Harper's Round Table, February 9, 1897

by Various

FIG. 3.—CHISELS.

The tools being in proper condition, the next step is to acquire a knowledge of the best methods of handling them so as to produce any desired result. It will require some time and practice to become thoroughly familiar with the manner in which tools are handled, and, if it is possible, it would be well to watch some carver at work. The chisels should always be held with one hand on the handle and two fingers of the other hand near the edge of the tool. This is to give sufficient pressure at the end to keep it down to the wood, while the hand on the handle gives the necessary push to make the tool cut.

Of the woods that are adapted to carve in there are a great many, but perhaps yellow pine, walnut, or mahogany will be found most desirable, as they are easily cut, and do not split as some of the softer and harder woods.

To begin with, it is best to work out a simple pattern that can be followed easily and without a great deal of dexterity in handling the tools. Get a piece of yellow pine one inch thick, eight inches wide, and sixteen long.

On a piece of smooth paper draw one-half of a pattern similar to the one shown in Fig. 4, and on a piece of tracing-paper copy the design. Over the face of the wood lay a sheet of transfer-paper with the black surface down, and on it the tracing-paper, and go over all the lines with a lead-pencil, bearing down on the point so that the lines will be transferred to the wood. Repeat it at the other end, so that as a result the piece of wood will have the pattern.

To one corner of the bench clamp the piece of wood with three or four of the clamps shown in Fig. 2. Do not place the clamp directly on the wood, but place between the jaw and the pine a piece of heavy card-board or another piece of thin wood, to prevent the clamp from bruising the surface of the yellow pine. With a small wooden mallet and a firmer chisel begin to cut down into the face of the wood on the lines until they have all been cut. Then with the gouges and grounding tool cut away the surface not a part of the pattern to a depth of an eighth of an inch or more, until a result is obtained similar to that shown in the second cut of Fig. 4.

FIG. 4.—A SAMPLE Of WOOD-CARVING.
1. The Drawn Design. 2. The Preliminary Stage. 3. The Finished Carving.

The entire design and edge will now be in relief, but its surface will be flat and entirely void of any "feeling." With the flat, extra flat, and plain gouges begin to carve some life in the ornament. A little practice will soon enable you to observe which parts should be high, the others that should be low, and the surfaces that can be left neutral or between high and low relief.