Santa’s List

Discover a unique painting technique that provides a stunning depth of color

By Kevin Applegate

Cottonwood Bark Santa

Embrace the uniqueness of this free-form wood and use its flaws to your advantage

By Bob Hershey

White Christmas Bear

This friendly guy is ready to spread some cheer during the holidays

By Dale Green

Lumberjack Santa

Carve an undercover Claus who’s hunting for the perfect Christmas tree

By Jonathan Creason

Arctic Fox

Practice carving movement with this frosty creature on the run

By Wouter de Bruijn

Happy Christmas Tree

Get into the holiday spirit with a cheerful carving that looks like a cartoon character

By Gerard Canavan

Bottle Buddy Santa

Create a gift that keeps on giving with a jolly bottle opener

By Dwayne Gosnell

Santa Pyrography

A few basic woodburning nibs create a jolly and easy holiday wall hanging

By Minisa Robinson

Christmas Elf

Showcase the hard workers of the North Pole as they prepare for Santa’s big night

By Matt Kincade

Caricature Candy Cane

Big posable hands and friendly expressions make these ornaments irresistible

By Pete Zanauskas

Elf Boot Ornament

These festive little ornaments make a charming jingle jangle

By Wade Huggins

Festive Rolling Pins

Cook up a chip-carved holiday cookie press 

By Jan Jenson

Chip-Carved Ornaments

A layer of acrylic paint accentuates a festive design

By Charlene Lynum

Old Fashioned Ornaments

Imitate the look of retro glass decorations with this fun project

By Jim Hiser

Two-in-One Knife Box

Keep carving tools safe and ready to go with this compact geometric case

By Marty Leenhouts

MATERIALS

• Wood, such as basswood or birch ornament rounds

• Graphite transfer paper

• White rubber eraser

• Acrylic paints: assorted

•Finish, such as spray lacquer: semi-gloss

TOOLS

• Micromotor with small bits or small hand gouges

• Woodburner with nibs: small writer, skew

Sandpaper

Use fine-grit sandpaper to polish the brass tip of a soldering iron-type pen back to a bright shiny finish. Use either a small sheet of 220- to 240-grit sandpaper or a foam-core emery board for this task. Once you have removed the carbon, add an extra-fine polish to the face of the brass tip using a silicon-carbide cloth (emery cloth), which is available in very fine grits of 400 and higher. This method will not work for wire tips because they are too delicate to withstand sandpaper cleaning.

Use fine-grade sandpaper or emery cloth to keep a soldering iron-type tool’s solid brass tip bright and clean. The paper used here is 400-grit emery cloth.

Honing Strop

Using a honing strop and aluminum-oxide honing compound is the second way to clean tool tips, and it works for both one-temperature and variable-temperature tips. Place a small amount of the compound on the strop, and then pull the tool tip across the strop’s surface to clear the tip of carbon. This is my favorite cleaning method because it does the least amount of damage to tool tips while restoring them to the bright finish that creates clean burned strokes.

Use a honing board or leather honing strop with an aluminum-oxide compound to clean variable-temperature wire tips and the solid brass tips of the one-temperature tool.

Scraping Tool

The third method can be used with variable-temperature tools. Some manufacturers create a scraping tool that they package with their variable-temperature woodburner. This scraping tool has a sharp metal edge that you can drag the wire tip over to clean off the carbon.

Some variable-temperature tool units include a wire-tip tool scraper for cleaning.

Creating a Simple Carving Station

Easily secure your project for two-handed carving

By Alec LaCasse

The Carver Behind Buffalo Fluffalo

Meet Erin Kraan, the woodcarver who illustrated a bestselling children’s book

By the Staff of Woodcarving Illustrated

The Blind Woodsman

For John Furniss, woodworking is more than just a hobby—it’s a lifeline

By Kaylee Schofield

Uncle Ham the Patriotic Piggy

Spangle this simple caricature with stars and stripes to celebrate the 4th

By Pete Zanauskas

Stylized Badger

Two-toned paint blending brings out the beast in this little den dweller

By Wouter de Bruijn

Celtic Knot Gourd

Metallic pigment over dark paint creates an illusion of antiquity for this folkloric vessel

By Jenn Avery

Soup Spoon

Satisfy your craving for the perfect carving challenge

By Emmet Van Driesche

Squirrel Monkey

Carve, sand, and paint a whimsical creature straight out of the jungle

By Steve Tomashek

Uncle Sam Bottle Stopper

Welcome the summer holidays to your table with this expressive American standby

By W. Todd Martin

Tater’s Last Pitch

Hit it out of the park with this expressive, active, and highly detailed ballplayer

By Wayne Laramore

Floral Plates

Up your chip carving game with these breezy botanical designs

By Charlene Lynum

Little Dustpan Caricature

Practice adding funny details and expressions with this easy project

By Ken Kuhar

Blue-Footed Booby

This comical, dancing marine bird is sure to elicit some grins

By Tom Mellott

Angling for Fun

Reel in the perfect catch with this happy caricature fisherman

By Jim Hiser

Chip Carved Soap Dispenser

Disguise a plain, utilitarian item with an attractive outer casing

By Marty Leenhouts

Chillin’ Penguin!

Carve an unlikely beachgoer with a host of fun accessories

By Eric Owens

Barn and Silo Pyrography

Woodburn a cozy yet challenging farm scene full of shadows and textures

By Carol Wallace

Carving a Sailboat in Shallow Relief

Practice adding depth, texture, and character to a simple nautical scene

By Dustin Strenke

Nautical Birch Box

A secret lies beneath the waves of this charming sea-themed cannister

By L. P. Parslow

Connecticut artist Carol Wallace’s interest in painting and drawing barns began during her early years. She was born and raised in Bucks County, Pa., an area known for its idyllic rural landscape, rustic barns, stone houses, covered bridges, and quiet back roads. Her scenes of Americana are crafted out of a passion for preserving American history and culture. See more of her work at carolwallace.com.

Magic Touch

Cecilia Schiller’s entertaining automata encourage interaction

By Dorissa Bolinski

Stylish Leprechaun Caricature

Practice adding accessories with this swaggering man-about-town

By Mehmet Berat Tas

Buckle Up!

Fun and wearable carving might encourage some fish stories

By Bob Kozakiewicz

Chip Carved Bracelet

Easy bangle makes an impressive statement piece

By Charlene Lynum

It’s Elementary!

Solve the riddle of capturing a caricature’s essence with this ode to Sherlock Holmes

By Kevin Applegate

Butterfly and Flower Pyrography

A clever coloring technique gives life to this organic wood burning

By Shannon Lyon

Desk Clock

Set aside some time to chip carve this striking office accessory

By Marty Leenhouts

Realistic Walleye

Whopping trophy is a fisherman’s dream

By Charles Weiss

Caricature-Chef Bottle Stopper

Add some joie de vivre to your dinners with this quick and fun carve

By W. Todd Martin

Interlocking Heart Relief

Surprise your one-and-only with a piece of Celtic-inspired wall art

By Lisa Laughy

Carving a Leaf Spoon

Finish this nature-inspired utensil with milk paint accents

By Elizabeth Weber

Stylized Shorebird

Smooth avian project puts the “sand” in “sanderling”

By Wouter de Bruijn

Power-Carved Bullfrog

Sculpt a full-size pond dweller so lifelike, you’ll expect him to ribbit

By B. David Duncan

Balancing Stones

Find your Zen with this easy branch whittling project

By L. P. Parslow

My Cat Pearl

This cute calico caricature is ready to pounce

By Floyd Rhadigan

Flying Dragon

Flat-plane carving style lends a scaly look to this beast of lore

By Dave Atkin

Easy Gnome

Build your confidence with a simple face you don’t have to paint

By Birce Keser

Soap Rabbit

Quickly carve a nest of bunnies to brighten any bathroom

By Makiko Sone

Power-Carved Eagle Log

Different colors of wood from the same log make this bird of prey soar

By Jordy Johnson

Making a Hook Knife

Treat your spoon projects to a handmade tool that’s inexpensive to construct

By Doug Stowe

Alphabetical Arboretum Woodcut

From A to Z, these leaves make an attractive handmade print

By Beth Lewis

Getting Started

Pre-sand the wood blanks. Start with a rougher-grit sandpaper, such as 120, and work your way up to 400- or 600-grit. Note: Be sure to wear a respirator and eye protection while sanding. Gently wipe the dust off the wood, or remove it with a can of compressed air.

Photocopy the patterns, trim them to the size of the wood, and then place in position over the surface of each round. Slip a small piece of graphite paper under the pattern (graphite side down), and tape the pattern and graphite paper to the wood round with some blue painter’s tape. Trace over the pattern guidelines with a red ballpoint pen to transfer the image onto the wood. (A red pen can be easier to see on a black-and-white pattern, so you don’t miss any areas.) As you trace, occasionally lift the pattern and paper to make sure the lines are transferring properly.

Remove the patterns and tape. Preheat your woodburning tool. If you’re using a solid-tip burner, use high or maximum heat. If you’re using a wire-tip burner, use a medium heat setting.

Burning

Using a woodburner with a fine writing nib, focus on the basic structure of each snowflake and burn the simple lines. Be sure to use a light, even pressure while “floating” the point across the surface of the wood. It helps to hold the burner at a slight angle for smoother lines. If you hold the burner perfectly vertical, the point is more prone to sinking into the wood instead of floating across the surface.

Add embellishments to each simple design, such as teardrop shapes on the outer edges and dots where points come together. Feel free to get creative!

Hold the burner at an angle.

Adding Paint

If you’d like to add watercolor paint to the coasters, it’s important to pre-treat them with clear gesso. Apply a small amount of clear gesso on each coaster, and then spread it around with a smooth paintbrush. Allow the gesso to dry for at least 24 hours.

Add paint. For this project, I wanted the woodburning to stand out, so I kept the paint on the outer edges of the rounds. Apply water across the surface of each coaster with a smooth paintbrush. While the coaster is still wet, use a small brush to “drop” blue paint along the outer edge and allow the paint to bleed toward the center. Feel free to pick up the coaster and tip it from side to side to help the paint to flow. Keep in mind that the paint will dry lighter than it appears when wet.

Adding Resin

Allow the painted coasters to dry for a few days. Then prop each coaster up on a paper cup, mix a small amount of resin according to the manufacturer’s instructions, and pour it over the top to protect the coasters. Use a wooden stick or gloved fingers to spread the resin on the outer edges for a smooth finish. Note: If using these coasters consistently with hot beverages, opt for a heat-resistant epoxy. Always follow the directions and safety precautions that come with your choice of resin. After the resin has cured, sand any drips from the bottom, and then apply glue-on felt pads to protect counters and other surfaces.

Tip the coaster to allow the paint to bleed toward the center.

TIPS

Trim Your Tree

Instead of coasters, attach a metal screw-eye into the top of each piece, and then tie on a ribbon to create festive ornaments.

No Pressure!

If you press too hard when burning lines, the point can dig into the wood, causing uneven lines or overburn. The burner can sink down in between softer areas of the grain and then rise back up again. This makes lines look narrow in one area but wider in another.

MATERIALS

• Unfinished birch rounds, 3-1/2″ (8.9cm)-dia.

• Graphite transfer paper

• Red pen

• Tape: masking or blue painter’s

• Sandpaper: assorted grits to 600

• Tack cloth or can of compressed air

• Clear gesso

• Watercolor paints of choice (optional)

• 2-part epoxy (optional)

• Paper cups

• Glue-on felt pads

• Screw eye (optional)

• Decorative ribbon (optional)

• Wooden sticks

TOOLS

• Woodburner with nib: writing

• Paintbrushes

• Scissors

• Sander: orbital (optional)

Minisa Robinson, of Rifle, Colo., stumbled across pyrography by accident in 2009 while exploring the art of woodcarving. Since then, she has taught herself to create highly detailed woodburnings, instructional DVDs, books, and instant downloads to teach others the craft as well. Minisa’s goal is to push the limits of pyrography, and she encourages others to view the art in a new light. For more of her work, visit minisapyrography.com or patreon.com/minisa. Her book, Burning Realistic Animals, is available at foxchapelpublishing.com.

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.

Getting Started

Draw the front-view pattern onto the blank. Cut around the perimeter with a band saw. Then, remove the excess wood with a 3/8″ (10mm) #6 gouge. Trace the side-view pattern onto the blank and use the same gouge to remove the excess.

Carving and Finishing 

Refer to the patterns often as you carve the piece. Be careful not to cut off the top spool for the carving blank; you’ll need this for the ears. I use a detail knife and a small V-tool to define the eye and mouth areas and a 1/8″ (3mm) #11 veiner to create texture inside the ears and on the tail, cheeks, and ruff. Mark the whisker dots in using a woodburner with a writing nib. If you plan to use the writing and skew nibs to burn the fur texture in just a few places rather than all over the body, brush on a pre-stain conditioner, such as Minwax, before you paint to prevent blotchiness. Add a clear gloss acrylic finish to the eyes to make them shine.

Materials

• Basswood, 2 1/2″ (6.4cm) thick: 3 1/4″ x 3 3/4″ (8.3cm x 9.5cm)

• Pre-stain conditioner, such as Minwax

• Acrylic paint: black, burnt sienna, burnt umber, latte, white

• Tung oil: low gloss

• Finish: clear gloss acrylic

• Sandpaper (optional)

Tools

• #6 gouge: 3/8″ (10mm)

• #11 veiner: 1/8″ (3mm)

• V-tool: small

• Detail knife

• Woodburner, variable temperature, with nibs: skew, writing (optional)

• Paintbrushes: soft, round, detail, short-bristled

Desiree Hajny of Blue Hill, Neb., has been a full-time sculptor of wood since 1985. Prior to that, she was a high school art instructor for six years. She has authored seven books and contributed to eight others. Desiree has also been a contributing author to periodicals in the United States and Europe. She was the third recipient of Woodcarving Illustrated’s “Woodcarver of the Year” award. Find more of Desiree’s work at hajny.fineartworld.com.