---- Chris Pye: WOODCARVING - NEWSLETTER ---- August 2001 http://www.chrispye-woodcarving.com "Dedicated to the teaching, learning and love of woodcarving" ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Hello Everyone! Please forward this newsletter to a woodcarving friend, and anyone else you think might be interested. Thanks! This is an opt-in newsletter and you should only be receiving it because you requested it from the website, or were sent it by a friend. Subscribe or Unsubscribe easily on the home page here: http://www.chrispye-woodcarving.com/index.html or using the link at the end of the newsletter. ****Back issues here: http://www.chrispye-woodcarving.com/intro/pastnews.html ==================================== ****CONTENTS: 1. Slipstones - August 2001 2. Website Notes 3. Article 'Woodcarving Mistakes - Part 4' by Chris Pye 4. Quick Carving Questions 1) Carving Hands? 2) Laminating Wood. 3) Green Man 4) Carving Groups in my Area? 5. Guest Article 'Diaper Carving' by Fred Wilber 6. Carving Cuts from Maine 2001 __________________________________________ 1. SLIPSTONES - August 2001 __________________________________________ In Slipstones this month: *** Panels that Warp An approach, common in medieval times, which really helps! *** Gothic Tracery How is it done? And is there a problem with gravity in my workshop? *** Outlines in Relief Carving? How to make them work for you... *** Sharpening on the Hoof? What's the cheapest, simplest way to sharpen carving tools? *** An Awkward Case of Clamping! Oh dear! What's the treatment? *** And much more, including 'Lines of Light' and Carving Tips. Find full details of your interactive woodcarving journal: http://www.chrispye-woodcarving.com/slipstones/slipstones.html and get your FREE copy of '101 Master Woodcarving Secrets' - available only on subscribing. Back issues of Slipstones now available without subscribing. Have you downloaded your FREE sample edition? Slipstones is like an invitation to my workshop where we can share experience, advice and support, and which aims to further carving at all levels. Join me! __________________________________________ 2. WEBSITE NOTES __________________________________________ This must be the first time I've had to report that I've added no new pages to the website recently. It was my teaching trip to the USA, catching up on carving work on getting back and working on my Woodcarving Tools book update that took precedence. There will be better news next time! __________________________________________ 3. ARTICLE 'Woodcarving Mistakes - PART 4' by Chris Pye __________________________________________ (Parts 1 - 3 available as back issues May01, Jun01 & Jul01: http://www.chrispye-woodcarving.com/intro/pastnews.html) A SELECTION OF MY GREATEST MISTAKES Last issue we looked at some of the readily available ways to break bits off and compromise ('screw up' to Americans) a woodcarving. If only that covered all the possibilities! Some readers of my books imagine I'm super-competent, having grown out of mistakes. Well, I probably DO make fewer errors of judgement than those with less experience, but only because I've learned by them. And I'm not exactly going to write them up, am I? However, as a creative person, I can generate plenty of new mistakes, far too easily, and I'm going to share a few of my more memorable ones - which will be different from anyone else's but surely recognisable. Not too many - it hurts! (And not the very best - leave me SOME pride.) All to give you reassurance... I'll start small: How about failing to make sure the router bit is tight enough in the router collet? I've done that, more than twice. (I've also done the drill bit in the drill press) The cutter or drill bit works too deep into the wood; think background... relief carvings... Not impressed eh? Here's another one: Carving a 40" lotus flower and - near the end of course - going through one of the petals and out the other side... (I deliberately went through them all - a design feature the clients thought gave lightness to the carving!) Getting better? How about: On my knees, lettering the back of a bench in a dark chapel, in a prestigious old college. Failing to see the organ pipes just above my head. A mad organist crashes in with a Toccata & Fugue. I jump out of my skin taking the chisel and a chunk of letter with me... (Re-designed letters, plus floor-dirt and oil rubbed in for patina; complete ignorance: 'Scratch, what scratch? - Oh that old thing'. Happy clients. Dead organist.) More like it? OK, here's one of my best. I wince even to think about it: A finished, delicate woodcarving sat on my bench. I dropped my pencil on the floor. I turned and bent down to pick it up... So far, so good eh? You know when you bend down at the knees, your backside pushes out behind you for balance? (Try bending down when you have your back to the wall.) Well, I just innocently bent down. And my backside bumped into something behind me. I jerked forward and cracked my head on the edge of the bench. The bench wobbled. I watched the carving take an elegant dive towards the floor... One second: happy carver and finished carving. Next: bleeding scalp and broken carving... and the pencil still on the floor. Laurel & Hardy or what? So, take comfort. Mistakes are part of the business. Try and learn. Try and benefit from serendipity. At least wriggle out (lie) gracefully. And remember the bum thing. **Next issue: My best advice, saved until last. __________________________________________ 4. QUICK CARVING QUESTIONS __________________________________________ **** QUESTION 1: HANDS **** "I have great difficulty in carving hands and would appreciate any tips or advice you could offer" **** ANSWER **** Briefly: 1. Study hands: anatomy books, sketch and draw them; different positions, ages etc 2. Make a few models in clay; these needn't be detailed - you are trying to really understand what you want to carve: to the extent you know your subject, you can 'see' it in the wood. There is no short way around this. 3. Orientate the grain and position to maximise grain strength in the fingers. 4. Block the hands out in terms of large simple planes first, as if the hand was 'cling-wrapped' - if you make a fist you can see the planes between knuckles quite easily. 5. Model the fingers into the spaces; don't just cut holes or gaps first. 6. Leave all details until last - they are the least of your worries! =================================== **** QUESTION 2: LAMINATING WOOD **** "I wish to laminate two pieces of furniture grade walnut for a carved bowl with a free-form edge. The pieces are 2" thick and 10" wide and 12 to 14" long. They have been milled flat and smooth. I plan to use a standard "white glue" for wood with large C-clamps. I am concerned that the glue line will show on the dark walnut and that it may separate in time." **** ANSWER **** You have 2 options with a joint: 1. Plan to position it where it will be least visible, if not invisible. - Hide it, in other words, or at least make it less obvious. Also remember that a joint cut at an angle will have a thicker glue line than one cut straight across. 2. Make something of it. - Flaunt it, say by laminating the joint with a complementary or contrastingly coloured veneer. Additionally think about colouring the 'white' glue with a few drops of intense dye or acrylic paint. An old trick is to thoroughly wipe the surfaces of oily woods with methylated spirits (methanol, wood alcohol) before gluing up to remove the oils and allow the glue to penetrate the fibre and grip better. Finally - make test joints from spare pieces of wood! =================================== **** QUESTION 3: GREEN MAN **** "I would like to carve 'Green Man 2' which you present in Elements of Woodcarving using a lamination of walnut, and the design would be scaled down to 10". Is laminating a problem here, and is the size too small? (Would it lose its visual impact?) I also have 3" by 10" red oak; would that be preferable?" **** ANSWER **** The design works well smaller as long as you keep the depth and heavily undercut for shadows. Bear in mind the points of the previous question about gluing up. Glue lines will be to the side and hardly visible. I've found Red Oak to be unpleasant and splintery to carve. I think the Walnut, if you have it, for carving is much superior and more 'woody' looking but there are some carvers of Red Oak out there who could easily prove me wrong. =================================== **** QUESTION 4: CARVING GROUPS IN MY AREA? **** "I live near Los Angeles and am interested in learning more about carving. Are there any schools that teach it in this area" **** ANSWER **** There's plenty out there but I'm sorry, but I can't help. The best resource would be your National Woodcarvers Association who publish ChipChats - there's a link on the site in the Connect section: http://www.chrispye-woodcarving.com/connect/c_linkindex.html or you could try a web search, or news groups I'll happily put together lists of schools or newsgroups if anyone would like to write to me. ___________________________________ 5. GUEST ARTICLE 'Diapers in Woodcarving' by Fred Wilbur _______________________________________ DIAPERS IN WOODCARVING by Fred Wilbur The term 'diaper' in a decorative context means a repeated, interlocked design that can be expanded in any direction. The diaper is a surprisingly common motif - found in all the arts and crafts - although the term probably derives from the patterns of woven fabric. The alternating black and white squares of a chessboard might be considered the simplest form; the hexagon pattern of a honeycomb is a wonderful example from nature. Incredibly interesting, the concept ranges from the purely geometrical to the provocatively aesthetic. Anyone familiar with the graphic art of M.C. Escher realizes the ramifications of the idea. Tudor ceilings of plaster often had geometrically configured raised mouldings in which floral bouquets and other 'free form' ornament were contained. Diapering is found in many areas of decoration from parquetry flooring to window mullions, wrought iron grills, woven textiles and encaustic tiles. It is found throughout the history of ornament from ancient Egypt to William Morris wallpapers and to contemporary quilt making. One very good source for diaper constructions and design is Handbook of Ornament by Franz Sales Meyer (Dover Publications). The units of the ornamental diapers are symmetrical - though not all units have to be the same - and the structure is usually based on some sort of grid system. Some geometric units contain a naturalistic image within them, such as a fleur-de-lis or other objects, such as crowns. Diapers are used in woodcarving as a subtle enrichment to flat surfaces, as framing 'compartments' for other motifs, and as a contrast to more salient features. On this last point one could argue that the stippling or punching of a background is, by function, a diaper but, strictly, diapering must consist of geometric lines in some way, whether based on squares, lozenges or circles, or combinations of these. In a secondary role diapers are used on the flat fields of picture or mirror frames, the background of foliage panels, or 'behind' the acanthus scrolls of rococo furniture. The design used in this way is usually fairly simple and incised with a parting tool. Accuracy is necessary in the laying-out of diapers in the same way that designs for chip carving need to be regular to be aesthetically pleasing. Sometimes there is slight modeling below the surface as in the common design of latticework in-filled with flowers. The scale pattern used on Renaissance pilasters is a more obviously perceived use, as are the intricate mouldings of Moorish doors. In these instances the diaper covers the form, making it visually interesting. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Copyright 2001, Fred Wilbur. All Rights Reserved Worldwide --------------------------------------------------------------- Fred Wilbur has been a professional woodcarver for more than 20 years producing both original and restoration work in a wide variety of styles. Visit his website here: http://www.frederickwilbur-woodcarver.com/ A review and details of Fred Wilbur's excellent book: 'Carving Architectural Detail in Wood - the Classical Tradition' (GMC Publications, UK, 2000) can be found here: http://www.chrispye-woodcarving.com/writing/recbks/w_recbk_wilbur.html _______________________________________ 6. CARVING CUTS FROM MAINE _______________________________________ I have just completed 3 weeklong classes (teaching Ornamental Carving, Relief Carving and a Carving Tutorial - a sort of cross between masterclass and party) at the outstanding Center for Furniture Craftsmanship, Rockport, Maine, USA. Both the students and I had a very rich and nourishing time. At the end of each class I asked them to write down briefly (at least) "3 Things I've Learned about Woodcarving" - important insights: practical, personal and technical - for this newsletter. I think the results were fascinating... Thanks very much to all contributors - you'll know who you are! Over the next few months I'll be sharing their discoveries. I'll be commenting and adding thoughts in Slipstones, if you want to learn more: http://www.chrispye-woodcarving.com/slipstones/slipstones.html Here, I'll let the words stand on their own: --------------------------------------- 1. 'Don't baby the wood. Visualise the waste and remove it efficiently.' 2. 'Frequent stropping of the edge will keep the tool sharp for a long time.' 3. 'Buying quality wood improves the potential for a good finished carving.' ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ That's it - I'm off to my carving bench! I hope you have found this newsletter interesting and useful. Once more: joy and success in your carving! Chris Pye ----------------------------------- PS: Here's another one to think about at the bench: As Gandhi stepped aboard a train one day, one of his shoes slipped off and landed on the track. He was unable to retrieve it as the train was moving. To the amazement of his companions, Gandhi calmly took off his other shoe and threw it back along the track to land close to the first. Asked by a fellow passenger why he did so, Gandhi smiled. "The poor man who finds the shoes lying on the track," he replied, "will now have a pair he can use." Copyright (c) Chris Pye 2001 Chris@woodcarver.force9.co.uk ----------------------------------- Chris Pye: Woodcarving Newsletter is listed in the EzinesPlus directory of newsletters and ezines. http://ezinesplus.com -----------------------------------