Getting Started

Brace your middle finger on the side of the basswood block to sketch a centerline all the way around the top, front, bottom, and back faces. Then sketch on the main details from the front view pattern: the overall shape and the positioning of the face and feet.

Step 1

Slice around the front view. Start by slicing to the sides of the head. Position your knife near the top of the wings and slice upward. Continue this on both sides, angling each cut until all waste around the front view pattern is gone. Repeat toward the bottom.

Step 2

Slice around the side view. Sketch the side view pattern onto the wood. To help keep things even, sketch this pattern on the opposite side as well, making sure to make it face the same way. Then, similar to the previous step, slice all the way around it. Stop-cut above the feet and to separate the beak from the body to form V-shaped cuts across these areas.

Step 3

Round off the corners. Using slices as bold as you are comfortable with, remove the corners all the way around the owl. You will have to slice up from about halfway to round the head and down from a similar point to round the bottom half.

Step 4

Separate the feet from the body. Deepen the separation between feet and body and round the corners of this protruding shelf with stop cuts that angle slightly downward toward each end. At this point, you can still leave the feet thicker than they will be at the end for added strength during the carving process.

Step 5

Define the face. Use the tip of your knife to incise a curved line from the corners of where the eyes will be down to the tip of the beak on both sides. Then remove some wood underneath those incisions by slicing upward to meet them. If the face appears completely flat from the side, round its edges a bit.

Step 6

Bring out the beak. Make a series of small stop cuts to separate the beak from the surrounding feathers. After this step, the outline of the beak will appear diamond-shaped.

Step 7

Separate the feet from each other. Stop-cut between the feet, slicing across the grain and removing the V-shaped section that results. Then take off the inner corners of the feet with another two pairs of stop cuts.

Step 8

Suggest the wings. Slice straight into the wood from the side of the owl with nearly the full edge of your knife. Then remove a V-shaped section of wood between the wing and belly by slicing in to meet that cut from the belly. Repeat on the other side.

Step 9

Cut between the ear tufts. Make two stop cuts on top of the head to denote the inward faces of the ear tufts. Then slice across the end grain to remove the wood between them.

Step 10

Shape the sides of the ear tufts. To complete the look of the ear tufts, make the sides of them concave. Slice in from the side of the top of the head and curve the knife back out of the wood to achieve this. Repeat on both sides. Perform similar cuts in front of the ear tufts to make them stand straight up.

 Step 11

Ruffle the belly feathers. Texture the belly with some small and systematic sweeping cuts. I orchestrated these cuts to all have about the same angle, slanted down toward the center, on both sides so that they are placed somewhat symmetrical overall. This angle also helps these cuts stay clean and not tear out the grain.

 Step 12

Add the finishing touches. Work around the owl and make final adjustments to remove unwanted bumps and ensure everything is in order. Some owls have a clear distinction between the head and the body, and I represented that here via a V-shaped cut that arcs under the face. Brush with an oil finish and let dry.

MATERIALS

• Basswood: 2-1/2″ (6.4cm) thick: 1-1/4″ (3.2cm) square

• Pencil

• Finish, such as Danish oil

TOOLS

• Whittling knife

• Paintbrush

James Ray Miller started carving at the age of 11 after being inspired by family members who dabbled in woodworking. A software developer by trade, James enjoys the creative challenge of simplifying and abstracting forms in unique ways. For more of his work, visit Facebook.com/jrm.woodcarving.

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Carve the scarecrow first and then drill a 1/8″-dia. hole for the stem. Carve the stem from a piece of scrap wood and glue it into the hole.

Thin the paints to the consistency of a stain. For darker paint colors, apply two coats of paint. Let the paint dry and then use undiluted black for the pumpkin’s face. You can add a plaid pattern to the shirt using an ultra-fine black Sharpie. After the paint dries, apply wax with a toothbrush. Allow the wax to dry for 30 minutes and then buff it with a shoe brush.

MATERIALS:

• Basswood, 3/4″ (19mm) thick: 3″ x 3-1/2″ (7.6cm x 8.9cm)

• Scrap of basswood (pumpkin stem)

• Acrylic paints, such as Apple Barrel: black, brown, cardinal crimson, harvest orange, woodland green; FolkArt: midnight; Ceramcoat: straw

• Wax, such as Minwax dark special

TOOLS:

• Bench knife

• Drill with 1/8″ (3mm)-dia. bit

• Toothbrush

• Shoe brush

• #2 Paintbrush: round

Gerald Smith has been carving since he was a boy.  In the early 1970s, Gerald moved to Colorado Springs, Colo., where he got involved with the Wood Carver’s Museum and started carving more actively. A friend gave Gerald’s business the name of “Santa’s Whiskers” because of Gerald’s beard and the Santas he carves. 

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Carving the Tree

Trace the pattern onto the wood and cut the outline. Taper the boughs on the front and remove any saw marks with a carving knife. Mark the bottom of the nose and the smile lines. Make stop cuts along the lines and carve up to the stop cuts to create a flat surface for the mouth. Carve the slope of the nose and the eye sockets. Then, carve the details. Use a carving knife, micro gouges, and V-tools to carve and texture the face and branches.

Make a stop cut where the trunk joins the tree, and carve back to the stop cut to separate the trunk from the tree. Round the trunk and add the bark texture with the V-tool.

Painting the Tree

Scrub the carving with a toothbrush and dish soap, rinse, and let dry. Paint the tree with thin washes of acrylic paint. When the paint is dry, apply a few light coats of clear Deft or Krylon matte finish and let it dry. 

I use Floyd Rhadigan’s method of antiquing the carving. Mix equal parts of Watco natural finishing wax and Watco dark finishing wax. Apply the mixture to the entire carving with a large round brush. Blot the excess with paper towels and allow it to dry. Then, buff it with clean paper towels. Note: Dispose of the paper towels carefully; the boiled linseed oil in the wax can cause the paper to spontaneously combust. Finish the ornament by adding a screw eye on the top.

Materials

• Basswood, 3/4″ (1.9cm) thick: 2 1/2″ x 3 3/4″ (6.4cm x 9.5cm)

• Acrylic paint: black, blue jay, camel, golden brown, leaf green, sprout, white

• Clear matte finish such as Deft or Krylon 

• Finishing wax such as Watco: natural, dark

• Screw eye

Tools

• Carving knives: bench, detail

• V-tool, 60°: 1/8″ (3mm)

• Micro gouges: 2mm, 3mm, and 5mm

• #8 gouge: 1/4″ (6mm)

• Paintbrush: large round

Larry Green started carving in 1970 and has written six woodcarving project books with artist Mike Altman. He has worked part-time in the woodcarving shop at Dollywood Theme Park. Larry is a member of the Southern Highland Craft Guild and was selected as an Indiana Artisan. He teaches a weeklong class at John Campbell Folk School. You can contact him at lgreen@sent.com.

Getting Started

Prepare your soap and center your template. Hold it steady on the soap bar as you outline. Mark out the rough details of the pattern. You will add the eyes, beak, scarf, and stocking cap details near the end of project.

Step 1

Rough out the penguin’s body. Make a stop cut along the outer lines of the pattern, applying gentle pressure to prevent chipout. Be sure your stop cuts are completely vertical! Then cut away excess soap.

Step 2

Carve the stocking cap. Beginning at the top, make a stop cut on the bottom of the stocking cap tassel. Holding your knife at a 45-degree angle, cut along the bottom of the stop cut. This creates a shadow. The broader the angle, the deeper the shadow will be, and the more dimension the carving will have. Cutting at a 65-degree angle also creates a good amount of depth and dimension.

Step 3

Shape the scarf. Make a stop cut, and then a rough-out cut going toward the stop cut. The second cut is very important because it differentiates the levels. I always have my go-by to help me stay on track with the design. As I carve, I rotate my soap—this gives me better control of my tool cuts.

Step 4

Round out the stocking cap. Carve the edge lines of the stocking cap into the sides of the soap. Check the backside of the soap to be sure everything lines up and has balance. Trim the stocking cap tassel back so it looks more centered atop the penguin’s head. Shape the tassel by rounding off any square edges from the rough-out cuts. Periodically, stop to review your carving. Here you see there are still a lot of square edges, so more finessing is needed.

Step 5

Carve the wings. Use the “push-thumb” technique on the penguin’s wing. This part of the carving is delicate because there is undercutting under the wing which takes away some of the foundation the wing stands on. Then cut the wing sides back.

Step 6

Add stocking cap, scarf, and facial details. Use a small gouge to texture the tassel. With the detail knife, detail the rim of the stocking hat and scarf lines. Smooth the penguin’s face with the knife, gently scraping the surface. Shape the beak with light stop cuts. You may have to redo the stop cuts to create more depth where you feel it’s needed. Make sure to have your tools clean and sharp when carving facial details.

Step 7

Smooth over the entire carving. Smooth the soap surface with the wet-sanding technique. Let dry.

Step 8

Carve out the penguin’s home. Center the penguin on top of the second bar and outline around the bottom. Then make a stop cut along the outline and use your chisel to chisel out soap to make a hole for him to fit snugly in.

MATERIALS

• Ivory soap, 2 each 

• Water

• Acrylic paints: assorted

TOOLS

• Knife: detail

• Marking tool of choice

• Gouge: small

• Chisel of choice

• Paintbrushes: assorted

Janet Bolyard has been woodcarving since age 18 and has turned her hobby into a profession. She works from her studio in Gilbert, Ariz., creating a wide selection of carvings. She is an instructor at the Southwest School of Woodworking in Phoenix and teaches around the country. Find more of Janet’s work at janetleecarving.com.

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