Would You like to Carve?

I know there are many people who have seen people carving or who have been to wood shows and seen the beautiful carvings which have been entered. How do they do such great work? Well, they probably started out wondering the same thing. So I have put together a package of information on various woodcarving topics, 10 in total so far and still growing. Please feel free to copy the material for your own use or for your club's use. Please acknowledge this site as the source of the material.

1. Introduction to Wood Carving"

Do you enjoy working with your hands?

Do you do small woodworking projects around the house?

Have you used chisels, sand paper, wood finishes, and glue in these projects?

Do you enjoy looking at artistic work?

Do you like learning about new subjects?

Do you enjoy discussing your endeavors in a group environment?

If you said yes to any of the above questions, you would more than likely to be interested in the hobby of WOODCARVING.

I joined the Outaouais Wood Carvers (http://www.owcarvers.com) 10 years ago and have found this hobby to be immensely gratifying. Through this column I hope to share with you this very enjoyable hobby. I know there are many men and women in our area and wherever the Internet reaches who would enjoy this hobby very much. It is very gratifying to carve a piece of wood into a recognizable shape. The process is very rewarding in that it gives you a sense of accomplishment while at the same time making you feel relaxed. Of course, if you love the thrill of competition, this hobby can give you that also.

Woodcarving takes on many faces. You may like to carve birds, animals or fish. Maybe it would be a figure, very accurately detailed or just a caricature. Maybe you would like to carve a scene in low or high relief. Or would you enjoy making a jewelry box, intricately decorated with chip carving and finished with satin or glossy finishes.

Woodcarving is also a wonderful hobby for couples. In many cases one spouse may be great at carving, the other a wonderful painter. By combining their talents they can do great pieces of art together. Couples can attend shows and club meetings together; spend wonderful adventures looking for the right wood or finishes for projects. It is also nice to have a partner to bounce ideas off.

The topics we will cover in this forum are the following: Getting Started, Carving Tools, A Place to Carve, What Wood to Carve, Sharpening Your Tools, Woodburning, Finishing, Competitions, and Selling Your Work .

I have indicated in the heading that this column is not intended to be one sided, besides my views on the weekly topic, it is also to be a forum where you, the reader can participate.

Please send me your questions or ideas on any aspect of woodcarving and I will get your good ideas out to interested carvers and obtain the answers to your questions. Please e-mail your ideas or questions to: brian.graham1@sympatico.ca

2. Getting Started in the Art of Wood Carving

All right - you've decided you want to carve. What do you need to get started? Not too much really. In fact you shouldn't start with too many tools. I started with a fairly large shallow gouge (#12). A what? A gouge is a curved chisel that takes wood off quite rapidly but also allows you to get close to the final shape. You will also need a few more items which I will discuss later. Cost wise you should look at spending approximately $50 - $75.

Of course the best way to get started is to talk to an interested wood carver. Besides talking your head off about his favourite project, he will probably lend you a few tools, show you how to sharpen those tools, give you a few pieces of wood to get started on, and invite you to his carving club where another 50 or so people will do the same thing (Your Welcome anytime at the Outaouais Wood Carvers Club - see our address and meeting time on our web site given in introduction).

This will definitely get you enthusiastic and ready to see if you can really do a carving. But you probably should take a short course sometime in your first year of carving. There are usually courses offered in your area at the high schools or community college. These courses usually run for 8-10 weeks with 3-4 hours of instruction per lesson. They cost about $70 - $100 and are well worth the money. There are also private individuals who teach Carving Courses. (Please check out our Courses Page).

As with most hobbies you will be adding to your supplies indefinitely - but this is half the fun. And, of course, your family will never be at a loss for ideas for presents at your birthday or Christmas!

Let's go over the type of carving you might like to do. There are basically four types of carving: whittling, carving in the round, relief carving, and chip carving.

Whittling is the most basic and in some ways the most natural wood carving technique. It can be done with a simple pocket knife. Together with the knife all you need is a piece of wood and an imagination! This is a good type of carving to do when you won't have access to a work bench, i.e. when your on a trip or just relaxing sitting in the back yard.

"In the round" means that the carved object looks realistic to the viewer from all direction or angles. Tools for carving in the round are U and V shaped gouges, straight and skew chisels, and straight knives, #80, 120, and 240 grit sandpaper, dividers, ruler, tracing paper, coping saw (or band saw), hand drills, mallet and vice. Basswood, Butternut, Tupelo, or Pine would be good woods to use.

Relief carving can be of two types, low and high. Low relief is where the design is inscribed on a flat board surface and the ground around the figure is removed to make the figure stand out. In high relief the figures are carved so that they have depth and perspective. In both types of relief the picture is viewed only from the front. Tools and wood needed are similar to those for carving in the round, although another smaller set of V and U gouges is usually necessary.

Chip carving is the art of laying out a pattern on the surface of the wood and then by means of chipping out triangular pieces the designs are made to stand out. These designs can be worked on all sides of the object, such as a jewelry box. Chip carving can be done on smooth, knot free wood such as Basswood.

To get you started you can rent carving books from the libraries or buy books from hobby stores or bookstores.

You can also subscribe to the National Woodcarvers Association which puts out a magazine called Chip Chats (http://www.chipchats.org).

There are also excellent tapes on the market by expert carvers such as Ed Sprangler, Pat Godin, and Mike Kent, which are available for rent from the Outaouais Wood Carvers. Please go to Video and Book Rental and Membership (http://www.owcarvers.com).

You should pay particular attention to your shop or working area. It should be well ventilated with a good light source. You should wear a dust mask for dusty parts of the work and protective glasses for sawing or chisel work. Protective thumb guards are also available.

3. Carving Tools

How does your duck look? Oh! A little lopsided and the beak broke off. Never mind. You're on your way! There's always more wood and you need the practice anyway.

You're started, but which direction should you head off in? How many and what carving tools will you need? You can't afford that large set of tools! You're confused with the large variety of hand and power tools available! You are not alone. It's common to feel a little let down after the initial wonder of any hobby you take up. Actually, as I said in a previous column you need very few tools to begin carving. You should only buy what you need as you go along. Too many people buy large sets of tools and end up only using a couple of the tools. Please see our Suppliers Page to find out where these tools and supplies can be located at a reasonable price

I think it is important to go over the basic steps in the carving process. Out of this will come the list of tools you need.

Cutting out the basic design of the object. To do this you will need to draw or trace the design onto the piece of wood. Draw both the top view and the side views if it is a carving in the round. To actually cut out the basic shape of a carving in the round, i.e. a duck or bird, you will need a bandsaw, scroll saw or coping saw. If it is a deep relief you will need a router or large gauges. If it is a chip carving you will only require a flat surface using a hand plane or a power planer. If it's a large figure, you will possibly need a chain saw to start. Of course, you may not have one or any of these tools. By joining a club you can usually find a club member who would be glad to cut out the initial design for you and your away after that.

Taking off major amounts of wood to get close to the actual shape. This will require larger gouges, chisels and mallets. Now you are getting at the carving itself, so you should buy a few tools at the right size for the project. The sizes of the carving tools are usually mentioned in the plans for carvings.

Refining the shape more. This requires smaller U shaped gouges, V shaped gouges, small straight chisels, small straight and curved knives, or a power dremel, and usually w specialized tools.

Obtaining the final shape and smoothness. This requires some very small gouges, picks, files, sanding tools and finishing sprays or paints.

Of course, you will always say to yourself that you wished you had a particular tool for a tricky or difficult situation, but most of the time you can make do, it just may take a little longer.

Actually, if your anything like me, you will end up using about 5 or 6 tools for all your work!

Fairly important in this mental process is to ask yourself what type of carving you want to do. Eliminate the things that don't interest you first. You probably decided to do wood carving because you saw something that you really liked the look of. Try one of those to start. Also, try not to start on something very large or difficult. Keep it fairly simple!

4. A Place To Carve

Welcome back to Woodcarving! So your house is starting to pile up with books, tapes, magazines, wood, tools, etc., etc. And they're all on woodcarving.

Yes, it's time to find a permanent spot for all of your hobby supplies. Buy a set of shelves just for the carving materials. This will keep everything together and hopefully you can tell the rest of the family to lay off your good tools for opening those paint cans. As for a place to do your carving, a "workroom" can be a specific room dedicated for woodcarving or in the case of one club member, a board on her lap to whittle her caricatures while watching TV.

If you are carving larger work in the round you should have a vice to hold your work. There are suction vices with swivel clamps to hold your work at a particular angle. For chip carving need to hold your work solid on the table with good lighting. For relief carving you should have a slightly angled surface with a good light source so that you can see "depth" in your work. Excellent for this is a "Workmate" from Black and Decker or equivalent clamping device.

As you can see, you will need and want to absorb a lot of interesting material doing this hobby. Therefore, you should keep a diary from the beginning. Put all your purchases, time spent on projects, methods you have employed, comments on what worked and didn't, what you enjoyed about the project, what really worked for you, results of competitions you have entered, etc.. Yes, you will want to see how your work stacks up against the other members of your club!

Progressive Competitions at clubs are great for getting your feet wet in the competitive world. Novice sections of these events are excellent for the beginner to enter carvings and get some feedback from club members. Sometimes your initial efforts are very, very good. I don't know what it is about these initial carvings but they are truly amazing in their artistic and carving content! So carry on- finish that duck and get it entered!

Also, Show and Tell Tables at clubs let you tell others of your accomplishments and failures. You will get excellent critical and complimentary feedback when you show your work. Don't be shy. It is more fun if all the members participate.

5. What Wood To Use?

What can I start carving on? No, don't start carving on any old piece of wood, especially hard woods such as oak. Those pieces of 2 x 4 spruce are also not the best pieces to start on. This could possibly put you off carving for life.

There are numerous kinds of good wood for beginners to carve, but a nice softwood with no noticeable grain such as Basswood is a good starter. If you plan not to paint your work and want to show the grain, you may like to choose Butternut. Another nice carving wood, but one that is a little more expensive, is Tupelo.

If you have a cottage or wood lot and can cut your own wood, remember that wood takes approximately 2-3 years to dry properly. Never leave the wood in the sun to dry. It should be dried slowly in the garage or covered outside in the shade. Be especially aware of worms, beetles, or other bugs that may be eating the wood. This occurs a lot in wood piles. Wood that has been cut in 16 inch lengths for the fireplace is usually not very useful for carving, as it has splits or cracks in both ends. The amount of wood left after cutting this part away is less than half the original length. Specialty wood such as cherry and large laminated pieces suitable for relief carving are available at wood shows, specialty stores and wood suppliers.

Laminating wood requires a special skill, because the lamination should be done at a slight angle so the piece stays flat as it dries; otherwise you will have a bow in the piece.

Wood is not very expensive. Therefore I would suggest you buy some nice dry small pieces to get started. It will help your temperament and the carving will look nice. Almost all beginners use an old scrap, but they always wish they had used a nice piece to start!

Some Technical Terms used in Wood Carving:

Blocking in - drawing the lines of the design on the wood and establish the main pattern.

Checks - a board which is cracked or split.

Close-grained - wood with narrow annual rings - carves well.

End-grain - cross section grain at the end of a log.

Found wood - wood that can be collected on a walk in the bush or on the beach.

Green wood- unseasoned wood that hasn't dried - may still contain sap.

Ground wood - wood in and around the design which is lowered in the act of carving.

Hardwood - comes from broad leafed deciduous trees - usually, but not always harder to carve than a softwood.

Knot - spots where branching occurred in the tree - usually hard to carve.

Roughing out - meaning to use a saw or chisel to roughly cut away unwanted wood.

Seasoned wood - wood that has a low and workable moisture content.

Shakes and splits - separations that occur throughout log lengths - star shakes show as edge splits on log end-sections, and heart shakes show as open cavities.

6. Sharpening Your Tools

Keeping your tools sharp and in good condition is the basis of good carving. Taking a sharpening course from a good carver may be one of the most important lessons you take. I took mine from an excellent teacher at the Outaouais Wood Carvers Club in Ottawa and it was a day well spent. To do good carvings you need to have your tools in very good condition. You will be put off using dull tools. Also you will find that the work proceeds at a much greater and enjoyable pace with sharp tools.

You can make a great power grinder for sharpening tools by buying or taking from an old furnace, a 1700 or less rpm motor. To the shaft you add a particular grit wheel (see below) or a felt buffing wheel (from your wood carving supply store). You can apply various s compounds to the felt wheel to get the tool very sharp. The "green" honing compound is excellent.

Let it adhere to the wheel as it rotates and then sharpen your tool. For most sharpening once you have the tool sharpened with all the nicks out, you will use the buffing wheel 99% of the time.

100 - 200 grit - coarse

200 - 400 grit - medium - whetting

400 - 800 grit - fine - honing

800 - 4000 grit - very fine polishing & buffing

Be careful about the rotation of the wheel - it should always rotate away from the tool, not into it. Also, always wear protective glasses!

Of course you can sharpen tools on stones of the various grits as well. Pocket knives and other knives are sharpened well using the stones. Put oil on hard stones and draw the blade across the stone. Use water on soft stone. After using the stones, use a leather strop to get the finest edge. V-tools and U-gouges are the hardest to sharpen. Ensure that there are no protruding hooked edges and that the angle to the sharpened edge is only 15-20 degrees.

Sharpening is not a difficult art but it is usually not done enough throughout the carving process because we are basically lazy and don't keep it up. Also be very kind to your stones; as they can get damaged also!

7. Woodburning

Woodburning your carvings can add a great deal of detail, especially in areas such as feathers on birds, fins on fish, or skin and fur texture on mammals. There are of course hundreds of applications where wood burning enhances carvings.

Also, woodburning by itself is one of the most relaxful and rewarding pastimes. It seems to be the ideal blend of the carving and drawing worlds. On the one hand you are working with wood; and on the other you are drawing a scene or portrait. At a recent club meeting, a sugarbush scene woodburned on a cross cut, two inch thick piece of maple with bark still attached won out over much more complicated and time consuming relief and chip carvings.

You do not need very many supplies. A woodburning tool has an adjustable transformer to give the tip of the burning pen just the right amount of heat to burn the wood you are using to get the degree of darkness you want. This is where the artistry comes in. There are different pens to give you different cuts in the wood; pens to give you different textures, and pens to give you different effects. You must use these burning pens to see what they can do for you. You should start with the transformer, a pen holder, and two or three different tips. As you go along you will see which tip is best for burning your picture.

You can also buy a transformer that gives output to 2 or 3 pens all of which can be individually temperature controlled. This gives you the added advantage of switching tips quickly and knowing the degree of heat being applied to the tips. If you are burning in feathers or fins you would use a straight pen, whereas if you are doing a background on a picture or relief carving, you would use a flat pen.

You should always test your pen on another piece of wood before doing your carving or picture. Also, experiment with the different strokes and se how the heat affects the wood you are using. The tip tends to burn darker at the beginning of the stroke, tending to lighten as you continue the stroke and the heat dissipates away from the tip. Of course this difference in darkness adds to the carving in many instances.

For woodburning scenes, lighter woods are preferred. Pieces of quarter inch thick birch plywood are excellent. They can be bought in 2' x 2' x 4' pieces which can then be cut into smaller picture sizes if required. Sue Waters has several woodburning books on the market. Pictures of barns, fence posts with squirrels, old stone walls, etc., make beautiful gifts for your

friends. Cheryl Dow has a woodburning column in Chip Chats magazine put out by the National wood Carvers Association. Their web site is http://www.chipchats.org You must be a member to receive the magazine, but it is very reasonable to get it and a membership in the association at the same time. Cheryl always has a pattern and some excellent tips on how to woodburn the bird, animal or scene she is doing that particular month.

One drawback to woodburning is the fumes and smoke produced. Make sure you work in a well ventilated room or in a fume hood with a good fan. These fumes are very dangerous.

Since you are usually so absorbed in your burning you tend not to take enough notice of these effects until you are feeling slightly nauseous. Take care and have fun!

8. Finishing Your Carvings

Well, you've completed carving your duck. Good going!!!!! But wait, you have now reached the hardest part of carving - how are you going to finish the work?

Many, many carvers just leave their work natural. They have found in the past that any attempt at finishing the work has ruined it for them. And at times I agree with this attitude.

You have spent so much time on carving and woodburning those feathers on your duck and you START TO PAINT! You swallow hard and take the plunge only to see all that work covered up; and looking very UGLY!! Yes, I said it - UGLY!!

Of course, I've exaggerated the truth to a non-carver looking at the work, but not to the carver. He or she is usually absolutely heart broken at this stage if it is one of their first few carvings.

So is there a solution? Yes there is because you are not alone in trying to find out how to properly finish your carvings. The reason is simple. Carving and painting are two completely different art forms.

As you carve the work you should ask yourself a few questions:

1. Does the work look as good as it could by leaving it natural?

2. Would the work benefit if it looked shinier or the grain was brought out?

3. Have you taken any painting courses - lately?

4. Would the work gain by being painted in different colours?

5. Does the work need to be protected from the elements?

6. Are you steady with your hands?

In answer to some of these questions a few points should be noted.

1. Most relief, human busts, and stylized carvings look much better if left natural, especially if the wood colour and grain is consistent and without a lot of knots or defects. In these cases the wood can be sealed with a wood sealer and lightly sanded afterwards with a very fine, 400 grit paper to remove any wood fibers which have expanded on application of the sealer. Another way to finish is with a wax, such as Min Wax, or even a clear floor wax. After application the wax is buffed into the wood to give it a smooth satin effect. That is all that is necessary. If the wood dries out after a few years, reapply the wax and rebuff. Thee part about finishing in this way is that you do not need to be an artist (painter).

2. Sometimes you would like to make the wood look shiny or dull. There are numerous products on the market to do this. They come in sprays or brush on materials. See your local hardware store or artist supply store. In most cases the hardware store will be cheaper, but you will probably get a superior product and more help at the artist's supply store.

3. Now we come to question 3 and we realize that in the case of birds in the round, fish, caricatures, and most animal carvings; the carving would gain immensely if painted properly.

To start you should take a course on bird carving from one of your club members or from a recognized instructor in painting wood carvings. And there are a good number around. The important thing to remember is you need to have a small class where you can get some personalized instruction. Recently there was a course where the class size was so large that it was like viewing the process on a small TV screen with hardly any hands on painting. This type of course should be avoided at all costs.

4. In doing your bird painting you will need supplies. Buying supplies such as paints and brushes should be looked on as a long time commitment. Only buy the colours you will need for the particular project you are working on. You will get a feel for the paints and the brushes one at a time. Besides these items are very expensive. But always buy a good brand of paint and brushes - it is worth it in the long run. Acrylic paints are used a lot for wood carvings. They go on the wood very well after you have initially sealed the wood with Gesso. They also have a short drying period. A fairly large brush (half inch) can be used for applying the sealing gesso which is white. A very good hint is to mix the colour you would use for that part of the bird in with the gesso. This will give you a hint of how the bird will look and make for easier blending of the colours later on. REMEMBER -

put on very diluted layers of the colours. Keep it thin. This will do two things. It will keep all that feathering work you did, showing; and it will help you blend the colours into one another. Once you have got the colour to your liking, which of course never happens, spray it with an acrylic sealer which has a satin, gloss, or semi-gloss finish.

5. Now, what about the weather, outdoors and indoors. Yours carvings if painted and hung outdoors will have to be protected with a UV resistant varnish. This will protect them from discolouring or cracking from the sun. If you have carved a large sign you should think about protecting the whole wood surface, front, back and sides with a plastic polymer which will keep the wood safe from moisture and rot for many years. Indoors, you have to mainly protect them from drying out and splitting. By sealing the wood well before painting or waxing, the wood should not dry out as much and 'check' or crack (split). We spoke in an earlier chapter on properly preparing your wood.

6. My last question was about how steady you were with your hands. You must be very precise with colouring of the feathers and certain features on the bird. But if you find you are unsteady, think of aids you can use to firm up your hand while you are painting. What can you rest your hand on - how does it feel the most comfortable? What is the best way to hold the brush so your arm will not get too tired?

For many carvings, the painting is not so difficult. Caricature painting has more defined lines between colours. There is usually not so much blending required and the painting goes easier and looks pretty good in the end. So give it a whirl and see how you are at it. Sometimes the person has creative talents in both the carving and painting fields - and you may just be one of them!
Actually if you take your time and are careful in researching the proper finish and colours, you will do just fine. Good Luck. 9. Carving Competitions

9. Carving Competitions

I mentioned in Section 4 that you should get your feet wet in the competitive world by entering into Progressive Competitions run by wood carving clubs. As I said, this gives you feed back from your peers; and also you start to look closely at their work as well as your own.

But in this article, I would like to look closer at larger competitions. We have one in our area, which is run by our Club, called the Canada's Capital Carving Competition. Of course every competition has it rules and regulations, but they should not intimidate you or pose a problem.

First off , ensure that you enter at the right level; Junior, Novice, Intermediate or Open. Also remember that you must enter each carving at that level. You may think that since you just took up relief carving after carving 'in the round' for years that you should be able to enter the relief in Novice and the 'in the round' at a higher level. This is not the case - you must stay at the higher level for everything you enter.

A little guidance might be in order here, so I will define generally what the difference in levels are:

NOVICE: A carver at the beginner level who has not won a first prize in Category in a previous competition.

INTERMEDIATE: A carver who has won first prize in Category at the novice

level in a previous competition or who feels that he/she has progressed beyond the novice level.

ADVANCED/OPEN: A carver who has won first prize in Category at the intermediate level in a previous competition or who feels that he/she has progressed beyond the intermediate level.

Second, ensure that you enter your carving in the right division and class. If you are not sure, consult the registration people. They will find an expert to ensure you are in the correct position. In some cases you may be able to enter in one of two divisions but you can stay pretty straight by looking at the main element of the entry. Say you enter a stylized song bird on a branch sticking out of a tree round which has been woodburned in a branch and leaf pattern and painted. Where does it go? It could go as a songbird in decorative wildfowl, or as a songbird in decorative miniature wildfowl, or as pyrography with color added or stylized-in-the-round wood sculpture. It would not fit in the first two choices as these are meant for realistic carvings (completed as an accurate representation of the subject matter). It would not go in the pyrography as the woodburning and painting is just a background or habitat setting for the bird. It would go in the 'wood sculpture' division, 'stylized-in-the-round' class.

Thirdly, ensure that your carving, if it is meant to be realistic, really is realistic. In other words, it should be as accurate as you can carve it. And of course if you carve it really well and very realistic at the same time, you probably will win. If you are not very accurate, you will probably lose, regardless of how nicely you have carved it.

Fourthly, add as few habitat or accessory items which are not carved of wood. Rules may state the following: 'materials other than wood may be used in the carving, provided such materials, in the judges opinion, is appropriate and are used in a subsidiary manner.' Bird's eyes are usually allowed to be made of glass and inserted. Legs made of metal may be allowed but more points would be gained if they are of wood. One major fault of carvers is to add far too much habitat and of a variety of materials, which are not wood.

Fifthly, and of utmost importance is that to enter in the Advanced or Open division, the work should be original. It should not be a copy of another person's work. It should not be copied from a book or made from a cutout from a carving machine.

Also in submitting your work, ensure that it will be presented properly. You should supply hooks and hangers for all relief work and pyrography. You should find out before hand if vertical backboards will be available for this type of work. Most competitions do not supply lighting for relief carvings, but always check to see if this is possible. High relief looks so much better when lit from the top. Carvings 'in-the-round' also should be shown with their best view to the judges and audience. If you get a chance to see where your carving is before the judging and do not look the way it is presented see an official of the competition and get it changed. It helps a great deal in the judging.

You should also note if the carving has been the work of two people, i.e. you carved it, but your partner painted it. It should be registered in both names.

Of course you should be aware of the judges at a competition. Some older established competitions are known for their particular style of judging and this should be taken into account when deciding if to enter and what to enter.

Once you have entered your carving, all you have to do is relax at the show. You can look at all the entries in the division and class when the show opens. You can compare your carving to others. See where certain carvings stand out. Ask yourself why they look better than the others. Write down in your carving book all these ideas you have gleaned from the competition and use them to your advantage next time.

And you WON! How WONDERFUL!! And you can't wait to carve that next piece and enter it.

The last act of the competition after you have picked up your prize money, is to pick up your pieces and sign them out. There is usually very strict control on how long the carvings are to remain at the site and the hours of pick-up, so ensure that you or a friend can get the carvings within an hour of the close of competition. 10. Thinking of Selling Your Work?

10. Thinking of Selling Your Work?

You really did amazingly well at the Capital Carving Competition you entered last week! And did you hear those people talking about how much it would cost to have your Santa in their home! They were overheard to say they would be willing to pay $300 to $400 for it! Maybe you could carve for a living and quit your day job.

Hold on! Lots of beginner carvers have this thought. But it is usually a long way from the hobby hut to the fancy store or even the craft fair at the arena or the local mall.

But let's look at the reality of this thought process. You need to look at the reasons you would like to sell your work and what would be the rewards involved. These rewards may be one or all of the following: 1) You may get a big high just from the fact that someone liked your work and wanted it in their home. 2) You may think that the price garnered for the work would let you carve for a living. 3) You may think that the more you sell and are known , the more people would conclude you are a great artist. 4) You may just like exhibiting your work and talking to the potential buyers. 5) You may think that now that you have done one good carving, others can be done more quickly and better.

These are all reasonable thoughts, but again let's go over the carving process and see if selling is the way to go for you.

Since only a few carvers can carve and talk to clients at the same time, you must factor in the selling time as well as the carving time. Regardless, unless you can carve the same animal or scene over and over again, you probably won't do well on the craft scene where articles are fairly low priced and you need to sell 20 to 50 of a certain item in a couple of days. Would you be able to keep up the pace and the enthusiasm for carving the same item many times?

On the other hand if you think you are planning to make better quality carvings, and sell only two to three a month, you will still probably have to follow the drawings and plans fairly closely - doing something a little different takes lots of extra time and effort. Also, the idea of carving faster and better is a myth. You will start to see areas you would like to improve upon and actually take longer on each carving as you get better at your art. Also trying to increase your speed will probably result in lots of spoiled or poor carvings, turning off the buyers.

Above all else you must make good use of your day to making a living at carving. You should keep very accurate track of the time it takes you to do a carving, ensuring you take into account all the time consuming factors, such as deciding what to carve, what kind of wood to use, what type of finish to put on the carving, and what sort of mount you will be using on the finished carving. Say you spend 70 - 100 hours on a piece, and you sell it for $400. That will pay you less than $4 an hour after you add in your supplies, and other overhead costs! Oh yes, remember you will also probably have to pay tax on that money.

Yet, money aside, I do like the first thought process we reflected on - that of carving because people like your work and it gives them and you a lot of pleasure. I think this is the main reason 99% of us carve.

This is the concluding article in the "Beginners Series' of articles on carving by Brian Graham. Please e-mail Brian below if you have questions or other subject matter you would like Brian to write about. Have a great time with this wonderful hobby. Good luck with all your endeavours!

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Last Updated Jan 1, 2006 E-mail Brian Graham