carving

[Dave Stevens (Lumberyard)]

from my archives i found this tutorial on carving from laser cut blanks. The photography was done on a 35mm film camera so the photos are poor quality.


When you look at the ultra fine detailed carvings on some of the ship models, the first thought that comes to mind is I could never carve like that. Such carvings can be quite intimidating and seemingly beyond the capabilities of most model ship builders. These instructions are intended to offer a simple and doable approach to carving the decorations on ship models. In time and with practice anyone who can build a ship model can produce the carved decorations. The carvings presented are by far not master pieces of work. I would rather you look at the carvings and think “ I can do that” or better yet think “ I can do better than that with a little practice.”

The first problem with carving is to keep everything in proportion. Nothing runes a carving more than to have pieces and parts out of proportion to each other. To solve this problem we will start with “blanks” What we will do with these blanks is to carve depth and some details. Carving is simply layers at different depths blended together.
There are a number of ways and tools to approach carving. Some modelers will use power tools with various bits and carving burs, others prefer micro chisels and there is the use of knife blades. In these instructions carbon steel surgical blades of various sizes and shapes are used. Some advantages to these blades are the sharpness and to a degree their ability to flex and bend. The surgical blades are so sharp they make a clean smooth cut without ripping the wood grain. Cuts can also be made micro thin, creating shavings that are almost transparent. The photo shows the typical blades used for carving.



Wood for the small carvings are either boxwood, pear wood, dogwood or apple wood, there are other choices but the above are the top of the line. These woods have a very fine grain and a smooth texture. This makes it possible to cut with or against the grain.

The next two pictures show the size of the chips from cuts. Judging from the hair in the first photo the shavings are very small. In the second photo the back round is 400 grit sandpaper, once again a few hairs show how small the shavings are. The surgical blades are so sharp it takes little pressure applied to a cut. A great advantage to using light pressure to make a cut is, the cut itself can be made in any direction to the grain without the cut veering off and following the grain.




Photographs in this series, have been done with macro photography so you are looking very close at the carving work. At normal view the carvings will appear to have finely carved detail. To do the carvings it is recommended to carve under magnification. The carvings are small and they become more and more delicate as the detail is carved in. To prevent breakage while the piece is being worked on it is fastened to a block of wood or metal with two sided tape. It looks like i am holding the knife funny and actually i am my first finger is against my thumb and the knife is resting on my second finger personally i have more control over the knife holding it this way. As you learn to carve holding and controlling ther knife is a major part of the process.



if there is an interest in trying your hand at carving i will laser cut blanks for the stern of the Halifax and do a step by step tutorial like this one. The stern of the Halifax will be at a scale of 1/2 inch = 1 foot making the carving easy to work on. I selected the Halifax because it is a design most anyone can do. I will also include the stern timbering for those who want to model the stern.

 

[Dave Stevens (Lumberyard)]

CARVING PART 1​

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Photos 1


In the first set of photos a stop cut is made along the fold in the drape. Stop cuts are exactly what the name implies, they are made to stop another cut being made from another direction. A cut was made at the end of the drape to show the cut we want to stop. To make the cut use the exact knife and “poke” small holes rather than making a stroking cut. This creates a perforated line. Next use a hooked surgical blade and connect the holes. The depth of a stop cut is not made all at once, if attempt to cut to deep you will chip the edges of the cut, or end up making the cut to wide.



Photos 2


This series shows the reducing of the depth for the first fold. To complete this section of the drape we will create three main depth levels. By using a larger blade thin slices are made towards the stop cut. When the depth of the stop cut is reached, deepen the stop cut and trim off the shavings. At the desired depth, the stop cut is cleaned up.



Photo 3



The first depth has been finished, so we move on to the second depth. Once again begin with a stop cut where you want the depth to end. Cutting this section is quite easy, continue shaving the depth and deepening the stop cut as you go. The depth you go is not critical. You can always go back and deepen a section. What is being done with the depths is to produce dimension and create a difference between sections. At the end of the drape cut a v grove in the center. Round out the edges of the grove making a hollow as seen in the photo. By making hollows, sharp edges, rises and rounded edges in the carving the light is being reflected or shadows are being created. The play of light between high light and shadow bring life to the carving.



Photo 4



At the last level begin to round off the edges. With a light touch shave the edges by taking short cuts. As the pieces begins to take shape shave the edges created by the rounding out process. A stop cut is made at the end of this section after it has been rounded out, then a little depth is given to the fold in the drape.



Photo 5

Going back to the first level, a sliver is cut along the inside, hollowing out the surface. Next round out the outer edge.



Photo 6


The first photo shows the basic three levels without the fold and hollow details carved in the upper sections. In the second photo you can see how the hollow and the rounded edge shows the high light and shadow effect. The simple folds along each side adds to the over all shape and detail.

 

[Uwek]

if there is an interest in trying your hand at carving i will laser cut blanks for the stern of the Halifax and do a step by step tutorial like this one. The stern of the Halifax will be at a scale of 1/2 inch = 1 foot making the piecece easy to work on. I selected the Halifax because it is a design most anyone can do. I will also include the stern timbering for those who want to model the starn.

What a great idea

 

[Dave Stevens (Lumberyard)]

CARVING PART 2

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Photo1


In the second drape there will be four levels. To begin the second drape select the lowest level, which is the fold at the bottom. Make a stop cut between the fourth and third folds, seen in the center photo. The last photo shows the lowest level cut down. As was done in the first drape shave down the fold and deepen the stop cut as you go.



Photo 2


Photo 1 in this series, shows the stop cut between levels three and two. With a hooked blade the third level is shaved down. Using a light touch take small shavings off the fold and finally give the fold a little rounding out by trimming the edges.



Photo 3


Repeat the same process of making the stop cut between levels of the folds and trimming down the fold. Once at the level you want go back and clean up the vertical stop cut so it is crisp and clean.



Photo 4

Starting with the highest fold level, round it out by delicately trimming the edges. Continue to trim the edges until you wrap it around the sides. At this point you may need to go back to the first two levels and deepen them to maintain a difference between the folds. On this drape cut a channel down the right side. This is a simple stop cut, and shaving down the edge. This cut will be a fold in the drape and act as a shadow to give the higher section of the drape a little depth.



Photo 5


After the different levels have been defined it is now time to give a shape to the entire drape. First round out the left edge until you reach about the center of the drape. Give the inner edge a slight curved shape as you reach the center of the drape. By doing this we eliminated the flatness of the drape and created a hollow that will cast a shadow. Round out the right side cutting both the edges of the higher level of the drape as well as the fold cut along the edge, blending both as a continuous curve.



Photo 6


Backing away slightly from the piece we can now see the side drapes. You can see how the drapes are rounded out and how the different levels produce the folds. In this photo you can also see how the hollows we cut cast shadows. Each stop cut edge defines the individual details of each fold.

 

[Toleolu]

My hands aren't steady enough to attempt anything like this, but I was curious if you treat or condition the wood in any way before you start carving?

Thanks;

Charles

 

[Dave Stevens (Lumberyard)]

What a great idea

the next series will be done with digital photography and the images will be sharp and clear.

 

[Dave Stevens (Lumberyard)]

My hands aren't steady enough to attempt anything like this, but I was curious if you treat or condition the wood in any way before you start carving?

Thanks;

Charles

that is a comment which is very common but first of all the halifax stern is large something like 6 or so inches across so there is room for movement without cutting off something else by mistake. Second the carving is mounted on a pieces of wood or in the case of this carving a steel block giving it weight so it does not move or slip.
when you look at this image notice i use 2 hands and they rest solid on the block, the only movement is the very tips of my fingers.
the old saying "i am all thumbs" is quite true i use both thumbs to steady the cut.

there is no "treat or condition the wood" it is straigh off the wood pile as is other than seasoned wood and not kiln dried

 

[Dave Stevens (Lumberyard)]

CARVING PART 3

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Photo 1


We are now looking very close to the work. The scratches on the surface are from 120 grit sandpaper created when the boxwood sheet was sanded to thickness. Make several light cuts and once you have a defined cut, increase the cutting pressure and deepen the stop cut. Starting at the laser mark below the stop cut, cut a channel to the bottom of the stop cut. Now round the outer edge, start in the upper corners and cut to the center, as aposed to one sweeping cut from end to end. You will have better control of the shape if you cut towards the center. Continue rounding the outer edge until you have a sharp edge at the first cut. This edge will be rounded later but it will be a basic defining detail.



Photo 2


The same steps for the first fold are now repeated for the next one in the lower left. Cut along the laser mark several times for a sharp stop cut. Then cut the grove. Go back and round out the first edge. Start rounding out the edges of the folds at this point. The reason is, as the drape begins to take a rounded shape the groves become shallow. You may need to deepen the groves as you go. Create the last bottom fold with vertical a stop cut and horizontal shaving. Round out the entire left side of the drape. You can see the groves get smaller as the drape is rounded. We don’t want sharp defined edges in this part of the drapes, we want soft rolls with slim folds as detail. Once the drape is finished go back with a slim pointed surgical blade and clean out any chips or slivers left behind.



Photo 3


Working the right lower section of the drape is a matter of rounding the outer edge. Make a stop cut to the right where you want to stop the left side of the drapes. Keep rounding the edge until you have reached the laser mark. Blend the sections into rolling folds by scraping a blade over the entire drape.



Photo 4


Stepping back from the carving and taking an over all look. We see the shapes of the details are all in proportion to each other. Taking a long, narrow, pointed surgical blade very light and delicate cuts can be made to give the folds in the upper section of the drapes a rounder and better flowing shape. Breaking the tips off carbon steel surgical blades gives a great edge for scraping. The use of scraping the carving to remove material is done only with the grain. If you go against the grain the wood tends to chip or rip the grain, these chips are micro small but the finish is noticed at normal viewing. Go back to part one photo 4 center picture. Here you can see the rough fuzzy surface created by scrapping against the grain. Again you are looking supper close at the surface but at normal view the carving looses the sheen or smoothness of the wood. It will maintain a “texture” from the scraping against the grain.



Photo 5


Carving the flower has to be done with a light touch. The petals are so small it is easy to chip the edges. Once a chip happens you can loose a major part of the design. The chip problem can be corrected but you have to shave the flower down below the chip to remove it. This may also require going back to the drapes and cutting them down. So its best to be careful when cutting. Begin with a cut between the petals, then with the very tip of the blade cut depth to the petal. Continue around the flower petal at a time making a cut then cutting down the level of each petal. The surface of each petal is not flat but has a slight bowl shape. You would not think such a small indent makes a difference but it does add depth.



Photo 6


There are two ways to carve the flower, one way is to cut every other petal at a different level. So you have one low one high one low so on. Or as I did, cut the flower petals like a pin wheel. One edge is cut deep while the other edge is left higher, as you work around the flower you maintain a sharp edge between the petals. This method creates the shadow affect and giving the carving the deeper 3D look.



Photo 7


Once again pan back and take an over all look to be sure everything is flowing together and no one part is standing out.

 

[Don Case]

Very cool, I'll be watching

 

[Jimsky]

Great tutorial, Dave. Many thanks from all of us! Please continue...

 

[Dave Stevens (Lumberyard)]

CARVING PART 4

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Photo 1


To begin the right side of the draped start with a stop cut along the lower fold line.



Photos 2 & 3

Once the stop cut is made, begin by cutting small slivers starting from the edge and working to the stop cut. Cut a series of slivers then deepen the stop cut, this will remove the slivers of wood. At this point the depth is not critical, you just need to remove enough wood to create a trench.



Photo 4

When the lower fold is complete make another stop cut to define the left side of the drape. Use a pointed blade and poke a series of holes along the laser mark.



Photo 5

Make small slices from the inside of the drape to the stop cut. These cuts are ver small and shallow to start with, once the stop cut is deep enough larger cuts can be made.



Photo 6

When the grove is deep enough you can take long sweeping cuts along the edge producing a single thin shaving.



Photo 7

Continue cutting until there is a clean sharp division between the right drape and the left drape.



Photo 8

Looking to the center of the drape you can see the angle that was cut along the edge.

 

[Dave Stevens (Lumberyard)]

CARVING PART 5

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Photo1

For the second fold make a stop cut by stabbing the end of the knife blade along the laser mark.

Photo 2

Using the same technique for cutting the folds hollow out the grove by cutting and deepening the grove.

Photo 3

For the final outer shaping of the drape begin by rounding the outer edge back to the fold grove. Take small cuts at this point, to avoid cutting away to much material and ending up with a poorly shaped fold.

Photo 4

Once you have the general shape you can now take larger and longer cuts along the edge until the drape has a rounded appearance.

 

[Dave Stevens (Lumberyard)]

CARVING PART 6

photo 1

The balled up parts of the drapes are a matter of rounding out the shape. This is accomplished by first cutting off the edge. At this stage you don’t want to completely round out the piece, you only want a genera shape.

Photo 2

Cut the inside curl by using a stop cut at the laser mark and gouging out the material. Make very small cuts to avoid chipping the edges of the wood.

Photo 3

You will need to separate the three different balls by cutting a grove between them. Cut the grove and cut off the edges as one operation.

Photo 4

The three balls have been roughed in, rounded and separated from one another. The amount of material being cut away with each cut is very small. It is very easy to remove to much material in one cut creating a lopsided ball. Should this happen the entire ball would have to be cut smaller to even it out.

 

[Dave Stevens (Lumberyard)]

CARVING PART 7


Photo 1& 2

Begin the flower grouping by making a cut between the pedals. Don’t try to make this cut to deep its should be only enough to stop the next cut from chipping into the pedal next to it. Next start at the center of the pedal and chip the wood towards the cut.

Photo 3

A flower pedal is actually spoon shaped but these are so tiny only the illusion of pedals is needed. Creating a play on shadow and high lights are done by cutting angles or facets.

Photo 4

As you back away from the piece the facets will look like the individual pedals of the flowers. This will complete the drapes and flowers, and the next step is the center figure. Study the figure to determine the lowest point of the carving, this is where the carving begins. In this piece it will be the chest area. Gouge out this area to a comfortable depth, that is to say deep enough to define it. We will need to go back to this area as the carving progresses to deepen it. But for now we only need to do is define it. Also two gouges have been made at the collar and shoulder.

 

[Dave Stevens (Lumberyard)]

CARVING PART 8

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Photo 1


No doubt faces are the most difficult to carve. If the features are out of scale or distorted the face will take on the look of a primate or cartoon character. In the case of small carvings of human faces less seems to be better. A prime example of this the smiley face where a circle, two dots and a line will be perceived as a face. At this small of a scale all that is needed is the major features of a face, the viewers “minds eye” fills in the rest of the details to give the impression of a face. Before any carving is done you can see a face by only the profile, a dot for an eye and a line marking the brow. To begin locate the jaw line, a simple angled line from the chin to the ear.



Photo 2

Cut away the material below the jaw line to start shaping the neck. It’s a good practice to have a mirror handy to look at yourself to maintain proportion of a face.



Photo 3

At this stage of the carving we separate the neck from the jaw line and give the neck a rounding out. Also a few cuts are made at the edge of the chin to begin rounding it out. A carving such as a face is never done from one point to another, or systematically it’s more of a random carving or locating of the features. Once the features are located and given a basic general shape all the elements are blended together in the final shaping.



Photo 4

From the jaw line we jump to the hairline. This is now marked out. If the ear shows in a carving of a profile the top of the ear will be at eye level and the ear lobe will be even with the bottom of the nose. In this case the hair covers the ear so we need not concern ourselves with the position of the ear.



Photo 5

Make a stop cut at the hairline and begin to round out the head. Keep rounding out the head until you reach the eyebrow. At the forehead round out the face until you reach the bridge of the nose. At the location of the jaw the face is flatter so stay closer to the hairline. You can see in the photo that the cuts are deeper at the forehead than at the jaw line.





Hallow out an eye socket and define an edge between the side of the nose and cheek. On a profile the nose is at a lower level that the cheek, So starting at the forehead cut down the level of the nose, this will leave a slight step, which is the cheek line.



Photo 7

The face is taking on a rounded shape at this point, the cheek being the highest point. Getting back to the nose shape in a nostril and cut away material under the nose to form an upper lip. Make a cut to define a line from the nose to the corner of the mouth.



Photo 8

Round out the cheek under the eye and at the nose. Cut a very slight hollow above the eye to define the brow and begin to trim down the nostril. The eye itself is a V shape inside the eye socket. By making the V inside the eye socket gives the face a natural look. Many carvers make the mistake of thinking the eyes are one object. But the eyes consist of the eye socket, the brow and finally the eye ball itself. When carving a face at this point the main details are set in place. Later as the face is refined all the aspects are blended. If anything is overlooked it becomes difficult to add it without back tracking all the way to the basic shape.



Photo 9

The cheek is the very last part of the face to work. Its one and only feature is the cheek bone. The cheek bone defines the final character of the face depending on where its places and how much you make it stand out. In the case of very small carvings such as this one feature are slightly over emphasized to capture light and shadow giving the face depth and character. Now that a face has appeared from the flat surface where we started you can now touch it up round it out and blend all the features. There is no cutting at this stage everything is done by scraping the surface with the blade edge. It takes only a chip or a micro cut to totally change the face so you don’t want to make any big changes.



Photo10


Finally the hair, I am not going into the hair with a step by step explanation because its just a matter of a series of gouges cut at random. In this photo you are looking at the carving ultra close through a 100 X macro lens and you can see an eyeball.



Photo 11


Backing away from the piece I can see areas that need further attention. A little more work on the cheek bone to blend it in and the line from the nose to the mouth is on to much of an angle. All in all its not to bad and proportion is correct. So at this point i will soften out the lines and blend the face.

Remember this is only one section of the total stern carving on a ship. When the entire ship is viewed normaly the carvings become part of the whole and look as if there is endless detail in them.


and that ends this little tutorial next will be the carving of the Halifax stern.

 

[Don Case]

Thanks for this Dave. In photo number 1 is that a number 11 Exacto blade? I'm trying to get a sense of actual size. I'm thinking the whole thing is about 2x3 inches but that seems a bit big.

 

[Dave Stevens (Lumberyard)]

Thanks for this Dave. In photo number 1 is that a number 11 Exacto blade? I'm trying to get a sense of actual size. I'm thinking the whole thing is about 2x3 inches but that seems a bit big.

yes that is a #11 Exacto blade

 

[neptune]

Beautiful work Dave, this is a great tutorial,
Best regards John,

 

[Dave Stevens (Lumberyard)]

i am keeping the next carving project under the same thread title because it is still about carving.

first the prep work strating with the original drawing by Harold Hahn







based on the original, parts are redrawn in CAD from a 2D CAD drawing 3D modeling and laser cutting files can be created.






once the files are created carving blanks are laser cut




once the laser cut blanks are done details are carved

 

[Dave Stevens (Lumberyard)]

this can be just a tutorial on carving OR extended to building a stern with moldings and perhaps the addition of cabin detail. What i did was build a mockup of the project idea. The mockup can be made to any scale from making the stern from side to side 3 inches or as large 9 inches making it possible for anyone who can build a kit carve the detail.
The mockup is fast and crude and just a proof of concept. If your just interested in trying your hand at carving a blank then all you need it the scroll work at the stern.