw me and then sit down beside his thirteen-year-old critic and explain that we practiced the techniques thousands of times in dojo with the intent of learning them so well that when needed there would be no thought at all involved in their use. The first time I was jumped on a New York subway and defeated my attacker with a single throw and a wrist lock I knew that…as usual…sensei knew best. As sensei pointed out the key was practice. The swordsman Miyamoto Musashi was also an acomplished poet, pholosopher, calligrapher and painter. He advised that the principles involved in mastery of one thing can be applied to learn and master others – ” from one thing learn a thousand things.”

So, get out your tools, and start practicing.

Posted on

What to hit with: Mallets

IMG_3670
These are my mallets. Note that most are shop made from firewood, and yes the bench is dirty…I work on it.

Need a mallet? Sooner or later every carver does. You should use one even if you love the slam feeling of the gouge handle into your palm. There’s a perfectly reasonable reason why. If you become a professional carver or carve a lot as an amateur, you’re potentially doing a lot of damage to the palm of your hand. There’s no sense in setting yourself up for tendonitis or carpal tunnel syndrome. Using a mallet is a great way to avoid this.
Wait, what about the sort of sensory feedback I get on how much pressure I need on a cut. The mallet is going to change that. Well, only to a degree. If the tool is sharp, and your right hand is doing a proper of guidance you shouldn’t need a mallet on delicate cuts. A mallet is for when you need a bit more oomph on a tool. An alternative to using a mallet is a palm pad; these have an impact absorbing gel inside that cushions your hand.
But, to get back to mallets. The picture shows a selection of mallets that I use regularly; note that most of them are shop made. The mallet to the far left is one I purchased in the early ’70s. It’s made from low-grade Lignum Vitae and has withstood all these years of my heavier work. It’s not a light tool, and it wouldn’t be suitable for most of the lighter work that I do in portraiture or fine work. To the right of the Lignum mallet is a palm mallet made from a piece of firewood elm. I was jealous of the little palm mallets that Woodcraft Supply had for sale, but about twenty years ago I did not have the forty or so dollars needed to buy one. I found a nice piece of elm burl in the firewood pile and made one instead. Next over is a mallet made from an apple branch and a found counterbalance from some project of years back. I soaked the handle in linseed oil, and I’ll be cutting it down, but it’s proven useful because the brass head allows me to concentrate a good bit of force in a small area. The turned mallet is made from firewood pile ash and is the lightest of my collection. I use this one when I need a very light touch on a workpiece. The final mallet was made years ago by Jerry Cumbo, the shop manager at WoodenBoat School. Jerry made it for a student of mine who had shown up to class without a mallet, he made it out of black locust (otherwise known as New England teak), and it’s a nice addition to my collection.

Why do I have a collection of mallets? It’s so I can choose the weight and direction of impact while I am working. Do you need this many mallets? Probably not, unless you are doing more substantial sculptural work a smaller mallet like a palm mallet might be more appropriate to your needs, and you could make it yourself.

Posted on

Gifts

From firewood to present. It’s a nice transition. As I pulled the bright reddish cherry from the piles of cordwood I began to get excited. I recognized some truly prime wood among the common red oak. A tragedy in a way, because I was thinking of the gorgeous planks for cabinet work that were now reduced to cordwood length. At least now they’ll be used for a better purpose than use as fuel.

So, wooden spoons in stunning natural cherry color. A great Christmas present for a cook. don’t you agree?

Posted on

Finishing Treen – luxurious spoons & spatulas

After tempering the treen is allowed to dry for several days before finishing starts. Finishing begins with cleaning up unfair curves, and rough spots. Sanding with 80 grit, 120 grit and 240 grit sandpaper follow. A final whirl with a sanding mop ( a sort of flap sander in a drill press) acts to polish the wood.
After sanding and polishing I heat a mixture of beeswax and mineral oil. I also warm the treen. If you have the experience you can do this in a microwave, otherwise, do it in the oven. To much heat at this point will split wood, so less will be more. Just heat till the wood is warm to touch.
After the wood and beeswax mixture are both warm, I rub the treen thoroughly to cover the surfaces. In the picture shown here the treen has an excess of beeswax. That’s fine. Over hours or days it will be absorbed into the wood.
The reason for the beeswax mixture is not to make the wood look beautiful; although it does. The mixture seals and conditions the piece, so it resists moisture and the tastes and odors of cooking. At shows, I’ve seen folks pick up and smell spoons and spatulas expecting a pleasant fragrance. A subtle whiff of beeswax is pleasant, but I try to explain that you don’t want your cookware to either impart or acquire cooking odors — this is part of why we use hardwoods like cherry, maple, and apple for treen.
A final note I avoid using exotic woods. The woods that I do use are generally considered safe for use with food. Many tropical or exotic woods have toxic characteristics that make them excellent choices to avoid for food-related applications. Likewise, some oils carry risks as well. Walnut and peanut oils also are attractive on wood, but I avoid them because a customer may have an allergy to them. Oils like olive oil, safflower oil, and others I avoid because they can go rancid. There is no cure for a rancid spoon.
That’s why I stick with the beeswax and mineral oil mixture. It’s generally considered safe.
After coating I allow the treen to sit overnight. The next day I give everything a final touch up and rub down, and it’s ready to go.

Posted on

Tempering

Spoons boiling in a pot of water? Yes, this is tempering. The spoons and spatulas shown here are this year’s batch of Christmas and holiday presents for friends needing a new piece of treen – an old word for woodenware. The rough carving,  shaping, and sanding have been done; the bowls carved first of course. Now comes the tempering to raise the grain so a final sanding and rubbing can finish the treen. The last step will be rubbing with a paste made from beeswax and mineral oil. The wood is from the cherry that my firewood provider told me was in the seven chords I bought this year. He casually informed me that: “…there’s a bit of cherry in there”. A bit turned out to be about twenty percent of a chord. Of course I couldn’t burn it. So, I have cherry blanks for spoons, bowls, spatulas, wooden forks, and other assorted treen for a number of years. I may even have to sell some.

Posted on

Completion

Unless you have strict deadlines hanging over you project completion becomes a flexible goal. The little eagle in the picture was started at the end of June as a demonstration of carving in very sub-optimal wood. It should have been completed weeks ago, but work on gilding was held up while I waited for a period when I could gild without large amounts of dust ruining the gold leaf. On the other hand, the little Town Class sloop is handily racing towards early completion. It’s destined to be a Christmas present and will be done as soon as I sand and varnish the mast hoop that it is going to be mounted in.

In the machine shop, there is a large bucket of spoon and spatula blanks that have been roughly carved, and are now waiting for finishing. I finished the blanks in August. They are what made the carving shop unsuitable for gilding. The bench in the machine shop is covered with cherry planks destined for a large ship portrait (an 1880’s era composite steam/ sail vessel). I have to finish jointing the boards and make final decisions on the arrangements of the planks before gluing up the blank. To ensure that blanks are stable and won’t split open after carving they have to cure for a few weeks before I start carving. So while I am very excited about the project I know that I won’t start it till January. More likely to see early completion are a few blanks destined for portraits of small catboats that I hope to take to a winter show.

So completion gets to be an elastic phenomenon. Clients complicate this elasticity; they want their portrait in time for an anniversary, birthday or before launching so the new quarter boards, billet head or transom eagle can be installed. The carver, boatbuilder or other craftsperson learn to plan. Eisenhower said that: “in preparing for battle I have always found that plans are useless, but planning is indispensable.” Although he never worked in a boatyard or carvers shop he had it right. You spend time planning, but admit that strict plans don’t always work well in small craft shops. That’s why there is that large rick of planks in the rafters – just in case. That’s why you have models, templates and notes on practice pieces for all your projects – in case you have to do it again.
Plans are certain to go awry: the wood needed is hard to find in local yards, the gilding has to wait, the paint or varnish is dry, but not cured, so, we have to wait. Most importantly to the company’s cash flow – The deposit has not been paid so now everything has to wait.