My Online Woodcarving School is now officially OPEN! Click on the link above, or to the right to go to the site. I am offering 12 beginning videos for FREE! Once you start, you won’t be able to stop!
Come Join US.
These photos of my squeaky clean workshop were actually taken several months ago and it doesn’t look quite as tidy as it did back then.
I spent an entire week going through everything in my workshop, reorganizing it, cleaning it, and discovering things I haven’t seen in years. It was truly about time…
…and now I can’t find anything…
My workshop is approximately 12 ft wide x 36 ft long. It started out with a single shop about 12 ft x 12 ft. This is where I do my main carving and filming of videos.
Then when things were slow at my husband’s business, he kept his guys employed by adding a “porch” onto my workshop that was another 12 ft x 12 ft. Then about a year or so later, things slowed down again with my husband’s work and that porch was closed in to become my “center” shop. This part is usually used as an “overflow” from my original carving shop and where I have any machines that might produce dust (hate the stuff).
Then several years later, another downfall in the economy (which I benefitted from) – the guys put the third addition on – another 12 ft x 12 ft fully windowed room – sort of like a sunroom. This is where I do a lot of my castings and mold-making – a messy process that I want to keep completely away from any of my woodworking tools.
I love my workshop. It is my “happy place”.
I have several beginning carving classes coming up that still have spaces available. Come join us!
May 2 – 4, Connecticut Valley School of Woodworking I will be teaching a class on the Fundamentals of Furniture Carving. This is a beginning class where I will go over the basics of relief carving – acanthus leaf, shell & linenfold in shallow relief. Check out the full description by clicking the link to the school above.
I am also going to be teaching a beginning carving class in Germany! Yeah! I really want to make sure that it fills, so PLEASE, PLEASE if you are in the Berlin, Germany area June 19 – 21, please join us! It will be at the Dictum School.
Another class that still has spaces available is the Center for Furniture Craftsmanship in Maine. This is a full week class on basic carving techniques.
There are still some spaces available in classes later in the year also and you can see them on my class schedule.
Maybe my online video school isn’t helping my class enrollment? I wonder… maybe I’m creating my own competition! I guess that’s not a bad thing…
A new project has been added to my online video school. It is a fully 3-dimensional carving of a cardinal in basswood. This is not the typical type of carving I have on the school. Most of the styles I do are classical decorative carving that go on either furniture or architecture.
I go through the process of how to get the general shape cut out with a band-saw. I also show how to keep strategic pieces of wood attached so that I can clamp it in my bench vice without having to hold it in my hands. These carvings are often held in your hands and carved with a whittling knife or palm gouges. I am MUCH more comfortable using my long-handled European gouges and clamp the work to my bench. Much less blood… all body parts away from the gouge…
Every Thursday (actually Wednesday evening) I add another video episode. Sometimes the lessons only have one episode – usually when they are less than 1/2 hour long. This project of carving the cardinal will be 3 episodes (approx. 1-1/2 hours total) and so far 2 episodes have been added to the school. The final episode will be added next week (can you handle the suspense?) The plot is pretty predictable.
I added a blog post previously describing this carving process in photographs.
If you haven’t seen my online school, I currently have 122 video episodes and more every week. 12 beginning video lessons are available for FREE!
This is a great example of how to care for a very fragile carving. This delicate leaf design is for the detail on the top of a Philadelphia Highboy (this project is actually going on a Philadelphia Chest-on-Chest, but since the highboys are so much more common, I’m just going to refer to it as a highboy from now on).
I am NOT going to carve this after it is glued to the final furniture surface for several reasons -
1. The rest of the piece of furniture is in NC
2. If my gouges decide to gouge into the background (which they like to do on occasion) I won’t damage this beautiful flat surface.
So, I am going to attach this to a temporary backer board where I can gouge away as I please. This also allows me to clamp the backer board and as a result any clamps or bench dogs will be far away from my carving or gouges.
There are several ways I could do this.
1. Glue it to the backer board with newspaper or paper bag between the carving and backer board (great for more solid and less delicate carvings)
2. Use double sided tape (excellent for fragile carvings)
3. Use hot-melt glue (this is becoming more and more NOT the best choice in my book)
I decided to use the double sided tape method for this delicate carving. When Charles Neil and his gang hung out in my shop for a week last year, they introduced me to an amazing double-sided tape that you can get from Lowes – it is a type of double-sided duct tape called “Suretape”. It is truly impressive in how it holds. Then when you are finished with the carving, brush along the edge of your carving with lacquer thinner (use in ventilated space) and the tape will soak up the lacquer thinner and will gently release from the backer board.
So here we go…
Cut out your design on a scroll saw – use as small of a blade as you can to get a clean cut, but don’t let it get so small that the blade bends and distorts. For this particular design I used a scroll saw blade with 15 teeth per inch. For the inside sections, I drilled a 1/4″ hole to insert the blade into.
Lay your carving on a backer board that is at least 1 inches larger than your carving on all sides. Draw a rough outline around your design as a guideline for where to lay your tape.
Lay the double sided tape on your backer board in the general shape of the outline you drew. Pull off the covering of the double-sided tape.
Lay your carving on the tape.
Clamp another board over your carving to ensure that the entire carving is tight against the backer board. Clamp it tightly and then release. There is no need to clamp it for any period of time.
With a small knife that can fit into tiny areas, cut the tape around the outside edge of your design. One of the most irritating things is to carve and have your wood shavings stick to any exposed double sided tape. It’s a tedious job to remove this, but very important.
And now we’re ready to carve!
I recently received a great new commission – to carve the top details for 4 reproduction Philadelphia Chippendale chest-on-chests. These ornate tops are usually seen on highboys from around 1760 to 1780, but occasionally are added as decorative tops (or bonnets) of chest-on-chests. Quite often the chest-on-chests have a simple flat top.
The following is a photo that my carving will be roughly based on.
The first step is – how to get the design to the wood in the most accurate and efficient way possible. Since I am carving 4 of these, it would be best to get a clear, durable and accurate template made of each detail that I can use for all pieces of furniture.
Ideally, I would get a thick piece of flexible plastic. I often use a disposable cutting board or chopping mat that I purchase at a flea market (those booths where there are boxes filled with really inexpensive Chinese made things that you can never imagine needing – except for now). You can also use plastic page dividers at office supply stores. What you want to look for is something clear enough to see the design through, thick enough so you can run your pencil along the edge as a template, and textured enough so you can draw on at least one side of it.
However… I did not use this process because when I started, I did not have any of this thick plastic to use. So I used the next best thing I had in my shop and settled on velum or tracing paper. Great for tracing a design, but not great for use as a template because it is so flimsy and you can’t run your pencil along the edge easily. So the process I went through was a little more laborious because I really do want the template to be on a stiffer material that I can trace around.
After enlarging the photo of the original to full-size, I traced over the leaf design onto velum paper. This is definitely not a real accurate process because of the fuzziness of the photograph as it is enlarged. I got it as close as I was comfortable with for this first step. More detailed drawings were done after this.
Next, I cut out the design in the velum paper, taped it to my wood (about 5/8″ thick mahogany) and gently traced it around the outside.
Next I drew the design details accurately on the wood as it should be carved, fixed any parts where the tracing process was a little vague, and did any adjusting with the design. Why didn’t I do this while it was on the velum paper? Good question. And I really had to think about this. There is something about drawing it onto the material that it will actually be carved in where I can visualize it easier and more accurate. If you wanted to, I guess you could do this final detailing on the velum drawing before it was cut out. But if you do that, then the following steps will make no sense… so let’s not confuse things…
Next, I scanned the wood with the drawing on my computer scanner. I had to do some real funky adjusting with the color to make the drawing show up. But it worked! Now I have a file on my computer where there is an accurate, full-size drawing of my design.
Next I printed this design out, and glued it onto a manilla file folder (or any other thicker cardboard or plastic material) with a light coat of spray glue or you could use glue stick (don’t use glue that will soak into the paper and distort the design). Next, I cut out the outline of the design as accurately as possible.
Now this template can be used for all 8 of these cut-outs (2 for each piece of furniture – used in reverse). And since it is in a thicker material, the accuracy of running a pencil along the outside edge makes it all worth the effort!
Like I said, this process was a bit long-winded, and it could have been accomplished much easier if I simply had that thick plastic where I could just trace the design from the photo, and cut out the design. That’ll teach me to make sure I have my shop stocked! I went to the market last weekend and bought 6 packages of the plastic “chopping mats”.
I could also have shortened the process by making the final accurate drawing on the velum paper, gluing that to the manilla folder and cutting it out. But that wouldn’t have been nearly as fun! I’m sure there are some engineers out there that are just cringing at my “meandering” approach.
The moral of the story is… be prepared! Also, if you can’t do it one way (because of lack of organization), there are ALWAYS other ways.
I think I’ll do it differently next time…
My husband, Stephen, and I took the last 2 days to explore an area of SC that is truly amazing. If you ever have the opportunity to visit Brookgreen Gardens, just south of Myrtle Beach, SC, it is an amazing experience.
Archer Huntington and Anna Hyatt Huntington purchased 4 rice plantations along the SC coast in the 1920s that were no longer in working order. They employed many local people to help fix the buildings and gardens, and since this was in the middle of the depression, they made a huge impact on the local economy by simply giving people work.
The reason Brookgreen Gardens was so interesting to me is that Anna Hyatt Huntington was a sculptor (sculptress?). She mostly did large bronze sculptures of realistic animals in action. She also collected many sculptures from other, mostly American sculptors – in bronze, stone, and wood. The gardens have hundreds of sculptures and two days was definitely NOT enough time to enjoy all that was there.
There is also Huntington Beach State Park nearby that has the home they lived in and her sculpture studio that used to be army barracks.
They decided to move to warmer climate because she had TB so they moved to SC from New York. I thought that was interesting because you mostly hear about people with TB moving to drier climates out west – not humid SC! But I guess the move was good for her because she lived to be 97 – and was making sculptures most of her life.
They didn’t really need to worry about “making a living” because Archer Huntington was from a rail-road family, and Anna was quite a famous and wealthy artist in her own right. Ahhh… the freedom to create without the concern about actually paying bills! What an odd concept…
Sometimes I am asked what I would do if I did not have to carve to make a living. It’s a difficult question to answer, because I truly love to carve! I’m not sure I would change a thing.
Maybe one thing that I might try is that I would do more sculptural pieces of my own design – both in wood and stone. I don’t get much opportunity to do this. In fact, I really only have had one stone carving commission – the 8 foot tall limestone dolphin fountain. All the other stone carving sculptures have simply been pieces I have done for myself as “practice”.
Occasionally I get a commission to carve a sculpture in wood, but not often. When I do, I really do enjoy it because it becomes a completely different challenge than decorative carving. Sometimes it’s easy to settle into what you know and what you are comfortable with (ball and claw feet, acanthus leaves, etc) and that’s when it’s good to stretch your skills into something that brings you into those areas where you feel like you have to turn your brain inside out. That’s not a bad thing!
I have 2 more episodes to add before the full lesson is on the site. I’ll be adding a lesson each week. This was a challenging project because it was a small carving and I didn’t want to hold it in my hand while carving (I don’t like to bleed). I needed to figure out a way to leave strategic pieces of wood attached so I could clamp it to the workbench. It was a challenge, but I really enjoyed the process.
I have a blog post on carving this – Carving a cardinal