One of the things I love about woodcarving is how many people are interested in learning it. In my other life at university, I teach a few courses every year and I find teaching to be something I love. Teaching carving classes is also something I do quite often and I find a lot of fulfillment in watching students get excited as they think about the endless possibilities of carving.
Recently, I have taught two different types of carving classes. The first was a lettering class at Lee Valley Tools in Coquitlam. In that class, we learned some basic principles of lettering – such as what is a serif? We didn’t dwell on this part, but moved on quickly to learn how light and shadow works for letters and how important it is to have tools that match the curves of the letters. We learned that a 60 degree incised angle can be difficult to cut but it can make a large difference to the look of the letters. We learned that it is important to “give the wood a place to go or it will find its own way” and so we started each letter with stab cuts in the middle of the letter. Then we also learned how much easier it is to cut the serifs before cutting the rest of the letters. The students went home with a completed project and some ideas for how to apply their new-found carving skills to other carpentry projects.
What I found most interesting was how much the students seemed to take to carving with large gouges hit with a mallet. They learned just how easy it is to control a carving gouge with a mallet and how fine details can be cut by light taps with a mallet on the tools. We also learned how every carving gouge can cut a circle and how much difference it makes to use a slicing action when carving by hand. My goal is to show the students how to finish a carving right from the gouge, with no sandpaper needed. This method of carving is quite quick, and with the correct techniques and some artistic vision, can create a unique piece of artwork that shows the individual carver skill. I compare this to a painter whose brushstrokes set him or her apart from every other artist. The marks left by the carver show the skill of the carver, the sharpness of the tools, and are what shows the uniqueness of each woodcarver.
If you are interested in taking a course, contact me by email at gvmcmillan(at)gmail.com
I carved two other pieces that I have done before: a lettercarving piece (the first photo above) and a stylized acanthus leaf in relief.
And on the heraldry front, I am working on a large family crest that is getting close to being finished. The short video below shows some progress.
Stay tuned for more updates. I have a very large lettercarving project that I am on the verge of starting. In the new year I am picking up the wood for an ornately carved lintel over a front door in a large foyer. And I have another family crest in the works. It’s nice to have work, but I am feeling the pressure to get things completed!
I call this relief carving “Acanthus Leaf Study” because it is the one I use as a model to teach introductory woodcarving classes. It has all the elements of a classic low relief sculpture. It has a level foundation, some high sides, some low, some slopes, deep vees, undercuts and undulations. It has curves like Venus de Milo and is evocative of Ancient Greek and Roman sculptures. It throws a lovely shadow and will gradually warm to an antique shade over time.
It is carved in Aspen wood. The dimensions are 6 inches by 4 inches, by 3/4 inches thick. It is signed as an original with my brand initials.
Yesterday I had some fun teaching a woodcarving course at the Coquitlam location of Lee Valley Tools. There were seven students with varying degrees of experience. We carved an acanthus leaf in aspen.
Lee Valley Tools is doing a good thing with these seminars that teach skills such as wood carving. The participants got to try out new tools and many of them bought one or two that they liked. This will improve their carving experience. We all learned new things, and everyone went home with a mostly finished new piece of art. My own personal favourite carving gouge is a Henry Taylor #3 in half-inch width.
Carving in aspen is very nice. It is much cheaper than basswood and is at least as easy to carve. It does tend to fuzz when sanded and can be more brittle and prone to breaking, but it hold good detail especially in a low-relief carving such as this one.
I left my card with each participant in the hopes that they will contact me and keep up with their carving.
If you’ve been following my blog for a while now, you may be wondering what all those acanthus leaf panels are for and where they will go. They are for a client’s grand entry to his home. The entry is quite large – two stories (ten-foot ceiling stories) tall, and large enough that an eight-foot wide chandelier could be bigger and you wouldn’t notice.
The panels are part of the board that covers up the stair stringer and the board that runs under the handrail of the balcony. The client called me up to show me the carvings that he had temporarily installed until they could be stained and lacquered. I took a few photos to share with you.
But there’s more! The client wanted some finials (sort of an upside down post cap) carved as well. One is a full square, the other is only half of a finial. They are to be installed under his balcony to look as though the post for the hand-rail continues right through to the finial. In the picture below, you’ll see four wood clamps. The full finial is to go between the two middle clamps underneath the post for the handrail with the point of it aiming at the ground. The half finial is to go just to the right side of the 4th clamp on the right.
Here’s what the finial looks like mostly finished – there’s still some final smoothing, burnishing, and sanding to do to it.
Note that I am holding the finial upside down compared to how it will be installed.
The two finials were quite challenging to carve, as they are primarily end grain after they begin curving toward the point. The design had to be modified slightly because I found that undercutting a point of a leaf to give it shadow meant I was cutting all the fibers underneath the tip that were holding the point in place. They may not have held up under the pressures of sanding, staining and lacquering, so I had to do a little redesigning on the fly. What I like about low-relief carving is that it is basically a trompe l’oeil, so I was able to create a little illusion instead of actually undercutting the leaf tips. The only way you can tell the difference is by actually running your finger tips over the carving.
That completes this part of the job and now I can move on to some completely different carving. I’m working on a hummingbird “in the round,” some posts for an entry way to a home, and a large sign complete with trees, ocean, lettering, etc. Sign up to receive an email that alerts you every time I post some new pictures of another project.
I finished carving and sanding the first of the acanthus leaf panels and made good progress towards finishing the second one last night. People will primarily view the panels from below so I carved the leaves in such a way as to highlight the shadows all the way down the boards. This meant carving the leaves at the top of the board a little more proud than the ones nearer the bottom.
The client is pleased with them, especially the dramatic shadows they throw because I left the centre stems so proud and undercut the leaves. He just dropped off two more blocks to be carved. They will be even more challenging because I will have to carve mostly end grain in solid oak.
The client has his own painter who will stain and varnish these panels when they’re all completed. I’m like a kid waiting for Christmas – I can’t wait to see them!
In other news, we met Dale & Val – very good friends visiting from Saskatchewan on Tuesday, and enjoyed a fun afternoon in Crescent Beach with them. We had a good laugh at this sign:
Note that there were no flowers in bloom anywhere within sight!
It’s been a quiet few weeks for carving as we’ve been camping and doing a mini family reunion. However, I was excited to receive a phone call this afternoon inviting me to see a couple of fireplace mantels that I had carved a while ago. They had just recently been installed in a palatial home, and the client was anxious to have me see them. Kathleen and I dropped everything and headed over to the Fort Langley home to see the mantels. The client kindly permitted me to take a picture of each mantel so you can see how they turned out.
What do you think of them? Have any questions? Leave a comment and let me know.