Thread: The Beginning of a Totem Project 2

Depicted in the photos is the process I used to transfer the stylized animal forms from vellum to the moist surface of the Red Cedar log. These outlines act as a guide for deep plunge cuts that will act as borders to separate the relief of the different animal figures.

The other drawings show the inception of the design. These drawings helped me determine the size log I would need. The section drawing was given to the director of the mill so the milling of the log would suit my design. All bark and outer layers of the tree were removed, the back of the log was cut length wise and the section saved as it would become the slab from which the wings would be cut.

The interior pulp wood was removed allowing the log more surface area for the evaporation of water content. This is necessary to alleviate huge checks from developing on the carving face of the log. This log was going from a rain forest to a high desert climate. Therefore, I needed to take every precaution to slow the drying process over the next 12 months as I began the carving process.

The illustration was only a rendering to give the client some idea of how it would look. As full scale drawings were developed on huge sheets of vellum, the lines would continually be changed and redrawn. The draping of the vellum sheets over the log allowed me to triangulate my measurements between different points on the log. Once the carving starts those lines are gone!

This process took me about 8 days. The log was so wide in girth I couldn't see both sides at once... hence the triangulation markers (drilled 1/8" holes) would be my permanent references. Carving depths were gauged by these drill holes.

I have a few images of the initial work. I was quite concerned about making these initial deep cuts. I had never carved something of this magnitude before and I was telling myself "don't screw up", "be focused", "be safe". Get on with it.

Fantastic Jack, Really appreaciate the 'how to' of the sequence. I still can't get over how you carved such a huge piece in such cramped conditions. It gives me some cause for hope....

Hope we get to see more....

I'm watching this one too. Fascinating.

These images reflect my carving process. I made a few deep plunge cuts with the electric chain saw. These cuts act the same as a 'stop cut' with a chisel. I determined my depth of cut could be 8". I made certain to inscribe my chain saw bar with 1'' gauge marks, which gave me an indication of the depth I was reaching as I cut. I wanted to make sure I did not cut past this depth. I felt confident the totem could be carved to this depth without imperiling the structural integrity.

I thought the easiest way to remove large quantities of cedar from areas I wanted to leave 'proud' would be to cut many rips closely spaced with the electric chain saw. Then using a large 2.5" gouge and mallet, I started removing the stock. There are many ways one can accomplish this with different power tools. But, I like taking bigger chunks of wood and creating less saw dust. Power tools are effective, fast and require less physical force. However, in small or cramped indoor areas, power tools can be loud, vibrating, dust spewers.

I use power tools when expediency is my objective. Otherwise, I like using my hand tools and some muscle. I have accumulated a collection of chisels over the years. 200 plus ranging from micro chisels to custom forged large slicks. I maintain these with 3 electric wheel water-stone sharpeners. Two wheels rotate horizontally and the Tormek which turns vertically. Then of course I have an assortment of small polishing stones and rouges.

In the 5th image there is a rack of chisels in the background. These chisels are held by 24" bar magnets mounted on a moveable tree I constructed. I can arrange the chisels in any order I want for the work at hand. This system keeps them apart and their edges from rubbing.

Also notice in the 'close ups' how moist the cedar is kept. A sharp chisel and moist cedar make for easy carving. But it is one chip at a time. I do use a mallet and at other times free hand it. Using a mallet can provide incredible control with each stroke once you have done it for awhile.

Thanks for the words and pictures, Jack. I agree, power tools are useful to remove wood in far larger pieces with less sweat and less sawdust. I've done it all by hand but like to use Forstner bits if I need maybe 2": break out the resulting webbing and I'm almost there.
I commonly cut a 2" x 3" x 3/4" grid with a Skilsaw to take off the sapwood on cedar logs with a mallet and a 1" firmer chisel.

Old western red cedar that has been down for quite a while develops punky spots in the sapwood. Invisible until you try to lay out a pattern with a pencil.

Better and better...

A few questions though if I could...

I noticed that some lines of the carving were obliterated in the early roughing out stages. Were you able to re-draw these or did you have to go by eye from that point on?

With the wood as wet as it was, I'm assuming that sand paper played no part in this work.

You mentioned that you keep you tools on magnetic strips. I have heard that this practice can make them slightly magnetic themselves with the result that iron filings/dust clings to them during the sharpening process and has the potential to cause them to dull more quickly. Is this true or is someone pulling my leg?

Hope we get to see the whole thing... perferably in situ.

Pictures shown are from various stages of the carving process. The 1st image gives some indication of the core's splice cut and removal of the core's pulp. The totem sits on some sturdy cribs and under those is the section splice cut with 2 flat sides. The slab will become the material for the wings.

During the entire carving process, I had a center line established on each end of the totem. At various intervals during the carving, I attached a ruler or yard stick to each end and pulled taunt a string line between them. I could then triangulate measurements that would indicate to me whether I was removing the same amount of material from each side as I was trying to maintain symmetry with several of the figures. I also used a clothe measuring tape to measure the curvilinear planes and lastly, I would "eye" the overall surface from each end.

At other intervals, I would push the whole carriage and totem out into the parking area, climb a ladder and take digital images from various heights longitudinally. I would then download these on my computer. Sometimes these pictures helped me discern discrepancies in my attempt to maintain a sense of symmetry.

Dear Whittling, good observation and questions. I saved my vellum drawings of course. However, those drawings would not suffice later as the evolving curvilinear nature of the various planes did change shape and hence measurements. Since I had never before carved anything like this, I decided to use cardboard cutout templates for the eyes of the large bear and owl for the ears of the large bear. I did this when I thought I was getting within 1/4 inch of having matching planes symmetrically. I made the templates about 5% larger than what I determined would look best on the finished relief. This provided me with some latitude as once the wood is gone, ...its gone. I had many concerns throughout the process. During the many hours spent carving these areas I usually was able to think of a solution to vexing questions.

I knew there would be no paint on this totem, what you see is what you get. So I determined to go slowly, going back and forth from side to side trying the get the planes to match and read symmetrically. If I found myself in doubt, about the next procedure, I simply stopped until the answer came to me. This piece of wood cost over $10,000 and took more than a year to procure. No room for mistakes.

Regarding the magnetic strips. Anything metal with a sharp edge carries a charge. The finer the edge the more aligned the molecules. I have not noticed a problem with dulling do to dust being attracted to the edge. I strop my tool before using it, I am constantly changing the angle depending on what I am doing anyway. It depends on the wood and what I want to achieve as a finish. I rarely sand my carvings. If I do, it is not to remove the gouge markings, but to give a different way for the light to reflect off the piece. I like seeing all kinds of carving methods, chisel, grinders, shapers etc. Each has its place. Personally I like seeing the texture and track of carving with hand chisels. I like the quiet nature of it, the tap of a mallet on wood and not having to wear a lot of gear, ear protection, eye protection, breathing protection. But when I have to use power tools, I gear up and get on with it.

excellent

In the 1st image of this series, each of the four animal figures is well established. At this point I am shaping the arm of the Grizzly, relieving areas to establish the rounded shape from the highest or most proud area to the most recessed area in a continuous arch. Every element of each figure was either softened by rounding the edges or left more angular as in the beak of the owl. The overall effect of rounding areas will soften the sun's light being reflected when the totem is erected. The shadows in those areas will be more gradual whereas the hard edges will reflect light sharply contrasting what is meant to appear hard.

I always try to visualize the piece in a finished state and it's intended placement with regard to possible lighting considerations. How will the surface finish affect the light we perceive? That is an important aspect, especially with commissioned work.
I approach this aspect early in discussions with clients. Wiring and light sources are important elements to consider with placement as well as the environment.

With the above mentioned in mind, once the shaping of each form was finished, I decided I would scallop almost all of the carved surfaces to create a juxtaposition of texture with the eyes, teeth and nose This process would involve many days of carving and was not in my bid, but I was certain the scalloping would be worth the effort visually and lend a softening to the surface.

The scalloping of the surface added 9 or 10 days to the process, but after 11 months of carving 6 days a week, whose counting! The 2nd and 3rd photos show the finished scalloped surface.

In the last 2 images the carved mortise can be seen in the side. The wings will be carved with tenons and mounted after the totem is erected.