To the passionate whittler there is nothing more important than his or her whittling knife.  It is not only an extension of their hands, but it is an extension of their very personality and creativity.  You might even refer to the whittling knife as the whittler’s paint brush.

So, why are so many whittling/carving knives on the market so crappy?

Many whittling knives found from suppliers are like store bought tomatoes – designed more for mass market and sturdiness than quality.  Hopefully, you have experienced the difference in the taste of a tomato out of your garden and those from the food mart – same with whittling knives.  Once you have used a great one, there is no going back.  Often beginners get disappointed in whittling because they are using cheap knifes and blame poor work on a lack of ability.

A successful whittler needs a good quality, well-shaped, SHARP knife.

Some whittling knife manufacturers and makers make a series of compromises with their knives calculated to keep the largest amount of folks happy for the longest period of time. That means they make knives that don’t rust, that hold an acceptable edge, and are soft enough to take some serious abuse without breaking and that will make it easier for most people to sharpen.   I don’t believe these compromises are to we whittlers benefit. Because of these compromises, very few whittlers and carvers truly love their knives once the shiny factory edge has worn away.

The first compromise is with the steel.  The fact is, steel is the heart and soul of the knife.  Most manufacturers use variations on a couple of basic stainless steels that are slanted more toward wear resistance rather than holding a razor-sharp, high performance edge.  These steels are generally further compromised by a heat treatment that leaves the steel much softer than it could be.  In general, the harder the steel, the keener the edge can become.  However, it is also true that hard steel makes it more difficult to get that keen edge in the first place.  So, many manufacturers leave the steel a little soft, which supposedly makes the knife easier to sharpen by the general population.  Of course, one will have to sharpen their knife a lot more often because soft steel won’t hold an edge very well or very long.

Many whittling knives and carving tools are treated to a hardness of between 52-56 on the Rockwell C scale.  That is pretty soft in my opinion.  Better whittling knives are treated to between 58 and 62.  Many Japanese tools are hardened to between 61 and 64.  That is dang hard… hard enough that I have experienced some chipping with Japanese gouges.  These very hard steels will not tolerate the slightest prying.  Also, these super hard steels are so hard that most are laminated between softer steels to prevent them from snapping in half.  Unfortunately, with knives being laminated, they become quite thick.

Another, compromise is often with factory edge angles.  Some new whittling knives come with a factory edge of between 22-25 degrees per side… and I have even seen some greater.  ACK!  Now, take those two sides and add them up and you get 44-50 degrees.

If those numbers don’t impress you negatively, take a look at a protractor and see what 45 degrees looks like.  Being a sucker for new tools, about a year ago, I purchased a nice looking folding whittling knife from a national woodworking/woodcarving chain (catalog sale, I did not get to see the real thing).  Beyond the glamorous write-up, the price was right, and the idea that it came with wood scales (handles), really caught my attention.  It turned out to be made in China and its edge probably totaled 45-50 degrees… what a joke.  I think it had been sharpened on a lawn mower blade sharpener.  I wrote a review pointing out that drawback but they failed to post it.  It was billed a “high-carbon” but it does not hold an edge very well at all.    I hate to say it but “you get what you pay for.”  This knife was just too cheap… Ooops, I mean inexpensive.

In my experience, a good sharpening angle is 17 degrees and 15 degrees for fine detail knives.  Of course, with keen edges like these, the steel has to be the highest quality because I don’t want edges constantly dulling down.  One caveat here… with a 15 degree edge, one must be careful to not pry or chip their wood.  That angle is purely for detail.

Of course, we can’t blame everything on knife manufacturers and makers.  The carving knives in many a shop are subjected to tremendous abuse and misuse.  I know one carver that routinely uses his knife for cutting cardboard.  Egads Man!  Other than rubbing the edge of your knife across a brick, cutting cardboard is about the worst thing you can do to a fine whittling knife.  Others sharpen their knives on course bench stones.  Eeeeks!

I find that generally speaking, that knives made the old fashioned way are usually good knives.  Quality forges know what they are doing and you are likely to get a quality knife.  If they don’t address the steels and methods they use on their web sites, then ask before ordering.  One possible negative with forged knives is that some can be a bit heavy.  Another negative is with the shapes of some forged knives.

In more recent years, new methods have been applied to stamped or machined knives that make them near-equal in quality or even better in a few cases.

While the steel in a whittling knife is of primary importance, the handle material, the handle shape, and the knife’s construction are also important.  In buying a knife, look for a knife that fits your hand.  Many knives that will fit a large hand will also fit a small hand.  The opposite is not true however.  If it’s a folding knife that you are buying, make sure it either locks or has a solid snap to it so it is not flimsy or loose in opening it or while it is open.  It is purely esthetics but I like folding knives with real wood or stag scales.  They are just plain classy and I feel good when holding them.

Assuming the blade shape works, good quality older pocket knives made from high carbon steel are usually pretty good.  The steel is good, the handles are usually made from quality material, and the workmanship of old time knife makers is generally with high standards.

I like some of the fixed blade whittling knives made by North Bay Forge, Savage Forge, Cape Forge, and Drake Knives.  I like some of the folding knives made by Queen City Cutlery (Oar Carver and others), Flexcut, and a few oldie but goodies like JA Henckels (“Twin Brand,” not their current versions) and Boker.  I don’t like that red, plastic handled, knife from Switzerland, that American made pocket knife with X’s on it that your grand-dad supposedly carried, and most European fixed blade knives.

If you are new to whittling and are in the market for a good knife, the best thing you can do is ask a seasoned whittler/carver what whittling knife they recommend.  Obviously, there are lots of knives that I have not tried and can’t judge… probably some very good ones.

A Note on sharpening angles:  Getting precise angles when sharpening is difficult.  The only way I can be precise with my angles is through the use of a sharpener offered by EdgePro of Hood River, OR.  This is a spendy little machine but well worth the money if you want precision.  I pay for mine by also sharpening salon shears for hair dressers in my area. 

Keep Sharp and shop for quality.

Please visit my website at www.WhiteEagleStudios.com .  The site’s gallery has been remodeled a bit and new photos have been added.

Anyone that knows me knows me as a carving tool freak.  It seems that I am always in search for something better.  For a long time, I have had my eyes on the Version II Oar Carver with the stag handle.  And, recently Flexcut introduced its Whittlin’ Jack.  I now own both and love them… but they are not quite perfect.

Flexcut Whittlin’ Jack

Out of the box, the Whittlin’ Jack is the sharpest knife I have ever experienced.  As a previous owner of the Carvin Jacks, I expected “sharp” but this new knife gives “sharp” a whole new meaning.  I have now used the knife on several small whittling projects and believe I can make some qualified comments.

My hands are a pretty average size large… at least, I wear size large gloves.  Flexcut has made this knife to fit a larger hand.  Of course, it will also fit a smaller hand.  I have found that most folding whittling knives are just too small for my hands and I have heard similar comments from other whittlers.  The well sized Carvin’ Jack has two blades; one large blade for “hogging” and a smaller detail blade.  Both are equally sharp.  I wonder if the large blade should be as sharp as it is.  After doing some serious cutting on hard wood, I experienced a slight (micro) chipping in the blade which had to be touched up with a ceramic file.  I doubt that the small blade will ever require anything more than stropping.

You might think that with two blades, the Whittlin’ Jack might be bulky but I find the knife to be comfortable in the pocket.  I like the idea of being able to fold the knife shut and throw it in my whittling kit without having to worry about protecting the edge.  I did notice that on the heel of each blade, the edge has been left squared off.  It may be the way I hold my knives but on two occasions, my hand crept too close to this squared of area and made a small cut in my index finger.  After that happening twice, I carefully ground the heel end of the blade to an angle and the issue went away.  You can see in the photo what I did.

Whittlin Jack with point taken off heel

Like all Flexcut products, they are breaking the mold as far as appearance goes with their machined, modern look.  Some folks don’t like that but it doesn’t bother others.  Initially, it bothered me until I used a friend’s Carving Jack and I was instantly converted.

Flexcut’s steel is dang hard and it is easily maintained (typically) with simple stropping.

I like this knife a lot and highly recommend it.  Its retail price is apparently $49.95 but right now several retailers are offering it at $39.95.  I think that is an excellent price for the knife.  I shopped around a bit and found the best price and shipping to come from Greg Dorrance Company.  I was not familiar with the firm but I have learned through experience that they ship same day for a flat price of $6.50.  They are in Massachusetts and I am in a small town in Central Washington State and I had the knife in two days.  So, great service from these guys at a reasonable price.

Oar Carver, Version II with Stag Handle

Many years ago, I bought the original Oar Carver, Version I and have enjoyed it very much.  It is one those many knives that are a bit too short but I can deal with it.  These knives came with a chipped plastic handle with an attempt to look like something else but plastic is plastic.  Version I has two large, well-shaped, blades.  A few years later, Oar introduced the Version II which was one large blade and one small blade.  Then, following that, the knives were offered with either wood or stage handles.

So, after drooling over this thing, I have finally stepped up to the plate and purchased the Version II with stag.  From an appearance standpoint, this knife is a real beauty (a real bragging piece).  It’s not cheap at $75.00 – $80.00.  But, it will be the knife that I carry in my pocket.

Oar Carver Version II w/ Stag handle

Regrettably, it is a bit short, like its predecessor but it works okay.  I would not consider its size to be a deal breaker.  The knife is made by Queen City Cutlery and it is a high quality carbon steel blade.  Like the Flexcut, it can easily be maintained with nothing more that stropping.

These knifes are offered with either the factory edge or a sharpened edge for a few dollars more.  I chose the sharp edge but I wished I had not.  I am pretty sure it was sharpened on a narrow belt… and not very carefully.   Of all people, I should have known better as no one can sharpen a knife better than me (yes, I am bragging but it is the truth).   So, I ended up squaring up and sharpening the  blades properly.  I am not sure it was the result of the initial sharpening or if it was an error in design, but the tip of the small blade has a slight up-swing to it. As a result, when the blade is closed, the tip of the blade protrudes up above brass liner/slot just enough to barely snag my hand when I am using the large blade.

I bought my knife from Statlander Carvings and again, I had the thing in two days from New York.  Shipping was $5.00, which is actual cost.  Fast, affordable service.

We have all experienced suppliers that use shipping as a profit center and that really bugs me.   Both Dorrance and Stadtlander provide top notch service and have reasonable shipping rates.

Neither of the above knives have locking blades but they both have a solid catch when open.  So, there you have it two great, albeit not quite perfect whittling knives.

Thanks for reading and a very Happy New Year to all.

Please visit my web site at www.WhiteEagleStudios.com

Warning… this posting contains “filthy” words.  Words like “grime,” “smear,” “carbon,” “dirt,” “dust,” crud and many other disgusting words.  As such, this material may not be appropriate to all readers.

There are not many things more pristine and beautiful than an attractive piece of wood following a smooth cut by an artist’s carving tool.  It is crisp and clean.  Often, as our piece is being worked on, it becomes soiled and loses that clean look of freshness.  The beauty of the wood can rapidly disappear.

I don’t paint my carvings.  I apply only oil.  When I do so, if my carving is dirty, I lock that grimy dirt in place.  The only way I can get it off is to cut it off.  Of course if you paint your carving, maybe dirt doesn’t matter… but, you know in your heart that imperfection lies just below the paint.

I have seen many a carving, particularly in basswood that are ruined because of the dirt and grime left there by the carver.  He or she either couldn’t keep it clean of didn’t care about cleanliness in their carving.

To have your carving looking its best and to end up with an attractive appearance, before you apply your final finish, your carving must be clean and fresh.  Once your carving becomes soiled, there is nothing you can do except re-carve it.

My buddy, Don Mertz (the Woodbee Carver) told me a story about Harold Enlow… Don said someone had once asked Harold how to avoid dirty carvings and Harold said: “carve faster.”  Cute!  I wished only that would work.  By the way, there are probably not many cleaner carvers in the land than is Don Mertz.

So, let’s analyze where most of this dirt comes from and what we can do about it.  For me personally, it comes from several primary places.

Sharpening:  Sharpening is a dirty process and the grit material, micro metal shavings, oils, and compound all stick to fingers and tools like glue.  We leave the sharpening equipment with grimy fingers, immediately pick up tools and carvings and all this crud is transferred to the carving.  This is probably the dirtiest crud of any that we face.  To ensure that this grime transference does not occur, we need to carefully wipe down our newly sharpened tools and take a trip to the wash basin and scrub our hands.  Pretend you are a surgeon prepping for an operation.  This would be one reason to do all of your sharpening, honing, and stropping at once so you don’t spend more time at the wash basin than you do carving.  I also will wear nitrile gloves when I sharpen if I possibly can.

Pencil lead:  Most of us do some amount of drawing on our carvings with a lead pencil.  I do and I find that I am probably too aggressive with the pencil during the rough-out stages.  Not only is there a strong likelihood that some amount of pencil marks will remain when I am finished with a particular stage of work but handling a carving with lead lines on it tends to smear the lead over the entire face of the carving.  The more it is handled… the more smear.  I suppose this is one additional case for using a holding device… no matter how small the carving.  I find that using a carver’s glove can present an additional problem because not only is the lead smeared on your current carving… it is also picked up by your glove and transferred to the next carving.   I have tried washing a carver’s glove and had some success but not totally.  Kevlar must be porous.

I believe the things one can do to lessen lead smear is to minimize the amount of drawing you do and to draw as lightly as possible.  Depending upon the wood, one can even wash the carving with liquid dish soap but this too does only a half-baked job.  The best measure to prevent lead smear is to use lead sparingly and to carefully clean up your final carving… using fine, thin shavings… just enough to get the lead off (and, of course, you need dang sharp tools for this).  Also, try to avoid drawing in detail areas like eyes.  With detail like this it is much more difficult to get the lead out.  I recently learned that acetone will remove pencil marks.  I tried it on a sample piece of wood but have not tried it on a carving where there are cut marks.  If you try it, proceed with cauthion.

Carbon Paper:  This stuff is worse than lead.  Whenever I use carbon paper, it is only in the VERY early stages of a carving.   Not only does the carbon “hit” the wood where you trace, it smears EVERYWHERE that your hand drags on the paper.  UGLY, UGLY!

Rather than use carbon paper, you can draw your design on a thin (tracing) paper and then flip it over and trace over the lines on the other side of the paper… ending up with the exact mirror image on the back of the paper.  Then you can apply the paper to the wood and trace over your existing lines.  It may take a bit longer but it will greatly eliminate smearing.  Here you still face the same issues as you do with lead (above) but it is much easier to control and clean up than is carbon paper.

A Dirty Shop:  Dirt and dust seem to magically appear in our shops and studios.  When you think about it, we are always making dust.  We have a stash off wood brought in from the outdoors often with bark on that is laced with dirt and dust.  Our sharpening equipment creates grime and dust.  I notice that even my handy as heck Auto Mach reciprocal carver develops black grease around the collet and every time I change a blade, that crud gets on my hands.  ACK!  I even notice that hand sawing produces dust that flies everywhere.

I keep a shop-vac sitting close to me at all times to keep dust to a minimum.  I also keep a container of old (clean) rags close by to wipe up sharpening grit, grease and other grime that seems to develop around the shop.  I do a pretty good job at keeping things clean but I have to “stay on it” full time.  I was once complimented by a student that told me I have the cleanest shop he had ever seen… he was in on a good day…ha!

I also keep a draftsman’s brush handy as well and will brush my carvings to remove chips and dust… keeping my hands off the carving.  A clean shoe or floor brush could also be used.

One thing I did when we build our home which includes my studio in the basement… I built a separate room off my shop where I do my cutting and dust making.  It is separated by double glass doors.  In the winter when there is 3 feet of snow on the ground and its 10 degrees outside, I even use my handy electric chainsaw in that room.  It greatly reduces dust in my studio.

Dirty Clothes:  Many of us wear shop aprons when working in our shops.  Mine is leather and because of all the crud developed in the shop, that stuff gets on my apron.  Because it’s leather, I can’t wash it and that crud can easily be transferred to my carvings.  A cloth apron or a shop coat could easily be washed.  Carving and other gloves attract and hold the same dirt as my leather shop apron.  My Wranglers get dirty if I have been roughing out pieces with a chainsaw or router.  One must be aware of where this dirt is and to keep it away from carvings.

So… What do we do?

Keep our hands clean especially after sharpening or eating;

Keep our tools free of sharpening grime;

Keep our clothing clean;

Clean up you carving area every day or two;

“Spring clean” at least once a month and get into the corners;

Avoid handling your carving with your hands;

Use CLEAN carving gloves;

Use lead pencils sparingly and lightly (avoid carbon paper); and

If you can, keep your sharpening equipment far from you carving area.

Let us “toast” to clean carving!

Stay sharp and always be carveful!

Please visit my web site at www.WhiteEagleStudios.com

As a woodcarver, I believe one of the worst things that can happen to me is to drop my “V” tool on a concrete floor.  I have done it more than once and as is falls to the ground, I pray that it hits handle first.  Of course, it seldom does.

When I have a perfectly sharpened “V” tool, I am careful to treat it with love and am regularly honing its edge.  Heaven forbid that it should get dull as sharpening the thing can be a major undertaking.

If you are buying a new tool and are somewhat of a novice at sharpening, I highly recommend that you purchase your tool from someone that will offer free sharpening on their tools such as Drake Knives or Cape Forge.  If you are a proficient sharpener, that is not such an important factor.

More than any other tool, I believe it is important to buy the absolute best tool available in “V” tools simply because you want the edge to last and be easily maintained.  In my opinion, forged tools are the best choice.  I have had a 1/4″ “V” tool hand made by Savage Forge for about 40 years and have sharpened it only once… and “yes”… it was because I dropped it.  Other than that, stropping is all that it has taken to maintain a razor edge.  Dick Anderson at Savage Forge makes the finest tools I have ever used.

Let us assume that we do need to sharpen our “V” tool.  It used to terrify me to attempt such a feat and I failed several times.  Once one gets a bit of practice, it is actually fairly straight forward.  Notice, I do not use the word “easy.”

When you think about a V-tool, it really is just a couple of straight chisels (I’ll call “wings”) joined by a small gouge forming the shape of a “V.”.  Let’s go through the sharpening process one step at a time.

1) Begin by flattening the end of your “V” tool.  Give it a square edge with a slow moving grinder or a course bench stone.  I use a grinder with a 60 grit belt turning at 1750 rpm.  Fattening out your “V” tool will give it a uniform thickness, removing either a “nick,” a protruding point or a recessed point.  Flattening will put the entire edge on a level playing field, so to speak.  Only grind until you have removed any damaged spots and the metal thickness is uniform.

2) Step two is to give it a fine surface.  Move to a fine belt or a fine bench stone.  The idea here is to give the flat surface a near polish by removing all grinding marks.  It does not need a mirror finish but is should shine a bit. This make things much easier to see.

3) Despite the urge to begin sharpening on the wings, I don’t want to start there.  Using a medium grit belt or stone (220 grit or so), I carefully grind the bottom of the “V” flat (removing the point), leaving just the slightest thickness of metal bridging the two wings.  How much you take off or how wide the grind on the tip is really depends upon the size of the tool.  Be carveful to leave a thin thickness of metal.  I also grind my “V” tools with a low angle.  This provides for a sharper tool and it allows you to keep your handle low as you cut.  I don’t like having to raise up my tool handle to get the thing to cut.

4) Now we can grind and set the bevels of the two wings.  Being carveful to not grind to an excess, grind each wing to the same thickness of metal that you have left on the  bottom of the “V.”

5) At this point, we want to sharpen the entire tip of the tool.  I use a 400 grit belt on my belt grinder.  You can also use a fine bench stone.  If you are using a belt, be careful not to over grind or to create heat or you will be starting over.  I have done that… especially in the beginning of my sharpening career.  As you sharpen, you want to carefully turn the tool around the tip.  Keep the entire “V” a uniform thickness around the entire edge.

I am also known to set the correct angle on my belt grinder and leaving the motor “off,” I turn the belt with my hand.  This ensures precision without the risk of over grinding or making heat.

6) I like a good, crisp point so working with a series of ceramic files, I remove the micro-roundness and bring the tip to a distinct point.  My final strokes on the inside and the outside are done with fine and extra fine ceramic files.  For fine touch ups, I use Spyderco ceramic stones and files on all of my tools when needed.

7) The last step in the process is to strop the tool to a razor edge.  I use a leather clad hand crank wheel with Japanese green rouge.   You may find that other compounds work well for you but I suggest a fine rouge such as the green rouge or “Yellowstone.”  A good flat leather strop will work as well… it just takes longer.  Lots of carvers buff their “V” tools and I do also but I caution you to be most carveful with heat.  I keep ice water right next to my buffer and I never apply pressure when buffing.

Here are some resources for items mentioned in this article.  There are other resources but I have used the folks listed below and have had a good experience with them.

Drake Knives = www.drakeknives.com

Cape Forge Tools = www.capeforge.com

Savage Forge = no web site… e-mail contact: anderslynn@peoplepc.com  

Japanese Green Rouge = www.japanwoodworker.com

Yellowstone Compound = www.cascadecarvers.com

Spyderco Ceramic Stones = www.CutleryShoppe.com

Leather clad honing wheels and leather belts = http://www.surgisharp.com

Years ago, I spent about 10 evenings with a Swiss master carver named Walter Schafer.  Walter didn’t like “V” tools… he used skew chisels only.  He was pretty remarkable as his cuts with skews were so precise that you could not tell the cut was not done with a “V” tool.  He liked the skew approach as he felt that he had more control over his cuts.  For years, I never picked up a “V” tool because of what Walter taught me but when I bought my little 1/4″ “V” tool from Savage Forge I pretty much dropped using skews for “V” cuts.  Using knives or skews for “V” cuts is something you might want to try though.  It works particularly well for hair.

In closing out this post, I recently learned of a pretty good tip for removing pencil marks on wood without cutting them off or sanding.  Try using a bit of acetone on an old rag and rub the pencil marks away.  They seem to disappear.  The acetone dries quickly and will not discolor your wood or raise the grain like most liquids.  When using pencils, keep your touch light

Happy carving and stay sharp!

Please visit my web site at www.WhiteEagleStudios.com

In this post, I want to mention a few things about the exciting topic (NOT!) of health and safety issues to be aware of with woodcarving.

General Health

1.    Many exotic (tropical) hardwoods are toxic.  I have known a few folks who found themselves allergic to oils in these woods.  One knife maker I knew used exotic woods for handles and always had a severe rash.  He was surprised to find that it was from the woods he used for knife handles.

When using power tools on exotic woods always wear a good quality dust mask as, dust from exotic woods can be a threat to one’s throat and lungs.

2.    Slivers from oak and western red cedar, both very common, can rapidly cause an infection at the point of penetration.  Slivers should always be removed immediately and thoroughly.

3.    Woods that have begun to develop spalting may also be toxic to some degree.  Spalting is caused by a mildew or fungus in the wood and can cause harm to ones throat, lungs and possibly, eyes.  Here, again, always wear a good quality dust mask when using power tools on spalted woods.  Spalting is evident by those little black lines lacing through wood.  Spalted woods are often beautiful when turned into bowls and other objects.  It is the dust that is harmful.  I have never heard of harm arising from handling spalted wood.

4.    It is highly advisable to use a dust mask with any power carving and to use a vacuum dust system.  Dust from even domestic common woods may be harmful over a long period of exposure.

6.    Always wear eye protection when using any power tool that creates dust, chips, splinters or the like.  Obviously a foreign object in the eye will hurt and cause damage but the oils in the dust of even the most common woods can be damaging to the eye.

Insects in Carving Wood

When we find a piece of carving wood in the wild, it will not be unusual to find that bugs of some sort have set up residence.  We never want to introduce bug infested wood to our wood storage, our shops, or our homes.  I know of two effective ways of eliminating the bugs.  (1) Place the wood in a large plastic garbage bag.  Place an uncapped can of Raid or similar product inside the bag.  Tightly close the end so fumes will not escape.  Once the bag is closed tightly, locate the Raid inside the bag and discharge an appropriate amount of its contents.  Leave the bag closed for at least 3 full days before removing the contents. When opening, avert your face so that you do not breathe the fumes and allow the air to vent out of the bag before removing the wood.  (2) Although not as effective and a bit more complicated than the Raid approach; place the wood in a large plastic bag and place the opening of the bag over the exhaust pipe of your car.  Start the car and let it run long enough to fill the bag from the exhaust and tie it off tightly trapping the fumes inside.  Keep the bag tightly closed for at least 3 full days.  You may need to repeat the process.

Obviously, a great deal of caution needs to be exercised with both of these methods.  Never do either of these inside your home or garage or around children or pets.  One could easily argue that it is simply a better idea to stay away from any wood where there is evidence of bugs in it.  The flip side of that coin is that many intriguing and unusual woods are found in the wild and probably have a bug or two in them.

I once bought a nice cypress knee* from a commercial dealer and had it shipped to me.  I sat it on my shelf of wood stock and soon noticed a little pile of what appeared to be sawdust.  In looking closely at the knee, I found a small, dark, pin-sized hole that was home to some little critter determined to build a home inside.  I had him quickly evicted and saved the knee.

The above information should be considered information only is not intended to alarm the beginner carver.  I have been around for a long time and never had a problem with any of this.

*Cypress trees grow in the bayous of the southeast US and growths from the roots rise above the water and ground forming what are called “knees.”  These knees are soft and lend themselves to good carving.  Their shapes are always interesting looking and evoke creativity.  Removing the knees does not hurt the tree and new knees quickly re-form.  There are several carving suppliers that offer cypress knees for sale.  A picture of a typical cypress knee appears below.

Safety Issues with Carving

This discussion will have three parts; general safety, hand tools, and power tools.

I. Safety in General

1.    Carve only when you are alert.  Carving when tired or after consuming alcohol can greatly increase the probability of an accident;

2.    Where practical, use a hold-down device.  A hold-down device is a vice, clamp, carver’s screw, belt or a myriad of other things used to hold your carving firmly down to a bench or table.  By using a hold-down device, you can easily keep your hands out of harms way and safe from the blade or a power carving head;

3.    Don’t put anything in front of your blade that you do not want to cut.  This includes hands, legs and fine dining room tables;

4.    Be mindful of your surroundings.  Consider whether or not someone else could be injured by your activities;

5.    One cannot foresee every possible situation, so please use common sense with everything you do.

II. Safety When Using Hand Tools

1.    A sharp knife is much safer to use than a dull knife.  Mothers of young carvers are probably cringing as they read this.  Actually, a sharp knife is easier to control and takes less pressure to cut wood.  A sharp knife will also “catch” the wood upon “touch down” and will not be prone to skipping or sliding on the surface of the wood, which could more easily result in injury;

2.    I cannot stress enough: Wear a carver’s glove.  Carving gloves are interchangeable and may be worn on either hand.  So, whether one is left handed or right handed, a carver’s glove should be worn on the hand holding the carving.  Better gloves come with a micro strand of stainless steel wire in the center of the thread which adds to the protection provided.  This is my glove of choice but the fabric is a poly material and, as such, can be a bit slippery requiring a more firm grasp which can become tiring.  Since these gloves are woven, a knife point and very small gouges can find their way through the weaving.  However, wider gouges and the lengths of blades generally do not penetrate the material.

Other gloves, typically without wire, have gripping material similar to rug-pad material affixed to the glove to prevent slipping.  Any glove is better than no glove.  Some carvers that I know simply wear a good-quality leather glove.  I think it is safe to say that virtually every seasoned carver has been saved from serious injury at least once because they were wearing a glove;

3.    Wear a leather, Kevlar, or other heavy-material apron or pad if carving in your lap;

4.    Hold your tools properly.  When holding a knife, hold it firmly in your primary hand by the handle.  Your primary hand and a firm grip will assist in providing good control.  Unless sharpening a spear or making a hot dog roasting stick, guide the blade with your opposite thumb.  Your opposite thumb is the power.  The operative word in this paragraph is “control;”

5.    If you use a folding knife (pocket knife) to whittle, it is wise to have a lock or a firm catch to prevent the blade from closing on your finger(s);

6.    If you accidentally drop a tool, let it go.  You may want to jump back to avoid it hitting your foot, but do not attempt to catch it!  Then pray that it lands handle down to avoid a gash on the blade.

III. Safety When Using Power Tools

1.    When using any power tool that creates dust, flying chips, etc., wear eye protection and a good quality dust mask;

2.    If your power tool is loud, wear ear protection.  I have a bit of hearing loss simply because I have hundreds of hours with chainsaws, lawn mowers and other noisy tools with no ear protection.  I was a slow learner;

3.    Never use a die grinder with any kind of cutting head without also using a rheostat.  Die grinders are generally “instant on” at high rpms and if the cutting head were to either break apart or come loose from the grinder, one could find a hole in themselves about the size of a 50mm howitzer shell;

4.    When using any power tool make sure the speed control, if any, is at its lowest point when the tool is turned on;

5.    A dust collection system should be used anytime you are using a tool that creates dust in any enclosed area;

6.    When power carving, always use a hold down device.  It is not wise to hold your project in one hand and the power tool in the other.  The sole exception may be drilling a hole and even then only if it is a small hole;

7.    If chainsaw carving, use a good quality safety chap such as a double Kevlar fabric.  They may be funny looking but they might just save a nasty gash in your leg.  Also, wear a shoe with heavy leather uppers.

None of this is intended to frighten you.  Safety is important to your success as a carver.  In the many years that I have been carving, my injuries have been minimal and only occurred simply because I was not paying proper attention to what I was doing.  As item 5 in Section I, above, states: “One cannot foresee every possible situation so please use common sense with everything you do.”

It is important to mention that woodcarving is inherently dangerous simply because of the tools used.  Be sure to always employ safety and follow all manufacturer’s instructions and safety notations.

Keep sharp, and happy carving!

Please visit my web site at www.whiteeaglestudios.com

Whew… I had to rush this one to get it in by the end of the month.

This past month, I participated in two nice art festivals.  Art festivals are new to me other that being an attendee.  I have always loved wondering through festivals and seeing the creativity that exists out there.  But, participating as an artisan vendor is a whole new angle.  My sales were “so-so” and I barely covered my expenses… in fact, I don’t think I did cover them fully.

I plan on doing more art festivals and here is why.  Maybe I will make a profit but the biggest reason is my little part in enriching the lives of others and having my own life enriched by folks stopping and talking to me and commenting on my art.  Folks come in all shapes and sizes and some are carvers and some are not.  They all have varying interests and perspectives.  I teach and I learn in all those conversations.  And, then there are the special ones… kids.  When a young person comes in to my booth and oohs and awes over my carvings, I feel about as good as I can possibly feel.  I always make sure that I speak to them and encourage them to go home and do some carving.

I remember, as a kid, seeing carvings that I thought were cool and wanting to do them myself.  Of course, it took me years to achieve any amount of perfection but it sure is a fun trip through the learning process.  Still, today, my favorite carving projects are similar to the ones I did as a young person such as knives, American Indian implements, wizards, cowboy boots, Boy Scout tie slides and the like.  That is another thing… I love doing those little “doo dads” and giving them to kids.  I believe that those types of gifts are real motivators for kids and I will bet you a $20.00 bill that they keep those carvings all there life.  My little visitors are not just boys either… they include girls as well.

In Addition to the Art Festivals

Besides being an artist, I am also a bit of a rock collector… mostly in search of the elusive Ellensburg Blue Agate… and I have a pretty good “hit” ratio too.  Here in Chelan we have a little rock and mineral club that I participate in and about 2 years ago, a young family joined the club that includes two of the cutest, nicest kids on the planet.  I believe Ian is 8 or 9 and he is an aspiring woodcarver.  He had bought Chris Lubkemann’s Little Book of Whittling and began doing Chris’ projects before I met him.  After meeting Ian, he will sit with me and we, together, will work on a project.  Ian just “beams” at the end results and it is enriching for me to see Ian’s excitement and interest.  Ian certainly does not need me or anyone else for motivation… he carves on his own as well.  I have little doubt that Ian will, one day, be a most accomplished carver.  It really warms my heart to see Ian in action and experience his excitement about carving.  I feel good to be a little part of it.

The Bottom Line     

I believe sharing your art and sharing your skills enriches the life of those that you share it with.  But, more importantly, I believe that sharing also enriches your own life.  That is pretty powerful stuff.  Think about it:  Sharing your art and skills enriches your life and all those who you share it with.

We all know what a pleasure it is to walk into a room full of art that pleases you.  And, speaking for myself, when I see art that is not pleasing, I can’t wait to get away from it.  It’s like crappy music.  I find graffiti to be un-nerving.  I don’t like paint spattered all over walls or sticks glued together in some random fashion either.  Wow, I just reminded myself of Andy Rooney.

We know that prisons are painted in colors that have proven themselves to have a calming affect on inmates.  In more recent years, many hospitals and medical facilities have included art in their buildings to help patients in their treatment and healing process, to calm fears, speed recovery, as well reduce stress for staff and visiting family members.

Studies have been conducted on the benefits of art in the health care field.  Positive art images have a healing affect on the autonomic nervous system, hormonal balance, brain neurotransmitters, the immune system and the blood flow to all organs of the body.

Healing artwork also has a valuable place in our homes, our offices, and our shops or studios.  Today’s world can be a pretty stressful one.  Many people are experiencing anxiety, sleep disorders, high blood pressure, depression and many other ailments as a result of stress, as it takes a heavy toll on the body and immune system.

The woodcarvings that we create can be a powerful tool toward creating a pleasant atmosphere and assisting with health, happiness and well-being for ourselves and others if it is composed of the things we love and are passionate about.

I would also argue that when we carve the things that we love and are passionate about, we will create a better quality piece, get lost in the carving process, and feel so much better about our finished product.

By placing art in our homes and offices that allow us to experience moments of peace and reflection, or a sense of joy or upliftment, it will help us to combat stress and stay more balanced.  Think about what kind of art and colors feel good, make you happy and inspire you.  For many people this involves pictures and carvings of nature, as the studies indicate.

What is hanging on your walls or sitting on your fireplace mantle ?  If you have dreary old pictures that you inherited from a relative as “family heirlooms” and feel obligated to hang them on your walls but have never liked them, give yourself permission to take them down.

The painter Henri Matisse said that art should be “something like a good armchair in which to rest from physical fatigue.”  Surround yourself with what you love (this applies to everything in your home, not just the artwork) and get rid of what you don’t love.  Then notice how your home, office or shop will transform into a joyful life-affirming space.

Healing and the Woodcarving Process

Obviously for us woodcarvers, the creating of fine art is healing.  Not only is the piece itself healing but so also is the process of creation.
May I suggest to carve only the things that you love.  I assure you that if you carve a piece, as in a commission, that you don’t really have your heart in, it will not be a nice as it could be if you did love it.  And when carving, open your heart to the process and enjoy the moments spent.  I find that when I carve an item that I truly enjoy, it creates an energy in the piece that is recognizable by the observer… or new owner.

Make clean cuts.  You do not need to be a master carver to make clean cuts.  Whether you are a novice or a master carver, clean cuts will add to a carving’s beauty and positive energy.

In my experience, woodcarving is meditative and calming.  I don’t need to sit cross legged or hold my hands in the lotus position.  Carving can be meditation in action and during these peaceful times of calm, you can find inspiration either with the piece you are working on or with others.  It is not unusual for me to carve away and then experience a “waking up,” so to speak, and I ask myself: “hmmmmm, I don’t remember doing that.”

May your experience in woodcarving and your carving projects always be peaceful and healing!

Thank you for joining me.  Please visit my website at: http://www.WhiteEagleStudios.com .

Spirit of the Eagle

Anyone that knows me knows that I love eagles and have carved my fair share of them… relief carvings, full-round, eagles decorating knife handles, pendants, Boy Scout neckerchief slides… and on and on.  You name it; I have put an eagle on it.  I have always said there is no dish that isn’t made better by adding tomatoes to it.  Well, I feel the same way about Eagle… there is no carving that isn’t made better by adding the Spirit of Eagle to it.

Apparently, I am not the only one drawn to eagles (no pun intended).  Just look at the art surrounding the formation of this country.  There are eagles everywhere… coins, flags, buildings, and stamps.  And, I suspect there is not an artist alive or dead that has not paid honor to Eagle in his or her art at some time or another.  Eagle has powerful energy.

American Indians have always seen Eagle as a sacred messenger.  It is believed that the Eagle carries prayers to the Great Spirit and returns with gifts and visions.  They use Eagle’s feathers to connect to this majestic and powerful spirit guide as they know the Eagle feather holds cleansing and healing powers.  The Eagle is seen by many cultures as a symbol of courage, vision, strength and endurance.  When I carve them, I experience all of that.  I literally feel a fullness in my heart.

Eagles need isolation in the wild to propagate and prosper.  This teaches us that we have a singular walk in life and must face life on its own terms… same with our art.

Freedom is vital to the survival of the Eagle and this teaches us that all people must be free to choose their own paths; to do as Spirit leads them; and to respect the freedom of others.  The same holds true with choosing our own carving subjects, our methods and styles, and to respect the work of others.

As a lesson in balance and equality, both female and male eagles care for their young.  When I was young, it seemed that there few woman carvers.  It was a man’s art form.  Nancy Catford, the great UK carver/artist is one notable exception.  Today, women carvers abound and I would argue that they are better at detail and true creativity than many men. And, have you ever noticed how carvers, women and men, share freely with novices and others who may be interested in the art?

The Eagle teaches how to master the art of patience and how to move through life without material attachments from their ability to sit for long hours perched on a limb in meditation.  The spirit of the Eagle teaches me patience with my carvings and gives me the ability to see every carving through to its finish.

Eagles have excellent hearing and can hunt as much by ear as by sight. To those to whom Eagle comes, the ability to hear spiritually and psychically will awaken.  The Eagle brings me a reverence for my subject matter and the wood that I carve it in.

Eagles have sharp beaks and strong jaws that could remove a human finger with one snap.  Eagle tells us to mind our words and how they affect others; to speak kindly without any thought of malice.  The Eagle also teaches us to keep our tools razor sharp and to make strong, clean cuts.

Eagles are renowned for their superior vision, ten times greater than human eyesight.  This quality is a gift of vision and clarity that should be used to help others through dark and troubling times.  Eagles bring to seasoned carvers a willingness and desire to help those new to the craft with total generosity and care.   It is the eagle in art that brings the Spirit of Eagle to the observer.

One who seeks the Eagle Spirit views situations and other people from a broad perspective for a better understanding just as the Eagle sees the world from a its great height.

The Eagle is a creature of the air, but has strong legs to walk on the earth and often lives near the water for food.   These qualities of the Eagle teach us to maintain balance in all dimensions to achieve inner-growth.  As we soar to spiritual awareness, we remain well grounded in reality as we purify ourselves with the cleansing waters.

The Eagle teaches us to have the courage to strive for greater heights of spirituality.  The Eagle is seen by American Indians as a connection to the Great Mystery – The Creator of all things.

I invite you to put the Spirit of the Eagle into your work and share it with others.

Keep sharp and stay true to you.

Please visit my website at www.WhiteEagleStudios.com

or… What Inspires Me to Carve Wood

Woodcarving – Evoking Inspiration
I recently read an article about inspiration that evoked consideration as to what inspires me to carve wood.  The article also caused me to consider the time when I feel uninspired to carve mainly because I feel too busy with my day job, too anxious over something or another, or just lazy.  I then concluded that I need to strengthen my woodcarving habits, and to do that, I need to find ways to stay inspired and encouraged even if I don’t feel like it.  And, we all know once we get started on a project, it ignites a spark within us and off we go.  Anyway, I decided to make a list of what does inspire or has inspired me in the past to carve.

Here is the way my list breaks down:

Deadlines – This is by far my strongest motivator.  Like in the business world, or at my “day job,” when I have a deadline I will do everything I can to meet a deadline in the best performance possible.  The looming date will encourage me to finish things early, not to leave everything to the last minute, and to forget about laziness or anxiety.  Self inflected deadlines might be useful, but one thrown on me from outside, such as a commission or a show submission deadline, work much better.  When I have either limited control or no control at all, I simply take charge and make the most of it.  And once I get into the mode of creation, I go like “gang busters.”

Visit a Woodcarving Show or Art Show – Every time I go to a woodcarving show, art fair or a visit an art gallery or museum, I literally feel my artistic juices start to percolate.  I get a real “rush.”  Some time it’s because I think I can do as well as the things that I have seen or maybe even better.  Sometimes its because the carvers/artists themselves inspire me, sometimes it is the subject matter or prospects of interesting designs that inspire me.  And sometimes it’s the business excitement in the air – seeing other artists living their artistic lives.  Its thrilling to me.

Woodcarving Books and Magazines – I always read, and usually more than one book at a time, having books everywhere in the house.  I have a medium sized woodcarving and art books collection, but I can’t buy them all.  The library and bookstores that let you browse are a good resource for books.  And I don’t limit myself to books on one style or specific woodcarver/artist, I like reading them all.  I find a lot of inspiration right there.  I also happen to believe that the great carvers and masters are good for me.  I figure even if I can do a margin of their capability, I feel good and besides… they make me stretch.

Take a Class – That’s a good idea for every woodcarver, to learn and expand our knowledge.  But for me it’s more than that.  I can see a pattern in my past that during a  class or after I completed a course, my creativity levels jumped up and I produced much more than in other times.  So it is a good boost for my inspiration to make art in wood.  And, I probably should not admit this but in a class there is a wee bit of a competition that sparks in me too.  Terrible as it may sound, its true for me.

Browse for Images Online – I don’t work from patterns but I do gather several photographs of my subject matter and hang them up in front of me.  Let’s say I choose to do a dragon.  I select a half dozen photos of a dragon to give me varying perspectives and then I draw my own.  My own drawing(s) and the collected images are great references.  With the ability to access millions of pictures and photos online, all I do is browse on Google Images, museum sites and others.  Since I make up my own pattern and do not copy any picture, I do not infringe on anyone’s copyrights.  And, I find the visual stimulation is an important ingredient to inspiration.

Try New Subjects, Woods, or Tools and Integrate them with Your Old Standbys – I do have my favorite subjects, woods and tools but trying something new helps me grow and improve.   Classes are a great place to try new subject matter.  Also, take a look around and take note of the tools others are using.  They just may know a trick that will help you.

Carve and Visit with Others – I am fortunate to have a group of folks show up at my studio once a week for a “carvefest.”  Great enjoyment and inspiration from helping others… not to mention what I learn from these folks.  Recently, we had a gentleman join us from a local assisted living facility.  He was the sweetest elderly gentleman and although I do not know how old he is, he told us of his time in WW II.  But there he was carving along with the rest of us.

While I don’t get to carve with him, Don Mertz (in Ohio) and me ( in Washington State) became friends a few years back.  Fortunately for me, Don found me on the Internet.  Don will often drop me a note or send me a picture and inspire me in varying ways and he is most generous with his encouragement.  Don’s website/blog is also a heck of a motivator

I live in the sticks and there are not many seasoned carvers around… but I just found a fellow living in Twisp, Washington (Bruce Morrison) that is a professional carver and artist.  Twisp is just an hour away so I am excited about getting up to visit him.  I guarantee you, it will be fun and informative.

Then, there is That, That Can Not Be Labeled – When I walk into my studio amongst my tools, my stash of wood, my finished and unfinished works, I feel a deep feeling of calm.  I feel like I have “come home.”  Just being in my studio provides me with great inspiration.  My woodcarving is a mediation in action and my studio is my sanctuary… a most wonderful and fulfilling experience.

So this is the list of things I came up with that help me when I have dry spells.  Each one of us is different, and we each have different list.  What is yours?

Stay sharp and be carveful!

Please visit my web site at www.WhiteEagleStudios.com .

One thing, I do not mind doing is preaching about safety… safety with power tools, safety in holding your work, safety with chainsaws, safety, safety, safety.  Well now, having said that, I recently came to the realization that I have been pretty sloppy with safety in one particular area.

True Confessions

I have not seemed to mind running into my saw room (a small room next to my studio where I cut, grind and, in general make dust) and quickly make a quick cut on the band saw or do some quick hogging with my electric carver’s chainsaw without a mask or glasses.  Whenever, I do serious cutting, I always put on a mask, run my dust collector and wear safety glasses.  It’s those quick cuts where I have been sloppy.

Not long ago, I developed a rash on my neck that itched, stung and became pretty inflamed over a period of a couple of weeks.  I am a guy that stuff like that just does not happen to so I was perplexed about what was going on… not to mention the discomfort of it all.  I tried all sorts of things to make it go away but nothing seemed to help.  FINALLY, it occurred to me that it might be an allergic reaction to a wood that I was using.  I am also a guy that will often rub my neck.  Hmmmm… must be a connection!

So two things occurred to me… my quicky cuts and dust making, and my handling wood and then rubbing my, warm, pores wide open, neck.  Not to mention the breathing of dust from the quicky cut process.  An even worse confession of mine is that some of those quicky cuts are not so quick.

With my new found realization, I began being careful about rubbing or scratching my skin while handling or just after handling wood without first washing my hands and wiping off my neck.  Guess what?… the rash disappeared.  Last fall, I wrote of using desert cedar to carve with and I do love that stuff.  But, I suspect it was the Western Juniper that was the culprit.  No hard proof though.  I still love the wood and I still carve it a lot but I am now careful to employ all the safety precautions possible.

What Woods are Toxic?

I did a lot of research into what woods are toxic… and it won’t surprise you to find out that Western Juniper is one of them.  I may have been living under a rock but I was equally surprised to find out that walnut has toxic properties.  One of the hidden dangers of woodcarving is the fact that many carving woods have toxic properties that can cause allergic, toxic, infectious, or respiratory reactions.  Note, in the previous sentence I include the word “infectious.”  With my neck, until it cleared up, the only thing that would bring me any relief was triple antibiotic.

I believe that it is vitally important for wood carvers to be aware of what woods are toxic and rather than try to provide a list here (it is long), I would like to refer you to the wonderful web site of Wood Data Base.  These folks have put a lot of work into this site and the information is incredible.  Specifically, there are two articles on the site that I would like to call your attention to.  And, with respect to the site there are two terms used that I would like to define:

An irritant will cause a reaction shortly after using it and each time you use it; and a sensitizer will have a latency period of weeks or months before a reaction appears and you may have to work with it more than once for a reaction. Once you are sensitized to that wood you are sensitized for life and each reaction will likely get worse.

Two Important Wood Database Articles

Wood Allergies and Toxicity,  http://www.wood-database.com/wood-articles/wood-allergies-and-toxicity/

and

Wood Dust Safety, http://www.wood-database.com/wood-articles/wood-dust-safety/

While I am certain that the cause of my problem was rubbing my neck while handling an oily wood, I also believe a more prevalent cause of problems for most folks comes from wood dust while cutting, sawing, sanding, etc.   I now hang my mask on the door handle to my saw room to ensure that I will use it.

Basswood

Basswood is hands down the woodcarver’s most common choice of carving material.  With thousands of carvers using Basswood, there, to the best of my knowledge and research, has been no reported cases of toxicity.  However, dust of any kind of wood can be hazardous to breathe in any quantity or for any period of time.  So, please employ the same safety precautions as any other wood when doing anything to Basswood that makes dust.

Suggested Safety Precautions

When making dust, always wear a quality dust mask or respirator;

Wear eye and ear protection;

Utilize an air filtration system if inside;

When handling oily woods such as junipers and exotic woods always wash your hands before touching your skin or food.  You may even want to consider wearing gloves;

After any task that causes dust, wipe off your face and any other exposed skin with a damp towel, especially if you are warm and have open pores.

If you become aware that you are particularly sensitive to a specific wood, either do not use it or employ every safety precaution imaginable.

Thanks for joining me.

Stay sharp!

Please visit my web site at www.WhiteEagleStudios.com