Carving from a pattern

 

In March of 2015, ten students collaborated with Chris Hammack (CCA) to develop their own pattern for a figure to be carved from a 4X4X8 inch piece of basswood. Everyone had a very unique project. I was not one of those students but I was really attracted to the project developed by Chris and Willie Thornton. I asked Willie if I could make a copy of his pattern and brought it home to work on it. I refined it a little but kept the same concept. It was a challenge but I enjoyed working on it. Here are pictures of the progress.

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This project has been recognized by the CCA with a Merit Award during the March 2017 Roundup Class. This award also encourages the recipient to enter the project in the annual CCA competition in August. Here’s the Merit Award and ribbon.

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Here is the third place ribbon from the CCA Competition. The category was “Group Mixed” because of the ladybug and baby.

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Clock Peddler Project, Part 1

This post is the first in a series of three that will take you through the steps I took to produce a carving of an old-time clock peddler. (Part 2, Part 3) My cousin is a clock collector. He also repairs and re-conditions clocks. When I visited him and his wife in May of this year, he showed a cast figure to me. It appeared to be a copy of an original woodcarving. He asked if I would be interested in reproducing it in wood. As you will see the figure was very interesting and well done. Thinking since it was carved from wood originally, I said yes. He offered a rough slab of basswood that was at least 20 years old. I did some quick measuring and decided it would work.

During the carving I became more and more skeptical of the original method used to make my model. I am now convinced it was never carved from wood but fashioned from clay and cleverly made to look like wood. The fine details, such as the threads in the stockings, the flowers decorating the back-board holding the clocks and the fine details in the clocks, including the roman numerals could not have been added by carving into wood. The original artist is not identified but I would welcome any information dealing with the origin of this model. I did my best to reproduce the figure and used artistic license to deal with some details that required magical powers I do not possess.

This post will cover the preparation of the wood, including surfacing, trimming  and adding scrap pieces to accommodate the pattern. It will also show making the pattern, applying the pattern and cutting the blank on the band saw.
The second post will show many photos taken during the carving progression.  The third and final post will show the completed carving, both without and with the stain.

Clock Peddler Project, Part 2

This is the second of three posts showing a carving I made of an old-time clock peddler. (Part 1, Part 3) Here you will see many photos taken of the project as it evolved into a finished carving. I also show a picture of my tools and my carving bench. the project is mounted on a carving arm and held in place with a carving screw. My carving tools are designed for use with a mallet but only the very early stages required the mallet to remove larger amounts of wood. The remainder of the cuts were done by simply pushing the tools. You will also see a measuring device used to transfer dimensions from the model to the project. The first picture shows my mallet, a carving screw, two dividers, a carving arm and a plastic scale.

Clock Peddler Project, Part 3

This is the last of a three-part series of posts to document my project to carve a clock peddler in basswood. (Part 1, Part 2) These are pictures of the completed carving. you may notice the finished base is smaller than the project as it’s seen attached to the carving arm. When I applied the pattern to the wood I allowed extra stock on the base to accommodate the carving screw. After removing the screw, I trimmed the base. I’m including shots before the stain was applied because the shadows on the raw wood give a different perception to the details. The stain I used is from Germany and was developed for basswood carvings. The color is Pearwood. It is a water based stain that contains wax and ammonia in addition to the pigment. It’s applied with a brush and buffed with a special brush and cloth. The carving is 13 3/4 inches (34.9 cm) tall, 5 1/4 inches (13.3 cm) wide and 4 3/4 inches (12 cm) deep.

Knives designed by Mertz

Don Mertz, a member of the Caricature Carvers of America, has a history of collaboration with the Helvie Knife company. Over the years they have produced a successful line of custom knives that suit Don’s whittlecarving style. Don’s work can be viewed at WoodBeeCarver.com. I own several of those knives but since the blade style was different from the one I use, I’ve delayed giving his a try. The other day I decided to see what I could or could not do. The pictures show the project I chose and the knives I used. They are in Don’s Signature series as numbers 2, 4 and 6. There are many more knife choices on the Helvie site. I did not succumb to the urge to grab my usual knife and a gouge or two because this was a whittlecarving challenge.

I thought a reasonable challenge would be a project offered by Dave Stetson, also a CCA member. It was in the Summer issue 2015 of Woodcarving Illustrated magazine. Dave’s advice is to make no cuts that would leave flat surfaces or sharp shadows. In other words, a soft smooth appearance. I, like Dave, would normally use gouges to achieve that look. My results were not exactly like Dave’s, but then I have trouble matching his results using the tools he recommends. I’m still reasonably happy with my result. I’m not ready to toss my straight edge knives but I know I have more options if the circumstances need the Mertz touch.

I used a block of Basswood one and a half inches square (38mm) by 3 inches long (76mm). I used Howard’s Feed n’ Wax as a finish on the raw wood.

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