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Essen’ tial W o o d c a r v i n g Techniques

Fig 3.18 A No. 3 fishtail being used to chip out the scalÄ™. A sÄ…uare-ended. tool would have difficulty in reaching the corner.

in clearing the corners with the ease of using the No. 3 fishtail s acutc angle (Fig 3.18). A skew chisel will go in even further. Difterent effeets can be produced by expcriment. In the pattern on the left of FigurÄ™ 3.19 I have numbered the sequence of cuts and show the chisels used.

It is not casy for a beginner to get perfect rcsults immcdiately. You will need to experiment with combinations of these patterns, and any cuts you have invented, to perfect your techniquc. Evcn if you are dissatisfied with your cuts you will have learnt some most importanr principles. It is also worth remembering that many repetitions of the same series of cuts impress the eye with their overall effect; imperfections of detail may escape notice. You could prove this by designing and carving a decorative panel (Fig 3.20).

Fig 3.19 Scales cut in oak showing the deep gouge used to stab the shape and the No. 4 fishtail used to hollow the scales. The scales on the right were madÄ™ with the deep gouge cutting in from opposite sides to leave the ridge. The first cut is madÄ™ across the centre; the second starts from the centre.

Fig 3.20 A chip cawing sampler. The cuts need to be practised and measured befiore a sampler is drawn out on paper. It can then be nansfened to the wood.

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