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CARVING FIGURE CARICATURES in the Ozark Style
By HAROLD L. ENLOW Dover Publications, Inc.
Copyright © 1975 Harold L. Enlow
All rights reserved.
ISBN: 978-0-486-15259-2
CHAPTER 1
Selecting and Preparing the Wood
WHICH WOOD TO USE
Most carvers use woods which are nearby and readily available; a carver is lucky if he has good carving wood in his back yard. Not all carvers are this lucky, however, and many must learn what kind of wood to be on the lookout for.
In the Ozark country, where I live, basswood or lindenwood ("linn" to old-timers) is the standby for carving. It is ideal for small carvings of people and animals, especially caricatures. Other woods used, especially for larger projects, are sassafras, black walnut, butternut and red cedar. But I would advise the beginning carver to get linden if he or she possibly can.
In my area linden is usually purchased from small mountain sawmills, the tree usually having been cut only a few days before being sawed into planks.
PREPARING WOOD FOR CARVING
The primary step in preparing wood for carving—whether linden or any other wood—is getting it sufficiently dry. Since most carvers have no kiln in which to dry it, it must be stacked and stripped. Stripping means putting small, inch-thick pieces of wood between the planks so that air will circulate between them.
If the planks are allowed to dry through the ends instead of the sides and edges, long cracks will appear and ruin a good part of each piece. Ends should therefore be coated with melted paraffin to keep moisture from escaping. Use extreme caution when melting the paraffin; put the wax in a clean coffee can, then allow it to melt in a pan of hot water. Do not melt over a direct flame. Use an old paint brush to apply the melted paraffin to the ends of each plank.
After coating the ends, store stacked wood in a dry place for several weeks before carving. Drying time depends largely upon the thickness of the wood, but for the small projects in this book, which use 2- to 3-inch planks, drying time is about six weeks. Logs cut in winter months dry faster and work better; sap is down and there is less moisture in them at that time of year.
Selecting the Proper Tools
THE BASIS FOR SELECTION
Many carving tools of good quality are available on today's market, and the purchaser could well be confused by the sheer variety of them. My own tool box contains several different brands, since I have experimented over the years with various tools, looking for different characteristics. Actually, there are two basic criteria for choosing tools: good design and ability to hold an edge.
Many beginners fail to realize that most carving tools are sold unsharpened—one hates to think how many carvers have given up after trying unsharpened tools. Sharpening will be discussed in the next chapter—it is probably the most important fact for the beginning carver. Most of the time when a tool doesn't cut properly, it isn't because of the tool itself but because of improper sharpening.
TOOL HANDLES
A good tool always has a shoulder where it enters the handle to keep it from splitting the handle wood. Tool handles should be of very hard wood, and the larger tools should have a ferrule or metal banding where the handle attaches to the tool. Handles for extra-heavy work should be banded at both ends.
Most small and medium tools are sold with handles attached; large tools and their handles, however, usually are sold separately. You will have to know how to attach the handle if you purchase them separately. Many tools have been broken because the handle was forced on. Tool handles have a pre-drilled hole, ready to accept the tool. Twist the tang of the tool into the handle, using a back-and-forth motion, so that the tool drills its way in. Continue until the tool is about ¼ inch from being seated. Then place it on a block of wood and drive the final quarter-inch with a wooden mallet.
Since a bent tool is easily broken, do not drive the handle in on a block of wood. When it is twisted in, place the shank of the tool in a vise between two blocks of wood, then pound on the handle.
SUBSTITUTION AND NUMBER OF TOOLS
While, as we said, many tools are available today, it is doubtful that you, as a beginner, will need more than a few of them. As you progress you will find a need for other tools, depending upon the type of carving you are doing. If you are a professional carver, of course, you will discover many tools that will save you time and energy if applied to problem areas.
To recognize different tools easily, some carvers like to paint the handles different colors. This will eliminate searching for particular tools, as you will learn to know each by its color.
Each of the ten projects in this book will list the tools being used, to give the reader some idea of which tools made the different cuts. Don't be afraid to substitute if you think the same results may be obtained by using a different tool.
MAKING YOUR OWN TOOLS
If you think you would like making your own tools, this is possible also, and adds to the fun of carving. Old files and broken cross-cut saw blades are excellent metals for making your own tools. Try to pick pieces of metal you know were originally from hard-edge tools. Use a power grinder to shape metal into the tool shape desired, being careful not to get the metal hot. Keep a can of water near you and dunk the tool occasionally, since an overheated tool will not hold an edge. If overheating does occur, or if you need to heat the tool for bending, it may be tempered again by heating the tool cherry-red and quenching in cold water.
Care of Tools: Sharpenin
MATERIALS FOR SHARPENING
Practically every book written on wood carving has a chapter on sharpening, and rightly so, for this is the most important thing the beginner needs to know. Sharpening is a science in itself, not difficult to learn, although it does take time and patience. We will go over the process briefly, so as not to confuse the reader with too much detail. If you know an experienced tool sharpener, watching him at work is a good way to learn the method.
To begin, you will need a Carborundum stone with coarse and fine sides, a hard Arkansas stone (a hard Arkansas slipstone will be needed for the inside of the v-tool) and a piece of smooth cowhide for stropping your tools (see Fig. 1). Any size cowhide will do, but I use a piece two inches wide by twelve inches long. For ease in using, the cowhide may be glued onto a piece of wood, or you may want to use a razor strop if one is available. It is up to the individual whether he or she wants to use honing compound on the leather. Personally, I prefer the use of a fine abrasive; jeweler's rouge will work as well if a compound isn't available.
SHARPENING KNIVES
We will start with a common knife blade and the coarse side of the Carborundum stone. Apply some light oil (kerosene works well) to make the stone cut better and also keep the stone from becoming clogged. Do not use linseed oil, as it will dry on your stone and cause clogging.
Lay the blade flat on the stone, then raise the back of the blade slightly, about inch (see Fig.
1 a). Push the blade back and forth the length of the stone, applying pressure all the while. If the knife is a folding type (such as a pocket knife), apply pressure only when pushing (that is, edge first), otherwise it will fold on your hand. You will feel the stone cutting the metal as you go through this procedure. This pushing, pulling and applying pressure will have to be continued on both sides of the blade until the edge becomes sharp. When you think the edge is sharp, test with your thumbnail. If it is sharp, it will catch on your nail, digging in. If it is not yet sharp, it will slide off your nail and the sharpening on the coarse side of the stone must continue. Test all along the blade for sharpness, especially out near the point.
When the blade is sharp, turn the Carborundum over, and repeat the process on the fine side of the stone. You will not need to apply much pressure here as you are only striving to make the sharpened edge a little finer. It should only take a few strokes. Next, use the hard Arkansas stone; this will put an even finer edge on the blade. Put a few drops of oil on the Arkansas also, and repeat the same process as you did on the Carborundum. You will see the sides of the blade getting shiny as you hone.
When you feel you have honed your blade very well, you may use the strop (Fig. 1b). Since the strop is leather, don't push the blade, or it will cut the leather. Strop it as the barber strops his razor, by pulling. A few pulls on the strop are all that is necessary. Too much stropping will round the edge on your knife. In using leather, be sure to use the smooth side for stropping, since the coarse side will dull your tools.
If you have sharpened the blade as described, your knife should shave hair off your arm. If it does not, something is wrong. Either you don't have it quite sharp enough or the knife is made of inferior steel and will not take this kind of edge.
The bevel, or that part of the blade from which the metal has been ground away, is important to good carving. Wider bevels on the sides of the blade will make it cut more smoothly. Ideally, this bevel will show on the entire side of the blade. This wide bevel is accomplished by laying the blade flat on the stone when sharpening.
When carving on very hard woods, the tools aren't beveled quite so much, as they will break easily. I rarely carve hard woods (by this I do not mean the hardwood family), and so prefer long bevels on my knives.
SHARPENING CHISELS
Chisels are sharpened like knife blades, using the same pushing and putting method on the Carborundum and hard Arkansas stone (Fig. 1c), and pulling or stropping on the leather. Chisels may be beveled on one side or both sides; this is a matter of individual preference. If you are going to carve softer woods and prefer a long bevel, by all means make it long.
If you sharpen only one side and a little burr forms along the edge, turn the chisel over, lay the flat side on the stone and push a couple of times. This should remove the burr.
SHARPENING GOUGES
Gouges are a little more difficult to sharpen, especially if you have only a flat stone. It is for this that an Arkansas slipstone is needed. While pushing and pulling the gouge on the stones, you must move it from side to side so it will be beveled and sharp all around (see Fig. 1d). Most gouges are sharpened only on the outside, but you may bevel the inside somewhat if desired. If you have a slipstone, it will take the burrs from the inside of your gouges. Remember to rotate the gouge as you strop, so it will be keen all around the edge.
SHARPENING V-TOOLS
These tools are easy to sharpen, if you know one little trick, and that is how to sharpen the point properly. Sharpen each side of the v-tool first, as if you were sharpening a chisel (Fig. 2a). Burrs on the inside can be removed with a small slipstone (Fig. 2b). After both sides of the V are nice and keen, the point must be sharpened to conform to the way the tool is ground inside (Fig. 2c). The tip should not be like a point at all, but more like a tiny gouge; this procedure we will call rubbing off the point. The v-tool (including the inside) should also be stropped, if you have access to a smooth wedge of leather. Some sculpture-houses sell these wedges and a commercial honing compound, but you may want to cut your own leather wedge.
Two final reminders: sharpening should not be taken too lightly; work hard at it until you get it right. This could very well make the difference between quality work and shoddy- looking pieces. Remember, too, that the tool marks left on the work show that it is hand- carved, so be proud of them. Caricatures should not be sanded smooth.
A WORD OF CAUTION
Now that I have shown you how to sharpen properly, I must warn you, too, to use extreme care when carving. Always handle tools very carefully, as they can cut one's hands, legs, and other parts of the body, as well as wood.
Avoid carving towards the body. Do not put one hand in front of your tool while pushing with the other. The index finger always seems to be in the way, and is a likely target.
Train yourself to keep both hands behind the cutting edge of any tool. With large pieces of work, and large tools, try clamping your work or putting it in a vise. This will eliminate your holding it with one hand which might get in the way. The best procedure is to use the mallet when possible.
You will probably amaze yourself with the dexterity you develop in your hands. As you carve, you will notice using your left thumb as a fulcrum on the back of your knife blade if you are right-handed, or using your right thumb if you are left-handed. This seems to come naturally, after a little practice. Most carvers rely heavily on their thumbs; they add the strength and control needed when carving.
Even if you are very cautious, you are sure to get nicked occasionally. It's easy to get so carried away with a wood carving that you will forget to be careful, but this is all part of carving. Adhesive bandages are a good item to have in that tool box. If you do nick yourself, but not too seriously, just keep working; this will keep the nick from getting sore.
The Carver's Mallet
A mallet can prove quite useful. Used with a gouge or other large tool, it is good for roughing out large figures. Here it will save you much time and labor, so use it whenever possible. If you can clamp down your small carvings, you can use the mallet and large tools on them also, especially for the roughing out.
Always use the mallet with caution, as it will break tools and handles if used incorrectly. Do not swing the mallet like a baseball bat, but rather use a swing of a few inches. You may need a little more swing than that in certain difficult areas, but do use care. When roughing out hard woods with a mallet, use smaller tools than you would on soft woods. By switching to smaller tools, you will lessen your swing.
What you can do with the mallet may be surprising; besides roughing, or doing work on large carvings, you may also put it to its best use on detail work. If you tap the tool delicately with the mallet, you can carve with surprising precision. While you are doing this finer work, the hand holding the tool should not push but only guide. Let the mallet do all the work, and you can tap the tool to the exact spot you intend, without ever worrying about your tool slipping. Learn to use the mallet with ease; using it will take less effort than you think, particularly if you learn to relax.
Use of the Band Saw in Wood Carving
To remove excess wood and save yourself time, you may saw the outline of your figure either with a coping saw or with a band saw. If you have access to a band saw, always practice extreme safety when using it or any other power tool. Do not put fingers and thumbs directly in front of the blade, but place hands so that if a slip is made, your hands will go on either side of the blade. Try resting the heel of your hands on the top or edge of the saw table, pushing with your fingers and thumbs. This way, you will have more control than if you are pushing with your arms and shoulders.
It is seldom necessary to turn sharp corners with a band saw. You can avoid turns if you make cuts from different angles, taking out chunks of wood here and there until you have the wooden form completed. This will save wear and tear on saw blades, and they will last much longer.
If a block of wood becomes stuck in the blade, stop the saw. Put something firm against the blade to hold it in place, and pull the block loose. Sometimes you can loosen the wood by jiggling it or wedging a screwdriver in the cut to spread the wood apart.
An important warning: do not wear loose clothing when using power tools, as it can easily become entangled in the saw, causing serious injury or accident.
Roughing Out a Figure from a Block
If you do not have a power saw to rough out the figure you wish to carve, there are other ways of doing this. You may rough out the figure in your lap, using only your knife; however, this is the hard way. The easiest way is to use a fairly large gouge or chisel, and let a clamp or vise hold the piece while the excess wood is removed. Here is basically how this may be accomplished.
Draw a side view of the figure, either human or animal, which you are going to carve on the block of wood, or trace it from a pattern, using a sheet of tracing paper and then a sheet of carbon paper. The procedure for carving animals will be dealt with later, in Project No. 1; here we will show how to carve a human caricature (Fig. 3).
(Continues...)
Excerpted from CARVING FIGURE CARICATURES in the Ozark Style by HAROLD L. ENLOW. Copyright © 1975 Harold L. Enlow. Excerpted by permission of Dover Publications, Inc..
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