Gouge work

Tools on practice board -- scraper, sureform rasp, bronze mallet, wood mallet, rough-stocking gouge, smoothing gouge, medium working gouge

This is the best part--gouge work!

There is no more enjoyable way to remove wood than with gouges -- often mistakenly called chisels. (a chisel is really a gouge that is completely flat -- it is seldom used in direct wood sculpture) The gouge has a rounded surface. The greater the curvature, the greater

amount of wood it will remove. Notice the deep curve on the rough-stocking gouge above. (9H25)

It is not advisable to purchase a set of carving gouges because you will receive many that aren't applicable to general wood sculpture. Probably only three gouges are needed to begin. It doesn't make sense to buy until you know what you need to fit your own style... This is where a class of students with different tools and techniques is helpful... However if you have to proceed on your own -- here are the three recommended gouges:

Rough-stocking large gouge -- No. 9h25 -- That nine measures the depth -- 25mm (about 1 inch) measures the width -- The H means with a handle. Many carvers make their own handles. (Notice the homemade handle on the rough gouge -- The gouge below has the original handle.) The easiest thing to do is just order the handle with the gouge and deal with that question later.

Medium gouge 8H14--a little less deep and a good deal smaller about 1/2 inch....this is the work horse!

Small or smoothing gouge--5H18 not quite flat but perfect for cleaning up between gouge cuts. This gouge with practice will leave a nice tool surface. (See Mississippi mermaid in the website.)

In the beginning try to use only straight gouges. do not purchase spoon gouges or fish-tail gouges. (Spoon gouges are great for hollows.) I usually don't like new carvers to use them because they are so spealized. Good gouges usually come unsharpened. here's the rub, sharpening gouges is difficult to learn especially from scratch --carving is not anywhere as tricky to get started. In another section I will deal with obtaining and sharpening gouges. for now I will assume you have the gouges and they are sharp.

Mallets come in all shapes, sizes, and materials. The new Carver should probably just buy a medium size wood mallet and get started. The best shape for a wood mallet is like the one that is just behind the practice board in the above photo. The one shown is a bit big for a new carver. Only practice will tell the right size for the right gouge... Of course you can turn your own -- The mallet in the photo is carved, not turned, from beef wood (very much like oak). The handle is walnut. Over the years I have switched to a bronze mallet because it seems to be easier on my elbow. Too much excess in carving can lead to problems like tennis elbow... If your elbow begins to hurt or even feel warm, you should back off for the day... Normally a Day's rest is all it takes unless you overdo it badly... The condition, also called mild tendonitis is far from serious because rest usually (at least for me) restores the elbow very quickly.

The word sculpture comes from Greek meaning to cut away. Basically there are two types of sculpture direct and indirect. In indirect sculpture a piece is made out of a soft workable material like clay or wax and then cast into a more durable material like bronze, cement or fiberglass. In direct sculpture the original material is the final material. The most common materials are wood, stone, and welded metal. both methods, direct and indirect, have their strong points. This Chapter is about The techniques of obtaining a desired form from solid wood (usually a log).

When using cutting tools to make direct sculpture -- think about removing one point in space at a time. The easiest way to get started is to practice just a little -- and then learn while carving a piece of sculpture. You can start right in making sculpture, but it is easiest to practice a little on a flat board.

Find a scrap board of some soft hard wood. (All trees that lose their leaves are technically hard woods, but there is a huge range of hardness within that classification.) A good choice would be bass, mahogany, or walnut. Even a soft wood like pine would be okay... Start with carving cross grain (sometimes called side grain which is Perpendicular to the direction of the grain). Use the medium gouge No. 8 about half inch wide (5H18) to get started.

Hold the gouge at about a 45 degree angle to the wood. Strike a blow with the mallet -- sink the gouge into the wood -- never bury the edges of the gouge or you will lose control -- don't try to take Too much wood especially when your getting started -- now depress the angle about 10 degrees or so and strike.... moving the gouge through the wood -- now depress the gouge about another 10 degrees and strike a blow moving the chip out of the wood. It may take little practice, but three blows should remove one nice chip, especially when carving cross grain... Now move over about half the space of the chip and remove another chip -- create a row of maybe 10 or so. Then move forward and begin another row between the first row of gouge marks, creating a nice pattern. When you feel some competence in controlling this gouge, take up the larger gouge and do the same thing... Don't spend too long--just enough to get the hang of it... Now take the smaller flat gouge 5H18 and move between the rows of gouge marks -- knocking down the edges, creating a flatter surface.

It is always better when possible to carve cross grain... but of course the demands of the piece will require carving all different ways, so for now practice carving with the grain. You will probably notice the wood has more of a tendency to tear because you pull out some of the fibers instead of cutting them -- notice how depressed the gouge is, still the chip won't come free -- try the other direction -- sharper gouges make for easier carving especially when carving with the grain or in softer woods.

        The next technique to practice is V-ing. This is making hollows or holes in wood using the gouges -- It is basic to many other similar techniques for hollows and throats. It is a little more difficult from ordinary stock removal. With a lumber crayon draw a small circle about 4 inches in diameter --Start from one side and cut to the middle leaving the chip at the middle still in place -- Now cut from the opposite side and carve in far enough to cut away the chip -- Don't use the gouge as a prying tool --It is a cutting tool. Now proceed from all around the circle to carve a hollow by V-ing. Go right through the board if you choose. Practice with different gouges and different size circles. You will probably notice that flat gouges don't work at V-ing as well as deeper gouges.

While discussing the techniques of V-ing, it's a good time to talk about a break-away. (a carver is always looking for a break-away, especially when carving with the grain.) Draw a new circle on the practice piece and drill a hole in The middle of the circle, but don't go through.. Now carve to the drilled hole from all sides -- It is apparent that the drilled hole acts as a break-away allowing for easier removal of the wood... Both techniques are useful.... Drilling is often impractical, and some carvers object to power tools

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Place the large gouge about 1 inch from the end of the board and strike a blow driving the gouge through the wood and out the end of the board... The difference will be obvious. Create a row and then move between the gouge marks, carving approximately 45 degrees to the board surface. Practice with all the gouges and then clean up between the gouge surfaces with the smoothing gouge. Obtain a surface as smooth as possible, then move to the sureform rasp (sometimes called a cheesegrater). It doesn't take much work to get a pretty good surface. Notice the left-hand corner of the practice board -- A little scraping and you have a surface ready for final sanding. This is the complete package... Rough gouge, smooth gouge, rasping, scraping, and if you choose sanding. Of course it is much easier on a practice board then on a piece of sculpture where surfaces may be difficult to approach... still this is the general procedure of carving direct sculpture in wood.

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