Copyright Copyright © 1983 by Prentice-Hall, Inc. Copyright © 1993 by Charles Beiderman and William Johnston. All rights reserved. Bibliographical Note This 1993 Dover edition is a slightly revised version of the one first published in 1988, which was an unabridged republication, with updated Appendix, of the work originally published by Prentice-Hall, Inc., Englewood Cliffs, New Jersey, in 1983. Library of Congress Cataloging-in-Publication Data Beiderman, Charles. The beginner’s handbook of woodcarving. Reprint. Originally published: Englewood Cliffs, N.J. : Prentice-Hall, c1983. Bibliography: p. includes index. 1. Wood-carving. I. Johnston, William, 1919- II. Title. [TT199.7.B44 1988] 736’.4 8 8-3686 9780486131269 Manufactured in the United States by Courier Corporation 25687115 www.doverpublications.com Dedicated to our wives, Margaret Beiderman and Lee Johnston, for their patience, understanding, and encouragement; and to the many warm friendships we have formed through our years of woodcarving. Table of Contents Title Page Copyright Page Dedication Preface Acknowledgments 1 - Getting started 2 - Wood: the living medium 3 - Tools for carving 4 - Aids and accessories 5 - Helpful hints 6 - Making patterns 7 - Techniques of woodcarving 8 - Bird carving 9 - Painting and finishing 10 - Woodcarvings as gifts 11 - Forming a carving club 12 - Carving shows and exhibiting your work 13 - Random thoughts of a woodcarver Appendix: resources Index Preface A woodcarver is one who can take a scrap of wood, breathe life into it with patient, skilled hands, and make it a warm object of lasting beauty. That is creativity. This book, written with the beginner in mind, should enable the neophyte carver to enter the world of woodcarving and to develop the basic skills of the craft. Once you have set foot on this path, you will discover a certain kinship with the many others who have come before you, as well as those, both young and old, who appreciate the beauty of your craft. Wood has a warmth that cannot be duplicated in other mediums. It attains a soft patina and glow with the passage of time. Is it any wonder that antique wooden items are so sought after? Throughout the ages, humans have always seemed to have a desire to express themselves through the carving of wood. The ancient Egyptians embellished their chariots with scenes of the hunt and victories in battle. The roving Norsemen carved fearsome dragon heads on the prows of the longships. Spanish galleons were adorned with ornate carvings. His Britannic Majesty’s ships of the line under the command of Lord Nelson were not without their carved fancywork. Indeed, Yankee clippers were graced with figureheads that were the product of the carver’s art. The famed churches of Europe and England are veritable museums of the woodcarver’s skill, admired by thousands to this day. Every land has its artisans in carving. Our own American Indians carved decoy ducks in order to lure waterfowl within range of their bows; the Indians of the Northwest carved majestic totem poles and war canoes from logs; and a trip to the Southwest will take you to the Navahos and their carved Kachina dolls. The natives of Africa carved their version of the animals of the jungle. In the Caribbean and in South America primitive carvings in mahogany abound. To the natives of New Guinea carved masks are an important part of their culture. The Maoris of New Zealand carved images of their gods; and even Australian aborigines carved crude designs on their boomerangs. In lands where wood was scarce or nonexistent, people always found the means to carve. The Eskimo carved walrus tusks, bone, and soft stones; the Chinese, jade and semiprecious stones; and the people of India and the Far East carved intricate designs in ivory and teak. So you see, your wish to take a tool in hand and express yourself is not new; it is a deep-seated desire felt by all peoples down through history. In this book you will be introduced to the various carving tools and their uses, as well as the advantages and disadvantages of many different kinds of wood. The various forms of woodcarving— line carving, relief carving, and carving in the round—are all described, and a series of patterns is supplied for each category, with a special chapter devoted to bird carving. It has become quite obvious to us from reading various craft publications and talking with other carvers that there is a growing demand among the ever-expanding list of new carvers for a source of patterns from which to carve interesting pieces. Therefore, this book is also designed to help fill the void in needed patterns and to provide a wider spectrum of ideas for both the beginner and the advanced carver. Many carvers have improved their skill in the process of creating several fine pieces only to find that they have exhausted their ideas. Many carvers are fine craftspeople, but they lack the artistic ability to draw or create patterns. Our desire to answer these needs has resulted in the writing of this book. The patterns shown in this book are not solely the work of the authors; they are a collection of designs graciously offered by our many carving friends. In attempting to provide a cross section of patterns for the different forms of carving, we have included a variety of subjects—humorous characters, birds, animals, flowers, and so on—to meet the needs of as many carvers as possible. However, no one book could ever contain enough ideas to satisfy the interests of all carvers. We feel it is sufficient if the patterns found here provide readers with the inspiration to go ahead and create something of special significance to themselves. Although one would think that different carvers working from a particular pattern would produce identical pieces, this is seldom so. Each carver views the subject in a different light and with a different interpretation. The plan simply serves as a basic concept. For example, one might carve a robin with the head in a straight-forward position; another will vary this by cutting off the head, twisting it, and regluing it into a position that has the bird looking off in another direction. Still another carver will change the position of the legs and feet. One might see a humorous character as tall and slender, while another might wish it more robust. Facial expressions will also vary in the hands of the carver. Throughout the book we give pointers on carving particular pieces to get you over the difficult stages. Tips on painting and finishing your work are also included. We were unable to include specific coloring instructions for all of the pieces. Unfortunately, the cost of research is high. However, there are other good books and aids that provide this information, and they are available from your local library or book shop. How to go about exhibiting and entering your carvings in competition is outlined here for the first time in any book of woodcarving. You will be told how to form a carving club and all the advantages that can be gained from such an organization, another subject never before discussed in books on carving. Finally, you will learn how to apply your skill to many gifts for your friends and how to create an art form that can be offered for sale. We hope you will find this book enjoyable! Acknowledgments We wish to extend our deep appreciation to the following persons and organizations for their help in preparing the contents of this book. Without their willingness to help, it would have been impossible. Artwork. Timothy Cahill (line drawing of patterns), William Goudy (bird patterns). Photography. Martin Basmajian, Karl Gramlich, William Rigney, Kronschnabel Studios of Cornwells Heights, PA. Pattern Ideas. Martin Hesch, Thomas Koons, Eldred W. Atkinson, L. E. Trimble. Figures 7-1 b, 7- 2b, 7-3, 7-4, 7-5, 7-6, and 7-7 are reprinted with permission from the National Wildlife Federation. Research materials. Philadelphia Academy of Natural Science (mounted bird specimens); Clifford Huston (carving screw) 2533 Reese St., Philadelphia, PA 19148; Glass House Catalogue, Van Dyke Supply Company, Woonsocket, SD (for allowing us to adapt their bird eye sizes); Elmer Jumper (carver’s benches) 142 Di’Marco Dr., Philadelphia, PA 19154; Pennsylvania Game Commission (bird and animal charts); and the private and governmental agencies (charts and pictorial material). Carvings. Julius Hayden (carvings of four stages of carving a figure in the round). And finally, thanks to all our friends, from whom we have learned many things and to whom we will be eternally grateful. We would also extend a special thank-you to the many members of the Pennsylvania Delaware Valley Woodcarvers, who encouraged us as beginners in the craft of woodcarving. 1 Getting started The fact that you have picked up this book indicates your interest in woodcarving. Who knows what sparked this interest? Perhaps you have read a newspaper or magazine article about a carver, or maybe you have seen a display of carvings that caught your fancy. Perhaps you attended a woodcarving show and the desire to try your hand at woodcarving was born. No matter, the important thing is you want to carve! Your first efforts will be crude, but that is to be expected, so don’t be discouraged. Remember, the most skillful of carvers had to start out just like you. They, too, experienced the day when they made their first cut into wood. With patience, your skill will improve with each carving. Start with a simple project, learn how to work with the grain of the wood, get the feel of your tools, and you will be well on your way. A professional carver tells of his apprenticeship in Germany. For the first three months he wasn’t allowed to touch a piece of wood but had to devote himself to the care and sharpening of tools. The following three months were spent in making practice cuts in scrap wood to get the feel of the tools that are so much a part of woodcarving. We don’t expect you to follow such a rigid regimen, but mention it only to stress the importance of the elementary steps—one must crawl before one can walk. Of course, we are not discussing woodcarving on a professional level but rather as a hobby that will bring forth a lifetime of pleasure. There is no better way to relax after the rigors of the working day than to sit at your workbench with a carving in hand. With each cut of the knife the cares and worries of the world seem to lift from your shoulders. Soon you will find you are whistling or humming a tune as the chips fall from your workbench. Carving is a craft of inspiration and talking to other carvers, so the things to do to get started are subscribe to a woodcarving publication and join a club. One of the first things you should do is join the National Wood Carvers Association. This organization, started in the early 1950s with just a handful of members, has grown to a membership of many thousands. (Write to National Wood Carvers Association, 7424 Miami Avenue, Cincinnati, Ohio 45243, for the location of chapters in your area.) The primary benefit of membership in this informally organized association is that every two months you will receive Chip Chats, a journal offering information on recent carving techniques and tools, patterns, articles on carving, reviews of carving shows, and a calendar of events of interest to carvers. The annual March/April issue lists a comprehensive review of sources of carving-related items such as wood, tools, books, carving kits, patterns, carving schools, and possible sales outlets for your completed carvings. This issue alone is worth the cost of membership. At present the N.W.C.A. has no provisions governing the establishment and functioning of local clubs. Each carving club is an independent unit free to govern itself. If you live on the West Coast, you may want to consider a membership in the California Carvers