Carving Away with Mary May

Announcer: MAJOR FUNDING FOR "THE WOODWRIGHT'S SHOP" IS PROVIDED BY: [CAT YOWLS] [CAR ALARM] Announce: WHEN THE UNEXPECTED HAPPENS, STATE FARM HAS THE TOOLS TO GET YOU TO A BETTER STATE.

PROUD SPONSOR OF "THE WOODWRIGHT'S SHOP."

HEY, WELCOME BACK TO "THE WOODWRIGHT'S SHOP."

I'M ROY UNDERHILL.

I'M SO GLAD YOU CAN BE WITH ME AGAIN THIS TIME, BECAUSE IT SEEMED LIKE A GOOD IDEA AT THE TIME TO BUY ABOUT A THOUSAND LEGS AND PEDESTALS FROM A DEFUNCT FURNITURE FACTORY.

NOW, IT WASN'T TILL I LOOKED CLOSER AT THEM THAT I REALIZED WHY THE FURNITURE FACTORY WENT DEFUNCT.

THEY'RE PRETTY NASTY, AREN'T THEY, MARY?

YEAH, THEY'RE PRETTY UGLY.

[LAUGHTER] THE WOOD IS NICE.

THE WOOD'S VERY NICE.

THE WOOD IS NICE.

YEAH, BUT SOMETHING ABOUT THE DESIGN, IT JUST DOESN'T WORK.

NO, IT DOESN'T.

SO, I'VE GOT MARY MAY HERE, CARVER UP FROM CHARLESTON, A FAMOUS CARVER, AND EVEN YOU HAVE FOUND THIS A CHALLENGE, THOUGH.

WHAT THE HECK CAN YOU DO WITH THESE PIECES?

YEAH, YOU LOOK AT IT, AND THINK, "WHAT DOES IT WANT TO BE."

IT LOOKS LIKE A GIANT PEPPER MILL TO ME.

YEAH.

DO YOU CARE FOR ANY MORE ON YOUR...?, IT'S PRETTY AWFUL THERE.

SO, HERE'S A PROPER ONE, WE SHOULD SAY.

YEAH, THIS IS ACTUALLY FOR A CHARLESTON TEA TABLE.

AND YOU CAN SEET JUST THE SHAPE IS REALLY VERY NICE, AND, YOU KNOW, JUST COMPARED TO THIS, IS VERY CLUNKY.

LOOK AT THE PROPORTION ON THIS ONE, GOSH, AND THE WONDERFUL BULB.

YEAH, LOOK AT THAT!

THAT ONE'S JUST COMING STRAIGHT DOWN.

AND THESE RINGS HERE, MY GOSH, THEY LOOK LIKE TIRES ON IT THERE, INSTEAD OF ANYTHING CLASSICALLY PROPORTIONED.

SO, THIS IS THE PEDESTAL FOR A TABLE, AND, WELL, YOU CAN'T DO THAT.

NO, THAT WOULDN'T HAVE WORKED.

BECAUSE CLASSICAL CARVING IS NOT GOING TO WORK.

SO, WHAT DID YOU COME UP WITH TO SAVE THE DAY?

AT LEAST TO DISTRACT FROM THE... WELL, THAT'S NOT BAD!

I LIKE THAT!

I JUST WAS TRYING TO FIGURE OUT WHAT IN THE WORLD I COULD DO WITH THESE SPACES, AND SO I DECIDED TO SORT OF INCORPORATE SOME CLASSICAL FEATURES IN IT, SO, HERE'S SOME EGG-AND-DART AT THE TOP.

YEAH, AROUND THE TOP THERE, EGG-AND-DART STUFF.

AND THEN SOME SPIRAL FLUTING HERE.

BEAUTIFUL.

AND THEN SOME BEADS DOWN HERE.

AND YOU CUT THAT RING INTO BEADS, OKAY.

WELL, YOU KNOW, IT WORKS, KIND OF.

IT'S LIKE A STORYBOOK TABLE,, LIKE A CHILDREN'S BOOK ILLUSTRATOR WOULD MAKE A TABLE PEDESTAL OUT OF IT.

I JUST TRIED TO FILL IT UP WITH DETAILS.

SO, TO DISTRACT FROM IT.

YEAH, BAFFLE THEM WITH ET CETERA, OKAY.

SO, YOU'RE GOING TO SHOW ME HOW TO CARVE THIS... MM-HMM.

THIS ONE...

I DON'T KNOW WHERE TO PUT IT.

I'VE ONLY GOT 999 MORE TO GO HERE.

BUT YOU'VE ALREADY DONE THE LAYOUT ON THIS.

I CAN SEE IT RIGHT HERE, IS THAT RIGHT FOR THE SPIRAL CARVING?, YES, FOR THE SPIRAL CARVING, BASICALLY WHAT I DID WHILE IT WAS ON A LATHE, I ACTUALLY MARKED THESE LINES, JUST RESTING THE PENCIL AGAINST THE TOOL BRACE.

UH-HUH.

AND THEN I ENDED UP-- SO, 8 LINES HERE.

AND THEN 8 MORE LINES DIVIDING THIS UP, AND BASICALLY-- SO, AS IT INCREASEST UP HERE, THE SPACE REDUCES, BECAUSE THERE'S A LEDGE OF SLIGHT TAPER.

BECAUSE IT'S CONVERGING LINES, BECAUSE IT IS A CONE THAT WE'RE DRAWING THOSE LINES ON.

EXACTLY.

YEAH.

OKAY.

SO, THEY'RE CONVERGING INTO THESE SPACES.

AND THEN YOU, WHAT... THEN WHAT I DID WAS JUST TAKE WHERE THE CORNERS JOIN, AND JUST DRAW A LINE, AND GO ALONG, AND CONTINUE THAT ALL THE WAY AROUND, AND YOU'VE GOT A NICE EVEN LINE, AND THAT'S ACTUALLY THE HIGH POINT, OR THE PEAK.

AND THAT'S WHAT GIVES YOU THE SPIRAL.

YES.

ALL RIGHT.

BUT NOW, AS SIMPLE AS THIS LOOKS, YOU SAY THIS IS A VERY GOOD LESSON IN CARVING, AND WHY IS THAT?

WELL, BECAUSE YOU'RE DEALING A LOT WITH THE GRAIN, AND... LET ME JUST GRAB A-- DO YOU WANT TO WORK ON THIS PANEL RIGHT THERE?

SURE, SURE, I'LL WORK ON THIS ONE HERE.

ALL RIGHT, I'M GOING TO TIGHTEN IT UP.

[LAUGHS] ALL RIGHT, SO, YOU'RE TIGHT.

NOW, WHAT HAPPENS IS, AS I'M COMING ALONG HERE, YOU SEE, THIS IS QUITE A CURVED GOUGE RIGHT HERE.

YOU'VE GOT ONE SIDE OF THE GOUGE ON THIS SIDE, GOING WITH THE GRAIN, AND THIS SIDE IS ACTUALLY GOING AGAINST THE GRAIN.

OH, AND THAT'S A COMMON PROBLEM IN DIAGONAL CUTS.

IN DIAGONAL CUTS.

NOW WATCH THAT.

YOU SEE THAT RIGHT THERE?

YEAH, YOU'RE DIGGING IT UP, TO SPLINTER IT.

THAT'S ACTUALLY GOING TO SPLIT, SO, I HAVE TO BE CAREFUL THERE.

SO, I'M ACTUALLY SORT OF LEANING MORE ON THIS SIDE.

WHY DON'T WE ROLL IT A LITTLE BIT FURTHER SO I CAN GET--?

OKAY, YOU WANT TO ROLL IT OVER THIS WAY?

YEAH, JUST A TINY BIT, SO WE CAN... ALL RIGHT.

OKAY, THERE WE GO.

AND SO, WE CAN COME ALONG HERE, BUT I'M ACTUALLY LEAVING A THICKNESS OF WOOD RIGHT THERE SORT OF TO PROTECT IT, IN CASE THAT DOES START TO SPLIT.

SO, I'M COMING ALONG HERE...

SO, JUST DON'T GET TOO CLOSE TO THAT AGAINST THE GRAIN.

RIGHT, THAT REALLY COULD END UP SPLITTING.

NOW I NEED TO COME IN THIS DIRECTION.

OKAY, YOU HAVE TO TURN THE WHOLE THING AROUND OR...?

May: NOPE, I CAN-- THIS IS WHERE MOVING FROM YOUR RIGHT TO LEFT HAND IS REALLY IMPORTANT.

OH, OKAY.

TO BE ABLE TO SWITCH.

WELL, THAT, WHEN YOU WERE TEACHING ME LAST TIME, WHEN WE WERE CARVING ON THAT [INDISTINCT], THAT WAS THE HARDEST THING I FOUND, WAS WORKING RIGHT- AND LEFT-HANDED.

YEAH, AND IT'S VERY IMPORTANT TO DO THAT, BECAUSE OTHERWISE, LIKE YOU SAID, I WOULD HAVE HAD TO ACTUALLY PHYSICALLY TURN THE WOOD AROUND IF I COULD ONLY DO IT IN ONE DIRECTION, SO...

WHOOP!

[LAUGHTER] AND THESE ARE RAZOR-SHARP TOOLS, TOO, SO... YEAH, YEAH, OKAY, SO, AGAIN, YOU COME ONE WAY WITH THE GRAIN, AND THEN THE OTHER WALL DOWN THE GRAIN.

AND THEN, IN THE MIDDLE, JUST MAKE A LIGHT CUT.

YEAH, IN THE MIDDLE JUST KIND OF CLEAN IT UP, AND YOU'RE GOING TO HAVE TO KIND OF SEE WHICH DIRECTION.

THE MIDDLE IS SORT OF A MYSTERY, COULD GO EITHER WAY.

MM-HMM.

BUT JUST CONTINUE TO ROUND THAT OVER ONE SIDE, AND THEN THE NEXT.

YEAH, ALL RIGHT!

YOU WANT TO TRY?

ALL RIGHT, NOW, HERE, THIS IS MY LESSON.

WHERE SHALL I WORK?

YOU CAN PROBABLY WORK IN THAT ONE.

TRY RIGHT HERE?

OKAY.

SO, AGAIN, I'VE LEARNED THIS.

YOU'VE GOT THIS LONG CHISEL HERE, AND IT'S GOT THIS PART TO GRIP.

THIS HAND ANCHORS ON THE WOOD, AND THEN... May: THAT CONTROLS IT.

AND THEN YOU DO THE CONTROL WITH THIS ONE.

AND, AGAIN, SO I CAN...

THERE YOU GO.

ALL RIGHT, AND YOU SAY, DON'T LET THE END OF THE CORNER OF THE GOUGE GO INTO THE WOOD?

WHAT HAPPENS IF THAT...?

YEAH, IF THAT CORNER GOES INTO THE WOOD, IT'S GOING TO END UP REALLY RIPPING THIS PART OUT.

SO, YOU JUST NEED TO BE CAREFUL WITH THAT.

AND I SAW YOU KIND OF ROLLING TOWARDS THE WOOD.

IS THAT... YEAH, JUST TWISTING IT, LIKE THAT.

JUST TWISTING, LIKE I'M DOING?

YEAH, IT ACTUALLY, WITH HARD WOOD ESPECIALLY, IT REALLY HELPS TO GET IT THROUGH THE WOOD, AND ESPECIALLY ACROSS THE GRAIN LIKE THAT.

Roy: ALL RIGHT, SO, I'VE GOT TO TURN AROUND, AND COME BACK THE OTHER WAY.

OKAY, SO, I SWITCH HANDS NOW, AND I'VE GOT IT IN MY LEFT HAND, AND THEN JUST ROLL ON UP.

YEP, AND SORT OF LEAN IT TOWARDS THAT SIDE.

THERE YOU GO.

TIP THE TOOL IN THAT DIRECTION, SO, YOU'RE ONLY CUTTING WITH THE GRAIN.

SO, I'M SHEARING KIND OF TOWARDS THE MIDDLE AND NOT PUSHING ANYTHING OUT TOWARDS THE LINE.

ALL RIGHT, SO, YOU CAN GET GOING WITH THIS THING, ONCE YOU... OH, YEAH.

YOU CAN GET INTO PRODUCTION MODE, AND WHAT I NORMALLY DO IS I KEEP IT POSITIONED IN ONE AREA, OR ONE LOCKED INTO THE BENCH DOGS HERE, AND THEN I JUSTT DO THE AREA THAT I CAN REACH, AND THEN I TURN IT, AND THEN DO IT, SO, I DO ALL OF THEM DOWN HERE, THEN I TURN IT, AND THEN DO ALL OF THEM DOWN THAT ROW.

SO, YOU KIND OF GET INTO THE PRODUCTION MODE OF DOING IT.

[LAUGHS] AND THEN IT STAYS CONSISTENT.

I LIKE IT.

[LAUGHS] HOW YOU DOING THERE?

I'M INTO IT!

WELL, I LIKE THIS MECHANICAL STUFF.

I'M NOT REALLY GOOD AT THE MORE FREE-FORM STUFF.

NOW, YOU TEND TO LEAVE A LITTLE FILLET THERE.

NOT SO WIDE AND CLUNKY AS THAT, BUT YOU LEAVE A FILLET ON THERE?

JUST A TINY LITTLE BIT.

IF YOU GET IT TOO SHARP, IT GETS VERY FRAGILE, AND YOU CAN END UP BREAKING OFF THOSE EDGES VERY EASILY, SO, I JUST LIKE TO LEAVE IT, AND ALSO IT ENDS UP BEING MORE OF A LIGHT REFLECTION.

RIGHT, AND THAT'S ALL ABOUT LIGHT.

THAT'S ALL THIS IS.

I MEAN, IT'S NOT-- YEAH, ALL RIGHT.

AND REFLECTIONS IN SURFACES.

NOW, THIS IS ANOTHER EASY ONE, IT LOOKS LIKE TO ME, BUT I MAY BE WELL WRONG WITH THAT, DOING THESE BEADS.

SO, YOU'RE GOING FROM THIS ANNULET ALL THE WAY AROUND.

YEAH, IT WAS VERY SIMILAR TO THAT ONE.

TO BEADS, SO, HOW DO YOU PROCEED?

YEAH, SO, YOU START OUT WITH, THIS IS MY V CHISEL, AND I JUST COME ALONG HERE, AND I JUST DIVIDE THAT OFF RIGHT AT THE AREA BETWEEN THE BEADS.

SO, I'M JUST GOING IN AND REMOVING QUITE A BIT OF WOOD THERE.

SO THAT WHEN I... YOU KIND OF BLOCK IT IN WITH THAT.

SO THAT WHEN I ROUND THIS OVER--LET'S TRY TO FIND THE RIGHT TOOL.

[GIGGLES] NOW, WOULD YOU GO AROUND AND DO ALL OF THOSE V CUTS AT THE SAME TIME?

YEAH, YOU'D END UP DOING SORT OF A PRODUCTION LINE OF COMING V CHISEL, V CHISEL.

I CAN DO A COUPLE MORE.

ALL RIGHT.

AND THAT'S... OH, BUT THAT WAY, I GET TO TRY IT.

[LAUGHS] YOU'RE DOING THE V CHISEL, AND SPLITTING THE PIECE UP, BUT NEVERTHELESS, YOU BLOCK THEM IN, JUST LIKE YOU'RE WORKING WITH YOUR SPIRALS, IN THE SAME WAY YOU BLOCK THOSE IN.

OKAY.

YEP.

SO, NOW IT LOOKS KIND OF NICE, BUT YOU'RE GOING TO MAKE IT A NICE LITTLE HEMISPHERE.

YEAH, THEN I COME AROUND HERE, AND ROUND OVER.

SO, YOU'RE USING THE BEVEL UP ON YOUR GOUGE.

YES.

AS I'M COMING AROUND HERE, I'M ACTUALLY POSITIONING LIKE THAT, RIGHT JUST TO THIS SIDE OF THE CENTER OF THE SPACE, AND ROUND IT OVER, AND DEFINING THAT AS IT GOES AROUND.

AND THAT BEVEL-- NOT THE BEVEL, BUT THE FLAT ON THE INSIDE, RUBBING AGAINST IT KIND OF BURNISHES IT, TOO.

YES, AND ESPECIALLY IF IT'S VERY HARD WOOD LIKE THAT, IT'S BEAUTIFUL,V IT ENDS UP HAVING A NICE FINISH, AND THEN YOU DON'T HAVE TO SAND IT.

[LAUGHS] THAT WOULD RUIN IT.

THAT WOULD REALLY, REALLY MESS IT UP.

SO, THEN YOU TURN IT AROUND, AND COME BACK THE OTHER WAY.

WELL, I COULD GO IN THIS DIRECTION, BUT I'M REALLY RELUCTANT TO DO THAT, BECAUSE-- YEAH, YOU'LL CUT BACK INTO YOURSELF.

I DON'T LIKE CUTTING TOWARDS MYSELF, AND ALSO THIS COULD END UP SLIPPING, AND IF I'M CUTTING TOWARDS MYSELF, IT COULD END UP ACTUALLY SLIPPING AND REALLY INJURING.

I'D RATHER THE GOUGE GO THAT WAY.

BUT NOW I WANT TO SEE, CAN I DO THIS?

SURE.

ALL RIGHT.

BECAUSE AGAIN, WE'VE GOT THE FLAT DOWN, AND I'M GOING TO DO THIS ONE HERE THAT YOU'VE DONE.

AND YOU SAID IT'S SOMETHING ABOUT THE CORNERS GOING IN?

YEAH, YOU WANT TO BE CAREFUL.

SEE THIS SIDE?

YOU MIGHT END UP DIGGING AND DAMAGING THIS EDGE THERE.

OKAY.

SO, AGAIN, BUT NOT COMING BACK LIKE THAT, AND SO YOU TURN IT AROUND.

IT'S VERY AWKWARD TO COME IN THAT DIRECTION.

SO, THEN YOU--ACTUALLY THAT'S WHEN YOU CAN TURN THE WOOD AROUND.

AND THEN, AGAIN, GO IN THAT DIRECTION.

IT REALLY LOOKS NICE, SO, THEN WE END UP, LET'S SEE WHAT THE REST OF THESE LOOK LIKE, THESE WONDERFUL BEADS.

SO, THIS IS A FUN THING YOU CAN DO.

THE TURNING FIRST, AND THEN CUT IT DOWN INTO THE BEADS WITH THE CHISEL.

GREAT.

NOW, YOU ALSO HAVE UP HERE THE CLASSICAL, THE VERY SOPHISTICATED, WHAT IS IT CALLED?

IT'S CALLED EGG-AND-DART.

EGG-AND-DART, AND I'M GUESSING THAT'S THE EGG.

YEAH, THAT'S THE EGG, TAND THEN THIS IS THE DART.

IT SORT OF LOOKS LIKE AN ARROW.

SORT OF EGG, DART, EGG, DART.

YEAH, I ALWAYS THINK THAT LOOKS LIKE A NOSE, BUT, UM...KIND OF A STRANGE DESIGN.

NOW, LAYING IT OUT, CERTAINLY THERE'S A PROCEDURE ON THERE, BUT LET'S GO RIGHT TO THE CARVING.

NOW, HOW WOULD YOU DO THAT?

BECAUSE YOU SAY THIS IS MORE FIDDLY.

YEAH, A LOT OF IT IS REMOVED.

TO START IT OUT, WE REMOVE WITH THE V CHISEL.

OKAY?

AND THEN YOU COME IN HERE, AND JUST START LOWERING DOWN A LOT OF IT.

I GOTTA SAY, THAT V CHISEL MUST JUST BE YOUR PRIME TOOL.

IT REALLY IS, JUST TO REMOVE A LOT OF THE BULK, AND THEN I START DOING THE DETAILS.

SO, YOU DON'T DO SO MUCH STAKING IN, AS I'VE SEEN PEOPLE DO, YOU KNOW, THEY DO A STAKING IN.

DO YOU DO THAT VERY MUCH?

NO, I'VE REALLY BEEN CAUTIOUS WITH THAT, BECAUSE SO OFTEN IF YOU STAKE IT IN, WHAT YOU'RE TALKING ABOUT IS JUST BASICALLY TAKING A GOUGE AND JUST GOING STRAIGHT DOWN.

RIGHT, YEAH.

AND A LOT OF TIMES YOU CAN END UP BREAKING THINGS THAT YOU DON'T WANT TO BREAK, AND SO, YOU'RE JUST GOING TO HAVE TO HAVE A LOT OF GLUE NEAR YOU.

[LAUGHTER] SO, NOW YOU'VE GOT THAT CUT DOWN AND ISOLATED.

AND THAT'S WHAT IT DOES, THAT V CHISEL, IS ISOLATE THE SPACE.

ALL RIGHT.

IT BASICALLY REMOVES A LOT OF THIS, SO, NOW THAT I CAN COME HERE... WELL, THAT'S LIKE DOING THE BEAD, THE SAME THING.

YES.

YEAH, OKAY.

JUST ON A LARGER SCALE.

WHAT TRANSFERS FROM THE BEAD GOES RIGHT HERE.

YEAH, ALL RIGHT.

SO, THEN CARRY THAT DOWN IN THE SAME THING, WITH THE DART.

IT'S JUST A LOT MORE DETAIL RIGHT NOW.

ALL RIGHT, ALL RIGHT.

SO, THAT'S GOING TO MAKE US A NICE-- I THINK THIS IS GOING TO WORK.

AND AS I SAY, JUST 999 MORE.

IT STILL NEEDS SOME HELP.

I THINK IF WE CONTINUE DOWN HERE, IT'S JUST GOING TO GET TA LITTLE TOO BUSY, IF E KEEP PUTTING THINGS IN.

WELL, WE'LL JUST DISTRACT FOLKS FROM IT.

ALL RIGHT, SO, THAT'S THE PEDESTAL NOW.

NOW, OF COURSE, WE HAVE THE LEGS, TOO.

AND, MARY, YOU SAID TO BRING A PAIR OF BLUE JEANS, A PAIR OF OLD BLUE JEANS, TO HELP ME WITH THISEXT STEP.

NOW, WAS THAT SO WE COULD TAKE THESE AWFUL LEGS, AND... AND HIDE THEM?

WELL, JUST PUT THE BLUE JEANS OVER THEM, AND HAVE THEM GO ROUND AND ROUND LIKE THAT.

OH, THAT'S... [LAUGHS] THAT MIGHT WORK.

ACTUALLY, WHAT IT WAS IS I WAS GOING TO SHOW YOU HOW YOU CAN SAFELY STORE YOUR TOOLS.

[LAUGHS] STORE MY TOOLS?

YES.

I SAW HOW YOU STORED YOUR TOOLS-- IN MY JEANS?

THAT SOUNDS DANGEROUS.

I'VE GOT MY TOOLS RIGHT HERE, AND I DO HAVE THEM STORED PRETTY WELL.

THEY'RE IN A CIGAR BOX HERE.

YEAH, BUT LISTEN TO THEM.

THE SOUND IS AWFUL.

THESE ARE ALL MY CARVING TOOLS.

WHEN YOU HAVE METAL HITTING AGAINST METAL LIKE THAT, IT'S NOT VERY GOOD FOR THE CHISELS, SO... WELL, WHAT'S WRONG?

I DON'T SEE THE DOWNSIDE.

YEAH, LOOK AT THAT, THAT MUST HAVE, I DON'T KNOW, CHEWED ON A NAIL OR SOMETHING, BUT...

OKAY, SO, MAYBEP A CIGAR BOX IS NOT THE BEST SOLUTION FOR KEEPING YOUR CARVING TOOLS.

NOT REALLY, NO.

SO, WHERE DO MY PANTS COME IN?

OKAY, WELL, LET ME SHOW YOU WHAT I DID, I MADE THIS, AND BASICALLY THE STITCHING IS HERE.

OH, YOUR TOOL ROLL.

YEAH, THE TOOL ROLL, THIS IS, UM-- THERE'S A STITCHING HERE, AND A STITCHING HERE, AND IT'S BASICALLY OFFSET, SO THAT THE TOOLS CAN SORT OF SET OFF OF EACH OTHER.

ALTERNATE STITCHING, SO, ONE FOR ONE TOOL HERE, AND THE NEXT ONE IS RIGHT THERE.

RIGHT, RIGHT.

OKAY.

SO, THEY MISS EACH OTHER WHEN THEY COME THROUGH LIKE THAT.

ALL RIGHT.

AND PUT IT IN HANDLES FIRST, SO THAT IT LOCKS IN, AND SO I CAN ACTUALLY LOOK AT THE BLADES.

BUT THE ONE THING YOU WANT TO BE CAREFUL, THOUGH, IS THIS IS WHERE YOU CAN REALLY, REALLY END UP STABBING YOURSELF.

WHEN YOU'RE PUTTING THEM AWAY.

WHEN YOU'RE PUTTING THEM AWAY.

THAT'S ABOUT THE ONLY TIME I EVER CUT MYSELF, IS WHEN I'M PUTTING THE TOOLS AWAY.

LIKE, SEE, THESE THINGS ARE STICKING UP ALL OVER.

THAT'S ALWAYS THE CASE.

ALL RIGHT, NOW, SPEAKING OF WHICH, HERE, ARE THESE YOUR OLD PANTS?

IS THAT WHAT YOU'RE TELLING ME?

THIS IS YOUR OLD WIDE WHALE CORDUROYS FROM YOUR DISCO DAYS THERE.

THAT'S ALL RIGHT.

SO, BLUE JEANS ALSO MAKE A GOOD... BLUE JEANS, YEAH, I'VE GOT A VERY LONG ROLL OF BLUE JEANS, THAT ACTUALLY STORES IT VERY WEL, AND IT DOESN'T GET SNAGGED VERY MUCH, SO... ALL RIGHT.

GOOD, OLD BLUE JEANS.

WELL, ALL RIGHT, I'LL SEE IF I CAN DO-- SO, THAT'LL KEEP THEM SHARP, BUT GETTING THEM SHARP-- AND NOW HERE I'VE GOT A NICE-- THIS IS A NICE CARVING TOOL, I THINK.

IT'S GOT THE RIGHT, LIKE, LENGTH TO IT.

NICE ANTIQUE ONE.

NUMBER 5 IT SAYS, SO, IT'S A 5 SWEEP RIGHT THERE.

IT'S GOT THE NUMBER ON IT.

ASSUMING IT WAS SHARP, HOW WOULD I--, YOU KNOW, KIND OF MODERATELY SHARP, WHERE WOULD I TAKE IT?

OKAY, WELL, DO YOU HAVE SOME STONES?, I DO.

LET ME GET THESE GUYS OUT OF THE WAY.

LET'S SEE WHAT YOU HAVE.

I'VE GOT... WELL, THESE ARE THE TWO I RELY ON.

I'VE GOT AN INDIA STONE AND A WHITE ARKANSAS.

ALL RIGHT.

THE INDIA STONE, THAT'S PRETTY ROUGH.

YOU MAY WANT TO USE THAT JUST IF YOU'VE GOT A LOT OF METAL TO REMOVE.

MM-HMM.

I WOULD START WITH THAT, BUT MOSTLY I WOULD ONLY USE THE ARKANSAS STONE.

THIS IS VERY SMOOTH.

OKAY, THAT'S THE VERY FINE, FINE NATURAL STONE, OKAY.

I THINK I NEED SOME OIL.

OKAY, I'VE GOT A LITTLE OIL RIGHT HERE.

OIL, ALL RIGHT.

A LITTLE OIL ON THE STONE, ALL RIGHT.

AND THERE WE GO, IS THAT ENOUGH?

OKAY, THAT'S FINE.

SO, WE'RE JUST GOING TO SPREAD THAT AROUND THERE.

NOW, WHAT YOU WANT TO DO IS YOU WANT TO ROCK IT TO THE POINT WHERE YOU CAN FEEL THE FLAT.

SO, YOU WANT IT TO HIT THE STONE RIGHT AT THAT FLAT SPOT.

OKAY?

AND THEN I LOCK MY ELBOW AT MY SIDE, AND...

SO, REALLY, THE ONLY THING--OKAY, YEAH, START SWINGING.

ALL RIGHT, SO, YOU ROCK BACK AND FORTH LIKE THAT, SO, YOU'RE REALLY MOVING FROM DOWN AT THE BASE.

GOT TO GET THE MUSIC GOING IN HERE.

SO, I SEE WHERE PTHE DISCO PANTS COME IN.

[LAUGHTER] ALL RIGHT, SO, YOU'RE REALLY WORKING IT BACK AND FORTH, BUT YOU WANT A FLAT BEVEL, YOU DON'T WANT ANY KIND OF ROUNDED.

NO, IF IT WAS LIFTED TOO HIG, THEN YOU'D JUST HIT THE EDGE.

MM-HMM.

AND IF IT WAS NOT LIFTED HIGH ENOUGH, YOU'D JUST HIT THIS BASE.

SO, YOU REALLY WANT TO MAKE SURE THAT IT'S NICE AND FLAT.

AND THE ONLY PART THAT'S ACTUALLY MOVING IS MY WRIST, THAT'S TWISTING.

TO TWIST, OKAY, SO, YOU GET ON THAT AXIAL ROTATION, AS YOU SWING BACK AND FORTH.

ALL RIGHT?

AND YOU DO THAT UNTIL YOU GET A LITTLE, TINY BURR ALONG THE INSIDE EDGE.

AND THEN YOU TAKE A SLIP STONE, AND...

I'VE GOT SLIPS.

THAT'S BASICALLY SHAPED TO DIFFERENT CURVATURES.

MM-HMM, YEAH, I'VE GOT A WHOLE BOX IN HERE.

OH, YEAH, THAT'S A NICE--YOU'VE GOT A NICE SET HERE.

A LOT OF VARIETIES.

AND YOU'VE GOT SOME THAT ACTUALLY SHOW FOR V CHISELS.

THAT'S A NICE ONE FOR A V CHISEL.

BUT THIS ONE LOOKS LIKE IT'S GOING TO BE PRETTY GOOD FOR THIS.

GOOD CURVATURE.

A LITTLE OIL ON THAT?

YEAH?

ALL RIGHT?

AND SO, THAT'S GOING TO DO THE INSIDE, THIS CONVEX SURFACE WILL DO THE CONCAVE FACE OF THE-- I DON'T WANT TO DUMP OIL ALL OVER YOU, SO, I'M TAKING THIS VERY SLOW HERE.

THERE WE GO, OKAY, SO, WE GET SOME OIL ON THE STONE.

OKAY, SO, YOU JUST RUN IT ALONG THE INSIDE THERE.

MM-HMM.

RIGHT?

AND WHAT THAT'S DOING IS IT'S EITHER REMOVING THE BURR, OR, AT THIS POINT, IT'S PROBABLY JUST TAKING THE BURR AND FLIPPING IT BACK OVER TO THE BACK SIDE.

OH, OKAY.

OKAY?

SO, THEN I COME BACK ON THE STONE.

YOU'RE NOT SWINGING SIDE TO SIDE.

OH!

SORRY, SORRY.

YOU'VE GOT TO GIVE ME MORE OF THAT SWINGING SIDE TO SIDE.

THERE YOU GO.

[LAUGHTER] WELL, NEVERTHELESS, THAT'S A BACK AND FORTH BETWEEN THE TWO.

YES.

ALL RIGHT.

YEAH, AND, SO, BACK AND FORTH UNTIL THAT LITTLE BURR JUST FALLS OFF.

SO, YOU MIGHT HAVE TO GO BACK AND FORTH MAYBE 5 OR 6 TIMES UNTIL THAT BURR IS OFF.

AND THEN, FINAL, YOU PUT IT ON A LEATHER STROP.

NOW, I DON'T HAVE A STROP, BUT I SEE YOURS BACK HERE.

OKAY.

ALL RIGHT, NOW, THIS IS...

I WAS LOOKING AT THESE.

YOU'VE GOT JUST-- I MEAN, THAT LOOKS-- THAT'S AN OLD PIECE OF LEATHER.

THAT'S AN OLD PIECE OF LEATHER, AND YOU CAN USE AN OLD BELT IF YOU WANT.

OOPS, OTHER SIDE.

OH, OF COURSE, OKAY.

SO, YOU'RE USING THE ROUGH SIDE.

YOU'RE USING THE ROUGH SIDE, YEP.

AND THIS HAS A LITTLE BIT OF WHAT JEWELERS USE, ACTUALLY, TO POLISH STONES.

JUST TO POLISH IT.

AND THIS IS REALLY-- I'M NOT PRESSING VERY HARD.

YOU HAVE TO BE CAUTIOUS WITH THIS, BECAUSE SOMETIMES IF YOU HAVE A LOT OF FLEXIBILITY, OR A REALLY THICK PIECE OF LEATHER, IT MIGHT ACTUALLY FLEX ENOUGH TO ACTUALLY ROUND THE BACK OF THE TOOL.

SO, IN OTHER WORDS, DON'T PUT THIS ON THE TOP OF YOUR LEG, OR SOMETHING LIKE THAT, SOMETHING SOFT.

IT NEEDS TO BE BACKED UP ON SOMETHING REALLY HARD.

RIGHT, RIGHT.

OKAY.

TAND I USE THIS QUITE OFTEN AS I'M CARVING, JUST IF THE TOOL FEELS LIKE IT'S GETTING A LITTLE BIT ROUGH, AND THEN I JUST PUT IT ON THIS TO JUST TOUCH IT UP.

AND THEN ON THIS SIDE.

ON THE INSIDE, THIS IS MUCH OF DIFFERENT SHAPES, OF DIFFERENT CURVATURES.

YOU MADE THIS.

THIS IS NOT SOMETHING YOU BOUGHT.

BUT DIFFERENT SHAPES, AND JUST THE SAME LEATHER, AND A LITTLE OIL AND ABRASIVE FROM THE JEWELER.

YEAH, THE OIL WILL ACTUALLY HOLD THE JEWELER'S ROUGE IN, SO, IT DOESN'T GET ALL-- ALL RIGHT.

OKAY, AND THEN I COME HERE, AND JUST DRAG IT ACROSS THERE.

OKAY?

AND THAT'S HOW YOU DO-- SO, YOU DO THAT CONSTANTLY FEELING IT, THOUGH, FOR THE BURR, BUT STROKING IT OUT, TO MAKE SURE... YOU DON'T WANT TO GO IN THAT DIRECTION.

[LAUGHTER] THAT THE PROOF IS IN THE CUTTING, BUT THAT LITTLE JEAN ROLL SHOULD HELP ME A GREAT DEAL IN KEEPING THEM SHARP.

OKAY, AND WE NEED TO BE SHARP TO DEAL WITH THIS NEXT THING, WITH THOSE LEGS.

THOSE LEGS WERE A REAL CHALLENGE TO ME.

SO, THIS IS-- MARY, I THINK YOU'RE GOING TO EARN YOUR BISCUITS HERE.

THIS IS SUPPOSED TO BE A CABRIOLE LEG, A LEAPING GOAT IN THE CLASSIC FORM WITH A PAD FOOT.

BUT THERE'S SOMETHING JUST NOT RIGHT ABOUT IT.

SOMETHING NOT RIGHT.

I'VE GOT A LOT OF THESE, SO, I'VE GOT TOP FIGURE OUT SOMETHING TO DO WITH IT.

DID YOU FIGURE OUT A FORM?

WELL, LET ME ASK YOU THIS, WHAT DO YOU THINK IT LOOKS LIKE?

[LAUGHTER] A PRETTY OUT-OF- PROPORTION LEG.

WHAT'S THE FIRST THING THAT COMES TO YOUR MIND, WELL, DOWN HERE IT LOOKS LIKE A DOLPHIN ON A SURFBOARD THERE, GOING ALONG, OR SOMETHING LIKE THAT, OR A HAPPY SNAKE.

SOMETHING LIKE THAT.

I DON'T KNOW.

BUT CLASSICAL CARVING WOULD NOT WORK ON THIS, BECAUSE IT'S JUST NOT A CLASSICAL PROPORTION THERE.

NOT REALLY, NO, AND WHEN I WAS LOOKING AT IT, TOO, WE WERE ON THE SAME THOUGHT, AND BASICALLY I CAME UP WITH... [LAUGHS] A FISH HEAD!

A FISH HEAD.

THAT'S GREAT.

YEAH, SO, WE'VE GOT SOME FINS.

YEAH, SO, WE'VE GOT SOME HAPPY FISH, AND THEN WE'VE GOT-- IT SORT OF TURNS INTO ALMOST A DRAGON THING, OR MAYBE--I DON'T KNOW.

SO, IT'S GOT THE SCALES, THE LITTLE FINS ON TOP THERE.

I LIKE THAT VERY MUCH.

USUALLY, I END UP DOING MORE CLASSICAL PIECES, SO, I SORT OF VENTURED AWAY FROM MY... YOU HAVE BEEN FREED AT LAST FROM THE HEGEMONY OF GOOD TASTE.

SO, MARY, THIS DESIGN IS DEFINITELY GOOD ENOUGH TO GET YOU THROWN OUT OF THE SOCIETY OF AMERICAN PERIOD FURNITURE MAKERS, I THINK FOR GOOD, FOR GOOD.

CAN YOU SHOW US HOW YOU WENT THROUGH THIS?

JUST HOW YOU STARTED.

AGAIN, WE'RE GOING TO USE THE SAME TOOLS, GOUGES AND V CHISELS.

YEP, THAT'S THE PROCESS.

OKAY.

DO YOU HAVE ANYTHING TO BLOCK THAT WITH?

HMM, OH, WELL, WE'LL JUST-- WELL, HERE'S SOME RUBBER, A PIECE OF RUBBER.

YEAH, LET'S JUST PROTECT THE NOSE THING, THE NOSE OF THE DOLPHIN.

I DON'T THINK FISH HAVE NOSES.

I KNOW THEY SMELL AFTER A FEW DAYS, BUT THEY DON'T... ALL RIGHT, SO, THERE WE GO.

SO, WHAT DO YOU DO?

YOU JUST...?

DO YOU PENCIL THIS IN?

I GUESS YOU WOULDN'T NEED TO, YOU COULD JUST... WELL, I CAN COPY THAT.

LET'S OPEN UP THE TOOL ROLL, SO I CAN SEE IN.

THAT'S RIGHT, PYOU'VE GOT TO MAKE ALL OF THESE...

SO, YEAH, WE'RE GOING TO DO THE EYE, AND THEN MAYBE A FIN RIGHT THERE, SO... JUST SORT OF SKETCHING THE OUTLINE, AND THEN WHAT I DO, WITH MY V CHISEL IS JUST GO AROUND, AND OUTLINE, AND WE WANT TO TIGHTEN THAT UP, OH, YEAH, SORRY.

A LITTLE LOOSE.

A SLIPPERY FISH.

[LAUGHTER] OH, GOSH.

FISH LEGS, FISH LEGS, HERE WE GO.

ALL RIGHT.

AND, AGAIN, SO, YOU'RE TRYING TO CHANGE YOUR POSITION OR YOUR ANGLE OF ATTACK TO OPTIMIZE THE GRAIN.

YEAH, AND THAT'S BASICALLY-- THAT'S WHY I DON'T REALLY LIKE TO SIT DOWN VERY MUCH, EITHER, WHEN I'M CARVING, BECAUSE YOU'RE ALWAYS SORT OF MOVING IN DIFFERENT DIRECTIONS.

AND LEFT AND RIGHT HAND... ALL THE TIME SWITCHING.

BOY, OH, BOY, THAT IS THE KEY.

THAT LEFT AND RIGHT, AND SHARPNESS.

SO, WE'VE REALLY GOT THE BIG ITEMS.

[LAUGHS] AND THEN FREEDOM FROM CLASSICAL DESIGN.

[LAUGHTER] I'VE BROKEN AWAY!

YEAH.

THERE ARE OTHER FISH.

SO, AGAIN, NOW WE'VE GOT THAT BLOCKED IN, YOU GO TO A GOUGE AND JUST START CARVING.

AGAIN, THE SAME WAY?

YEAH, ON THE SAME WAY.

NOW I CAN ACTUALLY LOWER DOWN THE BACKGROUND, SO, IT LOOKS-- YOU LOWER THE BACKGROUND, SO, YOU HAVE A RAISED ITEM THERE.

YEAH, SO, IT LOOKS LIKE THAT FIN IS JUST SORT OF LIFTED OFF THE BACKGROUND A LITTLE BIT.

I GOT YOU.

ALL RIGHT.

OKAY.

[LAUGHS] WELL, I HOPE EVERYBODY WHO HAS UGLY FURNITURE WILL START CARVING FISH HEADS ON THEIR FEET.

GET ADVENTUROUS.

THAT SOUNDS LIKE A GOOD PLAN THERE.

OH, MAN, ALL RIGHT, SO, THIS'LL-- SO, IT'S GETTING A LITTLE SLOPPY, BUT ANYWAY.

ALL RIGHT, BUT NEVERTHELESS, OUR LITTLE FISH HEAD, IS LOOKING RIGHT IN ON US, AND THEN THE FINS ON TOP.

WELL, WE'RE STILL WORKING ON THIS, AND WE HAVE ANOTHER 900 OR SO TO PRACTICE WITH, SO, WE SHOULD BE ALL RIGHT.

I THINK WE'LL GET PRETTY GOOD BY THAT TIME.

ALL RIGHT, I CAN'T LEAVE YOU, BECAUSE YOU ARE VERY WELL KNOWN AS A CLASSICAL CARVER, AND I THINK YOU'VE GOT A CLASSICAL PIECE HERE.

THIS SHELL, IS THAT RIGHT?

YES.

MM-HMM.

ALL RIGHT, SO, MAYBE WE'LL TAKE-- I WANT TO REMIND YOU, WE'RE GOING TO CREEP BACK INTO THE LAND OF GOOD TASTE NOW.

[LAUGHTER] SO, WHAT HAVE WE GOT HERE?

WELL, THIS IS JUST A REAL TYPICAL DESIGN THAT YOU SEE QUITE OFTEN.

THE SHELL DESIGN, AND THEN THE ACANTHUS SCROLL, AND IT'S VERY, VERY CLASSICAL.

THIS IS ACTUALLY GOING TO GO ON TOP OF A MIRROR FRAME.

LIKE A CROWN ON THE TOP OF A MIRROR FRAME.

BUT, AGAIN, THE SAME PRINCIPLE IN CARVING, EXCEPT WITH A LITTLE BIT MORE DESIGN SENSE, AND CLASSICAL REFERENCE THERE.

EXACTLY.

SO, NOW, IT LOOKS LIKE YOU'VE GLUED THESE THINGS ON YOUR BLANKS.

WELL, BASICALLY, YEAH, THIS IS HOW IT STARTS.

AND SO WHAT I'VE DONE, THIS IS SORT OF A TEMPORARY BACKER BOARD, JUST A SPARE PIECE OF WOOD.

AND WHAT I DID WAS GLUE IT HERE, GLUE THIS ON WITH A PIECE OF NEWSPAPER BETWEEN, OR, THIS IS ACTUALLY BROWN PAPER.

SO, IT'LL SEPARATE.

YEAH, SO, WHAT HAPPENS IS WHEN YOU ACTUALLY-- YOU CAN CARVE IT, AND IT WILL HOLD IT REALLY SOLID AND TIGHT, AND THEN-- OH, WITHOUT DAMAGING THE EDGES.

RIGHT.

SO, I CAN CLAMP ON THE ACTUAL BACKER BOARD.

AND GET ALL THAT ROUGH STUFF, OKAY.

RIGHT, AND THEN, WHEN I'M FINISHED WITH IT, I JUST TAKE A FLAT CHISEL, AND POP IT OFF THE BACKGROUND AND HOPE THAT IT COMES UP.

OH, MY GOSH.

SO, ALL OF THIS IS GOING TO BE JUST THE SAME TECHNIQUE AGAIN, CUTTING IT IN, AND THEN SCOOPING OUT.

EXACTLY.

DOWN TO IT.

AND BEING CAREFUL NOT TO BREAK ANYTHING OFF.

WELL, MARY, THIS IS GREAT.

THIS IS GOING TO HAVE TO BE A WHOLE 'NOTHER LESSON WORKING ON THIS PIECE.

THIS IS THE CLASSIC PART THAT WE MISSED.

BUT SINCE YOU WERE ABLE TO HELP ME WITH THESE, MY THOUSAND LEGS AND PEDESTALS THAT I BOUGHT, I'VE GOT ONE MORE THING.

I BID ON A... UHH... ON A BARREL FULL OF WOODEN KNOBS, AND THEY'RE REALLY PRETTY PLAIN.

I JUST THOUGHT MAYBE...

THEY NEED SOMETHING.

[LAUGHS] YEAH, I THOUGHT MAYBE YOU COULD HELP ME CARVE THESE.

HOW ABOUT THAT?

THIS IS A JOB FOR AN APPRENTICE, I THINK.

[LAUGHTER] OKAY.

WELL, WE'LL GET STARTED ON THAT, AND I HOPE TO SEE YOU NEXT TIME, BACK HERE IN "THE WOODWRIGHT'S SHOP."

MARY MAY, THANKS SO MUCH.

ALL RIGHT.

THANK YOU.

AND SO LONG.

SEE YOU.

BYE-BYE.

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