Lovespoons, Colored and Not

Well, I said I'd do it, and I did it. I painted a lovespoon. Actually, two. The first was the"uff-da" spoon that I painted with multi-colored acrylics just to see what it looked like. The second was the twin of the "uff-da" spoon, without the miscalculation. Looking at the photo above you can see that I painted the sides of the "fountain" the same antique gold that I painted the inside of the bowl. The other spoon I painted with raw sienna to get away from the unrelieved white of bare basswood. Here is a photo from a different angle.

The diamond on the lower spoon was too large. Everything was fine while I was carving it, but when I began to oil the thing, hanging onto the upper part while wiping the bowl with oil, the thing snapped at the diamond cut out. Out came the super glue!

I like both spoons. I think comparing them as to which I like better is a lot like comparing apples and oranges: they are different animals. If you would like to see more on this subject, check out The Woodbee Carver. He put it so much better than I could.

I did do some more work on the spalted maple lovespoon. BTW, pay no attention to that idiot that hijacked my blog last time to say that spalted maple was hard, but not unreasonably so! Maple, even spalted maple, is no wood for the casual carver, unless, of course, they carve with power. In which case it doesn't matter how hard the wood is. If you are doing it with a knife, however, don't expect to take a slice more than a 64th of an inch thick with any regularity.

Actually it isn't unreasonably hard, you just have to change the way you carve, unless maybe you're a rock climber who can lift his entire body weight just by closing his hand. Using a standard paring cut makes my hand cramp within a couple of minutes. To do the piercings I changed from doing a paring cut with a standard sloyd-type knife to using a couple of bent knives. That way I use my forearm muscles instead of my hand muscles.

The blades are double-edged, slow curved, one with an inside bevel and one with an outside bevel. They are made by Mike Komick at Preferred Edge. I made the handles myself (still need a little work). The inside bevel blade is great for the straight cuts inside the piercings, and the outside bevel blade makes those inside curves a cinch.

Gotta go get the meatloaf out of the oven. Until next time, let those chips fly!

A New Spoon And An Old Axe

I have completed the redo of the Art Deco Fountain Spoon without major mishap this time. I haven't finished it yet, dithering about what to do with that lily-white wood. I started coloring the messed-up spoon with colored pencils, but quickly carved that off. My technique needs some (a lot!) of work.

Meanwhile I've started a new spoon using spalted maple.

The design begins with a Maltese cross inscribed in a circle at the top. Below that are two large, pierced hearts, and below that an anchor symbolizing the desire to settle down. The departure from my usual methods and materials are two-fold. This is my first attempt at carving spalted maple. So far, my opinion is, harder than poplar, but not unreasonably hard. This is also the first time I have used nothing but a hatchet (hand axe, whatever) and a knife to rough out a spoon. The only saw cut I made was at the top of the spoon bowl on the back as a stop cut. The hatchet belonged to my paternal grandfather. It's marked Shapleigh Hardware Co. -- Diamond Edge. The claim is not unreasonable.

I not only used the hatchet to rough most of the profile, I used it to thin the handle of the spoon.

 It was actually quicker than sawing, considering what a horrendous sawyer I am.

This is the back of the spoon. Not much worse than if I used a saw and certainly quicker. Maybe one day the old Nordic woodsmen won't laugh and make fun of me.

That's it for today. Gotta go make dinner.

Until next time, let the chips fly!

Back In The Saddle Again!

Greetings and Salutations! Hope everyone had a fine Christmas and is looking forward to the New Year.

Meanwhile, back at the ranch, I've been busy on a new lovespoon. This one I'm calling Cranes & Cross, for obvious reasons. It's made of a nominal 3"x1"x12" poplar board.

It doesn't come out in the photos very well, but there is a stripe of brownish-green running through the right hand side of the spoon. That's the reason the eye and wing of the right-hand crane stand out more than the left.

I'm very fond of the pairs concept in lovespoon design, especially cranes as they mate for life. After all, isn't that what it's all about? I'm also fond, as I'm sure some of you have noticed, of the two-hearts-merged-into-one bowl design.

The knot is called Fae's Eternal Promise. I have modified it a bit to accentuate the heart shape.

This spoon I did a little differently in that I only used the hand saw to rip the handle to the depth I wanted it. I used a drill to start the piercings. The rest of the shaping and finishing was done with knives. It is an original design, and took me about 10-12 hours over four days.

You might note the feet on the cranes. That wasn't an intentional design element. While doing the leg on the left-hand crane I got a little carried away with wood removal. You know how it is when the wood just seems to be flying off the edge of your knife. Luckily I noticed it before I chewed all the way through the leg. So I had to adapt the leg of the other crane to match. Ah, design adjustments! I love 'em!

This wasn't the best piece of poplar that I've ever carved. It had a tendency to split out. When I was drilling the starts to the piercings around the cross a chunk about an eighth-of-an-inch thick split out directly across the left hand arm of the cross. That wasn't so terrible since I was going to relieve the cross anyway to put it behind the cranes.

You can see some striations on the top of the bowl, and could be forgiven for thinking it showed a split-out. But that part of the bowl is as fair and smooth as can be. It has to be something to do with that greenish-brown stripe, through nothing like that has happened before.

And here's what the back of the spoon looks like. I paid a little more attention this time to the guzunders and the guzovers.

So there you have it.

Until next time, when I hope to have more in-progress photos, let the chips fly!

It Ain't Fire Wood Redux

We got some snow this week. I took a couple of pictures through the windshield of my car on my way to work just before sun-up.

The quality isn't the best, but you try taking a picture one handed through the windshield of your car! That white peak to the right in the first picture is Pike's Peak at 14,192'. Or something. It is one of the Fourteener's here in Colorado. If you look closely you can see the line on the mountains where the snow starts. That's about 8,000 feet.

I also did some reworking on last post's subject. I'll post the photo of the original next to the photo of the revised work.

It's amazing how little wood was taken off to produce this effect. I thinned down the nose and changed the profile of the bridge and elevated the tip a bit. I removed some wood between her mouth and her nose. I also altered the lower lip and took some shavings off the bottom of the chin. All the chips I removed could be put in a thimble with lots of room left over. She's still not as feminine as I would like, but good enough until the next one.

Currently I'm working on a new Santa ornament, a small male wood spirit and a very small tasting spoon. I'm using slightly different techniques on all of them. It'll be interesting to see how they turn out.

Until the, let the chips fly!

My First Woman -- Carving, That Is

I've learned a lot about carving faces over the last couple of weeks. I had decided that I wanted to carve a female face. I happen to like women. A lot! So a female face was a natural subject for me. It only took me almost six decades to actually do it!

But just doing something I'd never done before wasn't enough for me. No, not only did I decide to go to the distaff side of subjects, I also decided I wanted to do her as a woodspirit. In found wood! Not even that was enough. I did her in seasoned found wood. Am I a glutton for punishment or what?

Of course I wanted to do a good job. I wanted to at least make her attractive, if not beautiful. Think dryad. So I had to do some studying. My first stop was Ian Norbury's book, Carving Classic Female Faces in Wood. Of course Norbury is a good carver (yeah, let's understate the thing just a bit), but his women are fantastic. So I spent a goodly amount of time poring over his step-by-step photos, learning what he did when. (The time I spent droo . . . um . . . studying the blown up photos of his model was purely research. Yep!) I must admit, though, that his slavish attention to perfect symmetry got on my nerves a bit.

Speaking of symmetry, or the lack thereof, my next stop was a Marv Kaisersatt study cast of a young woman. I made the mind-boggling discovery that Marv is no more wedded to bilateral symmetry than I am. I must make a small diversion here to explain how I went about studying the Kaisersatt cast.

One of the blogs I follow is Doug Stowe's "Wisdom of the Hands", an excellent blog about the role of the hands in education. One of his posts (I wish I could find it again) made the point that modern Man has effectively lost the ability to "see with the fingers". As a woodcarver/sculptor I took that to heart and decided to take the Kaisersatt cast into a dark room and study it with my fingers. It took me a while to get into the groove, but eventually what a revelation! I saw something with my fingers that I had never seen before while examining the cast visually. The left side of her face was off! I speculate that while messing with the hair, he carved off a little (actually more than a little) too much off the temple. Instead of coming down and merging more or less smoothly with the cheek bone as on the right side of her face, he left a shelf of cheekbone running back under her hair toward her ear. A not inconsiderable shelf even though I never noticed it until I took her into a dark room and ran my fingers over her face. (yeah, yeah, take your best shot!) Not only did he make that "mistake", he allowed it to be immortalized in a study cast! How's THAT for confidence!

Okay, okay, moving right along. The next place I went was Lynn Doughty's blog, Out West Wood Carving. Lynn, like Marv, is arguably one of the finest caricature carvers alive today. He's always been generous with his advice and has an extensive gallery of WIP photos of his pieces. Just recently he's begun posting tutorial videos, and during the last week or so has posted a series of videos showing how he carves a head and face. Absolutely first rate work! He does have a tendency to get between the camera and his carving, but his wife, who is both cameraman and director, doesn't let that last long. If you have ANY interest in carving faces, whether caricature or realistic, you MUST view that series.

So that's what I studied. And I got a lot out of all the sources. You've seen my starting point above. You'll notice that the face is very long and the brow comes out just as far as the tip of the nose. One of the things I picked up from the Kaisersatt cast and was echoed in the Norbury and Doughty materials was that the brow is typically farther in than the tip of the nose. This next photo shows that corrected.

This is a front view at the same stage of carving. The chin is still longer than I like, and the sketched-in eye is too high.

I was able to correct that, mostly. The rest of the photos are of the almost finished piece. The only think I lack is putting in the pupils.

She's pretty good, but I'm going to do better.

Until next time, let the chips fly!

The Beardless Wonder and The Fearless Wonder

First, The Beardless Wonder. He's not my first beardless face, but he is my first beardless wood spirit done in found wood. He turned out nicely, but I did some things I'm going to do differently next time. They aren't mistakes, they're learning experiences!

Overall I'm pretty happy with this guy. The biggest improvement I think I could make is going deeper into the branch for the chin. Most people's profile shows a convex curve when drawn from the hairline to the tip of the nose to the tip of the chin.

The other thing I would do is move the smile line on the left side closer to the corner of the mouth and smooth out the transition up to the cheek.

And now for The Fearless Wonder. Now you have to remember that this guy doesn't exist, never has, living or dead, in reality or in effigy. We've all got a bit of fear when it comes to our work. As you may have noticed, I've been trying to get more emotion into my faces. As I was coming down to the finish line on Beardless here, I was really happy with the way he was turning out. I got to the place that the only thing I needed to do to call him finished was to cut in the eyebrows.

He sat around for a WEEK before I could bring myself to finish the eyebrows. I started thinking (and this is not unusual for me) that I was going to screw up the eyebrows and ruin the whole thing! Never mind that I know how to fix such a screw up. Never mind that I had already fixed several things in the carving that I didn't like at first. I was going to screw up the eyebrows and that would totally ruin the entire carving. Have you ever heard of such a ridiculous thing?

Now admittedly this comes as a result of some self-examination. I didn't think specifically or rationally that I was going to screw it up. This was all some sort of subliminal gut type of feeling that didn't come out until I sat staring at the eyebrowless wonder yesterday.

This isn't the first time this gut-delay has happened, nor is it the first time I've come to this particular realization. I've got a potentially beautiful lovespoon WIP laying around that I've been ignoring for almost a year. One day I'll work up the guts to finish it.

This is all to illustrate that we all have these kinds of feelings to one degree or another, and that it is OK to give in to them on occasion. But you have to recognize that there is no rational reason for feeling that way and that sooner or later, preferably sooner, you're going to have to bite the bullet and finish the damn thing!

Until next time, let the chips fly!

Sundry Sunday

Welcome back friends and neighbors. I've spent the last couple of weeks doing different things and trying different techniques, so this blog post is something of a hodge-podge. First up is a little Celtic dragon I did for my daughter. She's going to make a pendant (or something) from it for her jewelry line.



The wood is 1/4" walnut that I got from Woodcraft. Walnut wasn't as hard to carve as I thought it would be. Of course it was only 1/4" thick so I wasn't taking off huge pieces. The only machine I used on this was a drill to start the piercings. Everything else, including rough shaping from the original square blank, was done with a knife. Could be better, but for a first effort, I'm rather pleased.

This wood spirit is the first I've ever done in found wood. As such it was something of a new experience. I believe the wood is aspen. I am not a student of plant life. I know there are two kinds of trees, deciduous and evergreen. Beyond that I'm pretty clueless.

I did this guy a little differently than the others I've done. I did the eyes the way Don Mertz, The Woodbee Carver, does in his tutorial. Then I used a round, negative space for the irises/pupils. I rather like the way it turned out. I also got a little more curvature on the dental mound than I usually get and got more of the nose on the face rather than sticking out in front of it. Still not quite where I want it, but getting better.

The next series of photos is of another technique I've picked up from Don, the Whittle Doodle.

A Whittle Doodle is just exactly what it says. It's a doodle for whittlers. Instead of doodling on a piece of paper with your pencil, you doodle on a piece of scrap wood with your knife. In this case it's a 2"x2"x2" block of basswood. It's a low-pressure way to practice since (unless you are Don) it's not meant to be seen by anyone else. As you can see, I screwed up the eye on the right royally, but I'm really happy with the way the nose turned out. You can also see that the regularity of my borders needs some work. I've still got a lot of room on this Doodle to play with. I'm going to keep at it until I've got every face full. It's going to be interesting when I get to the end-grain faces! That may take a while.

That's enough rambling for now. So, until next time, let the chips fly.

Pocket Knife Mods & Minis

OK, between Arleen's pocket knives and Don Mertz' Tinker Knives I decided I had to modify some pocket knives for carving. Yeah, I'm a knife freak. Any excuse to have another knife to play with is good.

So I went looking for a nice, cheap 3-blade stockman to experiment on. I found it at Sportsman's Warehouse: a Chinese-made stockman under the Winchester brand.

For a $15 knife this one is pretty good. Nice bone handle (or at least it looks like bone); fit and finish are a lot better than I would have expected for a knife of this price. While information on this knife is scant, I suspect that the steel is 420HC. In spite of the bad rap it has among the knife snobs, it's not a bad steel. It's capable of being hardened to a 57 on the Rockwell C scale (HRC57 or 57RC), which is about the minimum hardness you want in a carving knife. By the way, don't fall for the hoary old salesman's pitch that a knife holds an edge for a long time is also easy to resharpen. The knife that holds its edge a long time does so because the steel is hard. Hard steel is tough to resharpen. Period. End of story.

In any case 420HC has the compromise of being hard enough to give decent service without being too dificult to resharpen. Now, when you think about it, about the only time you should sharpen a carving knife is when you do physical damage to the blade. Normally stropping the blade about every half-hour or so during use should be about all the sharpening you need to do. I have some knives I haven't taken a stone to in almost two years.

To make a long story short (too late!) I wasn't too worried about the steel. I was more worried about the springs: that they were strong enough to keep the blades from closing too easily. Keep in mind that 99% of 3-blade stockman knives have no locking blades. Now since I never saw a locking blade knife until I was out of college, I know how to use a slipjoint knife safely. Slipjoints may not be a good choice for a knife novice. Nah, strike that. I was 8 years old when I got my first knife, and it was a slipjoint. I never had the knife close on my fingers (came close a couple of times; the accellerated heartbeat reminded me not to do that again). Become acquainted with the knife, opening and closing it until your fingers hurt. Then take small cuts and never try to force the blade through the wood. You'll be fine.

The blades you see in the photo above are not how they came from the factory. I used Arleen's method of sharpening to regrind the blades. Like virtually every factory knife that wasn't made in Scandinavia, the blades had a secondary bevel. I used 5" sanding disks in an electric drill to grind the sides of the blades to as near a straight line as I could get from the back of the knife to the edge. I started with 220-grit wet-dry sandpaper to do the main grinding, holding the blade to the sandpaper for a couple of seconds, the dipping the blade in a cup of ice water to keep the steel from overheating, then grinding again. I did this until the secondary bevel was gone. Then I sanded each blade with 400-grit, then 800-grit to take the scratches out. I finished off by stropping. I made the strop from a 5" circle cut from the back of a pad of yellow paper, used spray adhesive to mount it to the sanding pad, and loaded it with green polishing compound. I was able to get a very high polish on all the blades.

Then I got out the Dremel. With a grinding stone. The single blade on the left was a rather exaggerated spey pattern. I have come to really like the big sweep/sharp point profile, so I modified the blade to that profile. Touch blade to stone, dip blade in ice water, and repeat. At 30,000 rpm even that method doesn't take long. The shorter blade on the right started out as a sheepsfoot pattern. I'm slowly working it into a Wharncliffe. I left the main clip blade the same profile, though at 2.5" it is longer than I like. Once I get the Wharncliffe profile where I want it, I'll probably work on shortening the clip blade.

One more thing before I tell you the results so far, if you choose to do this, expect to have the blade edge roll on you the first time you use it. That's because the steel isn't hard enough to support the scandi-type edge at such an acute angle. A couple of good stroppings will put enough of a micro bevel on it so that the edge won't roll.

So, how did it work? I used the ex-spey blade to do these two 3" tall Santas. In case you can't tell, one of them isn't finished. The knife worked like a champ! It's not a Ralph Long knife, but it's usable.

I gotta tell ya, carving these little guys scares the peewaddin outa me! (That was a phrase of my mother's, a genteel Southern lady by all accounts; if someone could tell me what "peewaddin" is (come on, Thomp, Tom, Gene), I'd greatly appreciate it.) Not because I'm afraid I'll get cut. Got over that a LONG time ago, but because taking off a 5-thousandths of an inch shaving (yes, I measured; I'm an engineer; get over it) in the wrong place could be enough to convert a nice little miniature into fire . . . . um, kindling. Maybe once I've done 1000 of them, like Tom, I'll get over bein' afeerd.

Until next time, let the chips fly!