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1) BASIC SAFETY
Lack of concentration and thoughtlessness causes accidents.

A sharp tool is a safe tool and a blunt one is more likely to cause accidents. A blunt tool requires more effort to cut through wood than a sharp one. In applying that extra effort the tool becomes unstable and behaves in unpredictable ways when exiting the wood. The use of a mallet can often reduce the effort and unpredictability.
Most chisels and gouges are two handed tools. Both hands should be on the tool with the blade hand resting on the wood. Keep both hands and all fingers behind the cutting edge at all times. Always carve away from your body and that of anyone else. Never carve towards you or anyone else.
Never carry a carving tool around unless necessary. When doing so always carry it point down by your side with your thumb close to but not on the cutting edge.
Never use a carving tool to point or to gesture.
Never perform another, separate task whilst holding a carving tool. Do one job at a time.
When not using a carving tool put it on the work bench parallel to any others that may be there. Always have all such tools pointing in the same direction, preferably with the cutting edge away from your body. Do not lay tools down with their cutting edges projecting close to where your hands are working.
Always ensure that your work is securely fastened to a stable bench or surface while carving it.
Never even try to catch a falling carving tool. Never carve in sandals or open toed shoes.
Most accidents occur during placement in or retrieval from a tool roll, take great care at this stage.
All wood creates dust in sanding, if not sawing. All that dust is potentially harmful if inhaled. Some of it is toxic and some causes cancer. Always wear a mask when carrying out this process. Also consider dust extractors. Remember the dust that builds up on clothing, even when a mask is worn.
Vigorous use of a mallet can cause flying chips of wood. Consider eye protection. Tough gloves should be worn when using rasps.
If using knives when carving very many other safety considerations come into play which cannot be dealt with here. However, always wear slash proof gloves.
Carvers should be up to date with their tetanus jabs.

2) SUPPLIES AND SUPPLIERS

Carvers use many things in the way of materials and equipment. It is not proposed to set out a full list of these and possible suppliers as the list would be extremely long. For fuller details refer to the “Woodcarving” magazine. What follows is a selection of the suppliers in the area that are most likely to stock most of the things that you are likely to need.
For seasoned and part seasoned wood of the type most commonly required by carvers  Yandle and Sons Ltd of Hurst Works, Martock, Somerset TA12 6JU 01935 822207 www.yandles.co.uk probably has the best selection in the area. Although in Somerset, Martock is not far from Yeovil and is well worth a visit. The company also sells new tools and stocks Pfeil, Ashley Iles and Robert Sorby chisels and gouges. The selection within any one range is not particularly good. Additionally the company stocks many other requisites including Abranet “sanding” sheets and the excellent value for money Record woodcarvers’ vice..
For tools and other supplies Axminster Power Tools at TrafalgarWay Axminster, Devon EX13 5PB 01297 35058 www.axminster.co.uk is probably the best in the area. The company also offers short wood carving courses. Like Yandles, Axminster Power Tool is well worth a visit. It stocks some wood that carvers would find useful though not a wide a range as Yandles.  Axminster stocks, Kirschen and Flexcut chisels and gouges but has a wide range of  types and sizes always available. Additionally, the company has a very helpful and obliging technical service department on a nearby industrial estate that can often solve problems for you.

For second hand tools there are again many possible suppliers in the area. One possibility is Pennyfarthing Tools, however they have closed the shop in Salisbury and are now operating from a warehouse in Wantage. I recently spoke with the owner, Malcolm Pickering, who no longer has a shop but is willing to help with your special tooling requirements if you phone him on 07859 303919, or email: info@pennyfarthingtools.co.uk

Another is the Tool Shop in Colyton, Devon (near Axminster).
 There is a great temptation for beginners to do one of two things. The first is to buy a set of chisels and gouges. Never do this. It is often false economy. Often the tools are of such inferior quality as to make them useless, and no matter how much time is spent on them to make them useable, they are not. Even when the set includes quality tools the range is not appropriate for most needs. Only buy what you need. The second is to buy second hand tools. There is nothing wrong with second hand tools per se but they have to be selected with great care and very often they require experienced attention to make them useable. Modern steels are generally better than older steels and modern tool profiles are slimmer and easier to use. Perhaps most importantly, often old chisels and gouges are pitted with rust. If that is the case and the pitting is on the cutting edge it renders the tool useless without at least re-grinding the tool downwards, if that is even possible.
With present prices three modern, quality tools cost the same as five second hand, probably poor and sometimes useless tools. The choice is yours.
Always work out in advance of buying, or looking at a range of tools, what you need. If in doubt seek advance from a more experienced person. If you can afford it start with between three and five quality tools and add to that number as you discover a need. A suggested list of tool types and sizes is available and it is recommended that you should buy only from that range at this stage. Advice can be given on the merits and demerits of particular makes but all quality manufacturers make good tools generally and some not so good, at times.
A number of finishing products are stocked by W.E. Boone and Co Ltd at 91 High Street, Poole (01202 674010). These include a range of Liberon sanding sealers, quality waxes and varnishes etc.
Alec Tiranti Ltd. Of 3 Piper’s Court, Berkshire Drive, Thatcham , Berkshire RG19 4ER 0845 1232100 www.tiranti.co.uk stock a wide range of tools and equipment used by sculptors, including those working in wood. Apart from Stubai and Flexcut chisels and gouges , it also stocks a wide range of rifflers (small wood rasps), work holding devices, sharpening requisites and other specialist woodcarvers’ tools.
Classic Hand Tools of Woodstone House, 1 Woodstone  Avenue, Ipswich, Suffolk 1PI 3TE 01473 424304 www.classichandtools.com stock a wide range of woodcarving tools including Ashley Iles chisels and gouges. They also stock a range of Auriou rasps and rifflers, This company also regularly attends major woodworking shows such as that held by Yandles.
Tilgear of Bridge House, 69 Station Road, Cuffley, Hertfordshire EN6 4TG 0808 1681800 www.tilgear.info also stocks a wide range of woodcarving tools and supplies including a wide range of Pfeil chisels and gouges. Its catalogue does, or at least did, show pictures of a wide range of different types of wood with their individual characteristics, at least from a woodturning perspective. Needless to say they stock woodturning blanks.
Ockenden Timber of Broadway Hall, Church Stoke, Powys SY15 6EB 01588 620884 e mail info@ockenden-timber .co.uk   stocks an extensive range of carving blanks in both native and exotic timbers.
For a local supplier consider Timbermill Ltd, The Woodyard, Spearywell Road, Montisfont, Nr Romsey 01794 341552.
It should be noted that it is possible to buy chisels and gouges direct from most if not all of the major British manufacturers.

3) How amateur carvers can learn to carve wood
Arranged in order of the quickest and most effective way first, in descending order.

1. Short, two or more day introductory course given by one of a number of professional carver/teachers, including the following: Andrew Thomas (Wareham); Ian Edwards (at Axminster Power Tool, Axminster); Zoe Gertner (Thornbury, Devon);Chris Pye (Herefordshire); Michael Painter (Austrey, Warwickshire). Typically, full two day courses are highly intensive, include guidance on sharpening tools and are designed to get you started. They cost something like £200.
2. Next and at least as effective are short courses (often about one week) in places such as Austria (Geisler-Moroder). The problem here is expense and perhaps time.
3. Local education authority run evening classes. There are a number of problems with these. First, they are not provided by all authorities. Second, they vary enormously in quality with some giving very little tuition for the £80 or so fees for each term. They sometimes provide little more and sometimes less by way of help than carving clubs. Some classes are no doubt good.
4. Local woodcarving clubs. There are no BWA clubs in the area but there are a number of independent clubs. These include: Mudeford Woodcarvers (Mudeford); Purbeck Group Woodcarvers (Harman’s Cross);Ringwood Woodcarvers (St.Ives, Dorset); South Dorset Woodcarving Club (Upwey). These groups do not provide formal tuition but do increasingly cater for the needs of beginners by providing basic guidance. Therefore, learning by attendance at their meetings alone is considerably slower than the first two, if not three routes set out above. Typically, the cost works out to be about £3.00 per meeting.
5. Self teaching. This is extremely slow, not very satisfying or efficient even if combined with regular reading of the “Woodcarving” magazine (necessary in any event), all the appropriate books and watching all the excellent teaching videos and dvds available. This is easily the slowest way to learn woodcarving.

Probably the ideal way for beginners to get started is attend a two or more day introductory course given by a carving professional and to immediately following this join a local wood carving club. By starting this way they learn very quickly the very basics and at the same time discover whether carving is for them before they commit themselves to any great expense. Actually, the very first thing they should do before even starting the introductory course is to buy a copy of the “Woodcarving” magazine from WH Smiths.

4) Ranking of data used in carving
Best quality source of data first, with others in descending order

1   Fully illustrated project with all drawings
The “Woodcarving” magazine (and good books) now commission top carvers to produce articles that explain on a step by step basis how to carve featured items. The steps are not only excellently photographed but there are scaled drawings from all relevant elevations that can be easily transferred to wood.
2   A physical object
With a physical object you can view it from all angles, measure it, photograph it and make drawings etc from the photographs. It is useful to have it available to refer to at all stages of the carving process.
This does not apply only to inanimate objects but can be a person who can be posed for photographs and therefore for tracings from those photographs.
3   Photograph
This is not as useful a source of information as the physical object referred to above because it is two dimensional rather than three and therefore does not yield information as to depth as the object does. It gives less detailed information about the sides and little or nothing about the back, unless there are also photographs of these other elevations. Often photographs are not taken head on to the subject but are “three quarter” views. Generally you will need a head on view and sometimes (often) a three quarter view as well Three quarter views alone, particularly of people, often lead to unflattering and distorted carvings.
If you are faced with the task of carving an object simply from one photograph you should strongly consider the feasibility of re-photographing the subject for the purpose of additional tracings or drawings. Sometimes there are other photographs of the subject in books etc which could help.
If all else fails you should consider making a model from clay before carving.
Black and white photographs are said to yield the most information due to the greater contrast.
4   Paintings, drawings (artists) and pictures of these
These all suffer from the same problems as photographs mentioned above but they often have additional drawbacks as far as you are concerned. They often lack the sharpness, definition and clarity of photographs and therefore will not yield as much information as you need. Additionally, from time to time artists make mistakes with perspective etc (greetings cards to name but one), making it even more difficult for you.
Again here a clay model helps to sort out the problem before it finds its way onto the wood.
5   An idea, but no object or picture
 First, research the subject to find useable images. Next, a model may have to be made.

5) Sources of inspiration

1   Physical objects in your possession or control
Ornaments that you may own are a good starting point. Car boot sales and charity shops are places where these things can be found at a reasonable cost.
2   Other physical objects
Memorials of one type or another can often be inspirational. They are generally works of great artistic merit. Museums and art galleries are places well worth visiting for ideas.
3   Magazines
Anyone starting woodcarving should have regular access to the “Woodcarving” magazine as it is an amazing source of information on the topic and has many projects showing on a stage by stage basis how to create the object shown. Often there are specific beginners’ projects. In addition to photographs it has scale drawings from all four elevations (sometimes more) which we enable the carver to transfer the shape to wood.
4   Books
There are numerous specialist books on the subject and the better ones have ample photographs and drawings. Most cater for a range of abilities but some are introductory.  It is important to remember that many of the greatest carvings were originally carved in stone so the work of people such as Michelangelo and Rodin, to name but two, should not be overlooked when researching.  Guide books to places of historical interest can be a good source of inspiration. For carvers with an interest in animals, wildlife books are invaluable.
5   Libraries
It is easy to overlook libraries as sources of inspiration and information. Quite often they are able to provide you with the additional photographic information that you need to gather around you before you start. Most carvers, beginners or otherwise, discover that they have too little visual information for their needs when well into their projects. The topics to look for are many and diverse but include woodcarving, sculpture, churches (and cathedrals), history, wildlife, regions and towns etc.
6   Internet
Most people realise just how useful the internet is as a research tool. A search under “woodcarving” will reveal a multitude of sites relating to the topic but wider searches will often be necessary.
7   Clubs and teaching institutions etc
All clubs are different but most, if not all, will have a collection of old issues of the “Woodcarving” magazine and books on the topic. Some individual members will have much relevant material. Most professional teachers will have a portfolio of their work and some will have photographs of their student’s work. They will often have web sites of their own. Clubs will often hold exhibitions of members’ work and so too some teaching institutions and many will have web sites, often with “Galleries”.
8   The wood
From time to time a piece of wood by its shape and character will inspire the carver to create a particular shape. To do this successfully will require a fair degree of artistic ability as well as carving experience.

6) The second project

Your first project was probably suggested to you and a suitable piece of wood supplied. This is not the case with the second project and you should start your planning for the second project while still working on the first. Apart from deciding on the design etc, you will have to obtain a suitable piece of wood, which may take some time and effort. The club holds only limited stocks of wood for carving and that is mainly for first projects only.
1   Have you found a suitable design?
Select something that is within your capability. Preferably select a design from the “Woodcarving” magazine or a woodcarving book that has not only photographs of the finished article but also scale drawings from at least the front, sides and rear elevations. These should also have a stage by stage set of instructions on how to carve the item. Anything less than this information will require you do far more work than is necessary.
2   Have you the appropriate piece of wood?
The appropriate wood foryou is lime. If you pick the wrong wood you could end up with a carving that does not work, is too difficult to continue or is in some other way unsatisfactory. Generally appropriate wood is only available from specialist timber dealers. See the “Woodcarving” magazine for details. Sometimes members arrange small group trips to Yandles and other wood suppliers.
3   Have you considered the tools that you need?
Fortunately the club has a selection of tools that beginners can use until you acquire your own. However, some projects do require specialist tools that the club does not have. Some members may well have these specialist tools.
4   How do you propose to hold your wood while carving it?
Holding wood is not only a safety issue but also one of practicability. Different types of carvings require different holding techniques and equipment. Consider these issues and research solutions through the “Woodcarving” magazine or woodcarving books.

You should always discuss these matters with an experienced carver before committing yourself.

7)Tools that you should acquire

Although the Club does have, and makes available, some tools for the use of members during meetings, members should start to acquire their own tools as soon as possible. Tools are expensive and great care should be taken over their selection. Sets of tools are not the best way to acquire them for reasons set out elsewhere. Although second hand tools are less expensive than new ones, there are a number of reasons why acquiring them can be a false economy and these are stated elsewhere. The decision is yours.
A better idea is to buy individual tools made by a premium quality manufacturer. These include; Henry Taylor, Ashley Iles, Pfeil, Robert Sorby, Ariou and Kirschen etc. Beginners should confine their purchasing to the types and sizes indicated on the list below. The numbers shown on the list are those taken from the “Sheffield List” which in each case indicates the type of tool and/or the shape of the curve of the gouge. The size shown is the width of the gouge or chisel. Some foreign makes such as Pfiel, (but not Kirschen) do not all follow the Sheffield List and have their own system or systems which although similar to the Sheffield List, are different.
Tools that you should acquire
Chris Pye recommends, as an initial selection, the following:

No.   2      3/8  or 10 mm skew chisel*
No.   3       ¼ or 6mm “flat” gouge (straight)
No.   3       ½  or 13 mm “flat” gouge (straight)
No.   3       ¾  or 19 mm “flat” gouge (straight)*
No.   6       ¼ or 6mm medium gouge (straight)
No.   6       ½ or 13mm medium gouge (straight)*
No.   6       ¾ or 19mm medium gouge (straight)
No.   9       ¼ or 6mm quick gouge (straight)*
No.   9       ½ or 13mm quick gouge (straight)
No.   9       ¾ or 19mm quick gouge (straight)
No. 39      3/8  or 10mm V-tool (parting tool)*

You should note that there are five tools marked with an asterisk. These are considered to be tools that should be acquired before others on the list. To narrow things down further and to assist the beginner even more, three tools have been identified and costed for you from a reputable supplier. This is The Tool Post at Unit 7 Hawksworth, Southmead Industrial Park, Didcot, Oxon  OX11 7HR, telephone 01235 511101 www.toopost.co.uk
The three tools suggested as first to be bought are:
Skew chisel No 2 (2 sweep) Cat No 370210 10mm (3/8”) £18.63 inc VAT
Straight gouge No 3 (3 sweep) Cat No 370320 19mm (3/4”) £ 19.88 inc VAT
Straight V-tool No 39 Cat No 373910 10mm (3/8”) £26.05 inc VAT
These prices are believed to be correct at the date of writing but are subject to change from time to time and should be checked before ordering. Furthermore, enquiry should be made as to postage and packing, if applicable.

Most people will be much better off buying three good quality tools initially than buying lots of poor quality tools or second hand tools that may not be useable. The initial three can be added to at any time when the need is identified and money is available.

A note from Mike Tuck:

Whilst the advice outlined above is perfectly sound I have personally far more second hand tools than new ones. As a toolmaker by trade I may have some advantage when it comes to choosing tools, I believe that a lot of old tools are made of better steel than some of the new one, especially those in cheap sets.
Often old tools have the owners name stamped into the handle  and this probably indicates it was owned by a craftsman and will be of good quality. There are many old makers, Addis, Herring, etc to look out for and some will be stamped “Gold Medal”.

That said, if the tool is very rusty then beware, surface rust is not a problem and can easily be removed with engineers emery cloth, serious corrosion, however, quite often means deep pitting which leaves an edge with serrations and hollows. It is important to look at the inside, concave, side of a gouge if the tool is sharpened with a conventional bevel, or the outside or convex side if it has an inside bevel.

A badly pitted tool doesn’t always have to be thrown away, I have reclaimed many and it gives me a great deal of pleasure to give a tool a new lease of life and to restore the handle with fine sandpaper and some linseed oil. I have on occasion ground away a considerable amount of a chisel to get back to an unpitted surface, as long as you keep the tool cool and quench it in water regularly before it starts to go blue you will not destroy the hardness and temper of the tool.

I have a collection of cheap drum sanders, which have rubber mandrels carrying a stiff tube of abrasive, these are ideal for cleaning up the inside face of a concave gouge, or sharpening an inside bevel. Sometimes a badly pitted gouge with a conventional bevel can be reversed if the outside face is in better condition than the inside. Inside bevels are great for removing wood quickly, especially big ones on bigger carvings, don’t ignore these when looking at second hand stock, it’s really worth having a few in different sizes.

8) Sharpening for beginners

Let’s give beginners some clear-cut advice about sharpening equipment.  Remember, Grinling Gibbons did wonderful carving without expensive electrical equipment.
First, a brutal message: anyone taking up woodcarving also takes on a second hobby at the same time, sharpening.  This not once a week, month or year but about every twenty minutes.  Blunt tools lead to disappointment, frustration, accidents and people giving up.
The basic minimum of equipment needed does not have to be expensive.  For most needs and anything short of radical re-grinding of tools all that is needed is the following: a fine textured oil stone of the kind that can be found in many tool and hardwear shops (often as a two sided combination stone), a small slipstone (also fine and obtainable from some tool shops), a small can of general purpose oil such as “3 in 1”, an off-cut of stout leather of about 8 inches by 2 ½” (obtainable from an old style shoe shop, or an old belt) and a metal polishing paste of the type that can be bought from motor accessory shops.  The leather should be glued to the wood, rough side up.  For advice as to how to use these items see any book on woodcarving or get hold of Henry Taylor’s excellent leaflet on sharpening that does, or did, come free with their products.  These things would cost around £25, or less.  If you have £100 - £200, or more, don’t want the effort and don’t mind a few problems, you can buy an electrical system from a carver’s supplier.  They are based on bench grinders/polishers and must have the wheel turning away from you at the top.  They should have a “rubber diamond impregnated wheel” one end and either a compressed paper, leather, felt or stitched rag wheel at the other.

A note from Mike Tuck:

We all started off with the oilstone and leather strop impregnated with “Solvol Autosol” chrome polish, but the modern machines make regular sharpening quicker and easier and it is essential to keen a keen edge by honing it before it gets blunt. If the tool is honed regularly it won’t be necessary to put it to the
grindstone again, unless changing the bevel angle.

Sometimes an oilstone is still necessary and often works better on tools with flat faces. Rotary polishing or honing machines can often be improvised by using an old bench grinder from a car boot sale. It need to be turned round on its base, so the wheels are running away from you, it’s best if this can be achieved by leaving the switch at the front so you don’t have reach round the back. A “pigtail adaptor can used to mount a cloth moth on the original spindle. Take care if you remove the guards from the machine and make sure you reverse the tool rest.

It may be best to seek advice from someone who has experience of this conversion before attempting it yourself.

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