Decorative Decoy Carver's Ultimate Painting & Pattern Portfolio, Revised Edition E-Book

Bruce Burk

• Herausgeber: Fox Chapel Publishing
• Kategorie: Lebensstil
• Sprache: Englisch
• Veröffentlichungsjahr: 2021

Seitenzahl: 116

Beschreibung

When world champion waterfowl carvers talk about early influences on their careers, they usually mention Bruce Burk. Now duck carvers of all levels can improve the quality of their work with guidance from this legendary artist. Decorative Decoy Carver's Ultimate Painting & Pattern Portfolio, Revised Edition offers a classic portfolio of Burk's detailed color patterns and finishing tips and techniques. For carvers who have difficulty in making their own drawings—or those with limited access to live or mounted birds—this book will become a priceless tool in carving award-winning realistic decoys. Inside you'll find an introduction that includes practical advice on photography, color, competitions, and working with patterns. This is followed by page after page of full color carving patterns and detailed paint mixing instructions for 16 of the most popular and beautiful species, including both drakes and hens.

Leseprobe

This book is dedicated to my wife, Dorothy, and to my two daughters, Diane and Julie

Special thanks to Wildfowl Carving Magazine for supplying the photographs of carved decorative decoys in this book: Wildfowl Carving Magazine, 3400 Dundee Road, Ste. 220, Northbrook, IL 60062, [phone], www.wildfowl-carving.com.

Additional thanks to the artists and photographers who agreed to have their work included in this book. See the credits.

© 2018 by Bruce Burk and Fox Chapel Publishing Company, Inc., 903 Square Street, Mount Joy, PA 17552.

Decorative Decoy Carver’s Ultimate Painting & Pattern Portfolio, Revised Edition (ISBN 978-1-56523-976-0, 2018) is a collection of previously published material from Decorative Decoy Carver’s Ultimate Painting & Pattern Portfolio, Series One (978-1-56523-216-7), and Decorative Decoy Carver’s Ultimate Painting & Pattern Portfolio, Series Two (978-1-56523-235-8), published by Fox Chapel Publishing Company, Inc. The patterns contained herein are copyrighted by the author. Readers may make copies of these patterns for personal use. The patterns themselves, however, are not to be duplicated for resale or distribution under any circumstances. Any such copying is a violation of copyright law.

Shutterstock credits: Aerodim (front & back covers); Africa Studio (back cover, top left on 15, 23, 29, 35, 43, 49, 55, 61, 67, 73, 81, 87, 95, 101, 107, 113, 121, 127, 133, 139, 145, 151, 159, 165, 173, 181, 189, 195, 201, 207, 215); Madlen (1 bottom, 7 bottom right, 14 bottom right); Johan Knelsen (14 bottom left); Zadorozhnyi Viktor (top right on 22, 28, 34, 42, 48, 54, 60, 66, 72, 80, 86, 94, 100, 106, 112, 120, 126, 132, 138, 144, 150, 158, 164, 172, 180, 188, 194, 200, 206, 214, 220); twstockphoto (front cover, back cover, interior top border)

ISBN 978-1-56523-976-0eISBN 978-1-60765-527-5

Library of Congress Cataloging-in-Publication Data

Names: Burk, Bruce, author.

Title: Decorative decoy carver’s ultimate painting & pattern portfolio / Bruce Burk.

Description: Revised edition. | Mount Joy: Fox Chapel Publishing, [2018] | Updated version of two volumes of Bruce Burk’s Decorative decoy designs. | Includes bibliographical references and index.

Identifiers: LCCN 2018012576 (print) | LCCN 2018013365 (ebook) | ISBN 9781607655275 (e-book) | ISBN 9781565239760 (pbk.)

Subjects: LCSH: Wood-carving--Technique. | Wood-carving--Patterns. | Decoys (Hunting) | Painting--Technique. | Duck decoys. | Decoy carvers.

Classification: LCC TT199.75 (ebook) | LCC TT199.75 .B8692 2018 (print) | DDC 736/.4--dc23

LC record available at https://lccn.loc.gov/2018012576

To learn more about the other great books from Fox Chapel Publishing, or to find a retailer near you, call toll-free 800-457-9112 or visit us at www.FoxChapelPublishing.com.

We are always looking for talented authors. To submit an idea, please send a brief inquiry to [email protected].

Note: The decorative decoys pictured in this book are representative of the realism that decorative decoy carvers can capture in wood. These carvings were not necessarily made from the patterns in this book.

For a printable PDF of the patterns used in this book, please contact Fox Chapel Publishing at [email protected], with 9781565239760 and Decorative Decoy Carver's Ultimate Painting & Pattern Portfolio, Revised Edition in the subject line.

Foreword

I spent well over a decade at the helm of the premier magazine for bird and waterfowl carvers, Wildfowl Carving Magazine. Throughout my time with that publication, Bruce Burk’s name came up frequently when carvers of all levels, including world champions, talked about early influences in their careers. Many credit Game Bird Carving and Bruce’s two follow-up publications, Decorative Decoy Designs, Volumes 1 and 2, for shaving years off their learning curve.

Capturing the essence of the living bird in your carvings hinges on knowing what the species looks like. This volume includes dozens of reference photos to assist you. Also included are full-color photographs of decoy carvings, in both realistic and hunting decoy styles, by top carvers from across the nation.

Whether you aspire to a world championship or you simply want to increase your enjoyment of this wonderful pastime, you’ll find Decorative Decoy Carver’s Ultimate Painting & Pattern Portfolio, Revised Edition to be as essential in the workshop as your carving tools and paints.

About the Author

Bruce Burk ranks among the master bird carvers in the United States and was responsible for getting thousands of other carvers started. Starting in 1954, he taught himself bird carving as a hobby while working at Hughes Aircraft as an engineer. Bruce published numerous articles and books on bird carving throughout his life.

Contents

Introduction

Getting Started

American Goldeneye Drake

Barrow’s Goldeneye Drake

American and Barrow’s Goldeneye Hens

American Wigeon Drake

American Wigeon Hen

Blue-Winged Teal Drake

Blue-Winged Teal Hen

Bufflehead Drake

Bufflehead Hen

Canvasback Drake

Canvasback Hen

Carolina Wood Duck Drake

Carolina Wood Duck Hen

Common Mallard Drake

Common Mallard Hen

Gadwall Drake

Gadwall Hen

Green-Winged Teal Drake

Green-Winged Teal Hen

Harlequin Duck Drake

Harlequin Duck Hen

Hooded Merganser Drake

Hooded Merganser Hen

Lesser and Greater Scaup Drakes

Lesser and Greater Scaup Hens

Northern Shoveler Drake

Northern Shoveler Hen

Ring-Necked Duck Drake

Ring-Necked Duck Hen

Ruddy Duck Drake

Ruddy Duck Hen

Bibliography

Credits

Introduction

I have attempted to depict the birds as realistically as I possibly can, within the limits of my capabilities. This is not to be construed as a claim that there are no differences (for I am sure there are many) between my drawings and paintings and the live bird. However, any mistakes made here are a result of either my artistic limitations or my lack of knowledge—they did not come about in a conscious attempt on my part to improve upon, or alter, these already perfect creations of nature.

The difficulty that many carvers, especially amateurs, experience in finding an accurate reference for color primarily prompted me to create this book. Highlights and shadows have been used very sparingly on the paintings in this book so that the colors shown would be true. The carver should make every attempt to use the real thing (live birds, study skins and bird mounts) for determining color whenever possible and should use all paintings, including those shown here, only as aids.

It should be pointed out that there are some variations in the coloring and markings of feathers on birds of the same species and sex. Some of these dissimilarities, but not all by any means, can be attributed to age and molt. For example, first-year female ducks vary somewhat from adult females. The considerable variation of the side-feather coloring of female widgeons is a good example of the color differences between adult birds of the same species and sex. Also, some adult ducks of the same sex and species have differences in the coloration of their bills and feet. Francis H. Kortright’s fine book, The Ducks, Geese, and Swans of North America, covers some of these variables in his excellent written descriptions.

Making an accurate layout of feather groups and individual feathers is one of the most difficult phases of realistic bird carving. Many feathers are hard to discern in photographs—and even on live birds. This is especially true when groups of feathers are of the same color. Individual feathers are even harder to distinguish on some study skins and mounts where the normal pattern has been disturbed. To further complicate matters, the bird has many more feathers (a pintail duck has approximately 15,000) than can be possibly drawn and carved. Therefore, on carvings some feather patterns have to be simplified and the total number of feathers reduced.

I have attempted to show detailed feather patterns on the paintings used in this book. In some cases, the amateur carver may wish to simplify these feather patterns. Also, in the case of service or “shooting”-type decoys, very few of these feathers would be individually carved and painted. In addition, the raised wing primary-feather groups would be made to lie flat on the body.

Realistic bird carving is truly one of the most fascinating of hobbies. The carver not only can express himself in three dimensions by sculpturing the wood to the naturally graceful lines of the bird, but can also find great satisfaction in trying to duplicate the complexity and elusive coloring of the plumage. The great popularity of this art form has prompted the introduction of a number of how-to books and many instructional classes and seminars, making the learning of the various techniques involved much easier. The serious carver of today can learn in a relatively short time what it took some of us many years to learn. This ease of learning how to carve and paint birds has been generally a great benefit to the amateur carver but, in many cases, has been at the cost of lost initiative.

There is a tendency these days to follow the path of least resistance and just copy rather than spend time and effort doing one’s own research. The carver who uses little initiative is missing one of the most satisfying aspects of bird carving—that of being able to say, “I did this carving from its inception to its finish, all on my own”—and also the satisfaction of seeing his own individual style emerge. The earnest carver should make every attempt to interject his own designs, or at least alter existing drawings or patterns.

I sincerely hope this book will help you attain your bird carving goals. From one bird carver to another, I wish you the best of luck and a great deal of success!

Getting Started

FLOATINGDECOYCARVINGS

The patterns included in this book depict only the part of the floating bird that is normally seen above the water (the approximate waterline is located at the lower edge of the profile view). If the decoy is to be of the floating type, the height of the body must be increased to provide the necessary buoyancy.

The amount of body that must be added varies, depending on the density of the wood used, the extent of body hollowing, the weight of ballast (if used), and the weight and buoyancy of keel (if used). Usually, one-half to one inch must be added to the body height to make the decoy float with the correct amount of exposed profile.

The carving, hollowing, and floating of decoys are thoroughly covered in other books, therefore no attempt will be made here to cover these design details. (See Bibliography.)

TOPOGRAPHYOFADUCK

PAINTMIXING

Instructions for mixing the different colors required for the painting of each duck have been included as an aid to the amateur painter who has difficulty in this phase of realistic bird carving.

Standard tube colors (e.g., burnt umber, raw sienna, Thalo blue) vary somewhat, depending on the manufacturer and whether they are oils, acrylics or alkyds. The color-mixing instructions in this book have been based on Grumbacher’s Pre-Tested Oils.

It is most difficult to specify exact proportions of two or more colors required to produce a given color. Also, there may be more than one combination of colors that will give the desired color. The method used here will usually give fair approximations.

The beginner should practice mixing the color formulas described for each duck. This method is also useful when recording for future use the mixing of a color that may have been particularly hard to duplicate.

When matching colors, it may be easier for the amateur painter to cover the color pattern he is using with plastic wrap (or a similar transparent material) and apply a dab of paint directly on the part of the bird being duplicated.

COMPETITIONDECOYS

Many carvers are interested in entering their work in some of the decoy contests held in various parts of the country each year. Competition, both formal and informal, has been an important factor in the steady improvement of realistic bird carving from its rather humble beginning to its highly developed present state. Carvers, from the rankest amateur to the seasoned professional, can learn a great deal by participating in these contests. Most carvers are friendly and helpful and are willing to share their experiences and provide constructive criticism. A carver with an open mind cannot go home from one of these shows without having acquired new ideas and better techniques—plus having had a good time and having renewed his enthusiasm for his hobby.

Fig. 1: Fine harlequin drake decorative floating decoy by Joe Girtner, Brea, California. (Photo by Joe Girtner.)

There are three popular classes for decoy carvers in most competitive shows. The floating decorative decoy class (sometimes designated by other names) is the most popular. Decoys in this class are made to depict the actual duck as realistically as possible, not only in shape and detail but also in colors. These carvings may be as elaborate and as detailed as desired—fragility is not a factor. They must float realistically but need not be self-righting. Most carvings in this class are hollow and are usually without keels (see Fig. 1).

Fig. 2: Ring-necked drake and lesser scaup drake service or gunning stool class decoys by author. (Collection of Mr. and Mrs. Keith Rogers, Burbank, California.)

The service, or gunning stool, class is probably the second most popular. These decoys are made somewhat like the old working decoys. They must bear an unmistakable likeness, in form and color, to the species and sex they represent. Usually incorporating much less detail than decorative decoys, they are made more ruggedly, with no fragile parts. Tails are made much thicker and the wing primaries are not raised, or undercut, from the body. They must float realistically and must be self-righting, a feature that necessitates keels. Anchor attachments must be provided. Their surfaces are usually not textured (see Fig. 2).