Follow My Carving - Gnarly Tree - Step 23

To celebrate Heartwood Art carvings being featured in upcoming issue of Woodcarving Illustrated the "Follow My Carving" series was created to give you a an insider’s view on how the art is made.

The final lacquer finish has been applied and the carving is ready to frame. There are two important measurements you’ll want to take on your frame before you even begin the carving. They are pictured below.












You’ll need to know the width of the inside of the frame so you can give your pattern enough blank space before the carving begins. In other words, you wouldn’t want part of your carving to be behind that part of the frame.

You’ll also need measure the depth of the frame and make arrangements to fill in any gap behind the carving. The next installment will show methods for filling this gap and ways to secure the carving in the frame.

To see more carvings, please visit the Heartwood Art site.

Follow My Carving - Gnarly Tree - Step 22

To celebrate Heartwood Art carvings being featured in upcoming issue of Woodcarving Illustrated the "Follow My Carving" series was created to give you a an insider’s view on how the art is made.

With just the first coat of oil the leaf patterns in the corners are already beginning to standout. The oil will pool a little in the carved lines and darken compared to the sanded flat wood around them. This gives distinction to the lines.



At least three more coats of Danish oil will be needed before applying the final sealant finish.

To see more carvings, please visit the Heartwood Art site.

Follow My Carving - Gnarly Tree - Step 21

To celebrate Heartwood Art carvings being featured in upcoming issue of Woodcarving Illustrated the "Follow My Carving" series was created to give you a an insider’s view on how the art is made.

The bark carving is finished and the final cleanup of the carving is done. It’s time to start the oiling process. I’ve made a square frame that will allow me to oil both sides of the carving at the same time and allow it to air dry on both sides. The first step is to place staples in the sides. This stapler has a wire guide setting that leaves a gap instead of inserting the staple flush. The carving must be laid flat and a little downward pressure applied while the staple is being inserted. Don’t try to do this with the carving standing on end or it may crack.



Small wires are inserted through the staples. The carving is placed in the square frame and the wires are wound around screws on each side.



I usually start by oiling the backside first. Be sure to oil the outer edges. I use Danish oil because it gives a nice honey brown glow to the wood and does not leach out over time like boiled linseed oil can do. I used to apply the oil with an artist’s brush suitable for oil painting, but have since found that a standard acid brush used to apply flux for welding and such works just as well and is far cheaper. The oil is applied in thin coats. The first one is absorbed rather quickly. If I apply it in the morning I can usually apply a second coat by early evening. It usually takes about four coats in all.

To see more carvings, please visit the Heartwood Art site.

Follow My Carving - Gnarly Tree - Step 20

To celebrate Heartwood Art carvings being featured in upcoming issue of Woodcarving Illustrated the "Follow My Carving" series was created to give you a an insider’s view on how the art is made.


Bark carving is fairly easy, but takes a lot of patience and a soft touch, especially on the smaller branches. A consistent direction must be maintained to give a realistic look. I generally start at the base of the trunk, where it meets the roots, and carve straight up, turning the direction gradually when I come to a limb.

It’s necessary to make some of the strokes go a bit beyond the edge, but great care must be taken to protect the tool in this process. The edge of a micro-carving gouge is somewhat fragile. I always carve with a piece of soft wood under the carving. A plywood blank made of birch serves well for this purpose. If one of those stabbing strokes pierces the blank, little damage will be done to the top of the gouge.

I usually put downward pressure on branches when I’m nearing the end of them. This gives extra support and keeps the thin wood from breaking when I make an angled stroke. Care must be taken not to stab the thumb that’s applying the pressure. Whittling thumb guards can help, but I keep a box of bandages on hand, just in case. I’ve rarely done a carving that did not requires some sort of blood sacrifice, tiny as they may be.

Before I started the bark carving, I created a few knot holes. I didn’t make them as pronounced on this carving as usual because it is already very busy with all the twists and turns of the limbs. Elbows where the branch takes a turn of direction are great places for knotholes. I simply left the area high when giving it the original shape and then used a round ball bit on a rotary tool to make the hole. It’s just a little deeper than the bark carving and will cast enough of a shadow to distinguish it as a hole.

To see more carvings, please visit the Heartwood Art site.

Follow My Carving - Gnarly Tree - Step 19

To celebrate Heartwood Art carvings being featured in upcoming issue of Woodcarving Illustrated the "Follow My Carving" series was created to give you a an insider’s view on how the art is made.

Now that the circle around the tree is finished, it’s time to start on the leaves that adorn the corners. The same technique used on the circle outline works well here too. Since the lines can be a little tricky to see, I go over them lightly with a pencil first. Then I make a shallow incision with a carving knife all the way around and then another pass to deepen the cut. Next, I use a veiner tool (micro V gouge), to deepen and widen the cut slightly. This is the rough cut.

Since I need the lines to be more deep than wide, I use a rotary tool with a very narrow, pointed bit to deepen the lines smoothly. Running it at it’s slowest speed and holding it at a very shallow angle seems to work best for me.

After I deepen the lines a bit, I use an orbital sander with a triangular shaped face to lightly sand the entire surface outside the circle around the tree. Using this type of sander gives me good control and I can stay with the grain and get right up to the edge of the circle.

Once the sanding is finished, I go back over the leaf lines with the rotary tool to further deepen the lines and to clean up any edges. The final leaf looks like the picture to the right. It’s important to keep in mind that once a section of wood has been sanded, it’s not a good idea to go back over it with a carving gouge. Sandpaper debris and the finely honed edges of metal gouges don’t get along too well.

The leaf pattern is very versatile and can be slightly modified so that it can be scrolled, chip carved, or burned into the wood.

After all four leaves are finished, I go over the entire carving, front and back, to ensure every edge is clean with no burrs, loose chips or fuzzy edges. This is especially important in areas where branches meet.

The last step in the carving process is the bark, and that will be in the next installment.

To see more carvings, please visit the Heartwood Art site.

Follow My Carving - Gnarly Tree - Step 18

To celebrate Heartwood Art carvings being featured in upcoming issue of Woodcarving Illustrated the "Follow My Carving" series was created to give you a an insider’s view on how the art is made.



To make the decorative carving for the circle, I start with a few straight, shallow cuts (on the right). All cuts are made toward the center of the circle. I then begin to make angled cuts (on the left). The depth and angle of these cuts are varied to break up any pattern. I simply want to texture the circle to give the tree an interior frame. The result is below.



If you are a chip carver, you could make an interesting pattern in the circle. It’s important, though, to make the border simple. You don’t want it to distract from the main focal point, which is the tree.

I’ll start carving the leaves that decorate the outer corner in the next installment.

To see more carvings, please visit the Heartwood Art site.

Follow My Carving - Gnarly Tree - Step 17

Now that the limbs are shaped, I move to the outside carvings. I’m going to add a decorative carving to the circle around the tree and, in doing so, I may knick one of the branches. If I do, the bark carving will easily hide it.



I used a carving knife to make a very shallow outline of the circle before I removed the pattern. I went back over the outline with the knife several more times, deepening the cut as I went. You can see that line toward the top of the picture. Next, I used a micro-veining gouge, which is a super tiny V shaped gouge, to deepen and widen the line a bit. You can see the beginning of that near the bottom of the picture.

The micro-viener is perfect for this job because I don’t actually want to go too deep with the cut. Relief carving is all about illusion of depth. I simply want to make the line deep and wide enough to cast a nice shadow. The outline will also act as a stop cut when I begin to apply the decorative carving.

The next installment will show the decorative carving.

To see more carvings, please visit the Heartwood Art site.

Follow My Carving - Gnarly Tree - Step 16

To celebrate Heartwood Art carvings being featured in upcoming issue of Woodcarving Illustrated the "Follow My Carving" series was created to give you a an insider’s view on how the art is made.

If you carve enough trees, sooner or later you're bound to come across a weak part of the wood and either break a branch or remove it on purpose. This is one of the reasons it's important to modify the design to coordinate with the actual blank you will be using. Sometimes, though, you just won't know until you begin carving. The wood around this branch was weak, so I chose to remove it. I'll simply shape it so it looks like a natural break of a limb.

If you'll look through the gallery, you'll see that I choose to incorporate broken limbs into some of the original designs. These are small branches that were never meant to attach to anything other part of the carving. If you choose to do this, design it bigger than you intend for it end up. Because it is only supported on one side, it will likely break near the tip end. So, just plan to make it shorter as you carve.

One other thing to keep in mind is that as you carve and make the limbs and branches smaller, the entire structure becomes weaker and it will begin to bow. You may have to hold some of the limbs flat or give them a little support on the opposite side of your carving stroke. If a unintended limb does break, you'll have to decide how to incorporate it into the carving. It's not very hard to do. As the famous Italian sculpture, Michaelangelo might have said, "Fuhgeddaboudit."



To see more carvings, please visit the Heartwood Art site.

Follow My Carving - Gnarly Tree - Step 15

To celebrate Heartwood Art carvings being featured in upcoming issue of Woodcarving Illustrated the "Follow My Carving" series was created to give you a an insider’s view on how the art is made.

There's a bit of trick to making the branches stand out from the limbs. A very shallow angle is used to make short, stabbing cuts just at the line where the two meet.

A great deal of care is needed not to cut into the branch and not to stab too hard. I always use a piece of soft wood underneath my carving. That way, if the stabbing stroke does go through, the tips and edges of my gouge will not be damaged. A fine cutting edge is very thin, and therefore, somewhat fragile.

Several short strokes are needed to deepen the cut.

The final result looks like this. The edges are cut much deeper next to the branch and tapered out along the edge to blend in with the rest of the branch.
The second part of the trick is to cut the lower part of the limb at an angle. This gives it the illusion of falling away and underneath the branch.



To see more carvings, please visit the Heartwood Art site.