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LEARN HOW TO CARVE WOOD CARVING FRET KNIFE WORK GUIDES
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- All PDF Files Listed Below Are Included + Extras
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GOOD PRODUCT, QUICK SHIPMENT.
Buyer: cn71vt69
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You want to create the finest pieces possible in your woodworking shop. That isn't hard to do with the proper equipment, instruction and practice at the techniques.
You can teach yourself so many things, just by following along with the instructions provided in these 6 PDF files. They're all on one CD ready to be available to you anytime.
Learn how to build and use your own bench lathe, carve and form wood for various purposes. Any experienced woodworker or carpenter will appreciate the content of these documents as much as the novice. Each will no doubt, find use in the instructions given.
This is a superb addition to your digital library and a wonderful gift idea for your favorite woodworker.
Check Out The Contents Of This CD Below!
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AMATEURS GUIDE TO WOOD CARVING PRACTICAL HINTS & INFO
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Fine furniture and woodwork in homes with elements that are carved always seem to feel richer, more luxurious than those without. This was a very common practice, to ornately carve wood in the 1800's.
This unique digital document was written in the 1860's and was intended for the amateur woodcarver to learn the art.
This will make a wonderful resource for the woodcarver who wishes to reproduce the designs and elements of this era's woodcarving.
It'll provide some interesting insight into how the mind of the artist in the 19th century thought and created.
You'll find plenty of wonderful illustrations of the concepts and pieces discussed.
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Check Out The Contents Of This Digital Document:
Preface
Requisites And Useful Accessories
The Choice Of Woods
Fixing The Work
First Steps And Carving In Relief
Fretwork And Perforated Carving
Bold Work
Sharpening The Tools And Other Information
Staining, Oiling, Varnishing And Polishing
Historical Information
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THE PRACTICE & ART OF WOODCARVING WOODWORKERS GUIDE
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Whether you are an accomplished carver or student, or what is still better, both in one, we introduce the following document to you with this explanation: that all theoretical opinions set forth therein are the outcome of many years of patient sifting and balancing of delicate questions by the original author.
With regard to the practical matter of "technique," it lies very much with yourself to determine the degree of perfection to which you may attain.
This depends greatly upon the amount of application which you may be willing or able to devote to its practise.
Remember—the laws which govern all good art must be known before they can be obeyed; they are subtle, but unalterable.
The conditions most favorable to your craft just first be understood before these laws can be recognized.
There yet remains at your own disposal that devotion of energy which is the first essential step, both in the direction of obtaining clearer views and in conquering technical difficulties.
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EDITOR'S PREFACE - AUTHOR'S PREFACE
CHAPTER I
PREAMBLE
Student and Apprentice, their Aims and Conditions of Work—Necessity for
Some Equality between Theory and Practise—The Student's Opportunity lies
on the Side of Design
CHAPTER II
TOOLS
Average Number of Tools required by Carvers—Selection for Beginners—
Description of Tools—Position when in Use—Acquisition by Degrees
CHAPTER III
SHARPENING-STONES—MALLET AND BENCH
Different Stones in Use—Case for Stones—Slips—Round Mallet Best—A Home-
Made Bench—A Makeshift Bench—Cramps and Clips
CHAPTER IV
WOODS USED FOR CARVING
Hard Wood and Soft Wood—Closeness of Grain Desirable—Advantages of Pine and English Oak
CHAPTER V
SHARPENING THE TOOLS
The Proper Bevel—Position of Tools on Oilstone—Good and Bad Edge—
Stropping—Paste and Leather—Careless Sharpening—Rubbing Out the Inside— Stropping Fine Tools—Importance of Sharp Tools
CHAPTER VI
"CHIP" CARVING
Its Savage Origin—A Clue to its only Claim to Artistic Importance—Monotony
better than Variety—An Exercise in Patience and Precision—Technical Methods
CHAPTER VII
THE GRAIN OF THE WOOD
Obstinacy of the Woody Fiber—First Exercise in Grounding—Description of
Method—Cutting the Miters—Handling of Tools, Danger of Carelessness—
Importance of Clean Cutting
CHAPTER VIII
IMITATION OF NATURAL FORMS
Difficulties of Selection and Arrangement—Limits of an Imitative Treatment—
Light and Distance Factors in the Arrangement of a Design—Economy of Detail Necessary—The Word "Conventional"
CHAPTER IX
ROUNDED FORMS
Necessity for every Carver Making his own Designs—Method of Carving
Rounded Forms on a Sunk Ground
CHAPTER X
THE PATTERNED BACKGROUND
Importance of Formal Pattern as an Aid to Visibility—Pattern and Free
Rendering Compared—First Impressions Lasting—Medieval Choice of Natural
Forms Governed by a Question of Pattern
CHAPTER XI
CONTOURS OF SURFACE
Adaptation of Old Designs to Modern Purposes—"Throwing About"—Critical
Inspection of Work from a Distance as it Proceeds
CHAPTER XII
ORIGINALITY
Dangers of Imposing Words—Novelty more Common than Originality—An
Unwholesome Kind of "Originality"
CHAPTER XIII
PIERCED PATTERNS
Exercise in Background Pattern—Care as to Stability—Drilling and Sawing out
the Spaces—Some Uses for Pierced Patterns
CHAPTER XIV
HARDWOOD CARVING
Carvings can not be Independent Ornaments—Carving Impossible on
Commercial Productions—The Amateur Joiner—Corner Cupboards—
Introduction of Foliage Definite in Form, and Simple in Character—Methods of
Carving Grapes
CHAPTER XV
THE SKETCH-BOOK
Old Work Best Seen in its Original Place—Museums to be approached with
Caution.—Methodical Memoranda—Some Examples—Assimilation of Ideas
Better than Making Exact Copies
CHAPTER XVI
MUSEUMS
False Impressions Fostered by Fragmentary Exhibits—Environment as
Important as Handicraft—Works Viewed as Records of Character—Carvers the Historians of their Time
CHAPTER XVII
STUDIES FROM NATURE—FOLIAGE
Medieval and Modern Choice of Form Compared—A Compromise Adopted—A
List of Plant Forms of Adaptable Character
CHAPTER XVIII
CARVING ON FURNITURE
Furniture Constructed with a View to Carving—Reciprocal Aims of Joiner and
Carver—Smoothness Desirable where Carving is Handled—The Introduction of Animals or Figures
CHAPTER XIX
THE GROTESQUE IN CARVING
Misproportion Not Essential to the Expression of Humor—The Sham Grotesque Contemptible—A True Sense of Humor Helpful to the Carver
CHAPTER XX
STUDIES FROM NATURE—BIRDS AND BEASTS
The Introduction of Animal Forms—Rude Vitality better than Dull "Natural
History"—"Action"—Difficulties of the Study for Town-Bred Students—The Aid
of Books and Photographs—Outline Drawing and Suggestion of Main Masses— Sketch-Book Studies, Sections, and Notes—Swiss Animal Carving—The Clay Model: its Use and Abuse
CHAPTER XXI
FORESHORTENING AS APPLIED TO WORK IN RELIEF
Intelligible Background Outline Better than Confused Foreshortening—
Superposition of Masses
CHAPTER XXII
UNDERCUTTING AND "BUILT-UP" WORK
Undercutting as a Means and as an End; its Use and Abuse—"Built-up" Work
—"Planted" Work—"Pierced" Work
CHAPTER XXIII
PICTURE SUBJECTS AND PERSPECTIVE
The Limitations of an Art not Safely Transgressed—Aerial Perspective
Impossible in Relief—Linear Perspective only Possible in a Limited Way
CHAPTER XXIV
ARCHITECTURAL CARVING
The Necessity for Variety in Study—A Carver's View of the Study of
Architecture; Inseparable from a Study of his own Craft—Importance of the
Carpenter's Stimulating Influence upon the Carver—Carpenters' Imitation of
Stone Construction Carried too Far
CHAPTER XXV
SURFACE FINISH—TEXTURE
Tool Marks, the Importance of their Direction—The Woody Texture Dependent upon Clearness of Cutting and Sympathetic Handling
CHAPTER XXVI
CRAFT SCHOOLS, PAST AND PRESENT
The Country Craftsman of Old Times—A Colony of Craftsmen in Busy
Intercourse—The Modern Craftsman's Difficulties: Embarrassing Variety of
Choice
CHAPTER XXVII
ON THE IMPORTANCE OF COOPERATION BETWEEN BUILDER AND CARVER
The Infinite Multiplicity of Styles—The "Gothic" Influence: Sculpture an
Integral Element in its Designs—The Approach of the so-called "Renaissance"
Period—Disturbed Convictions—The Revival of the Classical Style—The Two
Styles in Conflict for a Time; their Respective Characteristics Reviewed—
Carvers Become Dependent upon Architects and Painters—The "Revival"
Separates "Designer" and "Executant"
NOTES ON THE COLLOTYPE PLATES
THE COLLOTYPE PLATES
INDEX
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FRET CUTTING & PERFORATED CARVING A WOODWORKERS MANUAL
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Examples of ornately carved furniture and decorations are seen throughout the world.
The woodworking artists that created them have and had the skills and knowledge necessary to produce these beautiful works and you can too.
This is a beautifully written and illustrated document that details the easy, graceful and useful arts of fret cutting and perforated carving.
A great deal of thought went into this document with the intention of teaching the amateur.
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Fretwork
Tools
Wood
How To Cut The Wood
Staining And Polishing
Carved Fretwork
Carving Tools
List Of 53 Designs:
Book Slide I
Book Slide II
Bracket I
Bracket II
Book Rest
Table Mat
Panel for Window Plant Box
Bracket III
Book Side
Hand Mirror
Card Basket, 4 designs
Letter Rack
Card Basket II, 4 designs
Blotting Book Side
End of Envelope Box
Finger Plate For Door
Lid of Envelope Box
Ornament For Top Of Wire Window Blind
Picture Frame
Book Side II
Front of Envelope Box
Ornament For Top Wire Window Blind II
Mirror Frame
Panel
Photograph Frame
Photograph Frame II
Table Easel
Table Mat
Key and Trinket Cupboard
Reading Desk, with Wood Hinges
Reading Desk, With Wood Hinges II
Finger Plates For Doors
Lady's Work Basket
Photograph Frame III
End For Book Slide
Hanging Book Shelves
Paper Knife
Table Mat or Picture Frame
Butter Platters
Bread Platters
Border For Insertion Inside A Moulding
Corner Bracket
Paper Knives II
Photograph Frame IV
Book Slide III
Bracket, Showing Carved Fretwork
Picture Or Mirror Frame, Showing Carved Fretwork
Suggestions and Explanations of the Designs
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INTRODUCTION TO THIN WOODWORKING USING KNIFE WORK
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Thin woodworking, as presented in this document, is working in wood with the knife as a prncipal cutting-tool.
This requires thin pieces of wood and a little experience in cutting shapes and designs from it.
This document contains instructions and diagrams that explain the processes involved. Afterwhich, follows projects to be created using these ideals.
This art requires simple tools and can be done nearly anywhere. It was originally created in the early 1900's, a time when creating in an artistic way was embraced by many.
This document was written in order to teach the novice how to work with thin wood and create beautiful works.
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Calendar Back
Sun-Dial
Picture Frame
Envelope Holder
Pencil Box
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HOW TO REPAIR WOODWORK MEND BROKEN PIECES YOURSELF
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Oftentimes, we receive furniture and other wooden items thru an inheritence or other means.
Sometimes, these pieces are damaged when we get them, other times we're responsible for the break.
We have the choice to live with it, pay to have it repaired or fix it ourselves. Most of us probably wouldn't know where to begin.
Thankfully, a writer in the early 1900's considered this for us.
This document details the repair and mending of woodwork that's been broken. It starts with reference to using wood shavings to repair damage and details much more.
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Wood-Shavings In Mending And Making Objects
Ornamental Work Of Shavings - Marquetry
Repairing Woodwork
Restoring Decayed Wood
Gluing & Clamping
Scratches
Recipe For Cement For Wood
Recipe For Chinese Cement
Recipe For wWater-Proof Cement For Wooden Casks
Recipe For Cement To Join Wood With Metal Or Stone
Recipe For Cement For Wood
Recipe For French Glue For Wood
Recipe For Cement For Deal Or Soft Wood
Recipe For Splits In Trees
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WOODWORKERS RARE 1902 VARNISH-MAKING FORMULAS & INFO
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This is an amazingly rare collection of Woodworkers Varnish "recipes" from 1902!
This truly is an incredible find for anyone that restores antique furniture, for woodworkers attempting to create replicas of early 20th century furniture and anyone with an interest in the chemistry involved with making these.
A Quote From This document:
"Many people profess and have tried to make varnish, and few have succeeded from want of acquaintance with the proper details.
But if the reader will carry out our instructions, he will never experience an unsatisfactory result. "
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MASTIC PICTURE-VARNISH
SPIRIT PAPER VARNISHES
OAK VARNISH
COPAL VARNISH
WHITE ENAMEL VARNISH
VARNISHES FOR FURNITURE
STENCILLING VARNISH
FILLERS FOR WOOD STAINING
CHEAP VARNISH FOR WOOD
VARNISH FOR TOOLS
ROSEWOOD STAIN
AND MANY, MANY MORE
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