Think Sharp

Behind the blade with Flexcut’s product manager Matt Retkowski
By Dorissa Bolinski

Peace, Man

Follow this guy to the biggest festival of the summer

By Bruce Ankeny

Classic Gnome

Walk in the enchanted forest with this friendly little character

By Mehmet Berat Tas

Magical Seahorse

Carve an elegant decoration that’s sure to please any fan of the open sea

By Birce Keser

Wacky Blade Cover

This funny tool guard will protect your favorite knife

By Mark Akers

Hummingbird and Crane

Soar above the clouds with miniature birds in flight

By Steve Tomashek

Crop Circles Frame

Use a burr meant for roughing out to carve a textured design

By Kristin LeVier

Realistic Atlantic Salmon

Reel in a trophy fish that looks like the real thing

By Charles Weiss

Celtic Chip Carving

Create a wall hanging or decorate a box lid with an ancient design

By Blandine Champagneur

Salty Sea Captain

Embark on a high seas adventure with a friendly seafaring gent

By Jonathan Creason

Happy Hopper

This charming fishing frog is ready to star in his own fairy tale

By Alice Wang

Diamond Rosettes

Take chip carving to the next level with four unique geometric designs

By Nikolas Rocha

Walking Farmer

Get a groove on and put some movement into your carvings

By Blake Lunsford

Sunflower Starburst

Catch the summer sun in a medium relief carving that exudes happiness

By Dustin Strenke

Easy Dolphin

Whittle a sweet, pocket-sized sea mammal

By Tom Hindes

Mustache Man

Curve the centerline to add interest and a natural flow to carvings

By Dave Dion

Mounting a Carving Directly

To attach a large carving to the arm, use a carver’s screw. Drill a pilot hole into the bottom of the blank and thread the carver’s screw into the hole. Carver’s screws are available from most carving supply stores.

For small carvings, you can use a common hanger bolt in lieu of a carver’s screw. Hanger bolts, which have a machine-thread bolt on one end and a lag screw on the other end, are often sold in the plumbing area of hardware stores. I suggest a 5/16″-dia. by
4″-long (8mm by 102mm) hanger bolt.

To attach the hanger bolt to the blank, drill a 3/16″ (5mm)-dia. pilot hole in the bottom of the carving, and thread the lag part of the bolt into the hole. The hanger bolt should protrude at least 2-3/8″ (60mm) so you can attach the piece to the carving arm.

Twist a carver’s screw or hanger bolt into the bottom of the carving.

Using a Mounting Block or Plug

It can be difficult to use a carver’s screw with some projects, such as relief carvings or figures without bases. To mount carvings like this, I use a carriage bolt attached to a temporary mounting block.

To mount a relief carving, choose a piece of 3/4″ (19mm)-thick wood that is large enough to insert at least four wood screws into the relief carving. Position the screws in areas that will not protrude into the finished carving. Drill and countersink the holes for the screws in the bottom of the mounting block. Drill and counter-bore the hole for the carriage bolt in the center of the top of the mounting block. Drive the carriage bolt through the hole and then screw the mounting block to the relief carving.

For an in-the-round carving that doesn’t have a base, such as a human or animal figure, choose a 3/4″ (19mm)-thick piece of wood big enough for the figure to stand on. Determine where the feet will be located and drill and countersink holes positioned so the screws will go into the feet and legs.

Drill a hole for the carriage bolt in the center of the mounting block. To ensure the carriage bolt sits below the surface of the mounting block, counter-bore a shallow hole the same size as the head of the carriage bolt in the top of the mounting block and drive the carriage bolt down through the hole. Use wood screws to attach the carving to the mounting block.

For hollow items, like cane heads, make a plug that fits into the blank. Drill a pilot hole in the plug and insert the lag end of a hanger bolt into the hole. Use wood screws to attach the plug to the blank. When the carving is finished, back out the wood screws to free the carving from the plug.

Use a mounting block to attach a relief carving to a carving arm.

Use a mounting block for an in-the-round carving that does not have  a base.

When you can’t drill into the blank, create a plug. 

Choosing a Handle

Once you have attached a carver’s screw or bolt to the blank or mounting block, you can use either a commercial or a shop-made handle to mount the blank to the carving arm.

To use a commercial handle, place a 5/16″ (8mm)-dia. fender washer onto the carver’s screw or bolt and then add a 5/16″-16 five-star knob.

To make a handle, sketch the shape as pictured. Drill a 1/2″ (13mm)- dia. by 5/8″ (16mm) deep hole in the inner curve and then drill a 5/16″ (8mm) hole all the way through. Cut around the perimeter of the handle. Install a 5/16″-16 threaded insert into the larger hole. Thread a fender washer onto the carver’s screw or bolt and loosely twist on your shop-made handle.

Buy a handle or make your own. 

Using a Carving Arm

Keep the handle loose enough that you can slide the bolt through the slot in the carving arm. Make sure the fender washer is against the handle and tighten until the carving is held securely.

To rotate the carving as you work, simply loosen the handle or knob. Be sure to re-tighten the handle before working again.

Use a handle to attach the mounting block to the carving arm.

LaVerne “Sid” Sidler was a woodworker for more than 50 years and an award-winning woodcarver for over 40 years.

Getting Started

Prep the blanks. I carved this caricature in three separate pieces—the torso, the legs, and the treat bag—to make it easier to sculpt. Transfer the patterns to the blanks. Prior to cutting the torso, drill a 1” (2.5cm)-dia. flat-bottom hole 1-5/8” (4.1cm) deep to form the cavity for the leg section. Note: I used a Forstner bit, but a spade bit would do just as well. Cut the torso on a band saw; cut the other two pieces on a scroll saw. Save the offcuts, as you’ll use them to make the treats later.

Carving

Round over the head and corners of the torso area with the rough out knife. Use a pencil or pen to mark the main sheet folds and the location of the treat bag. Using the gouges and V-tool of your choice, create the fabric folds, keeping them random as they would be in reality. Keep in mind that the bottom of the sheet is not level, and some of the inside of the sheet will be exposed in the finished project. Using the knife and a gouge of your choice, create the indentation for the treat bag, and rough out the bulges for the hands holding it.

With the knife, thin down the edges of the sheet to create the look of delicacy. Add the eyeholes in the sheet; I used a drill to make two 1/4” (6mm) holes around 1/8” (3mm) deep. Refine the sheet’s shape; when you’re happy with the overall look, sand the surface to 220-grit.

Painting and Finishing

I painted the pieces before gluing them together, but you could also glue and then paint. For the sheet section, paint the black eyes first. Once dry, paint the sheet white, inside and out. With a toothpick, add a drop of white paint in the center of each eye. Paint the treat bag with coffee latte, and paint the candy with your preferred colors. Then paint the leg section; I painted the sneakers with gray storm, using antique white for the trim and laces. I painted the socks with yellow ochre and forest green stripes, and the shorts with denim blue. Once all the paint is dry, glue and clamp the pieces together (including the candy in the bag) and finish with a few coats of a clear spray lacquer.

Materials

• Basswood, 2-3/4” (7cm) square: ghost torso, 5” (12.7cm) long

• Basswood, 1-1/2” (3.8cm) thick: legs, 1-3/4” x 2-1/2” (4.5cm x 6.4cm)

• Basswood, 3/4” (1.9cm) thick: treat bag, 1” x 1-1/2” (2.5cm x 3.8cm)

• Pen or pencil

• Wood glue

• Acrylic paints, such as Americana: coffee bean, forest green, grey storm, spiced pumpkin; such as Ceramcoat: antique white, black, denim blue, tompte red, white; such as Folk Art: coffee latte, yellow ochre

• Clear spray lacquer: satin or semi-gloss

Tools

• Saws: band or scroll

• Drill press or hand drill

• Knives: rough out, detail

• Gouges: assorted

• #11 veiner: 1/4″ (6mm)

• V-tool: 70°

• Clamps

• Paintbrushes: assorted

Tom Mellott of Colorado Springs, Colo., remembers carving a hippo from Ivory soap as a Cub Scout in the late 1940s. He also carved neckerchief slides as a Boy Scout. After retiring from a career in engineering, Tom studied and worked part-time as a cooper (barrel maker) at a colonial village for 12 years. A past member of the Bloody Thumbs Carving Club in Roaring Springs, Pa., he’s currently a member of the Pikes Peak Whittlers and the First Lutheran Carving Club. Shoot him an email at malcath361@gmail.com.

Getting Started

While a birch burl can be difficult to carve, it would be the most durable and crack-resistant material for a cup. Because burls are hard to find, I carve my cups from regular birch. Softer varieties of maple, as well as alder, willow, or even tulip poplar, will also work. Make sure that the piece you choose is from one side of the center of a log. Do not have any pith (the very center of the tree) in the blank, or the cup will crack. Orient the blank so the bottom of the cup is toward the center of the log. I usually use green wood for this and keep the blank in a plastic bag between carving sessions to keep it from drying out until I finish carving. Then, I keep the cup in a paper bag to allow it to dry slowly. Using this technique, I have never had a cup crack.

Trace the pattern onto the blank and rough out the cup. I roughed out this blank on a band saw, but I have also roughed out several with an axe and bush saw. Then, draw a centerline on the blank. Sketch the inside hollow of the cup. Note that this project can be carved with a pocketknife, but using additional tools (if available) makes it easier.

Roughing Out The Shape

Step 1 

Hollow the inside of the cup. You can use a variety of tools to hollow the inside of the cup. While a pocketknife will work, a bent knife is easier. To speed up the hollowing, use a drill with a Forstner bit or use a variety of straight and bent gouges.

Shape the outside of the cup. Sketch the shape onto the outside and remove the excess wood with a knife or gouge. I turn the cup over and carve down against a firm solid surface (not your leg).

Refining the Project

Step 3

Refine the cup. Smooth the inside of the rim with a knife to make it comfortable for your lips. Then, smooth and flatten the bottom to make sure the cup doesn’t tip when you set it down.

Rough out the handle. Sketch the handle shape onto the blank. Then, rough it out with a knife.

Refine the handle. Carve a small groove on the top of the handle for your thumb. Test the grip to make sure it’s comfortable as you hold it, and adjust it as needed.

Finish carving the rim. Smooth the underside of the lip, and angle it slightly to create a comfortable surface for your lower lip. Then, round the top to make it comfortable for your top lip.

Add the details. I carved a small groove around the bottom to dress up the cup a bit. I also drilled a hole in the handle for a hanging cord. But you could also let the wood dry thoroughly (as described above), and then make it an ongoing project to decorate the cup on the trail. Just be sure to sign and date it!

Finishing the Wooden Cup

I’ve finished several wooden utensils and cups by boiling them in beeswax (outside on a camp stove). None of the objects I have treated this way have ever cracked, even when used with extremely hot fluids. You could also saturate the cup with flax seed oil, mineral oil, or walnut oil, which are all food-grade oils and will not turn rancid like many vegetable oils.
For decorative cups, use your choice of finish.

MATERIALS

• Birch, 2 1/2″ (64mm) thick: 3 1/2″ x 6″ (8.9cm x 15.2cm)

• Finish, such as beeswax, flax seed oil, mineral oil, or walnut oil

TOOLS

• Band saw or axe and bush saw

• Drill with Forstner bit (optional)

• Knives: carving, hooked

• Gouges (optional): assorted deep and shallow, short bent

• Camp stove (optional)

Rick Wiebe lives in Westbank, B.C., Canada, with his wife of 45 years. He spends the colder months in the warmer parts of the U.S. He has been carving for 60 years and has spread his enthusiasm to children and adults in classes and demonstrations in many venues. He is the author of Adventures in Fan Carving and Whittling Flutes and Whistles, as well as several magazine articles. 

Getting Started

Cut the stock to length using the parts list and diagrams as guides. I use a miter saw. Several pieces have angles cut on the ends; use the drawings to make sure you angle the ends properly. Drill the holes marked on the drawings. Then, apply a waterproofing finish to the pieces. This allows you to leave the main structure of the frame outside; I suggest you bring the press screw and any other metal hardware inside.

To screw in hanger bolts, tighten two nuts against each other. Use a wrench on the top nut to turn the hanger bolt into the table.

Assembling the Frame

Use the assembly drawings as guides to assemble the stand. Drive the table bolts (P) about 3 1/2″ (89mm) into the edge of the press screw mount (H) and clamping tables (I, J) (see Tip). To make it easy to drive the screws at an angle through the table brace (C) into the back table (G), drill pilot holes slightly smaller than the diameter of the screws. Follow the manufacturer’s instructions to mount the press screw.

Using the Frame

Secure the frame to the ground using heavy-duty shepherd-crook-shaped tent stakes. To use the press screw, insert the table screw through the hole of your choice in the upright and lock it in place with the wing nut.  Use the size of the carving to determine where to position the clamping table, and lock it in place with the wing nut. Then, secure the carving with the press screw. Use the other clamping table with a hanger bolt or carving screw to secure an in-the-round carving. Use the back table to secure in-the-round carvings or relief carvings using the press screw mounted on the other side of the upright or with ordinary clamps.

MATERIALS

• Construction 2x4s: 2 each, 8′ (2.44m) long

• Construction 2x6s: 2 each, 8′ (2.44m) long

• Construction 2×10: 8′ (2.44m) long

• Shoulder vise screw: 9″ (22.9cm) long (see Special Sources below)

• Hanger bolts, 3/8″ (10mm) dia.: 3 each, 6″ (15.2cm) long

• Wing nuts, 3/8″ (10mm) dia.: 3 each, with 3″ (76mm) wingspan

• Washers, 3/8″ (10mm) inside dia.: 3 each, 1 1/2″ (38mm) outer dia.

• Exterior deck screws: 1 1/2″ (38mm) long, 2 1/2″ (64mm) long, 3″ (76mm) long

• Shepherd-crook-shaped tent stakes: 2 each

TOOLS

• Saws: miter, circular

• Hand drill with bits: 5/16″ (8mm), 3/8″ (10mm), 7/8″ (22mm) dia.

• Level

SPECIAL SOURCES

An 11 1/2″ (29.2cm)-long veneer press clamp (part number D2893) is available for $16.50 from Grizzly Industrial, grizzly.com, and other online retailers.

Hanger bolts and wing nuts are available for $1.93 each (bolts) and $6.88 each (wing nuts) from MSC, MSCDirect.com.

Ralph Beam is a retired high school earth science teacher who lives in Mishawaka, Ind., with his wife Kay.
He immersed himself in carving after retiring and joined the Council Oaks Woodcarvers Club in South Bend, Ind.
His carving focus is wood spirits.

Getting Started

Transfer the patterns for the bird and base to the blanks. Use a piece of carbon or graphite paper. Cut the bird side view first using a band saw. Tape the pieces back together with clear packaging tape, and then cut out the top view. Separate and discard the scrap pieces from the cutout. Then cut the base.

Sketch a centerline starting at the beak, moving up and over the crown of the head to the tip of the tail. Draw the main landmarks, such as the head, beak, wings, and feet. Refer to the pattern, using a measuring scale or calipers for accuracy.

Step 1

Rough-shape the bird. Using a cone-shaped carbide-point bit, follow the lines you just made, thinning the neck and back areas to distinguish the wings and head from the torso. Switch to a tapered ruby bit. Round the head, moving from the beak to the crown. The crown should be noticeably smaller in circumference than the neck area. Make a small valley on either side of the head where the eyes will go, moving back from the brows to the nape of the neck until the valleys almost meet. Thin and round the tail.

Step 2

Separate the wing parts. Use the same bit. Contour the head, cheeks, and beak. Add round wells for the eyes. Sand the entire bird with 220-grit sandpaper or 240-grit Abranet®.

Step 3

Draw feathers onto the wing parts and tail. Refer to the pattern. Then lay a cylinder-shaped blue ceramic stone on its side and cut individual feathers into each wing and on the top and bottom of the tail.

Step 4

Fill out the feather texture. Lay a tapered cylinder-shaped white ceramic stone on its side and carve individual feathers on the cheeks, breast area, sides, and back of the bird. With the same stone, round each feather, and then carve the barbs. Add feather splits.

Step 5

Draw and carve the individual head feathers. Use a narrow, pointed ruby bit. Start at the beak and increase the feather size as you work toward the back.

Step 6

Round off and break the sharp corners of each feather. Use a sanding stick with a band of 220-grit sandpaper. Texture the head feathers with the tapered cylinder-shaped white ceramic stone.

Step 7

Burn the wing and tail feather texture. Use a bent shader tip in a woodburner. Don’t forget to add in the feather quills during this step.

Step 8

Burn in the barbs. Use the point of a skew tip. Add feather splits where desired. Note: To keep the burner tip clean and sharp, lay a piece of sandpaper on a flat surface. Then lay the burner tip at a sharp angle and run it across the sandpaper to remove any grit or grime.

Step 9

Set in the eyes. Make sure that the eye sockets are big enough to accommodate 3/16″ (5mm)-dia. brown eyes. The eyes should sit far enough into the socket that when looking at the bird’s head from above, you see just a bit of each one. Using a dental tool, place some epoxy putty in the eye sockets to hold the eyes in place. Then form a small ribbon of epoxy and place it around the eyes to form the eye rings. Work the epoxy around the eyes and blend it into the wood as feathers.

Step 10

Shape the feet. Note: Wear eye protection when performing this step. Cut six pieces of 1/32″ (1mm)-dia. brass rod into 1″ (2.5cm) lengths. Bend a radius on one end of each piece to form a nail shape, and then pound the nail flat. Hold the straight end of the brass rod with small locking pliers. Grind the nail to shape using a ball-shaped fluted carbide cutter bit. Bend the toes to shape after grinding.

Step 11

Attach the feet. Drill six holes 1/16″ (2mm) in diameter by 9/32″ (7mm) deep in the bottom of the bird; refer to the pattern. Cut 1/16″ (2mm)-deep grooves from the outer body to the holes. Place a small amount of cyanoacrylate (CA) glue on the toe shafts and insert the toes into the holes. Drill a 3/16″ (5mm)-deep hole in the bottom center of the bird to accommodate a 1/8″ (3mm)-dia. wood dowel.

Step 12

Draw the bark lines. Sketch a circle 1/4″ (6mm) in from the edge. Add spokes at regular intervals going out toward the edge, and then carve along these lines using the tapered ruby bit. Make random vertical cuts all around the outside of the base to simulate bark texture. Drill a 3/16″ (5mm)-deep hole in the center of the base for the wood dowel.

Step 13

Define the rings. Cut around the inside and outside of each bark section with the pointed ruby bit. Add growth rings fanning out from the central dowel hole. Use the same bit.

Step 14

Shape the bark pieces. Break sharp corners and remove rough edges in and around each bark section with a piece of 240-grit Abranet or 220-grit sandpaper. Slightly round the top of each bark section.

Step 15

Add more bark details. Burnish the sections of bark using a ball stylus. The bark should look rough and bumpy. Then glue the dowel in place.

Step 16

Spray the bird and base with clear satin finish. The project will be easier to finish if mounted on a paint stick. Paint the bird, referring often to the Paint Notes on page X. (I use a #6 round brush to apply base coats and a 1/8″ (3mm) angular shading brush for drybrushing and detailing.) Once done, shade all feathers and feather splits by adding just a slight touch of black to the basecoat colors and apply around the bottom of each feather. Scrape the excess paint from the glass eyes with a knife. Do not use sandpaper. Let the paint dry, and then attach the bird to the dowel with cyanoacrylate (CA) glue.

Paint Notes

Cap, bib, beak: Mars black

Breast, cheeks, rump, highlights to feather-edges and toes: titanium white

Side flanks: raw sienna, titanium white (blend into the white areas of the breast and rump with a watery brush)

Back and shoulder area: raw umber, ultramarine blue, titanium white (mix to a brownish grey)

Top of wings, tail: burnt umber, Payne’s gray, ultramarine blue, titanium white (mix to a dark grey)

Toes: burnt umber, Payne’s gray, small amount of titanium white

Base (first coat): yellow oxide, titanium white

Base (second coat): watered-down Payne’s gray and burnt umber (use to darken growth rings and cracks)

Base highlights: drybrush titanium white

Underside of tail and wings: neutral gray

MATERIALS

• Tupelo, 1 3/4″ (4.4cm) thick: 1 3/4″ x 3 1/4″ (4.4cm x 8.3cm)

• Tupelo, 1/2″ (1.3cm) thick: 2 1/2″ (6.4cm) square

• Wood dowel: 1/8″ (3mm)-dia., 5/16″ (8mm) long

• Glass eyes: two, 5mm-dia. brown

• Brass rod: 1/32″ (1mm)-dia., 6″ (15.2cm) long

• Carbon or graphite paper

• Epoxy putty

• Finish: clear satin, such as Deft

• Acrylic paint (see Paint Notes above)

• Glue: cyanoacrylate (CA)

• Sandpaper: 220-grit or 240-grit Abranet

• Tape: clear packaging

TOOLS

• Drill with bits: assorted small

• Knife (optional)

• Band saw

• Graphite pencil

• Measuring scale or calipers

• Rotary tool

• Ruby bits: tapered, pointed

• Blue ceramic stone: cylinder

• Fluted carbide cutter: ball-shaped

• Carbide-point bit: cone-shaped

• White ceramic stone: tapered cylinder

• Stick with 220-grit sandpaper band

• Woodburner with nibs: skew, bent shader

• Ball stylus

• Locking pliers

• Dental tool

• Paintbrushes: #6 round, 1/8″ (3mm) angular shader

Butch Clark lives in rural Darke County, Ohio, with his wife, Janie. He began carving in 1992, specializing in realistic songbirds, and now teaches classes on songbirds and their habitat. Butch is a member and past president of the “Brukner Nature Carvers” woodcarving club in Troy, Ohio. He has won numerous awards at woodcarving shows throughout the Midwest and East Coast. Contact Butch at butch0547@embarqmail.com.

Getting Started

Sketch the top and side pattern views on the block with a pencil, or photocopy the patterns and attach them with repositionable spray adhesive. Cut the top view on a scroll saw, and then turn the piece on its side and secure it in a vise. Cut the second view on a band saw. Note: The side pattern view is too thick to cut on a scroll saw, as scroll saws can typically handle wood no more than 2″ (5.1cm) thick.

You’ll notice that this pattern has an arch shape. Straight hair combs and forks are great, but the arch shape sits around the contours of your head instead of just pressing against them. This allows you to wear it all day without getting a headache.

Carving

Shape the comb. Round over all harsh edges on the blank, including between the teeth, using a rotary tool with a fluted cone-shaped carbide cutter. Widen the space between the teeth, removing a little wood at a time and maintaining a soft arc shape between the teeth. Note: When carving spacing between the teeth, remember to round the arc shapes instead of squaring then off.

Refine the comb’s shape. Use the rotary tool with a sanding disc to smooth and round each tooth completely, tapering the teeth to somewhat sharp points with blunted ends. Then smooth the top and sides of the comb. Do this on the front and back. Add ornamentation as desired; I recommend woodburning, painting, or relief carving. I included a bonus relief carving pattern of oak and gingko biloba leaves, available online.

Tip: It’s All About The Teeth

In order for the comb to slide easily through your hair, it helps to round the two outermost teeth so they face slightly inward. The remaining (inner) teeth can be straight.

Finishing

Finish the comb. As this will be used in hair, a natural finish is always better; I recommend raw linseed oil mixed with a drop of lavender essential oil (substitute your favorite scent here). Over time, each comb will pick up the natural body oils of its owner and take on a glow all its own. If you prefer a clear, glossy finish, I recommend using three to four coats of a spray-on clear enamel, buffing with a fine sanding sponge between applications.

Tip: Go To Gift

Hair combs make wonder-ful gifts for anyone with long hair. Do you ever see women using pens or pencils to hold their hair up? They need a handmade hair comb! I like to leave one for my server when I leave an eating establishment.

Materials

• Hardwood, such as Osage orange or walnut, 1 1/2″ (3.8cm) thick: approx. 3″ x 6″ (7.6cm x 15.2cm)

• Pencil

• Spray adhesive: repositionable (optional)

• Sandpaper: assorted grits

• Natural finish, such as raw linseed oil

• Essential oil, such as lavender: 1 drop (optional)

• Clear spray enamel (optional)

• Acrylic paints (optional)

Tools

• Band saw

• Scroll saw

• Rotary tool with bits: sanding disc, fluted cone-shaped carbide cutter

• Sanding sponge

• Vise

• Woodburner (optional)

Keoma McCaffrey lives in Northern California with her husband, Jeff, and three sons, and a passel of animals. She carves most of her work from salvaged local hardwoods. She is a moderator on the Woodcarving Illustrated message board, woodcarvingillustrated.com/forum.

Basic Knife Cuts

Master four foundational carving cuts so you can take on any project

By Staff of Woodcarving Illustrated

Whittling Safety 

These basic rules can help prevent injuries

By Staff of Woodcarving Illustrated

Knife Selection

Follow these tips when selecting a whittling knife

By Staff of Woodcarving Illustrated

The Basics of Sharpening

Properly prepare your knife for safe and enjoyable whittling

By Staff of Woodcarving Illustrated

Comfortable Carving

Practice these common stretches to enjoy carving for long periods of time

By Don Swartz

Teaching Kids to Whittle

For fun and easy learning, heed these simple suggestions

By Mindy Kinsey

Hobby Knife Kits to Try

We tested four popular budget knife sets so you don’t have to

By Kaylee Schofield

Wingin’ It

When life started throwing punches, caricature carver Sara Barraclough started making woodchips 

By Hannah Carroll

Heart-in-a-Cage Whimsey

Complete this sweet take on a classic design in just five steps 

By Lieve Roelants

Easy-Carve Magnets

These simple shapes will add personality and charm to your refrigerator

By Parn Aniwat

Avocado Pit Cat

Repurpose your food waste into an elegant piece of jewelry

By Anna Prikazchikova

Thoughtful Angel

With only basic features, this winged whittle is a beginner’s dream

By Roxana Cristean

Making a Clover Chain

Tackle this take on the traditional carved chain in just eight steps 

By Bjarne Jespersen

Miniature Twig Tree

Once you master this whittling  technique, the possibilities are endless

By Chris Lubkemann

Momma Polar Bear and Cub 

Practice the basic knife cuts as you build a wintry home for this cute duo 

By Tom Hindes

Soap Penguin 

This cool character makes a great beginner project

By Janet Bolyard

[button link=”https://woodcarving.zeeframes.com/?p=21537&preview=true” bg_color=”#ff0000″]Click Here for Step-by-Step Guide[/button]

  Sven the Sailor

Sail the high seas with this flat-plane character

By James Ray Miller

Whittling a Spurtle

Create a versatile kitchen utensil in an afternoon

By John Welch

Leaping Fox

Try your hand at carving miniatures with a sprightly critter

By Steve Tomashek

Bundled-Up Santa Ornament

This rosy-cheeked Claus is great practice for cutting into corners 

By Bob Kozakiewicz

Whittling a Dragon & Egg

A common lighter puts the finishing touches on this fiery creature 

By Annabell Hellwig

One-Knife Spoon

Transform a block of basswood into a Celtic-inspired keepsake

By Dave Western

Sliding Ball-in-Cage

Mastered the basic whimsey? Take it up a notch with this new twist 

By Bart Hopson

Carving a Leaning Figure

Learn how to add movement to carves with this dynamic project 

By Dave Stetson

Scrappy Seagull

Carve a feathered friend (and a perch for him to stand on) from one piece of wood

By Dan Riggott

Laid-Back Guy

Remove wood with confidence on this flat-plane piece 

By Charles Banks

Duck Wheely Toy

Enjoy endless fun with this nostalgic heirloom-to-be 

By Sara Barraclough

Getting Started

Transfer the pattern to the blank. I use a thick board that I slice into thinner blanks. Cut around the outline of the eagle. Then set the rip fence of a band saw and slice the board into 1/4″ (6mm)-thick blanks. Use a carving knife to clean up the perimeter of the eagle.

Carving

Taper the beak back to the line. Remove some wood from the lower part of the beak. Then remove the sharp corners from the neck and back of the head. Draw the eyebrow with a pencil. Carve a V-shape groove on the line, using the carving knife or a V-tool. Remove wood from under the eye and next to the beak. Then remove a sliver of wood from the top corner of the beak to separate it from the rest of the head.

Make a stop cut around the eye. Carve up to the stop cut to separate the eye from the head, and then use the knife to round the eye. Carve the nostril hole. Make a stop cut along the top beak and shave down the lower jaw. Add the feather texture; I use a 1/4″ (6mm) #9 gouge, but you can use the carving knife. Undercut the bottom of the neck slightly and carve notches at the ends of the feathers. Deepen the feather texture with the carving knife or V-tool.

Finishing

Mark the location of the pupil. Use an awl or ice pick. Hold a 5/64″ (1.9mm)-dia. drill bit between your fingers and drill a small hole for the eye bead. Glue the eye bead in place. Glue a magnet or pin to the back, if desired. Paint the eagle, and then seal it with a clear spray in a satin or matte finish.

• Basswood, 3/4″ (1.9cm) thick (makes three):
2″ x 2 1/2″ (5.1cm x 6.4cm)

• Pencil

• Silver bead

• Glue, such as Elmer’s®

• Acrylic paint: sunbeam (eyes), tangerine (beak), vintage        white and cottage white (feathers)

• Finish: clear satin or matte spray

• Pin back or magnet

• Eyelet (optional)

• Band saw

• Carving knife

• #9 palm gouge: 1/4″ (6mm)
(optional)

• V-tool: small (optional)

• Awl or ice pick

• Drill bit: 5/64″ (1.9mm) dia.

Pete Zanauskas lives in Massachusetts and has three daughters. A lover of the outdoors, Pete has been carving since 1995.

Carving

For the log, round the sides and corners with the knife. Draw the holes with a pencil and then add stop cuts along the lines. Carefully carve toward the stop cuts at an angle from the inside of the holes, and then smooth the edges created along the lines with the tip of the knife. Use a 1/4” (6mm) 60° V-tool to carve the texture lines for the bark. For the stump, first shape the block into a cylinder by removing hard corners on each vertical side. Then taper the slope of the sides of the block to make the top smaller than the base, referring to the pattern. Follow the same process as above to carve the holes, opening toward the bottom of the stump, and use the same V-tool to create the bark texture lines.

Painting and Finishing 

Paint the entire log/stump with camel. Do not oil the carvings first and do not water down the paint. Next, paint the holes with a mixture of pure black and a drop or two of vintage white. When dry, cover the entire carving with undiluted antiquing solution and wipe off with a paper towel or soft rag, being careful to leave plenty of antiquing solution in the crevices. Finally, paint the eyes in the holes, using vintage white for the eye whites and pure black for the eyeballs. A toothpick or a small embossing tool tip works well for this part.

• Basswood, 1 3/16″ (3cm) thick: log, 5/8″ x 4″ (1.6cm x 10.2cm)

• Basswood, 1 3/8″ (3.5cm) square: stump, 1 7/16″ (3.7cm) long

• Pencil or pen

• Clean rags

• Acrylic paints, such as FolkArt®: camel, pure black, vintage white 

• Antiquing medium, such as FolkArt®

• Carving knife

• V-tool: 1/4″ (6mm) 60°

• Small toothpick or embossing tool 

David Young has been woodcarving since 2019. He lives in Holt, Michigan with his wife and three kids. You can find more of his work on Instagram where he goes by @dywoodcarving.