I’ve tried gloves and padding for my hands, but my palms still hurt after using full size gouges. So, I decided to add ribbed rubber chair tips to my gouge handles, and not only has this helped ease the pain, it has also reduced my carpal tunnel pain.

Measure the end of your gouge handle; I used a circle drafting template, but you could also use calipers. The tips should fit tightly. The tips usually cost around a $1 each and are available in most hardware stores, but I found the largest selection at youngs-inc.com. Choose a tip with a flat bottom, because a rounded bottom will continue to focus the pressure into the center of your palm.

The tips spread out the pressure as I carve, and, as a bonus, the ribs give you another gripping surface. Once you have added the cushioned tips to your handles, test them out on this folk-art bird project.

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By the Staff of Woodcarving Illustrated

MakerX WX992L Manufactured by WorX® $169.99  worx.com/makerx

One of the greatest joys of carving is the portability of the craft. There’s nothing like putting knife to wood on a porch or park bench, in your backyard or on a cross-country trip. Until now, power carvers might have been the exception to this, but a unique system from WorX lets you unplug in a whole new way.

This was one of the first thoughts that hit us when we examined the MakerX rotary tool and its amazingly portable-power hub: now, power carvers can have the same freedom as hand carvers do.

Controls are on the power hub, not the tool handle.

The Power Hub The MakerX hub transfers the energy of a 20-volt lithium ion battery to any attached tool through a super flexible cord. The hub has an onboard power switch and variable speed control, negating the need for them to be incorporated into the individual tools. The kit we tested includes a rotary tool and an airbrush—but the hub can power additional MakerX tools, such as an angle grinder, heat gun, and burnisher. The WorX Power Share battery can provide up to three hours of power on a single charge, depending on the tool and how it’s being used.

Changing bits is easy with the integral spindle lock and the wrench supplied in the kit. The rotary tool has excellent power, with speeds up to 35,000RPM.

The Rotary Tool The handpiece has a comfortable ergonomic design with a soft-textured rubber grip. There’s plenty of power in the brushless motor, which allows for speeds from 5,000 to 35,000 RPM. We used several carving bits on pine and walnut blanks, and the tool performed well. The universal 1/8″ (3mm) collet holds any brand of rotary accessories. The tool is not loud, but has a high-pitched whine, especially at faster speeds. It’s worth noting that the tool will shut off when pushed too hard. This is a design feature that surprised us at first—but it occurs so that the bit or blade will not kick back or become difficult to control. If this occurs, reset the system by turning the startup button on the hub off, and then turn on again. Once familiar with the tool, we were able to carve with minimal interruptions.

The compressor pump provides a stable base for the airbrush to stand upright.

The Airbrush No noisy, bulky compressor or hose needed with the MakerX airbrush! The airbrush pen mounts directly onto a lightweight canister-type compressor that provdes 14-18 psi of air pressure. It also doubles as a comfortable handle for the brush, and solidly supports the unit upright when not in use. The pen itself is a high-quality tool that rivals those from well-known airbrush manufacturers.

Adjust paint flow with the knob on the end of the pen.

Conclusion When you place all the elements of the system into the well-designed carry bag, you’ll truly appreciate the compact portability of the MakerX. The tote is lined with pockets to hold the tools safely and separately, with ample space left over for carving blanks, a water bottle, several bottles of paint, and an extra battery or two to keep you crafting on the go. The price is modest for the array of quality tools in the kit—not to mention the capability to power carve nearly anywhere you want.

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By Roger Schroeder

Whittlers take note: Chisels, gouges, and V-tools are here to stay. While you may feel comfortable with just a knife in your hand, don’t think that these other edge tools can’t perform miracles.

Tools that Flex Remarkable as it may seem, Flexcut Tools offers carving tools that assume different shapes. Available in a variety of profiles, Flexcut Tools start out as thin strips of high carbon spring steel. The shank is tempered for resiliency while the cutting edge is tempered to hold an edge. A dual hardness allows the tool to bend, so a gouge, for example, can handle a flat surface or flex enough to work in a recess. One tool performs the function of two or more carving tools.

In appearance, the tools are markedly different from Ashley Isles, pfeil® Swiss Made and other brands. Each tool is oxidized to resist rust. The result is a black surface on the blade. And while most manufacturers offer the traditional round but stubby handle for their palm tools, Flexcut’s are curved and slightly flattened. The design keeps the force of the push stroke in the heel of the palm, so you don’t need to tightly grip the handle.

I find Flexcut Tools on many carvers’ workbenches and in their travel kits and have used them myself. In fact, when I introduced my wife to carving, I had her start with Flexcut palm tools.

Skew Gouges and Hooked Skews

Swiss Made, Henry Taylor Tools and Flexcut offer skew gouges. When situations arise that have you working across the grain, or dealing with areas where the pattern overlays a lot of changes in grain direction, or when you are working in tight nooks and crannies, a skew gouge may be the one tool to do get the job done.

Fred Cogelow, an American carver renowned for his realistic high-relief sculptures, designed a line of specialty tools for Henry Taylor that includes gouges both skewed and slightly bent at their ends. So that these tools can be as versatile as possible, the gouges are available in pairs: one left-handed and one right-handed. Much to their credit, Fred’s gouges offer both slicing and scooping actions. You will probably use your conventional tools a lot more often, but giving these a try will open the door to much more versatility in your detailed carvings, especially if you are working in relief or doing ornamental pieces where difficult grain is often encountered.

Ray Gonzalez, a British carver, designed the hooked skew chisel for Ashley Isles. Unlike conventional skew chisels, Ray’s consists of a narrow shaft that ends in a crescent-shaped blade. The curved cutting edge decreases cutting resistance, so it can slice and pare easily. But the “hooks” will get into otherwise inaccessible corners. The cutting angle of the blade is only five degrees, a feature that produces a very fine shaving. Be advised that a caveat accompanies such a low bevel: It can break easily if used to pry wood away.

The innovative feature of the #2 1/2, not found in any other carving tool that comes from a factory, is an inner bevel. Both the inner and outer bevels are set at approximately 20°, but the inner bevel is shorter. The result is a tougher cutting edge. When the gouge is turned upside down, that inside bevel, as short as it is, keeps the cutting edge on track.

Chris recommends that when using the #2 1/2 gouge across the grain, the slicing cut should start toward one corner of the cutting edge. As the blade is pushed, you drift the blade toward its middle, where the shaving is effectively lifted and then released by the time you reach the opposite corner. I’ve tried out these tools and foresee many operations where they will prove indispensable.

More on Bevels and Cutting Edges

I have found carvers put bevels on their tools as low as 15° and as high as 30°. High bevels are especially useful for hardwoods because they allow for a more durable edge. At the same time, however, more energy is required to work the tool through the wood. Lower bevels are suitable for softwoods because a durable edge is not as critical and the thinner edge does not require as much effort to push it through the wood.

One European-trained carver I interviewed argues that when gouges are used with two hands as opposed to being struck with a mallet, a low cutting angle puts the hand gripping the blade too close to the wood. A steep angle, on the other hand, puts that same hand too far above the surface of the project, and carving becomes tiring.

This same carver intentionally puts another bevel on the inside of his gouges, much as Chris Pye’s #2 1/2 finishing gouges offer. Even though the bevel is far slighter than Chris’s—no more than 5°—the tendency for the tool to be pulled into the project is reduced. That inner bevel provides an added margin of control, especially when using the tool in both hands. Still another carver offers an additional reason for a small inside bevel. The second bevel makes the chips curl and split better.

There seems to be a hard and fast rule about a bevel that dictates it be flat. In other words, it must be at a constant angle from front to back. A rounded bevel won’t cut properly because it causes the cutting edge to lift prematurely or it increases the angle, which in turn makes it harder to push the cutting edge through the wood. However, some carvers like to round the heel or back of the bevel to make it easier to lever the tool out of the wood.

Before a tool comes out of the factory, its cutting edge is ground straight across. But when you grind it, that straight edge often gets inadvertently curved. Some carvers argue that a concave hollow cuts poorly because the outside edges are in front, which are impeding the forward thrust of the cutting edge. Others disagree, pointing out that these outside corners clear a path for the middle of the cutting edge. The downside is that you cannot get the tool into a square corner. A convex edge can be desirable because the corners won’t catch and you will actually get a smoother cut than a straight-across blade can offer. Some carvers recommend that the convex curve match the sweep, but others prefer a bull nose or very rounded shape.

The Lure of the Old

As an antique junkie who frequents shops and shows selling the old and collectible, I do come across tools that were once held in the hands of master carvers. Two name brands turn up with some regularity. Buck Brothers, an American company that still makes tools, is one of them; Addis is the other.

An English firm, Addis dominated the carving tool scene from the middle of the 19th century into the early part of the 20th. Originally two brothers with initials J.B. and S.J. formed a partnership in London. Most of the Addis tools you will find are labeled J.B. Addis & Sons. Although the company has long closed up shop, the tools that remain are still highly regarded by tool collectors and carvers in need of superior tools that offer profiles and sizes that may be unavailable from today’s tool manufacturers.

Unfortunately, old tools come with caveats. Tools with straight blades function best when the handle and blade are in perfect alignment. This guarantees that the full force of the thrust is going to the cutting edge. I’ve found old tools with bent tangs. But since most of these old tools were not hardened all the way through, you can straighten them with a few blows of a hammer. Or, a new handle may have to be fitted, and that can take some practice if the starter hole in the handle isn’t perfectly aligned. Sometimes cracks show up on the blade of an antique tool. If you end up buying it, the best place for it is on a wall where other antique tools are displayed.

The biggest problem with antique tools is not necessarily how they were cared for but instead how much sharpening they underwent. Cutting tools are typically tempered on their ends. If a significant part of the blade has been ground away and consequently shortened, the tool probably won’t keep its edge. Heat treatment becomes necessary, and most carvers find re-tempering too daunting.

A Starter Set

Early records seem to confirm that Medieval carvers had as many as 3000 carving tools for dealing with every imaginable cut. I know two contemporary carvers who do ornamental and architectural as well as sculptural work. They own between 200 and 300 tools each. However, the number of tools they use on a regular basis is probably less than two dozen.

How many standard chisels, gouges, and V-tools do you need to start out? Pfeil® Swiss Made offers over 350 different tools, far in excess of what will get you launched as a woodcarver. While a few will help remove wood, most every conceivable flat and contour, it’s impossible to predict how wide your first tools should be. Size of the project will dictate the scale, but carvings change dimensions on a regular basis. I suggest you look for tools between 1/2″ and 3/4″ (1.3cm and (1.9cm) if your projects are larger than caricature size.

Here’s a suggested list for a starter set based on recommendations I gathered in the field: chisel, skew chisel, #3, #5, #8, #11, 60° V-tool. I also advise that you purchase a set of palm tools. Exceptional sets are offered by Cape Forge, Diobsud, Sorby, pfeil®, Ashley Isles, Two Cherries, Flexcut, Stubai, U.J. Ramelson and others. I’m reluctant to recommend one brand over another. I do suggest that you evaluate the sizes offered. Sets include as few as six tools and as many as 12.

If you can build a comfort zone with these sets, then it’s time to branch out and get a feel for additional profiles and shapes. To purchase palm tools and full-size chisels, gouges, and V-tools, check the ads in WCI. Nearly every retailer that handles carving accessories offers the above-mentioned brands and others.

The post All About Chisels, Gouges, and V-Tools Part 2 appeared first on Woodcarving Illustrated.

Off the bat, I found the tool comfortable to hold and surprisingly light. I installed the high-speed steel cutter that came with the kit and tried it out on a piece of scrap at high speed. Surprisingly, it removed more wood in a short period of time than I would have expected. I had to press harder than I expected to bog the motor down. It also did well with a sanding drum. It didn’t do so well with a carbide point bit; it bogged down and the motor shut off with just a little pressure. But I don’t think the tool is intended to remove large amounts of wood quickly.

The addition of a ring of LED lights at the tip really does add light exactly where you need it. The push-button power button is in a good location, and the push-button speed control is easier to adjust than the dial-style control on the larger Dremel tools.

I see this tool useful for quick clean ups and sanding, especially where you can take the project outside to keep the fine dust out of your lungs. It will never replace bigger rotary tools, but the ability to grab it from its charging dock, smooth a few areas, and return it to the dock makes it a useful tool for any shop. It can carve, sand, polish, grind, and cut like any other rotary tool without fussing with a cord. I think it’s a handy addition to any shop.

The MSRP for the Dremel Micro is $87.99. Visit www.Dremel.com to find a retailer.

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Ideas to carve, paint, and decorate your toolbox

By Rev. Jim Paulson

You can pick any font to personalize or monogram your tool box (or any other box for that matter). I like the look of  a classic Old English font. You can easily find fonts for free online, but to save you some time, I’ve attached an image file of the full alphabet. Enlarge or reduce the size of the font to match your box or other carving.

CLICK HERE to download the Old English Alphabet Pattern.

CLICK HERE to download Shop Notes and Drawings.

Materials:
• Wooden toolbox
• Basswood, 3/4″ (19mm) thick: at least 4 pieces sized to match top of wooden box
• Pine molding, at least 1 1/2″ (38mm) wide: to run around three sides of box lid
• Wood glue
• Fine-cut finish nails: 6d (2″, or 51mm)
• Offset strap hinges, black finish: 1 pair 8″ to 11″ (203mm to 279mm)
• Chest lock
• Gel stain, such as Minwax: cherry
• Spray finish, such as Minwax satin polyurethane
• Sandpaper: 220 grit
• Milk paint: buttermilk, pitch black, soldier blue
• ScotchBrite pad: green
• Boiled linseed oil
• Paraffin wax
• Graphite paper
• Disposable brushes: 1″ (25mm), 2″ (51mm)
• Painter’s tape
• Jute rope, 1/2″ (13mm) dia.: 48″ (1,219mm)
• Round-head wood screws, #6: 8 each 1 1/4″ (32mm) long

Tools:
• Pipe clamps
• Chip-carving knives, such as Wayne Barton premium
• Router with 3/4″ (19mm) ogee bit (optional)
• Hammer
• Drill with bits: 1/8″ (3mm)-dia. twist, 5/8″ (16mm)-dia. spade
• Screw drivers: slotted
• Portable thickness planer or hand plane

Check out more great articles from Woodcarving Illustrated Winter/Spring 2016 (Issue 74).

The post Personalizing Your Tool Box appeared first on Woodcarving Illustrated.

Whenever you are working with sharp tools, it is important to be organized. I start by color coding my tool handles. For example, I paint a purple stripe on all of my #5 gouges. Then I woodburn my initials or a symbol (I use a sun) on the tool. This is especially important when you are attending a carving seminar or carving with friends. It’s easy to get your tools mixed up with someone else’s. Protect the edges of your tools with clear flexible hose, such as aquarium tubing.

Finally, I always remember something Peter Ortel told me: when carving, lay your tools out on the workbench with the cutting edge pointed toward you so you can quickly determine the sweep and width. Just make sure they are far enough away so you won’t stab yourself while carving or reaching for a different tool.

Joe Savarese
Brooklyn, N.Y. 

Protecting Sharp Tools

Loose knives in my carving kit always made me nervous. I was afraid I would nick the edge transporting them or cut myself reaching into the bag to get another tool. Then I found toothbrush holders. The toothbrush holders are perfect for protecting the cutting edge of the tools. My knives and smaller gouges fit securely into the holders.

Jeff LaCourse
Greenfield, N.H

Cutting Blanks on a Band Saw

I use a band saw to rough out carving blanks. I trace the front and side views onto the blank and cut one view. Then I use hot-melt glue to reattach the waste wood and cut the other view. Pry apart the hot glue joint with a wood chisel to free the blank.

From Frank Orthmeyer
Sioux Falls, S.D.

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It’s easy to make a rack for carving tools out of 1″-diameter PVC pipe. First, choose the length to make the rack. Take into account the size of your work space and avoid making the length longer than 24″ because the pipe can sag. Drill 1/2″ to 3/4″-diameter holes every 2″. Add a 90° elbow to both ends. Cut two short lengths of pipe for the legs. Cut two T-sections in half the long way and insert the legs into these bases. You can control the size of the tools the rack will accommodate by the length of the legs. If you need a more stable rack for heavier tools, leave the T-sections uncut and attach short lengths of pipe to the T-sections for a wider base. In addition to being inexpensive and easy to construct, the rack is portable and allows you to see the tips of the tool to ensure you grab the correct one each time.

Roy Smith
Clovis, Calif.

Auxiliary Table

When cutting small pieces on a band saw, you often risk dropping or damaging the small pieces because of the gap in the table around the blade. To prevent this, I add a simple auxiliary table made from a piece of thin plywood. Cut the plywood the same size as your band saw table and then cut in to the center of the plywood with the band saw. Back the blade slightly out of the cut and clamp the plywood to the table.

From H. Harlan Baker
Mt. Morris, Ill.

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