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Gustav Stickley (ed.) / The craftsman
Vol. XIV, Number 4 (July 1908)

von RydingsvƤrd, Karl
The art of woodcarving: a practical lesson for the beginner,   pp. 436-441 PDF (1.9 MB)

Page 438

curb all ambition to produce designs
such as cupids, birds, flowers, etc.,
where great technique is required for
successful results, but any number of
admirable designs for beginners can be
procured from the old wood carvings
in museums, which are so frequently
reproduced in the various art maga-
zines, and which can be readily adapted
to any object. Indeed, much of the
charm of some of this old work lies
in its crudeness, and this quality brings
it wholly within the power of the be-
ginner to reproduce it. In fact, a col-
lector of antiques not long ago was
looking about to find an amateur who
would reproduce for him the missing
parts of an old piece, knowing that a
professional could not give the naive
treatment required.
strap work or the Norse dragon style
are very suitable, or in fact any well-
balanced simple ornament without much
modeling. It is best to make the draw-
ing in full size on paper and then trans-
fer it to the wood by means of carbon
  The wood is then clamped to the
bench and with the largest number,
eleven, called a veining tool, a rather
deep groove is made around the design
on the background close to the lines.
This is to remove sufficient wood so
that the lateral pressure from the thick-
ness of the tool will not split off pieces
of the ornament when cutting the out-
lines, which is the next step in the work.
  For this, select the tools which best fit
the contours of the design, hold them
perpendicularly and use the mallet to
drive them to the required depth. A
  In choosing the design for the first             TWO  NORWEGIAN CHAIRS,
work, let it be in low relief. The Celtic          AND CARVED BY K. VON RYDINGSv

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