Don Mertz, the WOOD BEE CARVER  is pictured holding the Seminole Indian Bust in his carving room in which the journey of carving is explored on a daily basis.  “Would be carvers would be carvers if they would carve wood,”  so the best way to learn is to carve as often as possible and in as many subjects that are captured in the carver’s imagination. The Seminole Indian Bust  is a most recent learning project.

Every carving project is a learning project to sharpen the carver’s ability and whet the creative muse of imagination becoming reality.  The Seminole Indian Bust  is a commission carving for someone who favors Florida State Seminoles athletic teams.  The team mascot as well as team logo were used for the beginning of research which led to historic photographs and written history of the noble people known as Seminole.  One of the chief characteristics of the Seminole people was the wearing of ostrich plume feathers in a head band or turban.

The photographic journey begins with the basic form carved and continues with the finished Seminole Indian Bust.  Study each photograph for an imaginary carving exercise of learning by observation. (click on photo to enlarge)

A mental image of a Seminole Indian with drooping ostrich plume feathers guided the opening up of a block of basswood eight inches tall, six inches wide and three and half inches thick.  The block of wood began to take on the shadow image of an Indian head framed with ostrich plume feathers as gouges removed wood to expose the basic form. Five feathers were incorporated in the design for artistic effect of a halo of radiating beams of texture and color.  Research guided the coloring of the feathers with one red, two white and two black with white tips to add serendipity of movement through color as well as the curling flow of each plume.

The team logo was incorporated into a medallion and the colors of face paint and head band reflected team colors. The head is turned slightly with an upward gaze that implies a contemplative remembering of the past and a hopeful search of the horizon of the future. The borders of the face paint were lightly carving to outline the painted stripes as well as keeping the paint from bleeding into an adjacent color.  Artist oil paint mixed with boiled linseed oil was used for the coloration.  When the paint dried an application of Deft was brushed on with an artist paint brush.

“Woodcarving is more the journey than the destination,”  which means that when one carving project is completed, it is on to the next carving project because it is the process of carving that is the fulfilling aspect of why we carve.  So it’s on to the next carving project that waits in the creative sanctuary of imagination to be set free from the block of wood in the carving process.

The Indian bust carving project is another  ”Journey in learning”  for the WOOD BEE CARVER  who is primarily a knife carver. This Indian bust project is carving a subject larger than what is normally carved as well as using traditional carving tools rather than just a knife.

The photographic journey begins with square cornered block of butternut, continues through carving to basic form and concludes with several views of the finished carving.

The Indian bust began as a seven inch by five inch by three and half inch block of butternut.  The gouges used for this project were made by Everett Cutsinger many years ago and continue to be a pleasure to use in the carving process.  The large knife used for removing excess wood in the roughing out stage was made by John Dunkle.

The challenge in carving this Indian bust was to include several hair treatment decorations to enhance the bone structure of the face that makes it an Indian.  There is a hair braid, a couple hair ties, a string of beads and a couple of feathers.  A bone pipe necklace and a buck skin shirt round out the apparel attributed to Indian design. (click on photo to enlarge.)

The “Journey in Learning”  of this project begins with having an imagined design to guide the roughing out stage for shaping an Indian bust hidden in a square block of butternut.  During the initial shaping in the roughing out stage the design will appear on its own as wood is being removed or the design can be modified at the dictates of the way wood is removed.  At the same time the mental image guides what amount of wood needs to be saved as well as envisioning how hair will drape to one side or the other as the head is turned in a certain direction.  The goal is to have no straight lines while flowing and wavy lines add to the sense of movement.

The roughing out stage or carving to the basic form is to lay a good foundation for carving the details as the final embellishment. This stage is perhaps the most creative time of the carving process for it is during this time that the imagined design comes into reality with a good foundation or shadow image.

Look again at the third photograph with a “shadow profile”  which is a good example of the Indian face carved to form and the light coming from the left side casts a shadow of the profile image of an Indian.

Ninety five percent of carving is carving the basic form.  The last five percent is carving in the detail which is the reward for having carved a good foundation.

Visually study each photograph again to imagine how each was carved.  Such a study will help with developing the mind to see mental images.  It is mental images that guide the carving process. Within the tension between the mental image and the wood being shaped is when the creative sub conscious guides the carving process to produce a unique design that puts personality into the carving.  It is as if the carving carved itself into existence.  That is what makes each carving come to life and have a life of its own.

This study of an Indian bust is intended to be an encouragement to carve a “journey in learning.”  Every carving project is a new learning experience with the proven reality that “the more one carves the better one carves.”    

“Face Study Stick – Three Version”  found under “Cool Links”  is a visible and printable instructional aid for practice carving faces.  The top exercise is carving a ball out of the one inch square at top of the stick.  The ball is later used to carve a face that is looking sideways and upward.  The second practice face is carved on a corner to illustration that the face fits into a ninety degree space from tip of nose outward to the cheek bones.  The third face at the bottom of the stick  has been carved to emphasis  the width of the face as being two thirds of the length of the face.

The photographic path of a variety of face study sticks shows the end result to three faces completely carved on each study stick.  Each face is a little different from all the other faces as an example of the value of practice carving faces.  Also included on one side are the progressive steps for carving an ear and on another side the progress steps in carving an eye are shown.  All have been carved using only a knife in the Whittle-Carving style.

Whittle Dwarfs  are whimsical whittlings that are primarily all head with the semblance of a squatty body and small feet left to imagination.  Whittle Dwarfs  begin as an inch square by an inch and half tall block of basswood.  Their eyes are covered with a hat showing a nose protruding from under the hat.  The rest of the face can be carved with a variety of mustache and beard styles as well as some with a toothy grin or a mouth carved with various expressions.

Whittle Dwarfs  are a fun way to carve a variety of faces with the challenge to carve no two alike.  They are finished with Howard Feed N Wax.   The photographs offer a variety of faces for inspiration to carve Whittle Dwarfs  in a style all your own.

Jim Hecker  of Elk River,  Minnesota has graciously granted permission to post photographs of one of his carving projects he calls “Old Jim,” as well as share his carving philosophy.  In the Fall of 2011 Jim added a carving studio/shop to his and his wife Sue’s house that is 14’ by 24’.  He is pictured in his new studio with a contented smile on his face.  Another photo shows a display case with some of his carvings.

The photographs that follow are of “Old Jim”, a peaceful old gentleman that we all aspire to become one of these days when the years catch us with us.  Old Jim was carved out of a two inch square by six inch tall block of basswood that was sawed into a carving blank.  The basic shape Jim learned from Bruce Futterer who teaches Scandinavian style of carving.  Jim painted “Old Jim” with acrylic paint thinned with water and finished with Watco Danish Oil Natural and Watco Satin Wax Natural thinned with two parts odorless mineral spirits to one part wax.

The photographic journey that follows was taken by Jim’s wife Sue.  Study each photograph in order to journey along with Carver Jim imagining how he made each cut to shape “Old Jim” into a peaceful study of maturity.   Following the photographic journey is Jim’s carving philosophy.

Jim’s Carving Philosophy

While I enjoy being identified as one who carves figures in “the Scandinavian Style,” I do not limit myself to that genre. Over the years I have done Chip Carving and I have carved stylized birds, Christmas tree ornaments, and caricature animals. I have whittled chains, balls in cages, pliers, and various odds and ends. But I would have to say the Scandinavian Style is my favorite at this point in my carving journey.

A number of years ago a local art teacher was asked why he loves painting. He replied, “Because I love the feel of the paint coming off the brush. That’s the primary reason.” I could say that I like whittling/carving because I enjoy so much the feel of a good sharp knife slicing through the wood.

Like many carvers, I use the C.A.S.E. Method – Copy And Steal Everything – and I borrow anything that makes sense to me. I have adopted Mike Shipley’s philosophy for most of my projects. That means the first question I ask whether I will enjoy carving a piece. Then I keep Mike’s two guidelines in mind: Add enough detail to make it interesting and keep it simple enough to be fun. For me the joy of carving is in the process as much or more than in the finished product. Or, as Don Mertz reminds us, “Woodcarving is the journey more than the destination. There are no mistakes, only learning experiences. Relax and enjoy the journey”

I have begun selling some carvings, mainly to keep our house from being overrun by my creations. However, my first question is not whether a piece will sell, but whether I will enjoy carving the piece, even several times. Setting prices on my carvings has been the biggest challenge. I don’t want to just give them away, but there is no way I can expect to get paid for the time I have invested. I decided that since I got to enjoy carving the piece, if someone will give me a few bucks for the opportunity to enjoy owning it that is a good enough deal for me. I give some of the proceeds away and use some for supplies and to take the edge off my “toolitis” cravings.

Thanks to Jim for his carving philosophy, pictures of Old Jim and for friendship within the carving community.