Woodworker's Guide to Carving (Back to Basics) E-Book

Skills Institute Press

• Herausgeber: Fox Chapel Publishing
• Kategorie: Lebensstil
• Sprache: Englisch
• Veröffentlichungsjahr: 2010

Seitenzahl: 162

Beschreibung

A must-have guide for woodworkers and woodcarvers filled with essential information about carving tools and techniques.

Das E-Book Woodworker's Guide to Carving (Back to Basics) wird angeboten von Fox Chapel Publishing und wurde mit folgenden Begriffen kategorisiert:
craft, wood craft, relief carving, round carving, wood carvers, carving tools

Leseprobe

Contents

Introduction

Chapter 1: Carving Tools

Chapter 2: Getting Started

Chapter 3: Incised Carving

Chapter 4: Relief Carving

Chapter 5: Carving in the Round

Index

What You Can Learn

Carving Tools,p. 12

Despite the enormous variety of tools at a woodworker’s disposal, most carvers perform their work with a dozen or so tools.

Getting Started,p. 40

Nothing takes the place of practice, but you can master the basics of carving with a few deft movements of a chisel.

Incised Carving,p. 58

To the uninitiated, chip carving may seem complex but it is actually a fairly straightforward process, with room for infinite variation.

Relief Carving,p. 82

The techniques of relief carving can be applied to a variety of subjects from bowls to scenery.

Carving in the Round,p. 122

Whether the piece is a bust, a wildlife carving, or a design element on a claw-and-ball foot, you should undertake a careful study of the project before beginning.

Chip Carving

As a small child I was fascinated with every aspect of wood: its feel, its smell, and the ever-changing beauty of its grain. From as far back as I can recall, my father supplemented the family income by pursuing his passion of furniture refinishing and antique restoration. And, from the age of five, under the watchful eye of my Norwegian grandfather who lived with us, I was tutored in carving wood. Thus began a wandering journey that would bring a lifetime of joy, excitement, challenges, and friendships.

Working with wood, from topping trees to boatbuilding, was an activity I continued into adulthood and the one that gave me my greatest pleasure. So when the opportunity to study in the woodcarving center of Brienz, Switzerland, presented itself, I thought the world had stopped to let me on. This was the chance of a lifetime.

The experience of carving in the midst of masters whose skills were rooted in centuries of knowledge and tradition proved exhilarating. Learning carving from these craftsmen included acquiring discipline and an appreciation of art and architecture, particularly Gothic styles, upon which much of chip carving is based. I had the added good fortune of studying close to ancient castles and cathedrals, where I could observe firsthand design concepts and theory put into practice.

I was easily drawn to a Swiss method of chip carving primarily because it seemed to represent the essence of simplicity. Though this style was relatively unknown in North America at that time, I realized that with only two knives and a basic understanding of technique anyone could, in a relatively short period of time, produce amazingly satisfactory work.

Perhaps my enthusiasm for chip carving has been the spark that ignited similar fires in so many others I’ve had the pleasure of teaching throughout the years. If it is true that we teach that which we love to learn the most, then carving, particularly chip carving, has been the most perfect vocation for me.

- Wayne Barton

Wayne Barton is the founder of The Alpine School of Woodcarving, and author of several books on chip carving published by Sterling Press, including New And Traditional Styles of Chip Carving. He lives in Park Ridge, Illinois.

Traditional Tlingit Carving

My mother was often upset at my fascination with knives. Like many young boys, I was constantly reminded of the danger of playing with them. But to me, the serrated steak knife that I snuck out of the drawer as an eight-year old was simply a tool to be used for carving wooden blocks into Tlingit Northwest Coast forms.

My earliest exposure to wood carving was a demonstration given in elementary school. My first project was a simple wooden halibut hook. That hook started me on a search through museums and bookstores, collecting information on traditional Northwest Coast art forms. That same year, I began making bentwood boxes in the traditional manner of my people: Cedar planks are left to steam all day in an open pit over a fire buried with layers of spruce branches, skunk cabbage leaves, and seaweed. The cedar planks are then pliable and can be bent to form a four-sided box with only one seam.

Wood carving classes were not simple to find in most small Alaskan communities 23 years ago, so for the most part I practiced the skills on my own. In the early 1980s, I was fortunate to be hired by the Ketchikan Totem Heritage Center as a tour guide and demonstrator. The opportunity at the Center to study and practice carving, and to learn the Tlingit culture, gave me insight into the art form, its meaning, and message.

In the case of the 20-foot totem pole in the picture, I first drew the plans of the totem on paper and then carved a small wooden model. The figures on the model were then measured and sketched to scale onto the pole, working from the bottom up. Each figure was roughed out and finished before moving to the next highest one, using many different kinds of adzes, such as straight adzes, gutter adzes, and lipped adzes. I painted each figure as I move up the pole.

The steps taken to learn my craft have been many, starting with years of practice devoted to the study of design, drawing, painting, and most importantly, the capability to shape these designs into a piece of raw cedar. The finished product, whether it be a totem pole, a bentwood box, a ceremonial mask, or a bowl must convey the past, present, and future of the Tlingit people.

- Tommy Joseph

A member of the Tlingit tribe, Tommy Joseph is a carving instructor at the Southeast Alaska Indian Cultural Center in Sitka, Alaska.

A Charles II Bellows

From the time man discovered that he could fashion something from wood other than a spear or a truncheon, he has been hard at work carving, both as a trade and an avocation. Today, wood carving is in a state of flux. Even the keen amateur working in his hobby shop appears to be moving away from the use of gouges and sweeps toward small hand-held motor tools that seem to disintegrate wood very efficiently in any grain direction. On the workbench and shop floor, wood chips and shavings are being replaced with very fine sawdust.

So let us throw out the anchor right now and carefully mix ingredients from old carving techniques with newer recipes to create a type of carving that should last at least a century or more, enjoying the labors as we proceed. The fireplace bellows shown at right is a perfect example of this combination. A bandsaw, drill press, router, lathe, and sanding equipment will quickly execute the foundation work. Then comes carving the design into the face of the bellows. This is the fun part—the jelly in the donut.

The bellows can be made from maple, cherry, walnut, or oak. However, since this is a Charles II-period design, it only seems appropriate to use the white oak that was widespread in the British Isles in the 17th Century. The pattern shown was glued onto the front board blank with rubber cement, and a colored felt-tip pen was used to delineate the background areas. With my drill press pulley belt system arranged for its highest chuck speed and a small two-fluted ball mill adjusted to take off 3/16 to 13/64 of an inch, the colored background area was quickly removed.

This is where the real enjoyment began. Using a variety of flat and skewed gouges, the entire background area was worked over. Next, I formed the raised, rounded relief areas, carefully cutting with the grain, leaving attractive shiny areas in the wake of the work. A fine-pointed knife and a metal dental pick cleaned up slivers of wood in the corners.

The front and back boards were routed around their respective edges to accept the leather flap valve; three or four tacks held the ⅛-inch leather in place. A piece of leather was also tacked at the hinge point of the front board in a slot. Then I drilled a one-inch-diameter hole in the nose end of the combined front and back boards, before gluing the nozzle—which was turned on a lathe—in place. After a light sanding, I stained the wood, and 24 hours later applied a coat of Watco natural satin wax. The result was a durable finish—and an eye-catching, functional bellows that should be helping to light fires for a long time to come.

- Ted Kona

Ted Kona is a former mechanical engineer who taught woodworking to Boy Scouts for 50 years. He is currently a member of the National Wood Carvers Association and a regular columnist for Chip Chats magazine. Kona lives in Beverly Hills, Michigan.

Carving Tools

The tools of the carving trade, laid out in their entirety, may at first seem overwhelming to the novice, for the variety and choice is immense. However—and fortunately for the beginner—few tools are needed to start carving. Even professional wood carvers, with hundreds of tools at their disposal, perform the majority of their work with a dozen or so tools. The three fundamental types of carving tool are the chisel, which has a straight blade; the gouge, which has a curved blade; and the knife. Additional tools that are frequently used include draw knives and scorps, which are essentially curved drawknives that greatly ease the creation of concave forms.

Chisels are either flat, skewed, or veiners. The flat chisel is immediately recognizable. Its simple flat cutting edge is a must in any toolbox. The skew chisel has a blade angled to the right or the left for cleaning out corners. Veiners create a deep, round cut, and V-tools form angled grooves.

Gouges scoop out concave surfaces, but also can be used to shape convex forms. Making grooves should be left to V-tools, rather than attempting this with small gouges.

Knives are useful in all carving work. A relatively short-bladed knife is the main tool for chip carving. In other types of carving, a knife can become an effective surrogate for many tools. A sharp pocket knife is a perfectly acceptable carving tool, although it will lack the precision of more specialized tools. The basic tools of the carving trade are shown starting on page 14.

In addition to the chisels, gouges, and knives, you will also need some accessories to get you started. These range from files, rasps, planes, and mallets, to clamps to secure the workpiece in place.

Of course, a cutting tool is only as good as its edge, and sharpening is as important to carving as the tool itself. There are many sharpening techniques and tools, and much disagreement over the best among the experts. As with most aspects of woodworking, there is no one right way to do the job; the goal is the same no matter what the technique—a razor-sharp cutting edge. A detailed discussion of how to sharpen carving tools begins on page 20. Study this section thoroughly. Your enjoyment of the craft will depend upon it.

Wooden mallets are classic elements of the carver’s tool box. The flat-faced carpenter’s mallet (above, left) has its face angled relative to the handle, making it easier to control. The cylindrical carver’s mallet (above, right) will not slip, since it strikes on one narrow spot only, due to its oval face.

As you begin grinding the cutting edge of a carving tool, a thin line of reflected light will appear at the tip of the blade. Once the reflection disappears—as it almost has in the photo at right—you have sharpened the bevel to the edge, and should remove the gouge from the grinder.

A Collection of Carving Tools

Macaroni toolPossesses three working surfaces at right angles to each other; can be used as a V-tool or a gouge.

Dogleg chiselBlade tip offset at 90° angle from blade shaft; used for paring flat recesses and working in restricted spaces.

Spoon gougeSpoon-shaped blade forms concave surfaces; ideal for working in restricted areas.

V-parting toolTwo-sided, V-shaped blade used for outlining, performing detail work, or adding texture to backgrounds.

Straight gougeFeatures a curved cutting edge with a straight tip; a mainstay in every wood-carver’s toolkit.

Carver’s knifeUsed for chip carving, outlining relief work, and carving details. The blade varies in shape.

Bent-back gougeAn upside-down spoon gouge with a convex rather than concave cutting edge; used for undercutting and shaping where space above the cut is limited.

Anatomy of a Chisel

Fishtail gougeThe blade’s flared tip is ideal for cleaning out corners and undercutting, particularly with limited clearance.

Skew chiselFeatures a flat, angled cutting edge for fine detail work.

Straight chiselFlat-bladed carving tool with bevels on inside and outside surfaces for rounding convex surfaces and removing backgrounds.

Tool rollMade from leather or heavy-duty canvas with pockets for storing carving tools; handles are inserted into slots so that blades protrude.

Bent gougeSimilar to a straight gouge, but with a gradual curve along the blade length; used primarily to clear waste from concave surfaces.

Fluteroni toolIdentical to macaroni tool, except that the corners of the cutting edge are rounded.

Different handles often reflect the origin of a chisel. The Swiss gouge, shown on the left, features a large, bulbous-shaped handle. The conical-shaped handle (second from left) is typical of French-made chisels. Octagonal handles (center) are commonly used by German toolmakers. The two chisels on the right have turned handles—a favorite shape of English carving tools.

Carving Tool Sweeps and Sizes

Carving tools are divided into three groups: Chisels, gouges, and V-parting tools. In each group, tools are distinguished by the shape of the blade (straight, spoon, V-parting, and so on); by the width of the cutting edge (2 mm to 35 mm); and by the degree of curvature, or sweep, of the blade (No. 1 to 40). The number increases with the degree of blade sweep. Straight, dogleg, and skew chisels all have flat cutting edges and so are assigned No. 1. V-tools are assigned a number according to the angle, ranging from 45° to 90°. Straight, spoon, bent, and fishtail gouges share the same range of sweeps. Specialty tools like bent-back gouges and macaroni tools carry their own numbers. A good basic set of chisels includes flat chisels, gouges, and V-tools as well as a carving knife. More advanced carvers would add bent-back gouges and other special types, as well as additional sizes of the standard types. Ultimately, the specific size and shape of a given chisel makes it the best tool for a given job. As a result, most professional carvers own a complete set of chisels in all sizes. They may also include cutting tools such as adzes and spokeshaves for large pieces, such as life-size figures. Some carvers even include tiny surgical tools in their collection for extremely small pieces.

Carving Tools: Sweeps and Sizes (Shown Full Size)

No. 1 Chisel

No. 11 gouge & No. 32 bent-back gouge

No. 3 gouge

No. 8 gouge

Basic Carving Tool Kits

Beginner

•   Chisels: No. 2—6 mm and 12 mm

•   Gouges: No. 3—6 mm, 12 mm, and 25 mm; No. 8—25 mm; No. 11—4 mm, 6 mm, and 12 mm

•   V-tools: No. 39—4 mm, 6 mm, and 12 mm

Advanced

(In addition to the beginner’s set)

•   Gouges: No. 3—35 mm; No. 11—2 mm; No.16—35 mm; No. 32—8 mm

•   V-tools: No. 42—16 mm; No. 43—6 mm

Chip carving

•   Chip carving requires a cutting knife, which does most of the work, and a stabbing knife, which is intended specifically for embellishing chip carvings.

No. 39 V-tool

No. 6 gouge

No. 41 V-tool

No. 23 macaroni tool

Carving Accessories

Additional Carving Tools

RifflerUsed for difficult or delicate sculpting of wood, especially where a fine finish is required.

Needle raspsSmall rasps used for defining details.

SpokeshavesFor shaving smaller pieces of wood.

Draw knifeUsed for shaving; requires a clamping system such as a shaving horse.

Concave raspFor shaping concave surfaces.

RaspAvailable in varying degrees of coarseness.

Micro planeInexpensive alternative to rasps.

Block planeA small plane for end grain and delicate planing jobs.

Push knifeSimilar to a drawknife, but works on the push stroke; easier to use since it allows you to work with the stock simply butted against a solid surface, thereby saving the need for a shaving horse or other elaborate clamping arrangements.

Bench planeUsed for levelling larger surfaces.

Wood burnerDifferent shapes of tips are available to create a range of decorative effects; resulting colors can vary from light brown to black.

Bench hold-downFor securing carving blocks to a bench top; fits into a bench dog hole.

Carving boltFastens a workpiece in place from underneath; eliminates clamps that can get in the way.

PunchesUsed for creating small patterns and delicate textures in carvings.

Bench dogsHold workpiece in position on workbench.

Hold-down clampCan be bolted to a work surface for securing carving blocks.

Carpenter’s malletAngled face allows for easier control.

MalletA common, all-purpose mallet.

A Carver’s Mallet

A carving mallet can be made on a lathe. Start with a blank of face-glued stock larger than the finished mallet; hickory, maple, beech, and oak work well. Mount the blank on the machine and set the tool rest as close as possible to the workpiece. Switch on the machine and round the corners of the blank with a roughing-out gouge. Holding the tip of the gouge against the blank, slowly raise the handle until the cutting edge begins slicing into the wood and the beveled edge is rubbing against the stock. Rough-shape the mallet, moving the tool from side to side, leaving a shoulder where the head will join the handle (below). Finish shaping the blank using the same technique with a fingernail gouge (right). The handle of the mallet shown has a small nub at the end to provide a better grip.

Once the shaping is done, leave the mallet on the lathe, move the tool rest out of the way, and smooth the surface of the wood with 80-grit sandpaper, moving to progressively finer grits. Then finish the mallet with tung oil. Finally, remove the mallet from the lathe, saw off the waste wood at the ends, and sand and finish the end grain.

Sharpening Techniques

Good carving is achieved only by using properly sharpened tools. The highest-quality chisel, knife, or gouge will produce inferior results without proper sharpening. This section demonstrates the sharpening skills and tools you need to practice the craft.

The sharpening tools and accessories that you use should be chosen with care. Using a carborundum grinding stone, for example, can damage your chisel because it will overheat the cutting edge, rendering it too soft to cut properly. The high speed of most stationary grinders adds to this problem. The solution is to use rubber grinding wheels containing tiny fragments of industrial diamonds, and to buy or build a slow-speed grinder.

To test the sharpness of the cutting edge of your tool after following the sharpening instructions in this chapter, make a cut on the end of a piece of scrap wood. Working across the grain, the blade should slice evenly through the wood, producing a curl of waste wood and leaving behind a smooth surface. Also note the sound that the blade produces: A razor-sharp carving tool will make a clean, hissing sound as it slices through the wood.

Mastering the skill of sharpening your carving tools will provide one part of the basic knowledge a wood-carver requires. The other part—the fundamentals of carving— is discussed in chapter two.

Common Sharpening Do’s and Don’ts

Too much on the edge