Carving the Camellia Woodcarver

MAJOR FUNDING FOR "THE WOODWRIGHT'S SHOP"

IS PROVIDED BY...

[THUNDER]

[CAR ALARM BLARING]

WHEN THE UNEXPECTED HAPPENS, STATE FARM HAS THE TOOLS TO GET YOU TO A BETTER STATE.

PROUD SPONSOR OF "THE WOODWRIGHT'S SHOP."

CAPTIONING MADE POSSIBLE BY FRIENDS OF NCI HEY, WELCOME BACK TO "THE WOODWRIGHT'S SHOP."

I'M ROY UNDERHILL.

SO GLAD YOU COULD BE WITH ME AGAIN TODAY.

IMAGINE MY SURPRISE, THOUGH, WHEN MISS MARY MAY SAID SHE WAS GOING TO TEACH ME WOOD CARVING.

AND YOU SAID TO BRING A CHAMELEON WITH ME.

BUT IT WASN'T A CHAMELEON AT ALL.

IT WAS WHAT?

A CAMELLIA.

A CAMELLIA.

ALL RIGHT.

SO WE'RE GOING TO SEE HOW TO CARVE.

AND THIS IS IT RIGHT HERE.

IS THAT RIGHT?

ALL RIGHT.

SO THAT'S THE CHAMELEON--CAMELLIA.

CAMELLIA.

CAMELLIA.

AND WE'RE GOING TO DO THIS AS OUR FIRST LESSON IN CARVING.

THIS IS GREAT, BECAUSE I'VE ALWAYS BEEN AFRAID OF WOOD CARVING, LEFT IT UP TO THE MORE ARTISTIC FOLKS WHILE I DO THE MECHANICAL STUFF.

SO THIS WILL BE A LESSON FOR EVERYONE, TOO.

SO HERE WE GO.

ALL RIGHT.

SO THAT'S OUR CAMELLIA, AND YOU'VE LINED IT OUT HERE ON WHAT?

WHAT KIND OF WOOD HERE?

THIS IS MAHOGANY.

AND THE FIRST STEP THAT I'M GOING TO DO IS I'M ACTUALLY GOING TO GO AROUND THE OUTSIDE OF THIS WITH A V-CHISEL SO THAT I CAN LOWER DOWN THE BACKGROUND TO REVEAL THE ACTUAL DESIGN ITSELF.

AND ACTUALLY SO IT LOOKS LIKE IT'S RAISED OFF THE WOOD.

AND I'M GOING TO COME AROUND WITH A V-CHISEL, AND I'M ACTUALLY GOING TO BE LEANING-- YOU'RE USING A LITTLE MALLET THERE.

YEP.

AND THAT ACTUALLY HELPS YOU GO AROUND IT

A LITTLE BIT MORE...

MORE CONTROL AROUND THE EDGES, ESPECIALLY WHEN YOU'RE GOING AROUND CORNERS.

AND THE MAIN REASON WHY I'M TAKING A V-CHISEL FIRST IS REALLY TO SAVE

A LOT OF THE REAL TINY CORNERS, AND IT'S GOING TO ACTUALLY ALLOW ME,

WHEN I MAKE THE NEXT STEP-- AND LET ME JUST SHOW YOU QUICKLY

WHAT THAT NEXT STEP IS.

IT'S ACTUALLY COMING ALONG HERE AND DEFINING THE ACTUAL LINE, OR DEFINING THE EDGE.

ALL RIGHT?

AND THEN COMING DOWN HERE.

AND IF YOU LOOK AT THE ACTUAL GOUGE, IT'S LIKE A WEDGE.

SO IF I WERE TO DO THIS WITHOUT ACTUALLY COMING DOWN WITH A V-CHISEL, JUST COMING IN RIGHT AWAY AND DEFINING IT LIKE THAT, THERE'S A REAL POSSIBILITY THAT I COULD DAMAGE THE PART THAT'S GOING TO BE-- OH, OK. BECAUSE IT'S SPREADING IN BOTH DIRECTIONS.

WE'RE JUST OPENING UP THE WOOD.

I GOT YOU.

SO THERE'S A COMBINATION OF TWO THINGS, BECAUSE SOME PEOPLE SAY DO IT ALL WITH A "V," AND SOME SAY JUST STAKE IT IN ALL THE WAY AROUND.

YOU DO BOTH.

YOU DO ONE FIRST AND THEN THE SECOND.

ALL RIGHT.

IT'S REALLY JUST SORT OF PROTECTING FROM...

PREVENTING BREAKE AS MUCH AS I CAN.

SO A TWO-PART PROCESS THERE.

ALL RIGHT.

YOU'RE WORKING.

I'M ACTUALLY LEAVING THE LINE RIGHT NOW.

YEAH.

AND THAT'S... THAT'S THE...

I'D NEVER REALIZED THAT THAT LITTLE MALLET WOULD GIVE YOU MORE CONTROL THAN PUSHING BY HAND, BUT YOU CAN DELIVER LITTLE INCREMENTS OF POWER.

EXACTLY, AND WOULD YOU LIKE TO TRY?

OH, YEAH, I WOULD.

ALL RIGHT.

NOW, I'M SUPPOSED TO LEARN HOW TO DO THIS NOW.

ALL RIGHT.

AND I KNOW YOU'VE SAID HOLD IT LIKE THIS, WITH YOUR WRIST PIVOTING ON THE...ON THE WOOD.

YES.

YOU WANT TO ACTUALLY KEEP YOUR HAND TOUCHING THE WOOD AT ALL TIMES SOMEHOW, EITHER IF YOU CAN'T TOUCH THE ACTUAL CARVING ITSELF, MAYBE PUT IT ON THE BENCH,

BUT SOMEHOW HAVE YOUR HAND IN CONTACT WITH SOMETHING ALL THE TIME,

JUST TO HAVE CONTROL OVER IT.

AND ALSO, THE MALLET WILL HELP YOU ACTUALLY CONTROL GOING AROUND TIGHT CORNERS.

I'M DOING UNDERHANDED HERE, CUTTING THERE.

THIS AIN'T RIGHT, I KNOW.

YOU'RE SUPPOSED TO BE ABLE TO SWITCH HANDS, AREN'T YOU?

YEAH.

SOMETIMES IT'S A LITTLE BIT MORE DIFFICULT

USING A MALLET, UM, WITH THE OTHER HAND.

BUT YEAH, IT'S A VERY GOOD IDEA TO GET THE HANG OF USING YOUR RIGHT AND LEFT HAND,

UM, BECAUSE YOU'RE GONNA HAVE TO SORT OF GO BACK AND FORTH, AND IF YOU CAN'T USE BOTH HANDS,

YOU'RE GOING TO HAVE TO ACTUALLY TAKE THE WOOD ITSELF AND TURN IT.

OH, OK.

SO JUST TAKE IT OUT OF THE DOGS THAT WE HAVE IT IN RIGHT NOW.

YEAH.

BECAUSE YOU'RE GONNA BE DEALING WITH

SOME GRAIN ISSUES AT SOME POINT OR ANOTHER.

I TELL YOU WHAT.

CAN WE TAKE A LOOK AT THIS EDGE HERE, THIS CUTTING EDGE?

IT'S A...IT'S A V-CHISEL THAT WE'RE USING, AND IT'S--BUT IT'S ACTUALLY KIND OF GOT A LITTLE BIT OF A "U" BOTTOM TO IT, VERY SLIGHTLY AT THE... IS THAT THE BIG ONE THERE?

HERE'S A LARGER VERSION OF IT.

THAT'S A LOT LARGER.

I'VE HEARD OF A WOOD CHISEL, BUT THIS IS RIDICULOUS.

ALL RIGHT.

BUT THIS IS ONE YOU'VE DONE IN WOOD TO SHOW WHAT THE PROFILE OF THAT CHISEL LOOKS LIKE AS IT'S CUTTING THROUGH THE WOOD.

SO IT'S JUST LIKE THAT.

BUT I NOTICED-- WHERE'S THAT BROOM?

YOU HAD THAT.

THAT'S SUCH A COOL THING TO SHOW US HOW THAT WORKS ON THE GRAIN.

YEAH, IF YOU IMAGINE, THIS IS THE WOOD, AND THE GRAIN IS GOING THIS WAY, IF YOU LOOK AT IT AS IT'S CUTTING,

THIS SIDE OF THE V-CHISEL IS ACTUALLY CUTTING WITH THE GRAIN, AND THIS SIDE WOULD BE CUTTING AGAINST THE GRAIN.

WELL, ON THAT ONE, IT GOES THE OTHER DIRECTION.

ALL RIGHT.

HA HA HA!

SO IF I'D CUT AN "S," BUT IT'S CHANGING-- ONE SIDE AND THE OTHER IS CUTTING-- ONE IS WITH THE GRAIN, AND ONE IS AGAINST THE GRAIN AS YOU GO ACROSS, SO IT'S GOT TO BE SHARP.

RIGHT.

SO YOU JUST HAVE TO BE AWARE OF WHEN YOU'RE ACTUALLY CUTTING AT SORT OF AN ANGLE TO THE GRAIN, THAT ONE SIDE.

HA HA HA!

OK. WELL, LET'S GET BACK TO THE WOOD THERE.

IT'S AT AN ANGLE TO ONE SIDE OF THE GRAIN?

I'M SORRY.

YEAH.

YEAH.

YOU JUST WANT TO FOCUS ON WHICH DIRECTION THE GRAIN IS GOING.

SOMETIMES...

BUT A LOT OF TIMES WITH A V-CHISEL, THERE'S NOT A LOT

OF CHOICES YOU CAN DO

BECAUSE YOU JUST HAVE TO

KIND OF MAKE IT DO WHAT IT CAN.

BUT YEAH, THERE YOU GO.

THIS IS AMAZING.

ALL RIGHT.

HA HA HA!

IT'S ONLY AMAZING... ALL RIGHT.

NOW HERE'S WHERE I'VE GOT THE GRAIN, BECAUSE I'M ALMOST STRAIGHT WITH IT.

IT'S EASIER ACROSS THE GRAIN.

SHOULD I RESTART OR... NO.

THAT'S NE.

THAT'S GOOD.

THERE YOU GO.

OK. ALL RIGHT.

AND THEN AGAIN-- AND IF IT FEELS LIKE THE WOOD IS

JUST STARTING TO RIP A LITTLE BIT, YOU MIGHT HAVE TO GO IN THE OTHER DIRECTION, AND, UM...

BUT REALLY, THIS IS A RELIEF CUT.

WE'RE MAKING SOMETHING THAT'S GOING TO KEEP THE WOOD FROM SPLINTERING UP WHEN WE DO THIS NEXT STEP OF STAKING IN.

RIGHT.

SO NOW, THE NEXT STEP,

YOU JUST WANT TO DEFINE THAT EDGE.

AND GONNA COME ALONG HERE.

OK. NOW YOU'RE RIGHT ON THE LINE.

YEAH.

THIS IS ACTUALLY-- IT'S A NUMBER 3, 14 MILLIMETER, AND IT'S, UM...

WHAT DOES THAT MEAN?

YOU SAID A 3, 14 MILLIMETER.

I DON'T KNOW WHAT THAT MEANS.

NUMBER 3 REPRESENTS THE CURVATURE, AND THE MILLIMETER REPRESENTS THE WIDTH OF THE ACTUAL BLADE.

SO IT STARTS OUT,

THE FLATTEST ONE IS A NUMBER ONE.

[METAL CLANGING]

DROPPED A CARVING OVER THERE.

THERE YOU GO.

THE FLATTEST ONE IS A NUMBER ONE,

AND THEN AS THE NUMBERS INCREASE, THEY GET MORE AND MORE CURVED.

SO IT GOES ALL THE WAY UP TO A NUMBER 11.

SO THIS IS A 3.

SO A 4 IS GONNA BE MORE CURVED, AND AN 11 IS GONNA BE WAY TIGHT.

EXACTLY, YES.

NOW LET ME JUST SHOW YOU ONE LITTLE TRICK HERE.

SOMETIMES THE GOUGES THAT YOU USE-- THIS IS A NUMBER 3.

SOMETIMES THE GOUGES THAT YOU USE ARE A LITTLE BIT TOO FLAT FOR A CURVE.

AND WHEN I STARTED OUT CARVING, I ACTUALLY HAD A VERY LIMITED AMOUNT OF GOUGES.

SO I LEARNED TO USE THE GOUGES.

SO I'M MAKING THIS ONE ACTUALLY A LITTLE BIT MORE CURVED THAN WHAT IT ACTUALLY IS.

WATCH WHAT I'M DOING.

SO YOU'RE TIGHTENING THE--OH.

YEAH.

I'M ACTUALLY KIND OF TWISTING IT AROUND.

ROTATING IT AS YOU ROCK DOWN INTO IT.

AND IT MAKES IT A LITTLE BIT MORE CURVED THAN WHAT THE ACTUAL GOUGE IS.

SO IT'S AN AXIAL ROTATION OF THE GOUGE AND ALSO, UH...

IT'S NOT JUST TWISTING.

THERE'S A LOT GOING ON WITH THAT, YEAH.

WELL, IT'S ACTUALLY KIND OF ANGLING THE TOOL LIKE THAT

AND THEN TWISTING IT LIKE THAT.

SO THAT'S MAKING IT COME.

WHAT A COOL THING TO LEARN.

SO YOU LEARN THIS-- THIS IS THE THING.

YOU LEARN THIS WHEN YOU'RE STARTING OUT AS A CARVER AND HAVE ONLY A FEW GOUGES AND STUFF LIKE THAT, BUT WHEN YOU GET TO BE A CARVER LIKE YOU, A PROFESSIONAL... HA HA HA!

HOW MANY GOUGES DO YOU HAVE?

OH, GOODNESS.

I LOST TRACK AT ABOUT 150.

YOU HAVE THOUSANDS OF THESE GOUGES AND STUFF.

YOU CAN NEVER HAVE TOO MANY GOUGES.

OH, MAN.

ALL RIGHT.

WELL, LET'S SEE.

OK.

SO JUST STAKING IN ALL THE WAY AROUND AND PROTECTING THE WOOD IN A COMBINATION OF THOSE TWO TECHNIQUES.

YEAH.

SO, IF YOU NOTICE, I'M COMING ALONG IN THIS DIRECTION, AND THEN AS IT STARTS TO TURN CONCAVE, I TURN THE TOOL AROUND.

YEAH, AND GET THAT WONDERFUL "S" CURVE THAT...

THIS IS JUST MADE UP OF LOTS OF THOSE "S" CURVES.

AND THIS IS ANOTHER PART RIGHT HERE.

I'M GONNA ANGLE IT LIKE THIS AND KIND OF...

I'M ACTUALLY...

ARE YOU TIGHTENING OR LOOSENING?

I'M ACTUALLY MAKING A LITTLE BIT TIGHTER

OF A CURVE THAN WHAT THIS IS.

I'M ONLY USING PARTIAL OF THE CHISEL.

OH, OK. ALL RIGHT.

NOW YOU GO THE OTHER WAY.

GO THE OTHER WAY.

AND THIS IS WHAT, A NUMBER 3 OR...

THIS IS ACTUALLY THE NUMBER 3, 14 MILLIMETER.

OK. THAT'S THAT SAME ONE.

ALL RIGHT.

YOU GET A LOT OF WORK OUT OF THAT FELLOW THERE.

YEAH.

ALL RIGHT.

SO NOW WE'RE RIGHT ON THE LINE.

SO DOING A SHARP DEFINITION... ALL THE WAY DOWN.

AND THIS IS REALLY JUST DEFINING THE ACTUAL EDGE OF THE DESIGN.

WELL, ALL RIGHT.

YOU'RE ABOUT DONE.

I'M GONNA JUST ASK YOU IF I CAN HAVE A WHACK AT THIS HERE.

YEAH.

LET ME FINISH THIS LEAF HERE.

OH, OK. YOU FINISH THAT ONE.

JUST LEAVE ME THAT LITTLE CURVE.

HOW MUCH DAMAGE COULD I DO?

NOW, IS THIS THE RIGHT CURVATURE FOR THIS AREA HERE?

IT'S A LITTLE BIT TIGHTER CURVE.

YEAH.

THE CHISEL ACTUALLY IS A LITTLE FLAT.

SO YOU CAN PROBABLY DO THAT TRICK OF SORT OF ANGLING IT.

OH, MY GOSH.

THANK YOU.

I'LL TRY.

AND YOU DO IT AS I TAP?

YES.

ALL RIGHT.

I THINK I DID IT THERE.

OK. AND THEN KIND OF TWIST IT AROUND.

AXIAL ROTATION, ROCKING IT AS YOU DO IT.

NOW I'VE GOT TO GO CONCAVE.

OR YOU CAN ACTUALLY, WITHOUT THE MALLET, YOU CAN TAKE IT AND TWIST IT LIKE A KNIFE.

WITHOUT THE MALLET?

ALL RIGHT.

I'LL TRY THAT.

TRY TAKING THAT AND THEN JUST SORT OF TWISTING IT.

LIKE THAT.

OK.

BUT YOU'VE REALLY GOT TO STAKE THIS IN.

I MEAN, I'M NOT DOING THIS DEEP ENOUGH.

YES.

BECAUSE THE NEXT STEP, YOU NEED TO GO ALL THE WAY DOWN TO THAT DEPTH.

ALL RIGHT.

BECAUSE THIS IS JUST CLEARING THE BACKGROUND.

ALL RIGHT.

SO, THIS IS GREAT.

THERE WE GO.

V-CHISEL ALL THE WAY AROUND.

AND WE'VE DONE IT.

WE'VE OUTLINED OUR CAMELLIA.

ALL RIGHT.

NOW, THE NEXT STEP TO REALLY... TO REALLY MAKE IT LOOK LIKE IT'S RAISED OFF THE BACKGROUND-- NOW, WHAT YOU COULD DO IS LOWER DOWN THIS WHOLE BACKGROUND FLAT, BUT... THAT'S WHAT YOU DID ON THAT OTHER ONE WE JUST LOOKED AT THERE.

YES.

BUT WHAT WE'RE GONNA DO, JUST... TO KIND OF GIVE IT A LITTLE BIT MORE CHARACTER, DIFFERENT CHARACTER BUT STILL MAKE IT LOOK LIKE IT'S RAISED OFF THE BACKGROUND IS WE'RE GOING TO JUST LOWER IT DOWN, KIND OF HAVE A NICE TEXTURED BACKGROUND.

BUT I'M GOING DOWN TO THAT POINT.

YEAH.

NOW, SEE, THAT'S WHERE I STAKED IT IN, AND I DIDN'T DO IT DEEP ENOUGH THERE.

SO YOU'RE STILL GETTING LITTLE HANGERS-ON THERE.

YEAH.

JUST GONNA SORT OF CLEAN THIS UP A LITTLE BIT, BUT I WANT TO GO ALL THE WAY AROUND AND RELIEVE THAT.

OK?

VERY NICE.

ALL RIGHT.

NOW, WHICH GOUGE SHOULD I USE TO DO THIS RIGHT HERE?

THAT'S THE ONE?

THAT'S A NUMBER 7.

ALL RIGHT.

AND I SHOULD BE BOLD OR CAUTIOUS OR... YOU CAN DIG SOME PRETTY BIG CHUNKS OUT THERE.

AS LONG AS THAT VERTICAL CUT IS NICE AND DEEP,

YOU JUST WANT TO GO DOWN TO THAT VERTICAL CUT.

OK. AND NOT BREAK OUT THE--OOP.

NOW, SEE, I SPLINTERED RIGHT THERE.

I THINK YOU'RE OK, BECAUSE ALL OF THAT IS GONNA BE REMOVED.

OK. AND I'M TRYING TO LOOK AT WHAT YOU DID.

YOU LEARN BY IMITATION I THINK.

YOU STUDIED IN EUROPE, I KNOW, AND YOU HAD EUROPEAN INSTRUCTORS.

MM-HMM.

I ACTUALLY STARTED UP IN MINNEAPOLIS AND THEN ENDED UP GOING OVER TO EUROPE JUST TRYING TO LEARN FROM DIFFERENT CARVERS.

I'LL LET YOU FINISH UP A LITTLE BIT MORE THERE.

OK.

YEAH.

AH, THAT'S GREAT.

BOY, LOOK AT YOU GO.

AND YOU'VE GOT THAT REGULAR WALKING THERE.

YEAH.

WE STILL HAVE TO GO A LITTLE BIT DEEPER

THAN, UM...THESE.

KIND OF CLEAN THAT UP.

OK. BEAUTIFUL.

AND THIS GOES ALL THE WAY AROUND.

SO WE'LL HAVE THIS SUNKEN CAMELLIA HERE.

AND THIS IS THE ALTERNATIVE WE WERE TALKING ABOUT BEFORE, WHICH IS DOING THIS-- LOWERING THE WHOLE BACKGROUND.

HERE WE'RE JUST LOWERING IT AROUND THE PERIMETER.

OK. ALL RIGHT.

SO, READY TO CARRY ON?

SHALL WE FLIP IT OVER?

ALL RIGHT.

YOU WANT ME TO FLIP IT?

LOOK.

IT'S ALREADY DONE.

WHICH WAY WOULD YOU LIKE THIS ORIENTED?

LET'S DO IT THAT WAY SO YOU CAN WORK ON THAT ONE.

OK.

SO THE SAME ORIENTATION THERE.

YES.

OK.

SO HERE IT IS WITH THAT DONE, AND I WANT TO GO TO THIS BECAUSE IT'S-- YOU HAVE DONE THIS WHOLE THING, AND IT'S VERY REGULAR, AND THAT'S PART OF THE BEAUTY OF IT THERE.

ALL RIGHT.

SO THIS IS BASICALLY WE'RE TRYING TO, UM...

THE NEXT STEP IS BASICALLY DOING THE ACTUAL DESIGN OF THE FLOWER.

AND THE NEXT STEP IS I'M GONNA GO ALONG AND LOCATE WHERE THE EDGE OF THE FLOWER IS

AND MAKE THE LEAVES GO DOWN SO THE LEAVES ARE WAY DEEP IN THIS, UH... CONFIGURATION.

THE LEAVES ARE LOOKING LIKE THEY'RE GOING RIGHT UNDERNEATH THE FLOWER.

AND I'M GONNA DO THE SAME THING HERE, STARTING WITH THE V-CHISEL, OK. AND GOING AROUND.

SAME THING AS I DID ON THE OUTSIDE, BUT I'M DEFINING IT WITH A V-CHISEL, AND THEN I'M GONNA COME

AND DEFINE THAT VERTICAL EDGE.

THIS IS AGAIN THE NUMBER 3, 6 MILLIMETER,

UM, A VERY HANDY...

SO A NARROWER...

BUT THAT SAME SWEEP THAT WE HAD.

RIGHT, BUT IT'S-- THIS IS ACTUALLY

MY FAVORITE CHISEL THAT I HAVE.

IT'S ONE THAT I USE PRETTY MUCH IN ALMOST EVERY CARVING THAT I DO.

AND IS "SWEEP" THE RIGHT WORD FOR THAT?

SWEEP, CURVATURE, YEAH.

OK. AND NOW, THIS IS WHAT NOW?

WHICH ONE IS THIS?

THIS IS ALSO THE NUMBER 4.

I CAN USE THE NUMBER 3 OR A NUMBER 4 FOR THIS.

THIS IS REALLY JUST-- AND THAT'S THE THING.

YOU CAN PRETTY MUCH USE A VARIETY.

IN A LOT OF THESE CUTS, YOU'RE NOT LOCKED INTO, "THIS IS THE ONLY CHISEL TO USE FOR THIS, UM, PRETTY MUCH."

AND I'M JUST TAKING THIS AND ROUNDING IT DOWN.

GET GOOD TOOLS AND LEARN HOW TO USE THEM TO THEIR MAXIMUM VERSATILITY, AND THEN YOU'LL FIND OUT WHAT YOU-- THIS IS GREAT.

AH!

LOOK AT THAT.

SO I'M JUST GONNA COME HERE THEN, ROUND THAT DOWN.

ALL RIGHT.

YES!

AND LOOK LIKE IT'S GOING RIGHT UNDERNEATH THAT FLOWER.

SO ALL THIS WHOLE THING IS CREATING THE ILLUSION BUT BASED ON THE REALITY OF ONE THING UNDER ANOTHER.

YES.

WE'RE REALLY DOING THE OVERLAPPING.

THE OVERLAPPING REALLY SHOWS THE 3-DIMENSIONAL APPEARANCE.

AND WHAT'S NICE ABOUT THIS IS,

WHETHER YOU'RE GONNA BE CARVING A ROSE OR A CAMELLIA OR WHATEVER FLOWER THAT YOU'RE GONNA BE CARVING, IT'S VERY SIMILAR IF YOU'VE GOT OVERLAPPING PETALS.

SO THE SAME PROCESS.

ALL RIGHT.

LOOK AT THAT.

AH.

OK.

SO I'LL LET YOU DO THAT ONE OVER THERE.

OK. NOW, I DO THIS LAST ONE HERE?

SO I'VE GOT TO DEFINE IT WITH THE "V" FIRST, STAKE IT IN WITH THAT NUMBER 3.

ALL RIGHT.

LET'S SEE.

SO HERE WE GO.

AND I LEAVE THE LINE?

YES, YOU'RE LEAVING THE LINE AT THIS POINT.

OK.

SO I DO THIS, AND THIS IS THE RELIEF CUT.

NOW, I'M NOT GETTING THE GRIP ON THIS LIKE YOU HAVE.

BUT YOU DO PIVOT ON YOUR WRIST, ON YOUR WRISTBONE.

YEAH.

YOU CAN EITHER USE A MALLET, OR YOU CAN PUSH THROUGH LIKE YOU'RE DOING.

EITHER WAY.

AGAIN, SOMETIMES THE MALLET ITSELF WILL CONTROL AROUND THOSE LITTLE CORNERS.

YEAH.

YOU THINK THE MALLET IS JUST WHEN YOU GET TO HEAVY WORK, BUT IT'S NOT.

ALL RIGHT.

SO LET'S SEE HERE.

NOW I WANT A NUMBER...

NUMBER 3.

THIS IS TOO TIGHT.

I JUST PICKED UP ONE THAT WAS TOO TIGHT.

ALL RIGHT.

SO AGAIN, JUST DEFINE-- WELL, THAT LOOKS-- I'LL TELL YOU WHAT.

THAT LOOKS CONVEX THERE.

YEP.

YOU JUST TRY TO LINE IT UP AS CLOSE AS POSSIBLE TO THAT CURVE.

IT'S RIGHT IN THE TURN, ISN'T IT?

KIND OF STRAIGHT.

BUT LOOK.

I'LL ROCK IT IN.

AND DOES THAT DO IT?

THAT'S GREAT.

AND THEN YOU CAN KIND OF TWIST IT IF IT ENDS UP BEING A LITTLE BIT... ROCK AND... OK. NOW HERE I'VE GOT TO GO BACK TO CONVEX THERE.

SO IT'S ANGLING OUT.

AND I'LL ROCK AROUND.

YEP.

AND THEN ROCK THIS WAY.

OH, YES!

ALL RIGHT.

EXCITING WHEN IT WORKS OUT RIGHT.

IT IS.

I'M REALLY THRILLED.

ALL RIGHT.

SO NOW... NOW I WANT TO BRING THIS DOWN.

THAT'S WAY TOO... IS THAT TOO SHALLOW?

NO.

THAT SHOULD BE FINE.

THIS IS OK?

YEAH, BECAUSE IF YOU USE A MORE CURVED ONE, YOU'RE GONNA ACTUALLY SEE THE GOUGE MARKS.

THIS IS GONNA BE A NICE FLAT ONE.

OK.

SO I WANT TO CUT TO THE BOTTOM OF THAT LINE I JUST DID, THAT I STAKED IN.

RIGHT.

IT LOOKS LIKE YOU'RE GONNA HAVE TO

PROBABLY GO A LITTLE BIT DEEPER WITH THAT VERTICAL CUT.

YES.

I DIDN'T QUITE GET IT RIGHT HERE.

WELL, I HADN'T BUILT UP MY CONFIDENCE.

BUT...AND I'M NOT HOLDING THIS RIGHT.

DO YOU HOLD IT WITH ALL YOUR FINGERS?

HERE.

LET ME JUST SHOW YOU.

YES, PLEASE.

IF YOU GO LIKE THAT... YOU DON'T REALLY SEE THAT MUCH.

ALL RIGHT.

YOU'VE GOT YOUR THUMB ON IT LIKE THIS.

SO IT'S LIKE THAT.

ALL RIGHT.

THAT CONTROLS IT A LITTLE BIT MORE.

AND YOU WANT TO KEEP TWO HANDS ON YOUR CHISEL AT ALL TIMES

BECAUSE BASICALLY IT'S VERY SAFE THAT WAY.

YOU KNOW THAT YOUR HAND-- YOU'RE THINKING OF YOUR STUDENTS NOW.

YES.

YEAH.

WE'VE BOTH HAD PEOPLE CUT THEMSELVES.

OH, MAN.

AND THAT'S WHAT I LIKE ABOUT THESE LONG-HANDLED GOUGES, IS YOU REALLY DO NEED TO USE TWO HANDS ON THEM.

SO, UM, IT REALLY ENDS UP, UM, BEING A MUCH SAFER CHISEL, GOUGE TO USE.

I'M STILL NOT GETTING IT CLEAN.

I'LL JUST KEEP AT IT HERE.

ALL RIGHT.

BEAR WITH ME.

I'M GONNA GET THIS THING CLEAN IN HERE.

ALL RIGHT.

I FEEL LIKE I OUGHT TO HAVE A BRUSH OR SOMETHING TO GET DOWN IN THERE.

THAT'S WHEN THE SANDPAPER COMES IN.

A WIRE BRUSH.

BUT THAT WOULD RUIN IT, WOULDN'T IT?

I MEAN, SERIOUSLY.

WELL, THE NICE THING ABOUT THIS IS THAT IT KEEPS REALLY NICE...

THE GOUGE MARKS ACTUALLY CREATE CHARACTER TO IT.

YOU KNOW, IT ENDS UP BEING A LITTLE BIT LIVELY.

AND ESPECIALLY WITH THE FLOWER, YOU'VE GOT ALL THESE DIFFERENT VARIATIONS AND CURVATURES FROM THE GOUGE.

THE MARKS FROM THE GOUGE ACTUALLY GIVE IT A LITTLE BIT OF CHARACTER.

I'M GIVING THIS TORN CHARACTER.

COULD YOU DO THIS?

BECAUSE I'M JUST TEARING ACROSS THE GRAIN.

YOU'RE GONNA NEED TO USE A MORE CURVED GOUGE FOR THAT.

OH, OK. IS THAT WHAT IT WAS?

IT WAS TOO FLAT.

NOW, WHAT YOU'RE DOING NOW IS ACTUALLY CREATING SORT OF A SCOOP-OUT IN THAT CENTER SO THE END IS RAISED UP.

YES.

THAT'S WHAT I WANTED, WAS KIND OF AN S-SHAPED LEAF THAT COMES UP AND THEN GOES DOWN.

AND I FEAR I'VE DONE TOO MUCH, THOUGH.

OK. YOU JUST NEED TO GO A LITTLE BIT CLOSER TO THE TIP

SO IT LOOKS LIKE THE TIP REALLY SORT OF SWINGS UP.

REALLY TIP...PIPS UP.

ALL RIGHT.

MAKE THE TIP PIP.

THERE WE GO.

THAT'S PRETTY CRUDE THERE.

THAT'S THE IDEA.

ALL RIGHT.

I GOT THE IDEA.

HA HA!

I GOT THE IDEA.

WOW.

WHAT A MESS.

THE FINAL PART ABOUT DOING THE LEAVES IS MAKING THE VEIN LINE, AND WHAT YOU CAN DO-- IF YOU TAKE THIS VEIN LINE AND JUST GO STRAIGHT,

IT'S GONNA REALLY FLATTEN OUT THE LEAF.

OH, OK. OK?

THEN IF YOU-- BUT IF I TAKE THIS

AND JUST DO A LITTLE BIT OF A SWING TO THAT CURVE, THEN I'M GONNA COME ALONG HERE, AND JUST WITH A V-CHISEL...

TAKE THAT LIKE THAT.

AND THEN I'M JUST GONNA TAKE LITTLE TINY LITTLE VEIN LINES.

I ALWAYS HEAR OF A TOOL CALLED A VEINER.

IS THAT WHAT YOU'D USE?

IT'S VERY SIMILAR.

A VEINER IS ACTUALLY SHAPED LIKE A "U."

VERY SIMILAR.

I KIND OF GO BACK AND FORTH BETWEEN THE V-CHISEL AND THE VEINER FOR THE SAME TECHNIQUE.

BUT A LOT OF TIMES THE VEINER ITSELF,

YOU ACTUALLY HAVE A SOFTER CORNER,

BECAUSE, AGAIN, IT'S SHAPED LIKE A "U."

SO EVEN THE REALLY TINY VEINERS, IT STILL HAS A LITTLE BIT

OF A CURVE TO THE BOTTOM.

BUT THEY'RE VERY, VERY SIMILAR.

WOW.

BEAUTIFUL.

ALL RIGHT.

I'LL TELL YOU WHAT.

LET'S LEAVE THIS LEAF THAT I STARTED ALL ALONE AND GO ON TO THE MIDDLE, BECAUSE I DON'T WANT ANYBODY-- THERE'S NO POINT IN WASTING FOLKS' TIME WATCHING ME STRUGGLE WITH THAT.

OH, YOU DID A FINE JOB.

I'LL KEEP AT IT.

SOMETIMES IT WORKS.

I'M GOING TO GO AROUND, STARTING WITH THE FLOWER.

I'M GOING TO START WITH A V-CHISEL AND JUST DEFINE THE OUTSIDE EDGE

OF EACH OF THESE LINES.

NOW, YOU CAN SEE, I'VE DRAWN IN THESE SHADING LINES.

BASICALLY TO... TO SHOW WHICH PARTS ARE GOING UNDERNEATH WHICH PARTS.

BECAUSE THAT'S THE TRICK.

YOU DON'T HAVE ALL THESE LEAVES.

EACH ONE IS AHEAD OF THE OTHER.

YES.

THEY'RE LAYERED.

MM-HMM.

SO THIS ONE'S ON TOP OF THIS ONE, AND THIS ONE'S ON TOP OF THAT ONE.

SO THIS IS KIND OF THE TRICKY PART, IS LOCATING.

SO I'M GONNA SHOW YOU RIGHT HERE.

THIS ONE HERE--

THE SMALLER ONES ARE A LITTLE MORE TRICKY.

THIS ONE HERE IS ON TOP OF THIS ONE, AND IT'S ALSO ON TOP OF THIS ONE.

OK. AND I CAN SEE THAT, BECAUSE IT HAS A WHOLE CONVEX MARGIN, WHEREAS IT'S COVERING THIS ONE, SO THIS IS CONCAVE, A LITTLE SCOOP-OUT RIGHT THERE.

YES.

AND YOU CAN ACTUALLY SEE THE FULL CONTINUOUS EDGE OF THAT LEAF... OR OUR PETAL.

SO...

GONNA COME AROUND,

AND I'M GONNA LEAVE THE LINES.

SAME PROCESS AS I DID FOR THE OUTSIDE.

AND GONNA LEAVE THE LINE.

AH.

ALL RIGHT?

SAME THING.

ALL RIGHT.

AND I'M GONNA GO AROUND EVERY SINGLE AREA HERE,

EVERY SINGLE PETAL,

AND LEAVE THAT LINE.

NOW, THIS IS WHERE TAKING YOUR RIGHT AND LEFT HAND AND SWITCHING IT BACK AND FORTH REALLY, REALLY HELPS TO GET THAT.

AND IF YOU START LEARNING THAT RIGHT FROM THE VERY BEGINNING WHEN YOU FIRST START LEARNING TO CARVE--

NO MATTER HOW OLD YOU ARE?

NO MATTER HOW-- MAYBE IT'S GOOD FOR THE BRAIN TO DO THAT.

OK.

SO I GET THIS.

THIS IS GOING TO EXPAND OUT NOW.

NOW, YOU'VE GOT ONE FURTHER ALONG HERE.

CAN WE GO... ACTUALLY, WE'RE STILL GOING TO DO THE-- YOU WANT TO STRIKE THAT IN THERE?

BUT THIS HAS BEEN STRUCK IN, SO THAT'S THE NEXT STEP.

YES.

I'LL SHOW YOU THE PROCESS.

LET ME JUST SHOW YOU QUICKLY HERE.

OK, BECAUSE THAT-- I WANT TO MAKE SURE WE CAN GET TO SOME OF THE PETAL CARVING HERE.

OK, JUST THE NEXT STEP.

AFTER YOU GO AROUND WITH A V-CHISEL AROUND ALL OF THOSE EDGES, I'M GONNA TAKE THIS, AND JUST WHATEVER CURVED GOUGE FITS THE CLOSEST ALONG THESE EDGES, I'M GONNA DO THE SAME THING.

IT'S REALLY SHARPLY DEFINED, EACH OF THESE FIELDS.

REALLY DEFINE IT.

THAT GUTTER THAT WE CUT THERE JUST ALLOWS THIS CUT TO DO IT WITHOUT HARM, BECAUSE HERE'S WHERE IT REALLY PAYS OFF.

YOU'RE DEALING WITH VERY SMALL ITEMS THERE.

YES.

YES.

YES.

SO JUST TAKE WHATEVER GOUGE FITS AND GO AROUND RIGHT ON THE LINE AT THIS POINT.

AND THAT'S WHERE YOU'RE AT RIGHT HERE.

OK.

SO FINAL THING-- WE'VE GOT TO DO THESE... SCULPTING THESE PETALS I GUESS THEY ARE.

THE PETALS NOW.

AND THIS IS REALLY

WHERE THE EXCITING PART COMES IN, BECAUSE THIS IS WHERE YOU'RE DOING THE LAYERING.

LET ME JUST USE--

I'M GONNA USE THE 7, 12.

AND I'M GONNA START WITH THE ONE THAT'S ON THE TOP, ABOVE EVERYTHING.

OK. THAT'S COMING UNDER THERE.

THAT'S TUCKING UNDER THERE.

THAT'S TUCKING UNDER THERE.

SO THIS ONE-- I'M GONNA COME HERE.

YOU'RE REMINDING YOURSELF THERE.

THIS IS WHERE IT GETS A LITTLE CONFUSING.

BUT I'M COMING DOWN THERE.

YEAH.

AND YOU WANT TO BE CAREFUL NOT TO POP THAT MIDDLE OUT.

YES.

VERY EASY.

AND YOU JUST WANT TO ROUND THAT OFF, JUST LIKE IT'S A LITTLE BEAD.

A LITTLE BUTTON THERE.

OK.

THIS IS GREAT.

MARY, I'VE SEEN SOME OF YOUR CARVINGS.

THEY'RE JUST ASTOUNDING.

I KNOW THIS IS WHAT YOU DO TO TEACH, BUT YOU DO STONE CARVING, AND YOU DO... MM-HMM.

YEAH.

IT'S KIND OF THE SAME TECHNIQUE.

YOU'RE REALLY JUST-- REALLY ENDS UP BEING

JUST UNDERSTANDING THREE-DIMENSION AND BEING ABLE TO VISUALIZE, UM... WHAT IS, UM... HIGH AND WHAT IS LOW, WHAT IS OVERLAPPING.

IT REALLY IS A TRAINING PROCESS OF BEING ABLE TO SEE THINGS-- IT'S ALL ABOUT SEEING.

MM-HMM, AND BEING ABLE TO VISUALIZE THE, UH...

THE LAYERING EFFECT, ESPECIALLY WITH THIS.

IT'S GOT TO BE COURAGE, TOO, BECAUSE I JUST DECIDED A LONG TIME AGO THAT I CAN'T CARVE, THAT I CAN DO MECHANICAL STUFF.

OH, COME ON.

LOOK AT THAT LEAF.

WHERE IS THAT LEAF?

IT FELL OFF.

IT WAS SO EMBARRASSED, IT FELL TO THE GROUND.

OH, MAN.

YEAH, THIS IS GREAT.

NOW, IF THERE WAS ONE NAME, I GUESS, FOR THE CARVER TO KNOW IF THEY WANT TO STUDY FLORAL CARVING, WOULD THAT BE GRINLING GIBBONS?

YES, DEFINITELY.

GRINLING GIBBONS, I BELIEVE HE LIVED

IN THE 16th CENTURY, AND BACK IN-- HE WAS ACTUALLY A DUTCH CARVER.

BUT I THINK THE ENGLISH CLAIM HIM FOR THEIR OWN.

YEAH.

HE WAS FAMOUS IN LONDON.

THE FLOWERS WERE SAID AND THE LEAVES WERE SAID TO FLUTTER AS A CARRIAGE WENT BY, AND IT WOULD SET UP A BREEZE AND SENT THE LEAVES OF HIS CARVINGS.

NOW, YOU'RE WORKING WITH MAHOGANY THEN.

HE WAS FAMOUS FOR WORKING IN BASSWOOD, OR LIME, AS THEY CALL IT THERE.

WE CALL IT LINDEN, TOO.

THAT'S ANOTHER ONE.

YES.

THIS EXAMPLE,

THE EXAMPLE THAT WE SHOWED YOU BEFORE--

THAT WHITER WOOD.

THAT WAS IN THAT TYPE OF WOOD.

ALL RIGHT.

MARY, I'M READY TO DIVE IN ONE MORE TIME.

YOU CAN GIVE ME ONE MORE CORRECTING LESSON NOW.

SO I'M AGAIN-- IS THERE ANYTHING LEFT FOR ME TO DO?

OH.

YOU CAN DO--YOU WANT TO TURN THIS AROUND

SO YOU CAN DO THAT ONE?

YEAH, LET'S TRY THAT.

OK.

SO I'LL UNDO IT HERE.

ALL RIGHT.

AND BRING IT AROUND.

ALL RIGHT.

SO WE'RE STARTING TO GET THAT REALLY THREE-DIMENSIONAL LOOK NOW.

OH, I SEE.

OK. YEAH.

IT'S COMING UP.

AGAIN, DO I ROTATE THE... YEAH.

THAT'S A NICE TWISTING MOTION, AND THAT REALLY HELPS IT COME ACROSS THE GRAIN LIKE THAT.

BUT I'VE GOT TO DO IT WITH ONE MOVE, THOUGH.

SEE, I'M HAVING TO ROCK BACK AND FORTH.

THERE YOU GO.

THAT'S IT.

THAT'S IT.

OK.

I'VE GOT IT.

I'M GONNA QUIT WHILE I'M AHEAD.

OK.

SO WOULD YOU THEN ROUND THESE OVER THE OTHER WAY?

YES.

YEAH, YOU CAN DO THAT.

UM, WHEN YOU'RE FINISHED WITH ALL OF THAT, THEN YOU WANT TO COME AROUND.

THIS IS A FLATTER GOUGE.

THIS IS THE NUMBER 3, AND I JUST WANT TO ROUND THOSE OVER RIGHT ALONG THE OUTSIDE EDGE.

GOSH.

I WANTED TO BLAME THE TOOLS AND SAY THEY WEREN'T SHARP, BUT LOOK AT THE MAGIC YOU'RE GETTING OUT OF THEM.

WELL, IT'S JUST A LOT OF THAT-- IT'S NOT JUST TECHNIQUE.

I KNOW IT'S JUST CONFIDENCE THAT ALLOWS YOU TO EXECUTE IT SO BEAUTIFULLY.

ALL RIGHT.

SO LET ME SEE HOW THIS-- THIS STEP ACTUALLY ENDS UP ALSO CLEANING UP ANY EXTRA LINES THAT ARE LEFT OVER FROM THE ORIGINAL DRAWING.

OH, OK.

WELL, IT'S STARTING TO TAKE SHAPE THERE.

YEAH.

HERE IT IS.

SO THIS IS WHAT WE'LL EVENTUALLY GET TO RIGHT HERE.

WE'VE GOT THAT.

MARY, I KNOW YOU'VE DONE CARVINGS THAT ARE SO NICE THE BEES HAVE LANDED ON THEM.

MARY MAY, THANK YOU FOR JOINING US HERE IN "THE WOODWRIGHT'S SHOP."

WE'LL SEE YOU NEXT TIME, EVERYBODY.

THANKS SO MUCH.

TAKE CARE.

BYE-BYE.

LEARN MORE ABOUT "THE WOODWRIGHT'S SHOP"

AND TRADITIONAL WOODWORKING ON OUR WEBSITE.

YOU CAN FIND US ONLINE AT pbs.org.

CAPTIONING MADE POSSIBLE BY FRIENDS OF NCI MAJOR FUNDING FOR "THE WOODWRIGHT'S SHOP"

IS PROVIDED BY...

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WHEN THE UNEXPECTED HAPPENS, STATE FARM HAS THE TOOLS TO GET YOU TO A BETTER STATE.

PROUD SPONSOR OF "THE WOODWRIGHT'S SHOP."

ROY UNDERHILL IS THE AUTHOR OF "THE WOODWRIGHT'S GUIDE: WORKING WOOD WITH WEDGE AND EDGE,"

AS WELL AS OTHER BOOKS ON TRADITIONAL WOODWORKING, ALL PUBLISHED BY THE UNIVERSITY OF NORTH CAROLINA PRESS

AND AVAILABLE AT BOOKSTORES AND LIBRARIES.