Woodcarving Illustrated Issue 26 Spring 2004 E-Book

Editors of Woodcarving Illustrated

• Herausgeber: Fox Chapel Publishing
• Kategorie: Lebensstil
• Serie: Woodcarving Illustrated Magazine
• Sprache: Englisch
• Veröffentlichungsjahr: 2021

Seitenzahl: 183

Beschreibung

This issue of Woodcarving Illustrated includes:  Ray McKenzie's Fish Gallery - If the fish aren't biting, then sit back and cast your eyes on a master carver's prize winners.  A Sprightly Rabbit Follow Larry "Spi" Spinak's step-by-step photos and take the guesswork out of carving a seasonal pin.  Product Review - The Flexcut SlipStrop kit provides molded profiles shaped to accommodate a host of gouges and V tools.  Caricature Painting From a Pro Gary Falin scores a touchdown when painting Pass the Bacon.  Classic Roses - Power carver Bill Janney enhances a family heirloom jewelry box using the latest in high-speed technology.  On the Wild Side - Cosponsored by WCI, this first-time wildlife carving competition brought out top carvings that display motion, emotion and attention  to detail.  Little Black Duck - Bob Buyer's use of handtools brings intimacy to a full-bodied piece of folk art.  All About Sandpaper Master the nitty-gritty of a useful, though much maligned, carving accessory.  Dust Collector: The Bargain Version - Making one for under $10 is a breeze, and you'll be healthier in the bargain.  Carve a Sign it takes only a few handtools to brighten up your property.  Design Your Own Caricature or PortraitWCI Editor-at-Large Roger Schroeder couldn't help but smile when he saw his amusing portrait in wood take shape.   Noah's Ark W.F. (Bill) Judt's fascinating relief carving should inspire you to embark on your own carving voyage.Woodcarving the Country Bear and His Friends Share a pattern from a new Fox Chapel Publishing book by Mike Shipley.Product Review The Spring Clip Opticaid can be attached to virtually every style of eyeglasses, making even the smallest cuts as clear as a bell.  Dogwood Floral Egg Carole Jean Boyd's step-by-step practice egg is an ideal first project for beginners and a beneficial exercise for experienced carvers.  Lovebirds Spoons - Enjoy a pattern and learn the history of lovespoons from Sharon Littley and Clive Griffin's latest book from Fox Chapel Publishing.  Wood Review: SassafrasA little-known wood turns out to be a bonus for relief and even ornamental carvers.  "Poor Man's" 538 Model Easy-Hold Carver's Clamp Invest a few dollars and several hours in making a sturdy clamp that will relieve hand and arm stress.Mose - Take it easy, partner! Just rustle up a handful of tools and craft paints to create Phil Bishop's easy-going caricature. 

Leseprobe

Issue no. 26 Spring 2004

Mose

91

Ray McKenzie’s Fish Gallery

14

If the fish aren’t biting, then sit back and cast your eyes on a master

carver’s prize winners.

A Sprightly Rabbit

17

Follow Larry “Spi” Spinak’s step-by-step photos and take the

guesswork out of carving a seasonal pin.

Product Review

22

The Flexcut SlipStrop kit provides molded profiles shaped to

accommodate a host of gouges and V tools.

Caricature Painting From a Pro

23

Gary Falin scores a touchdown when painting

Pass the Bacon.

Classic Roses

28

Power carver Bill Janney enhances a family heirloom jewelry box

using the latest in high-speed technology.

On the Wild Side

33

Cosponsored by WCI, this first-time wildlife carving competition

brought out top carvings that display motion, emotion and attention

to detail.

Little Black Duck

39

Bob Buyer’s use of handtools brings intimacy to a full-bodied piece

of folk art.

All About Sandpaper

45

Master the nitty-gritty of a useful, though much maligned, carving

accessory.

Dust Collector:The Bargain Version

49

Making one for under $10 is a breeze, and you’ll be healthier in the

bargain.

51

Carve a Sign

In this

ISSUE

On the

Wild

Side

33

In This Issue

Wood Carving Illustrated • Spring 2004

1

Design a

Caricature

Portrait

57

Carve a Sign

51

It takes only a few handtools to brighten up your property.

Design YourOwn Caricature or Portrait

57

WCI Editor-at-Large Roger Schroeder couldn’t help but smile when

he saw his amusing portrait in wood take shape.

Noah’s Ark

62

W.F.(Bill) Judt’s fascinating relief carving should inspire you to

embark on your own carving voyage.

Wood Carving the Country Bear and His Friends

69

Share a pattern from a new Fox Chapel Publishing book

by Mike Shipley.

Product Review

76

The Spring Clip Opticaid can be attached to virtually every style of

eyeglasses, making even the smallest cuts as clear as a bell.

Dogwood Floral Egg

77

Carole Jean Boyd’s step-by-step practice egg is an ideal first project

for beginners and a beneficial exercise for experienced carvers.

Lovebirds Spoons

81

Enjoy a pattern and learn the history of lovespoons from Sharon

Littley and Clive Griffin’s latest book from Fox Chapel Publishing.

Wood Review:Sassafras

85

A little-known wood turns out to be a bonus for relief and even

ornamental carvers.

“Poor Man’s” 538 Model Easy-Hold Carver’s Clamp

88

Invest a few dollars and several hours in making a sturdy clamp

that will relieve hand and arm stress.

Mose

91

Take it easy,partner! Just rustle up a handful of tools and craft

paints to create Phil Bishop’s easy-going caricature.

Regular Columns

Editor’s Corner

. . . . . . . . . . . . . . . . . . . . . . . . . . .4

From Our Mailbag . . . . . . . . . . . . . . . . . . . . . . . . .6

News & Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . .8

Clip & Save: Maximizing Classroom Time . . . . . . .10

Tips and Techniques

. . . . . . . . . . . . . . . . . . . . . .12

Relief Column from Lora S. Irish

. . . . . . . . . . . . .20

Calendar of Events . . . . . . . . . . . . . . . . . . . . . . . .94

Advertiser’s Index . . . . . . . . . . . . . . . . . . . . . . . .98

Classifieds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99

In this

ISSUE

Publications Mail Agreement #40649125

Return Undeliverable Canadian Addresses to:

Station A

PO Box 54

Windsor,ON N9A 6J5

2

Wood Carving Illustrated • Spring 2004

In This Issue

Fish

Gallery

14

69

Wood Carving

the Country

Bear

Classic

Roses

28

Wood Carving and the use of associated equipment can potentially result

in health hazards and injuries. While we cannot impose safety standards

in every article, we do ask that you make safety your number one

priority. Protect your respiratory system, hearing, vision and the rest of

your body with the proper safety equipment and prudent precautions. Read

manuals that are supplied with your tools. Be aware that most accidents

occur when you are tired or distracted. And when in doubt, seek advice

from professionals, on how to keep your tools sharp and maintained.

We celebrate all creatures great and small in this issue.Coverage of the

first ever Woodcraft

®

Wildlife Carving Contest provides pages of lush

photography of the winners.They cover the gamut from natural finish to

ultra-realistic carvings,like Steve Field’s blue jay featured on the cover.

As you look at these amazing creations,you may wonder,“How did

they DO that?”We wondered, too, and so asked the carvers for insider

info on how they captured the essence of the bird, fish or mammal.

Learn their secrets in extensive photo captions.

Another “wild” article shows how to make your own folk art

decoy.Bob Buyer makes it easy to create an heirloom treasure of your

very own. And anyone who appreciates the understated beauty of

freshwater fish will really enjoy the gallery section featuring the work

of Ray McKenzie.

Of course, there are plenty of other styles of carving in this issue,

including “Mose” by Phil Bishop, a member of the Caricature Carvers of

America (CCA). Best known for his cowboys, Phil provides a pattern

plus painting information. Don’t miss this one, partner!

Before signing off, I need to relay a piece of sad news. The CCA

has lost one of its longtime members, Dave Dunham. He will be

sorely missed.

Cathy Hart

PS—For those of you expecting delivery

of the

Woodworker’s Essential Painting

& Finishing Guide

, here’s an update.

The floodgates opened when the staff

and I talked to top carvers about their

painting techniques, and more

information came in than anticipated in

our initial planning. To make this the

best possible publication for you, we

have postponed publication until late

this summer. Despite the delay, we know

you’ll be pleased with the results.

Our Mission:

To promote Wood Carving as an artform

and an enjoyable pastime.

Publisher: . . . . . . . . . . . . . . .

Alan Giagnocavo

Managing Editor:

. . . . . . . . . . . . . .Cathy Hart

Editor-at-Large: . . . . . . . . . . .

Roger Schroeder

Assistant Editor: . . . . . . . . . . .. Mark Weinstein

Editorial Assistant: . . . . . . . . .. Gretchen Bacon

Contributing Editors:

. . . . . . . .. John Mignone

Joel Hull

Lori Corbett

Barry McKenzie

Dave Stetson

Mike Burton

Copy Editor

. . . . . . . . . . . . . .Sheila Schroeder

Technical Illustrator:

. . . . . . . . . .

Jack Kochan

Art Director . . . . . . . . . . . . . . . . . . . .Jon Deck

Production Coordinator . . . . . . . .Glenn Snover

Graphic Design: . . . . . . . . . . . . .. Leah Smirlis

Chris Jordan

Tucker Yeaworth

Newsstand Circulation Consultant

Howard White & Associates, Inc.

[phone]

Domestic Newsstand Distribution

Curtis Circulation Company

©2004 by Fox Chapel Publishing Co. Inc.

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Volume 8, Number 1 {Issue No. 26}

Every Carver’s How-To Magazine™

Internet: www.carvingworld.com

Wood Carving Illustrated Magazine

1970 Broad Street

East Petersburg, PA 17520

Phone:

717-560-4703

Faxline:

717-560-4702

“In the Heart of Penna. Dutch Country”

Spring 2004

Identification Statement: Wood Carving Illustrated vol.8, no.1(Spring 2004)

(ISSN#1096-2816) is published four times a year in the months of February,

May, August and November by Fox Chapel Publishing Co. Inc., 1970 Broad

Street, East Petersburg, PA 17520. Periodical Postage paid at East Petersburg,

PA and additional mailing offices. POSTMASTER:Send address changes to

Wood Carving Illustrated,

1970 Broad Street, East Petersburg, PA 17520.

Editor’s

CORNER

4

Wood Carving Illustrated • Spring 2004

Editor’s Corner

I was invited (or was

it gently pressured?)

to participate in the

Whittlin’ Contest at

the 33rd Midwestern

Woodcarvers show in

Belleville,Illinois,this

past November. Watch

for more detailed show

coverage in an

upcoming issue.

With the wildfowl

carvings of our Carving

Museum as a backdrop,

I’m holding the

meadowlark I carved in

a weeklong class with

World Champion Ernie

Muehlmatt.

6

Wood Carving Illustrated • Spring 2004

From our Mailbag

From our

MAILBAG

Write

Us!

Let us know what’s on your mind.Please

contact us by mail at:Mailbag,

Wood

Carving Illustrated

,1970 Broad St.,East

Petersburg,PA 17520 or email us at

[email protected].

If you send an email,please add the word

Mailbag first in the subject line.Note:

Letters may be edited for clarity and

length.Opinions expressed by our letter

writers do not necessarily represent

those of the staff and management at

Wood Carving Illustrated

.

Bring Originality to the Plate

I was in a local magazine shop today

and happened to pick up a copy of the

Summer 2003 issue of your magazine. I

was quite shocked and surprised to see

a couple of examples of my work on

pages 80 and 81, with Carl Johnson’s

name attached!

In 1989, an article on my wood

sculpture was printed in

American

Artist

magazine. Part of the article is a

step-by-step demonstration of the “pie”

carving, and the banana piece is shown

as well. I have never seen such an

obvious rip-off of another artist’s work!

I don’t know how a person could

shamelessly use and copy another

artist’s work without giving credit

where it is due. Doesn’t Mr. Johnson

understand the importance of honesty

and originality? Perhaps I should be

flattered that he liked my work enough

to copy it, but my feeling is more one

of disappointment.

I don’t know much about the

traditions in the Wood Carving world,

but in the area of fine art and sculpture

this is something that is simply not

done.To be inspired by another artist’s

work is one thing. Many old masters, in

fact, did do variations on other artists’

themes and ideas, but copy stroke for

stroke? No way.

I would hope you have an editorial

policy that encourages originality or, if

another person’s work is being copied,

at last givies credit to the original work.

John Taye,

Boise, Idaho

Editor-at-Large Roger Schroeder

replies: I purchased the pie and

banana plates from Carl Johnson

well over ten years ago as birthday

gifts for my wife. Since I knew they

were carved from jelutong, I felt they

would be representative of this

species when I put together the Wood

Review column. In that regard, I hope

I succeeded. In ferreting out

originality, I suppose I failed.For that

I apologize.However, because Carl, a

dear friend who did indeed carve

many pieces he designed himself,

died two years ago, I took it on faith

that he did not copy another artist’s

work.

The issue of originality rears its

head often, whether in the pages of

Wood Carving Illustrated

, in carving

clubs, at carving competitions, or

with buyers. Because of the

proliferation of patterns, rough outs,

study casts and classes, it’s getting

harder to know just what is original

anymore. I sometimes wonder if a

carver might be thinking:

Although I

copied this figure/bust/relief/pie

plate, I carved it, so that makes it my

work.

The staff at

WCI

makes every

effort to ask the carvers it deals with

where the idea for a piece came

from. Since researching the origins of

a carving on our own is daunting if

not impossible, we have to accept

that a carving we feature in the

magazine is indeed original if that is

what we are told. In the case of a

deceased carver such as Carl

Johnson, we take our chances.

Since the two sculptural pieces

that Carl copied are obviously

indicative of your art, I’d be very

interested in seeing more. In fact, the

staff and I would give serious

consideration to doing a gallery

feature of your work.Information

could be filled in with a phone

interview.And yes, one of us will ask

you where you got your ideas from.

Set It Straight

In Issue No. 25, an article,“All About

Study Casts,”included a photo of a

Gene Webb study cast carving

incorrectly attributed to

Bill White. Bill designed

the study stick seen on the

right. He can be reached

in Springfield, Illinois, at

217-498-9454. Gene Webb

can be reached at Smoky

Mountain Woodcarvers,

800-541-5994 or log on to

www.woodcarvers.com

.

John Taye’s

basswood carving “The Last Piece” (left) inspired the late

Carl Johnson to make a jelutong carving which is nearly identical.

But when does inspiration cross the line to blatant rip-off?

8

Wood Carving Illustrated • Spring 2004

News & Notes

Scandinavian Flat-Plane

Masters Exhibit in

Minneapolis

With a few well-placed cuts of a knife,

a master carver can turn a piece of

wood into something that captures a

moment, be it a coffee party, the

christening of an infant, a couple

engaged in a lively dance, or any

number of scenes. Everyday

occurrences, humorous episodes and

milestone events have all been

“recorded” in wood.

The American

Swedish Institute

is pleased to

present

“Stories in Wood:

Scandinavian Master Carvers,”

an

exhibition of 300 works by Swedish

and Swedish-American woodcarvers

with a focus on Scandinavian-style

flat-plane carving.The bold charm of

this type of figure carving stems, in

part, from the fact that originally the

carving was done with only one

tool...a hefty, fixed-blade, all-purpose

knife.

The exhibition prominently

features representative pieces created

by famous Swedish wood artist Axel

Petersson “Döderhultarn.”Oscar

Sjögren, Emil Janel,Anton Pearson and

Andy Anderson are among the other

Swedish-American carvers

represented.The exhibit also features

works by Urban Gunnarsson, a

contemporary Swedish carver known

for his carvings of political and world

figures, and Harley Refsal, the

American torchbearer of Scandinavian

figure carving.

“Stories in Wood: Scandinavian

Master Carvers” opened February 11,

2004. Lectures, demonstrations,

workshops, visits by carving artists,

and adjunct displays will be offered in

conjunction with the exhibit, which

will be on view from through May 30,

2004. See our Calendar of Events on

page 94 for more information on these

events.

The American Swedish Institute is

at 2600 Park Ave. in Minneapolis. For

information call 612-871-4907.

The American Swedish Institute is

a historic house, museum and cultural

center offering a variety of programs

designed to celebrate Swedish culture.

Hours:Tues.,Thurs.-Sat. 12-4 p.m.,Wed.

12-8 p.m. and Sun. 1-5 p.m. (closed

Mondays and holidays).Admission: $5,

$4 ages 62 and older, $3 ages 6 to18.

News &

NOTES

Editor-at-Large Roger

Schroeder sizes up an exact

copy of a Peter Toth

sculpture in Bethany,

Delaware,carved to replace

the original wooden giant

that succumbed to the harsh

coastal elements.Photo by

Sheila Schroeder.

The Coffee Drinkers by Herman Rosell.

Editor Takesa Long Look

at Peter Toth

Ever since Editor-at-Large Roger

Schroeder saw his first Peter Toth

sculpture, he was hooked on seeing

and learning more. He read that Peter,

with his family, fled Hungary after the

1956 anti-Communist uprising and

settled in the U.S. A self-taught carver

who relates to the plight of Native

Americans and First Nations people,

Peter has left in the 50 states and

Canada a trail of monuments that pay

tribute to these aboriginals. Using

available trees—oak, pine, redwood

and other species—he carved out a

place for himself in North American

history and culture. Given the

demands of his work schedule, Roger

has been able to visit only a few of the

many sites, located on what Peter calls

The Trail of Giants. But thanks to

reader submissions, Roger has put

together a story and photos of the

sculptor and his work for “Editor’s

World,”January 2004, at

www.carvingworld.com.

Finger Hooking by Axel Petersson

Döderhultarn.This piece will be on

display at The American Swedish

Institute during the “Stories in

Wood:Scandinavian Master

Carvers” exhibition from February

11 to May 30,2004.

ne of the best ways to take

your carving skill to the

next level is to participate

in a carving class. Check out our

Calendar of Events, which includes a

listing of workshops, seminars and

classes.To make the most of your time

at these events, you’ll want to go

prepared and ready to learn.We polled

a few seminar instructors, plus one

editor/student, for their top tips on

how to maximize classroom time.

CAROLE JEAN BOYD

Get in Shape

If you haven’t carved in

a while, make sure your hands and

arms are ready to carve for long

stretches. Do some carving in the

weeks prior to the class.

Don’t Jump Ahead

Your instructor

has reasons for you to follow step by

step.You may not understand the

reasoning behind each step until all of

them have been completed.

Bring a Smile

Be friendly to your

classmates.You’ll be surprised how

much good information gets swapped

back and forth with your classmates.

PHIL BISHOP

Don’t Be Dull

Make sure you bring

sharpened tools to class. Frustration

sets in when a dull tool tears the

wood. And if the teacher has to help

you sharpen your tools, it’s wasting

everyone’s time.

Consider the Possibilities

Come to

class with an open mind and the

willingness to try something different.

Safety First

Bring a cut-resistant glove

for safety.

Oh Say Can You See?

Lighting is

almost always an issue in the places

where workshops are held. Bring an

auxiliary light source so you can see

what you’re carving.

HARLEY SCHMITGEN

Be Prepared

Make sure you bring the

tools recommended by the instructor.

Ask ahead if it’s not included with the

registration information. Review

reference materials prior to the class.

For example,if you’re taking a class in

human caricature, review anatomy

books.

To Ask or Not to Ask

If you don’t

understand, don’t be afraid to ask

questions!

Promptness Pays

If the class starts at

9, arrive at least at 8:50 so you can get

yourself situated.Your classmates and

the instructor will appreciate it.

JOHN BURKE

Focus on You

Don’t judge your work

against your classmates. Concern

yourself with what you’re doing.

There Are No Mistakes

Consider

them “learning opportunities.”If you

are afraid to move out of your carving

comfort zone, you’ll stay in a rut.

Don’t Try to Teachthe Class

If the

instructor is helping another student

and someone near you needs

assistance too, resist the temptation to

jump in with your own advice.

To Each His Own

Appreciate each

instructor’s style. He or she may do

something completely different than

the way another teacher taught you.

Rather than contradicting the teacher,

listen carefully.

After You’re

Home

Learning

shouldn’t stop once you arrive home.

Practice what you learned in class so

you’re comfortable with those

techniques and concepts.The key is to

incorporate what you learned into

what you already know.

Over time,

you’ll find your own style.

From a student’s point of view,Editor-

at-Large Roger Schroeder,who takes

time from his writing responsibilities

to attend carving classes, offers the

following tips:

Take a Break

If you find yourself

getting tired or frustrated, leave the

room and regroup.

Bring Band-Aids

Even though I wear

Kevlar gloves, I usually cut myself after

I remove them, right before a break, or

at the end of class when I’m

packing up.

More Aids to Bring

Take along a

sharpening stone or two if handtools

are required. Even if you don’t use

them, you will surely impress someone

in the class.

Take Notes

Most instructors begin

with some lecture time.The notes will

pay off with a future project.

Give Feedback

Like students,

instructors have learning curves and

need to hear what they did well or

what they can improve on. If you do

have criticism, offer it respectfully

and discreetly.

10

Wood Carving Illustrated • Spring 2004

Clip & Save

Clip &

SAVE

O

O

Classroom instruction is a great

way to quickly improve your

carving and painting skills.

20 Tips for

Getting Your

Money’s Worth

from a Class

Sticky Issues

Brad writes that a tool store recommended he join

pieces of basswood together with Titebond glue to get

the project sizes he needs.He wants to know whether