Woodcarving Illustrated Issue 27 Summer 2004 E-Book

Editors of Woodcarving Illustrated

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

Seitenzahl: 186

Beschreibung

Featured in this issue:Summer carving projects for beginnersWorkshop designsOne knife project - carve a folk figure in under two hoursFriendship cane -group carving projectTurned and carved - an expert galleryMeet Rick Butz - Woodcarver of the YearBald eagle portrait

Leseprobe

Issue no. 27 Summer 2004

Bald

Eagle

Portrait

17

Product Review

11

The new Carving Vise improves on the centuries’ old carver’s arm.

Bald Eagle Portrait

17

Wanda Marsh’s creative textures and thorough painting instructions

are sure to take your artistic skills to new heights.

The Cat’s Meow: Carving a Refrigerator Magnet

20

David Sabol’s step-by-step mischievous feline will have friends and

customers purring for one of their own.

International Woodcarvers Congress

24

Last year’s Affiliated Wood Carvers’ celebration of carving,

classes and competition seemed like only yesterday.

This year’s event is June 19 to 27.

Guardian Angel Fairy

26

Enjoy a pattern and learn about different kinds of fairies from

Lora S. Irish’s latest book from Fox Chapel Publishing.

Friendship Cane

27

Twelve carvers and a publisher gave

WCI

Editor-at-Large

Roger Schroeder the best gift a friend could ever receive.

Carving Caricature Golfers

30

Bill Howrilla’s latest book from Fox Chapel Publishing captures

the game in all its many ups and downs.

Carve a Scandinavian-Style Troll

33

Master carver Harley Refsal sets the pace for beginning carvers

with his flat-plane project.

All About Mallets

42

Roger Schroeder puts eight mallets through their paces.

There’s definitely one that’s right for you.

Wood Review: Boxelder

47

The wood’s coral-red streaks and easy-to-sand-and-finish texture

make it attractive to carvers.

National Caricature Carving

Competition and Exhibit

49

So many entries put the judges on their toes at the second annual

national competition sponsored by the Caricature Carvers of America.

The Sculptures of Michelle Holzapfel

51

A burl-loving wood sculptor melds carving, turning and

textures to create unique, museum-quality vessels.

42

All About

Mallets

In this

ISSUE

In This Issue

Wood Carving Illustrated •

Summer 2004

1

Light and

Fan Pulls

a Hit

68

The

Sculptures

of Michelle

Holzapfel

51

Carve a

Scandinavian-

Style Troll

33

Little Chipper

56

Open or closed, the D2 blade steel is a sterling feature of this

comfortable-to-work-with and easy-to-carry chip carving knife.

Woodcarver of the Year

57

Meet

WCI

’s 2004 recipient, author and PBS impresario Rick Bütz.

Setting Up Shop

60

A visit to two carvers’ shops reveals how organization goes

hand-in-hand with making the best use of workspace.

Father Christmas

65

Woodcraft

®

Santa Carving Contest finalist Norb Hartmann shares his

techniques and the joy he derives from creating St. Nick.

Light and Fan Pulls a Hit

68

Steve Brown steps up to the plate to show that any character or

subject can be carved into a decorative and useful pull.

Relief Carver’s Depth Finder

71

Jim Dupont’s homemade tool enables him to obtain accurate

measurements for carving in relief.

Neckerchief Slides

74

Beginning carvers of all ages will learn four basic cuts by the time they

complete these two projects from Boy Scout instructor Robert Reitmeyer.

Golf Ball Carving

81

Nathan Stump, who brings ducklings and other characters out of

their “shell,” finds most golf balls a pleasure to carve.

Carve Whimsical Houses from Found Wood

87

When you carve tree bark, no two projects are exactly alike.

Decorative Decoy Carver’s Ultimate

Painting and Pattern Portfolio

92

Bruce Burk’s Classic Pattern Books—

Now back in print and better than ever.

Arbortech Power Chisel

95

Put to the test, this reciprocating power tool with a snap-lock

system runs the gamut from wood hogger to fine detailer.

In this

ISSUE

49

National

Caricature

Carving

Competition

and Exhibit

The

Cat’s Meow:

Carving a

Refrigerator

Magnet

20

2

Wood Carving Illustrated • Summer 2004

In This Issue

Publications Mail Agreement #40649125

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Chipping

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Woodcarving 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.

I

n the world of woodcarving, a

few folks have played pivotal

roles in introducing the art

and the craft to the masses.

One of them is

Wood Carving

Illustrated

’s Woodcarver of the

Year 2004, Rick Bütz. With his

highly successful book

How to

Carve Wood

and his popular

PBS series, Rick has made

woodcarving accessible to tens of thousands. Editor-at-Large Roger

Schroeder’s profile of Rick tells you more about this influential carver.

Bruce Burk has played a similar role in the specialized field of

realistic wildfowl carving. His

Gamebird Carving

is arguably the most

authoritative text on teaching the art of turning wood into birds that

look real enough to fly. Fox Chapel Publishing has re-packaged his

two volumes of decorative decoy patterns and paint schedules for

release this summer. On pages 92 and 93, you’ll find a ruddy duck

pattern excerpted from the book,

Decorative Decoy Carver’s Ultimate

Painting and Pattern Portfolio, Series Two

.

The willingness to share knowledge, as both Rick and Bruce have

done on a large scale, is a trait common to woodcarvers. Would

you like to share your skills but don’t know where to get started? If

working with the younger generation appeals to you, this issue has

the perfect project to help do just that. “Neckerchief Slides” starting

on page 74 provides the patterns and steps useful for instructing your

own or neighborhood children, grandkids, a youth or Scout group.

You probably don’t need convincing that carving is a rewarding

hobby that can put some extra income in your pocket. But, if you

give it a chance, it will connect you with a whole community of truly

terrific people.

While gathering the resources needed to reach out to would-be

and active carvers, check out your

TV program guide for one of

Rick’s nearly 100 episodes that continue to be shown. Or, tune in

to a new PBS show that will also spread the gospel of woodcarving.

“Splendid Splinters:

The Armand LaMontagne Story” begins airing this spring. Read about

the documentary, featuring comments by Roger Schroeder, in News

& Notes on page 10.

And make sure you set aside time to watch this

fascinating story.

Cathy Hart

PS—A special message for subscribers:

You’ll notice that this issue

was delivered to your mailbox in a plastic wrap. We’ve heard your

concerns about damage to your magazine when it’s not wrapped, and

promise to mail every issue in the protective plastic.

Our Mission:

To promote woodcarving 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

Tucker Yeaworth

Newsstand Circulation Consultant

Howard White & Associates, Inc.

[phone]

Domestic Newsstand Distribution

Curtis Circulation Company

©2004 by Fox Chapel Publishing Co. Inc.

All Rights Reserved. Printed in USA

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Wholesale/Distribution

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on advantageous terms.

Contact Gina Bepko (ext. 12) for details.

Volume 8, Number 2 {Issue No. 27}

How-To Magazine for Carvers™

Internet: www.WoodCarvingIllustrated.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”

Summer 2004

Identification Statement: Wood Carving Illustrated vol.8, no.2(Summer 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

6

Wood Carving Illustrated • Summer 2004

Editor’s Corner

8

Wood Carving Illustrated • Summer 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

editors@fox-

chapelpublishing.com.

If you send an email, please add the word

Mailbag first in the subject line. Note: Let-

ters 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

.

A Message from the

Woodcraft Wildlife

Contest Sponsors

Our recent Wildlife Carving Contest

co-sponsored with Woodcraft

®

Stores

involved some very delicate pieces.

The winners were shipped from the

local Woodcraft retailer to company

headquarters in West Virginia; then

to the Artistry in Wood Show in

Dayton, Ohio; then to our offices in

East Petersburg, Pennsylvania; and

then finally back to the artist. Of the

nearly 300 pieces that were part of the

winning group, three sustained varying

degrees of damage. For that, we offer

our sincere apologies to the carvers.

While you can be certain that we

will take every precaution possible

with your prized artwork, damage can

sometimes occur with such delicate

pieces outside of our control. You’ll be

notified immediately should it arrive

at our facilities in less-than-perfect

condition, giving you the option of

filing a claim with your carrier. When

we ship your carving back to you, we

will package it with the utmost care

to help ensure that it arrives safely.

However, if you find that it had been

damaged in transit, please notify us

immediately so we can file a claim.

Thank you.

Alan Giagnocavo,

Publisher, Fox Chapel Publishing

Lori Mossor,

Marketing Administration Manager,

Woodcraft Corporation

Artistic Responsibility

In Spring 2004, Issue 26, you

published a letter from John Taye,

of Boise, Idaho, in which Mr. Taye

was rather tiffed at another carver for

ripping off of another artist’s work—

Mr. Taye’s. He goes on to state “I don’t

know how a person could shamelessly

use and copy another artist’s work

without giving credit where it is due.”

Then he goes on to question the

“integrity and honesty” of the deceased

Mr. Johnson.

To me it is the “artist’s”

responsibility—Mr. Taye’s in this

case—to stipulate to the magazine

(

American Artist

) what permissions

it has in printing his article and

what permissions the reader has in

duplicating any of the contents therein.

I question whether Mr. Taye made

any such stipulations that his work of

art was not to be copied in any way,

shape or form! Also, did Mr.

Taye anywhere in his article

display a copyright or patent

pending statement?

Mr. Taye goes on to chastise

Mr. Johnson for copying his work

“stroke for stroke”! I wonder

if Mr. Johnson’s copying had

something to do with the fact that

the piece was in part a “step-by-step

demonstration of the pie carving”! If

Mr. Taye didn’t want the piece to be

copied, then why would he give step-

by-step instructions on how to replicate

it? Wasn’t it meant to be a learning

experience for other carvers as they

tried their hands at carving that “piece

of pie”? It seems quite hypocritical of

Mr. Taye to insinuate that Mr. Johnson

was a thief and dishonest because he so

accurately duplicated his piece!

As a carver myself, I appreciate the

hours and talent it takes to make a

masterpiece. But I abhor the haughty

and arrogant attitude of artists who

put their work on public display,

give a pattern, give tutorials, and

then rebuke the carver who makes a

masterful replication. If you want the

publicity, take what comes along with

it. Otherwise, clearly state your rights

and privileges, so that everyone knows

what your intentions are.

Dave Robinson,

email

Set It Straight

I

ssue no. 26’s Wood Review on

Sassafras featured a carved rose

on page 85. Proper credit for the

pattern was omitted. The pattern

came from the book

Carve a Rose

by John Hagensick. The book

is available from L/C Publishing

Company, 531 Thatcher Ave., River

Forest, IL 60305, 708-366-6791.

A Story Made in Hollywood

Little did Editor-at-Large Roger

Schroeder realize that a pair of old

woodcarvings would lead to a story

that seems more fiction than fact.

While working with Upstate New

York carver Ross Oar on a Santa bust

project, Roger got to see a pair of

carved musicians Ross had collected.

Signed Erma Hoback and dated

1940, the figures aroused Roger’s

curiosity and he devoted his January

2003 Editor’s World newsletter (at

www.WoodCarvingIllustrated.

com

) to them with a request for

more information. He suspected that

this obviously talented carver, likely

deceased, was prolific, and he hoped

that learning Erma’s history would

be easier than locating a needle

in a skyscraper-size haystack. Six

months later the leads started coming

in. Before a year had passed since

the appearance of that newsletter,

Roger made contact with Erma’s

son. Mary Crouch (her maiden name

was Hoback), who stopped using

her middle name Erma after she

married, was a remarkable woman

who carved miniature figures of

Hollywood legends, lost her movie

stuntman husband after 14 months of

marriage, was a stand-in for a starlet,

and raised a son single-handedly

on money made from carving

and a monthly but paltry death-

benefit check. It’s the stuff of studio

screenwriters, and Roger is pleased to

News &

NOTES

Editor-at-Large

Roger Schroeder has

rediscovered a highly

talented but little

known carver named

Mary Hoback Crouch.

A sample of her work

is this tableau of

stagecoach, horses

and riders.

Editor-at-Large Roger Schroeder

was years ahead of a recent

documentary on Armand

LaMontagne when he wrote

about this Renaissance artist for

WCI

’s Issue no. 3, Spring/Summer

1998.

Armand’s

Native

American

sculptures

were featured

in

WCI

’s Issue

no. 7, Summer/

Summer 1999.

share the whole story, plus photos of

Mary’s work, in his March and April

2004 newsletters.

Editor-at-Large

Participates in TV

Documentary

When Roger Schroeder,

WCI

’s

Editor-at-Large, was asked to

participate in a documentary on

wood sculptor Armand LaMontagne,

he couldn’t help but smirk to

himself. He had already gotten the

scoop on one of America’s premium

Renaissance figures many times

over. In fact, his cover story for

WCI

’s Issue no. 3, Spring/Summer

1998, featuring an uncanny likeness

in wood of Babe Ruth, was devoted

to the portraits Armand has sculpted

over the last three decades.

Roger appears throughout

“Splendid Splinters:

The Armand

LaMontagne Story,” offering

commentary, anecdotes and insights

on this larger-than-life artist.

Check your local PBS station for

the one-hour presentation. If you

miss the program, VHS and DVD

formats are available from

www.

customflix.com

/ 888-232-0439.

10

Wood Carving Illustrated • Summer 2004

News and Notes

The carver’s arm has been around for centuries. European

sculptors still employ the device to reposition figures as

they are shaped.

A downside to the arm is that it needs

to be held securely in a vise.

A new product, the Carving

Vise, is now available that has all the elements of the

original design plus integrated clamps. Carving has never

been so hands free as with this tool.

Designed by Tim Rundall of

The Woodchip Shop in

Des Moines, Iowa, the Carving Vise has solid, 1

1

⁄

2

”-thick

maple components and sturdy locking knobs that allow

for quick rotation of a carving through both horizontal

and vertical planes. Two bar clamps secure the fixture to

a workbench with a top up to 3” thick, and a substantial

bench screw holds the carving in place.

If you want to make a modified version of the vise, you

can purchase these components separately: the Adjustable

Bench Arm, Bench Arm Holder with Clamps and the Bench

Screw Kit.

A rugged mounting plate is also available.

The complete Carving Vise assembly is $69.95 plus

shipping. To order, contact Tim Rundall at The Woodchip

Shop, 515-283-2171,

[email protected]

.

For more products, check out his website,

www.woodchipshop.com

.

Product Review

By the Staff at

Wood Carving Illustrated

C

ARVING

V

ISE

Product

REVIEW

Check Your Oil

Janet ran into a problem with the santos rosewood.

Although the wood was easy to carve with power tools

and took a fair amount of details, her varnish finish

took days to dry. She attributes the problem to the oils

in the wood and wants to know what she should have

done to prepare the carved wood for the varnish.

Woodchip responds: Woods like santos rosewood, teak

and cocobolo have natural oils that interfere with oil-based

finishes, specifically polyurethane and Danish oil. If the

wood is very oily, the finish can remain tacky for weeks. To

cope with this problem, prepare the wood by wiping it with

a fast evaporating solvent like acetone, lacquer thinner or

denatured alcohol to remove the oils. Make sure to work in

a well-ventilated area. Then, as soon as possible, apply your

first coat of finish. Some woodworkers use a shellac sealer

first to prevent oils from bleeding back to the surface. Spray

shellac is available at most home improvement centers and

paint stores.

After that has dried, a coat of good paste wax

such as Briwax or Butcher’s can be applied instead of an

oil-based finish. I have had good success using just Petri