Dedication

To my husband, Kim, for your unending support.

Acknowledgements

I would like to thank the following people who supported me throughout the adventure of authoring this book:

• My husband, Kim, has always been my main source of encouragement. He does a spectacular job at making projects for me to carve. I am truly blessed to have someone so special at my side.

• My daughters, Kara and Erin, who have believed in me and support my carving adventures.

• Jan Jenson, for inspiring me to enter competitions and to push myself to the next level.

• All of my carving friends, who are too numerous to mention, for being there and sharing the carving experience with me.

© 2022 by Charlene Lynum and Fox Chapel Publishing Company, Inc., 903 Square Street, Mount Joy, PA 17552.

Chip Carving Starter Guide is an original work, first published in 2022 by Fox Chapel Publishing Company, Inc. The patterns contained herein are copyrighted by the author. Readers may make copies of these patterns for personal use. The patterns themselves, however, are not to be duplicated for resale or distribution under any circumstances. Any such copying is a violation of copyright law.

All step-by-step and technique/tool photos by the author. All glamor photography by Mike Mihalo. The following images are credited to Shutterstock.com and their respective creators: p. 8 and similar (wood texture): Titus Group; p. 85 (frame interior): mythja; p. 77 (necklaces): CFortin.

Print ISBN 978-1-4971-0167-8

eISBN 978-1-6374-1055-4

Library of Congress Control Number: 2021938687

To learn more about the other great books from Fox Chapel Publishing, or to find a retailer near you, call toll-free 800-457-9112 or visit us at www.FoxChapelPublishing.com.

We are always looking for talented authors. To submit an idea, please send a brief inquiry to acquisitions@foxchapelpublishing.com.

For a printable PDF of the patterns used in this book, please contact Fox Chapel Publishing at customerservice@foxchapelpublishing.com, with 9781497101678 Chip Carving Starter Guide in the subject line.

Introduction

Chip carving is a decorative form of carving that doesn’t require multiple tools or a special shop. You simply remove small, faceted chips of wood to create beautiful, intriguing designs that can add a wow factor to an everyday item. The shadows that are achieved from the chip carving accentuate the design and make any project appealing.

This book contains instructions and photos to guide the beginner down the road of chip carving. There are projects for the beginning carver, such as a set of coasters, holiday ornaments, and a box. The designs then progress into more intermediate projects, such as a cell phone holder, a doorstop, a trivet, a flat napkin holder, and a jewelry holder. For carvers with more experience—including readers of this book who have worked through the easier projects—I have included award-winning advanced patterns that include layered chips and accent layers; these projects include a tablet holder, a clock, a plate, and the Perspective Wall Hanging.

The techniques in this book have been successful for me. My hope is that this book will give you all the guidance you need, as well as a great deal of inspiration. If you are new to chip carving, this book can be a guide. If you are experienced, you can find a challenge with the more advanced projects and patterns.

I started chip carving around 1984; I had always been intrigued by the craft. I also liked that it would not require a large investment in tools. For many years, I carved items using patterns that other people had drawn up. Whenever starting a new project, I would need to page through books to find a pattern that could be adapted for my projects. Around 2010, I started to draw up my own patterns to carve. Then, in 2016, after retiring, I had a lot more time for my chip carving. I had taught some carving classes at our local museum, and the students enjoyed the patterns I had made. My students and chip carving friends were encouraging me to write a book so others could enjoy my projects and patterns. In 2019, I was brave enough to submit some of my projects to Woodcarving Illustrated magazine for publication. I was ecstatic when they accepted a few. In 2020, when Fox Chapel Publishing approached me with the opportunity to publish a book, I was overjoyed. I had been thinking about ways to share my patterns and my love of chip carving, and this opportunity was an unexpected joy and a clear answer to the question of how I was going to share my passion with others.

I hope you can develop a passion for this craft just as I have. Enjoy and have fun!

images

—Charlene

Table of Contents

Part 1: Getting Started

Supplies

Sharpening

Safety

Wood Types

Wood Moisture

Determining the Direction of the Wood Grain

Applying Patterns

Setting Up to Carve and Holding the Knife

Carving Chips

Practice Board

Fixing a Chip-Out

Fixing Undercuts

Cutting with the Grain

Texturing

Finishing

Having Fun with Patterns

Part 2: Projects

Beginner Projects

Coasters and Holder (Step-by-Step)

Diamond Ornaments

Bell Ornaments

3D Sled Ornaments

Fan and Light Pulls

Intermediate Projects

Trinket Box (Step-by-Step)

Mini Box

Single Deck Card Box

Keepsake Box

Hexagon Box

Cell Phone Holder

Trivet

Napkin Holder

Doorstop

Jewelry Holder

Necklaces

Pencil Holder

Serving Tray

Advanced Projects

Picture Frame (Step-by-Step)

Tablet Holder

Decorative Plate

Desk Clock

Perspective Wall Hanging

Tissue Box Cover

Patterns and Project Plans

About the Author

Part 1: Getting Started

As you start carving, you will need the basic knowledge of the craft that is helpful for every chip carver. This section of the book will give you information on the supplies needed and how to use them safely. It also explains different ways to apply a pattern to your project. Then on to the fun part—making chips! This part includes a description and instruction on how to carve each of the main chips used in chip carving, along with some accent layers and special layered chips. It also touches on some troubleshooting and how to finish your projects. You’ll be ready to tackle your first project in no time!

SUPPLIES

For all the projects in this book, and indeed any chip carving project, you will need most or all of the items in the standard chip carving toolkit: cutting knife, T-square, ruler, pencil, eraser, sandpaper, brush, bow compass, carving glove, and thumb guard, as well as any materials for your chosen method of pattern transfer. Each item in the toolkit is explained in detail in this section; pattern transfer tools and methods are explained on here.

Knives

There are two types of knives commonly used for chip carving in the United States. The first type is a cutting knife, which is used for removing chips. In the United States, most chip carvers use what some refer to as the Swiss style cutting knife. The instructions in this book use the Swiss style knife. The top knife in the photo below is from Wayne Barton’s Alpine School of Woodcarving, the middle knife is made by Richard Reese, and the bottom is made by Dave Notto. Richard’s and Dave’s knives are examples of quality knives that you can find by word of mouth; their knives are not sold in retail or carving stores. In stores, you can look for knives labeled “chip carving knife.”

Three examples of cutting knives

A stab knife

The second knife type is a stab knife, which is used to add detail to your carving. It does not remove any wood—rather, it indents and cuts a slice in the wood. I purchased my knife, pictured above, from Wayne Barton’s Alpine School of Woodcarving. If you are just starting out and don’t want the extra expense, don’t worry about getting the stab knife right away. You can make beautiful carvings with just a cutting knife. But it is something you should consider getting as you progress with your carving.

If possible, attend a carving show where you have the opportunity to see vendors that carry multiple knife brands. Pick up the knives to see how they fit your hand. The knife should feel comfortable to hold. The knives can vary in weight, and the blades can vary in length and width. Talk to other people that chip carve—they may know people that make great knives but who don’t sell them at retail stores. A quality knife is well worth the expense. I have seen carvers become frustrated with chip carving because the knife they are using will not retain a sharp edge.

Keep in mind that not all knives come sharpened and ready to use. I recommend that you have your first knife sharpened for you (check with the vendor about this); it may cost a little more, but it will be worth it, unless you have the skills to make it razor sharp yourself. This is something you can and should learn to do, though; I’ll give you instructions for successful sharpening on here.

T-square

A standard 12″ (30.5cm) T-square that has inches and millimeters marked on it can be used to place straight lines on boards. It is a great tool to have around when marking the center of your project for pattern placement.

From top to bottom: zero centering ruler, T-square with standard ruler, sandpaper, toothbrush, compass, pencil, and eraser

Ruler

Zero centering rulers—that is, rulers with the zero in the center that count outward in both directions—work well for centering your pattern on the project. They can be found in different total lengths; I prefer the 6″ (15.2cm) and 12″ (30.5cm) lengths.

Pencil

I recommend using a 0.5mm mechanical pencil with grade B lead. B leads are smooth to write with and easier to erase. When using a pencil on wood, be careful not to press too hard, because if you do, it can leave an indentation in your smooth wood.

Eraser

For erasing pencil marks or graphite paper marks, I recommend a white eraser such as Pentel’s hi-polymer eraser. Don’t use the red eraser on the end of a normal pencil—it can leave red marks on your carving that are very hard to remove. There is also the chance that the eraser has been used before and has debris embedded in it, which will leave dark smudges on your carving. When using a heat transfer tool, use a colored pencil/ink eraser to remove parts of the pattern that were not removed when carving.

Sandpaper

If needed, use a 220-grit sandpaper. There are many different uses for sandpaper in your chip carving projects. I often use sandpaper for smoothing off a project before carving, rounding over the edge of a box lid, or sanding lightly to freshen up a project I have carved. Or if necessary, you can sand lightly to remove parts of a pattern that were not carved off when using a heat transfer tool to apply the pattern (being careful to not create a flat top on a ridge between chips). Use sandpaper that is made for hand sanding on wood. I use a general-purpose aluminum oxide sandpaper. Using a finer-grit sandpaper than 220-grit can polish the wood, which may affect the finish.

Brush

A new, soft-bristled toothbrush works well for removing small particles of wood that may be loose and laying where the chip was removed.

Bow Compass

A good bow compass can be useful for drawing patterns or finding centers on plates. You can also use one to draw lines around the edge of a project.

Carving Glove and Thumb Guard

Thumb guard

Carving glove

Cut-resistant carving gloves come in different sizes and makes; many of them are made out of Kevlar®. You must use a carving glove, not a regular glove or a leather glove, as these do not provide enough protection. A carving glove does not guarantee that you won’t get cut, but the cut may not be as severe as it would have been if you hadn’t worn a carving glove at all. It is worn on the hand that is holding the project you are carving. A carving glove provides safety if the knife slips; it also reduces your likelihood of transferring dirt and oils from your hands to the carving. When holding the knife properly and keeping your carving hand in contact with the board at all times, you should have very little chance of getting cut. I also recommend wearing a carving glove when sharpening for protection in case the knife slips off the ceramic stone.

I also wear a thumb guard on the hand that holds the knife. When I used to carve without a thumb guard, I would get little indentations on the carving that were caused by my thumbnail. I was able to eliminate those pesky marks by simply wearing a thumb guard. You can purchase a thumb guard or make your own by using a 2″ (5cm)–wide piece of self-adherent wrap approximately 6″–8″ (15–20cm) long, which can be purchased on a roll at your local pharmacy. Thumb guards can also be made out of bandaging tape found at your local farm supply store. Once you have your material for the thumb guard, wrap it around the tip of your thumb multiple times, forming a secure and thick wrap.

SHARPENING

There are many ways to sharpen a knife. Every carver you talk to will have their own opinion. Some chip carving knives should be sharpened with an angle to keep the original bevel. Others recommend holding them dead flat against the surface you are using. Check with the manufacturer of the knife to see if they have recommendations. You can check the sharpness of your knife by taking a scrap piece of wood and cutting across the end of the board, against the grain. Your knife should cut easily and leave a polished surface where the wood is removed.

Bad cuts—you can see the rough texture in the chip shapes.

Good cuts—everything looks smooth.

When the knife is dull, it will tear through the wood instead of cutting cleanly, leaving a rough cut. It is also dangerous to use a dull knife because more pressure is needed to get the knife through the wood, which decreases your control over the knife. You always want to maintain control over where the knife is going without using too much pressure. If the knife edge leaves a line or tears at the wood, it is time to hone/strop/refresh your knife blade. I have seen new carvers become discouraged because a dull knife made carving difficult for them. When the knife is sharp, it will leave a polished surface on the chip and where the chip was removed.

When I sharpen, I use ceramic sharpening stones that I purchased from Wayne Barton at the Alpine School of Woodcarving. I have also seen them available on various woodcarving sites online. The sharpening stones I use come in two colors: gray (600-grit) and white (1,800-grit). The coarser-grit gray stone is for sharpening, and the finer-grit white stone is for honing or polishing. You do not need to add water or oil to use a ceramic sharpening stone. Most of the time, you only need to use the white stone to finely hone or polish your knife. These stones can last for years. To clean the stones, use water and a non-abrasive powder cleaner.

Ceramic sharpening stones

How to Sharpen

Sharpen like this, with the top of the blade tilted barely the height of a credit card/dime above the stone.

Don’t sharpen as shown here, at a more extreme angle.

1) Place the blade correctly. Sharpen with the coarser-grit stone by laying the knife down flat and then barely raising the back of the blade very slightly, about the height of a credit card or a dime (10 degrees) placed just under the spine or top of the blade. If the credit card or dime is pushed further under the blade, it will increase the angle of the blade, giving the wrong angle for sharpening.

Sharpen one side by moving the blade 15–20 times first.

Then sharpen the other side by moving the blade 15–20 times.

2) Sharpen both sides. Once the blade is positioned correctly on the stone, move the blade back and forth 15–20 times while maintaining the 10-degree angle, keeping equal pressure across the cutting edge. Then turn the knife over and do the same thing on the other side of the blade.

A burr has formed.

The burr is gone.

3) Remove the burr. Continue doing this until you see and/or feel a small burr all along the edge of the blade. A burr is a small, thin ridge of metal that can be felt by lightly taking your fingernail and moving it from the top of the blade down over the sharpened edge. A burr will also reflect light along the cutting edge of the blade as illustrated in the photo on the left. Once a burr is formed, continue to move the knife back and forth on each side, with less pressure, until the burr falls off, as shown in the photo on the right. You can check to see that the burr is gone by looking at the blade under a light. If you do not see any reflection from the burr, or you no longer feel it with your fingernail, the blade is ready for honing/polishing.

4 Hone/polish using the finer-grit stone. Next, use the white stone for honing. Instead of stropping (which is the following step), many carvers will freshen the edge on their knife by using the white stone only. Once again, move the knife back and forth across the stone at the same angle you used on the gray stone to hone the blade. You do not want to create another burr; you just want to hone. Continue honing the sides of the knife until the shine is consistent across the cutting edge of the blade.

Strop right…

… then strop left.

5) Strop the blade. I strop my knife once I have it sharpened and honed. Choose a strop with leather that is thin (3–4 ounces) and that has a very slight nap. If the strop has too much nap, the blade will round over, making it harder to carve with. There are many stropping compounds on the market. To strop, first apply stropping compound to the leather. (It is not necessary to add the compound every time you strop—just make sure there is still some left on the leather.) Placing your knife flat, move the knife away from the sharp side of the blade multiple times. Flip the knife so the blade turns over the top, not the bottom, and strop an equal number of times on both sides. Turning your knife over the top will lessen the chance of dulling the sharp edge by scraping the edge on the strop.

There isn’t a specific amount of time to go between stropping. There are a few variables that come into play, including the quality of the blade. The wood you are carving can also make a difference; some boards can be harder than others, and others may have dirt or sand in the wood. If you are carving curves, that can put more stress on the edge of the blade. Strop when your knife pulls through the wood with more effort. Over time, you will get a feel for when you need to freshen your blade edge.

The strop and honing compound (Blue Velvet Stropping Compound) that I use are from John Dunkel Knives.

Stropping your knife will also polish the sides of the blade to help the knife glide through the wood. A dull finish on the side of your knife will cause the knife to have resistance as you pull it through the wood. Since the blades on some chip carving knives are large, you don’t need to have the whole blade polished, just the area of the knife that goes into the wood.

I only sharpen with the coarser stone once stropping or honing with the finer stone alone no longer gives me a sharp enough edge, or when there is a nick in the blade. A sharp knife should not reflect light off the sharpened edge. If light reflects, it is dull or the blade has a nick in it where the light is reflecting.

The same sharpening process is used for sharpening a stab knife. A stab knife should usually be sharpened at a 30-degree angle instead of a 10-degree angle, though. Stab knives rarely need sharpening.

SAFETY

Chip carving, if done correctly, is one of the safer forms of carving. Your thumb should always be against the side of your knife and in contact with the project along with your finger knuckles. When your thumb and finger knuckles are not in contact with the project, it dramatically decreases your knife control and increases the likelihood of injury. Remember to keep your fingers and the hand that is holding your carving project on the unsharpened side of the blade. When carvings are too small or too large to hold comfortably, place a carving lapboard on your lap and place the item you are carving on top of the board; this will protect your leg.

WOOD TYPES

Two of the most common types of wood that work well for chip carving are basswood and butternut.

Basswood (left) and butternut (right) are two common and good woods for chip carving.

Basswood is considered one of the best woods for chip carving. It also goes by the names of linden or lime. Basswood is not a heavy wood. It is lighter colored, almost white sometimes, with a straight, fine grain and an even texture, which makes it a good carving wood. Many carvers use basswood from the northern Midwest states such as Illinois, Wisconsin, Minnesota, Michigan, and Iowa. All of the projects in this book have been carved in basswood.

Butternut is approximately twenty percent heavier than basswood. It carves easily, is darker in color than basswood, and has a more pronounced grain. If your carving is shallow, it will be harder to define the pattern in butternut. Butternut is becoming harder to source because of a blight.

To find an outlet for quality basswood or butternut, you may have to search online; it is not usually carried at local home improvement stores.

Many of the projects in this book also use an accent wood that complements the basswood. Although these accent woods are not carved, they add contrast to the projects and are pleasing to the eye. There are many different woods that can be used for accents.

Before working with any wood, check for allergies and toxicities. The wood types listed below are hardwoods from different parts of the world, but none of them are considered a threatened species. Many of these woods have been used for accents in the projects in this book, and they are all easy to work with.

• Black walnut (Midwest and Eastern United States): This wood has a wonderful chocolate brown color, although colors can vary. It has been used for many years in furniture making.

• Purpleheart (Central and South America): This wood starts out with a beautiful purple color. As years go by and it is exposed to air and UV light, it turns to a dark brown with a slight purple tone. The color change can be slowed if the project is finished with a UV-blocking finish. It is considered easy to work with but may splinter easily.

• Padauk (Central and tropical West Africa): This wood has a reddish-orange color that changes to a reddish-brown as the wood ages. Using a UV blocking finish may slow the color change, but it will not stop it. The dust from sanding this wood tends to be “sticky” and can be hard to remove. Make sure to wipe your piece down before putting a finish on it. When finishing, you may need to wait longer for drying between coats because of the oils in the wood.

• Cherry (mainly in the eastern part of North America): This wood has a reddish-brown color that deepens with age. It has been used for years in furniture and cabinets.

When working with any kind of wood, protect yourself from the wood dust created by using a good mask or respirator that is designed for protection against fine wood dust.

WOOD MOISTURE

Wood used for chip carving should have a moisture content of 9–12 percent. If your wood makes snapping sounds and/or you find that you are not getting a smooth cut, even after checking the sharpness of your knife, your wood may be too dry. This is more of a problem in the cooler months, when furnaces are in use, or if you live in an area where the air is dry. To add moisture back into the wood, try putting it in a cooler with a cup of warm water for a few hours or overnight, making sure that the project is not touching the sides or bottom of the cooler in case condensation forms. You may want to consider putting your project in a plastic bag when you are not carving to keep it from drying out. Wood may be the correct level of moisture when you purchase it, but it can dry out as the climate changes outside and in your home. I use a humidifier during the winter months to make sure my projects don’t dry out, since I live in Wisconsin and have a forced air furnace at home. Check with the manufacturer or do some research to see what your humidity level should be; it can vary in different parts of the world.

One way to check the moisture is to use a moisture meter, although this is definitely not a necessity. If you do purchase one, it should be one of quality. I never use a moisture meter on the project I am carving, simply because when using the meter, you must insert the points on the end of the meter into the end grain of the wood, leaving two obvious holes. You can test a piece of the same or similar wood that has been stored alongside the carving project to make sure the moisture level is good. Depending on the way your project is made, you could also test the moisture level of your project itself in a spot that will be hidden later during assembly.

The prongs of a moisture reader will pierce the wood you are taking the reading from. A good reading is 9–12 percent.

DETERMINING THE DIRECTION OF THE WOOD GRAIN

The wood grain in this board is going lengthwise, from side to side.

It is important to know how to find the direction of wood grain, because awareness of the grain direction can be helpful when carving or sanding. Basswood grain is very straight and fine with clear lines that appear a little darker than the rest of the wood. These lines indicate the direction of the grain. When sanding with the grain, go the same direction as the lines in the wood. The grain in the piece of wood shown above is going the length of the board from side to side, so this board would be sanded lengthwise.

When chip carving, the chips are taken out with and against the grain on the face grain side of the board. The face grain side is considered the widest side of a board. There are very few times when the end grain, which is the grain that goes across the cut end of the board, would be carved. However, with more rounded projects, such as shoes or turned eggs, this may be necessary.

The end grain of this board is going lengthwise, from short end to short end; you normally will not chip carve on the end grain.

APPLYING PATTERNS

There are several options for applying the pattern to your project. Before applying any pattern to a project, sand the project with the grain using 220-grit sandpaper and wipe it free of dust with a clean microfiber cloth. You want to start with a smooth surface.

Drawing by Hand

Some carvers will draw the pattern by hand on the project using compasses, protractors, and rulers. If you prefer this, remember to use B pencil lead and not to press too hard.

Tracing

Tracing a pattern is a popular way to transfer it. If the pattern is going to be used once, you can trace it using a copy of the pattern on standard printer paper. If it is a pattern that will need to be traced multiple times, like a plate edge, tracing paper would be more appropriate, because you can see through it for easier placement. You will also need some graphite paper (black), a colored pencil/pen or stylus, painter’s tape, and a zero centering ruler. I use a colored pencil/pen if it is a pattern that I will only be using once on copy paper; if the pattern will be used multiple times on tracing paper, I use a stylus instead. Do not use carbon paper, because carbon paper is coated with wax and is very hard, if not impossible, to erase from the carving.

For effective tracing, you will need tracing paper, graphite paper, a pen or a tracing tool, painter’s tape, and a zero centering ruler.

Find the center of your wood. You will need to find the center of each edge of your project. I use a zero centering ruler for this. Mark the project lightly with your pencil; these marks will need to be erased later.

Find the center of your pattern. Mark the center on each side of your pattern as well.

Tape the pattern on. Lay your pattern over your project and align the marks on the wood with the marks on your pattern. Place painter’s tape on a couple of sides of your pattern once you have it centered. Don’t place the tape over the lines that need to be traced.

Draw squiggly lines. With your pencil, make a couple of squiggly lines that overlap the pattern and the wood. This is in case the pattern will need to be reapplied after it has been removed—you can line up the squiggles again. Sometimes the pattern needs to be reapplied if part of the pattern was not successfully traced.

Add graphite paper. Cut a piece of graphite paper to size and slide it in between the wood and the paper pattern with the graphite side down.

Trace the pattern lines. If you are using copy paper for the pattern and only plan on using the pattern once, it’s convenient to use a colored pencil or pen to trace the pattern lines. This makes it easier to see what lines have been traced already. After tracing a couple of lines, lift up a corner and check to make sure the graphite paper is indeed face down and that the pattern is showing on the wood. Continue tracing the pattern.

Clean up. Once the pattern is fully traced, remove the pattern and the graphite paper. Mark the chips to be removed by placing a dot or an X in each one.

Realign as needed. If the pattern needs to be reapplied to the piece at any point, simply line up the squiggly lines.

Heat Transfer

When using a heat transfer tool (such as my favorite, the Wall Lenk model L16TT), use heavier paper when making the pattern copy; 24 lb. paper is recommended. Make a copy of the pattern using a laser printer or a copy machine that uses toner—this method does not work with an inkjet printer.

For heat transfer, you’ll need a zero centering ruler, a heat tool, a pencil, painter’s tape, and a heat transfer medium.

Center the pattern. Use a zero centering ruler to find and mark the center of each side of the project. Remember not to press too hard with the pencil, because these marks will need to be erased later.

Mark the center of the sides of the pattern. When doing this, place a piece of graphite paper under the pattern with the graphite side up (left). This makes the marks needed on the back of the pattern when you flip it over and place it on top of the project (right).

Attach the pattern. Place the pattern face down on the project, aligning the marks on the back of the pattern with the marks on the project. Place a piece of painter’s tape along one side to secure. Do not place the tape where the pattern would be on the opposite side.

Apply heat. After allowing the heat transfer tool to heat for approximately eight minutes, slowly iron back and forth on the pattern, keeping the round disk on the tip of the tool flat on the project. As you do this, the heat releases the toner from the pattern onto the wood. Keep the transfer tool moving when it’s in contact with the project. Be careful; if the tool becomes too hot, it can leave a scorched spot on the pattern and on your project. If your tool has been heating up for longer than eight minutes before you start, slide the round tip of the tool over a scrap board to cool it down. Always read and follow the directions that come with the product.

Check the lines. As you are ironing, the pattern will start to adhere to the project. To loosen the pattern, iron over a section and lift up the section part way to see if the pattern has transferred or at least started to transfer. Do not lift the pattern all the way off the project, just the corner. Continue to iron and lift the pattern to check on the progress until the complete pattern has been transferred to the project. You can iron again over the pattern in places that may appear too light to darken the pattern.

Finish. Once you have the pattern fully transferred, remove it from the project.

TIP

Helpful hint: Use an empty soda can with the flip top removed, filled halfway with sand, as a heat transfer tool holder. The weight will keep the can stable to hold the tool. When not using the tool, place the round flat head inside the can. This helps reduce the chance of anyone or anything touching the heated head. Always unplug the tool when not in use.

Gluing with Rubber Cement

Some carvers glue the pattern onto the wood with rubber cement. Although it may work very well for some types of carving, it is not be the best for traditional chip carving. Be aware of the possible drawbacks of using rubber cement. The pattern may release and come off partway through your carving. It is also hard, if not impossible, to see if your ridges are sharp between chips. If you choose to use rubber cement, you should seal your wood before applying the cement. Sealing it will keep the cement from absorbing into the wood or leaving a residue on it when you remove the pattern. Rubber cement on unfinished wood can cause the finish to be blotchy.

SETTING UP TO CARVE AND HOLDING THE KNIFE

When carving, I hold the project I am carving in my left hand with a carving glove on, while holding the knife and carving with the right hand. Keep your hand and the fingers of the hand holding the project behind the sharp edge of the blade. Keep your elbows close to your body and bent approximately 90 degrees. If you have a hard time hanging on to projects, you can use your lap with a carving lapboard under your project for protection.

If the piece you are working on is too large to hold or place on your lap, you could place it on a counter or table. Otherwise, a table or counter is not recommended, because it makes it harder to achieve the same control and power you get when holding the piece or using your lap.

Good lighting is also important. I use a light that comes over my shoulder. If you are having a hard time seeing the lines, try wearing reading glasses (cheaters), a magnifying visor, or a clip-on magnifier—these are all common carver solutions.

There are a couple of ways to help control where the chips go when you are carving. You can lay a towel over your lap to catch them, or there are also carving aprons on the market that have a pouch for the chips to fall into.

There are two positions for holding the cutting knife, and separate guidelines for holding the stab knife. We’ll cover all of them here.

Here is my typical carving position; switch hands if you are left-handed.

How to Hold the Cutting Knife: First Position

This position is the most common one you will use. In it, the knife should be at a 65-degree angle to the project. Don’t rush when making your cuts.

Hold the knife in your hand with the handle of the knife laying across your fingers between the palm and the first set of joints in your fingers, not in the palm of your hand.

Wrap your fingers around the knife.

Then bring your thumb knuckle along the side of the handle toward the end. The thumb knuckle should always be against the side of the knife; the tip of the thumb will remain in contact with the board for knife control.

Place your thumb, finger knuckles, and knife tip in contact with the wood, forming a tripod. This gives you the leverage needed when carving. While carving, your thumb and finger knuckles should be in contact with the wood all of the time for knife control.

How to Hold the Cutting Knife: Second Position

This position is often used for smaller chips, ones that are ¼″ (0.6cm) or less. This position should also put your knife at a 65-degree angle, just as first position does.

Hold the knife across your fingers between the palm and the first knuckles in your fingers.

Curl your fingers around the handle and place your thumb on top of the handle, just before the blade.

The knuckles of your fingers should be in contact with your project when using this position.

Holding and Using the Stab Knife

The stab knife is used to add additional detail to your carving. By placing multiple stab cuts in one area, you can make a flower (as shown below), or you can use it to accent an area in your carving by only using a couple of stab cuts. The purpose of the stab knife is not to remove any wood, but rather to indent and cut into the wood.

Here’s a simple design made entirely with a stab knife. See how one side of the stab cut is always bigger, and the cut comes to a fine point?

Hold the knife straight up at a 90-degree angle from the project with the tip of the knife on the wood positioned where you want to place the cut. Then stab or push it down into the project. You can use one or two hands to do this.

After you have the blade stabbed into the wood, rock it back toward yourself. The amount you rock it is determined by the length of the cut you are looking for.

CARVING CHIPS

In this section, we’ll cover all of the basic chip shapes and how to cut them out. When you begin to practice rows of the same chips (such as using the practice board on here), it is best to take out one entire chip at a time until you feel comfortable with the results. Once you feel comfortable and you are carving a row of identical chips, you can make all of the first cuts on the row at once, then go back to the beginning of the row and make all the second cuts, and then go back to the beginning and make all of the third cuts, releasing all the chips. This is known as gang cutting, and it will ultimately save you time once you master it.

Small Three-Sided Triangular Chip (¼″ [0.6cm] or smaller)

This chip is carved using three cuts. All cuts are made with the knife at a 65-degree angle.

Cut 1: Using first position, place the knife tip at the top corner of the triangle. Push down on the knife until the cutting edge of the blade reaches the opposite corner.

Cut 2: Using second position, place the knife tip at the bottom corner (the one you have not yet cut to or from). Push down on the knife until the cutting edge of the blade reaches the opposite corner (the same endpoint as cut 1). (Some carvers choose to use first position for this cut instead of second position; that is perfectly acceptable.)

Cut 3: Turn the board 180 degrees, switch back to first position, and place the knife tip on the top corner (the same corner where you started the previous cut). Pull the knife toward you, making a slicing cut, until the cutting edge of your knife reaches the opposite corner. As you make this cut, start the knife somewhat shallow, push the knife in deeper in the middle of the cut, and pull it out shallower again as you finish the cut. The deepest part of each cut is where the three cuts should meet at the center of the chip. Try to imagine where the knife blade tip is while you carve.

If done properly, the chip should pop out. If the chip doesn’t pop out, then one or more of the cuts was not deep enough. Reinsert your knife at the same position and angle and gently make another cut to release the chip. Never try to pry out a chip—it could break out where you don’t want it to, or it could damage the knife. This is a major rule in chip carving.

Large Three-Sided Triangular Chip (larger than ¼″ [0.6cm])

This chip is carved using three cuts. All cuts are made in first position with the knife at a 65-degree angle.

Cut 1: Place the knife tip at the top corner of the triangle. Push down on the knife until the cutting edge of the blade reaches the opposite corner. Make sure you are cutting all the way to the corner.

Cut 2: Turn the board 90 degrees counterclockwise and place the knife tip at the same corner you just ended on. Push down on the knife until the cutting edge of the blade reaches the opposite corner.

Cut 3: Turn the board 180 degrees and place the knife tip at the same corner you just ended on. Pull the knife toward you, making a slicing cut, until the cutting edge of your knife reaches the opposite corner, completing a “circuit” around the triangle. As you make this cut, start the knife somewhat shallow, push the knife in deeper in the middle of the cut, and pull it out shallower again as you finish the cut. The deepest part of each cut is where the three cuts should meet at the center of the chip. Try to imagine where the knife blade tip is while you carve.

If the chip doesn’t pop out, then one or more of the cuts was not deep enough. Reinsert your knife at the same position and angle and gently make another cut to release the chip. The problem is often either that the cuts didn’t go far enough into the corner, or they weren’t deep enough.

Two-Sided Curved Chip

Two-sided curved chips are curved on one or both sides. All cuts are made in first position with the knife at a 65-degree angle.

Cuts 1 and 2: Start each cut at one corner. Start shallow with the cut, cut deeper toward the middle of the cut, and go shallow again as you finish the cut. While doing this, the knife should be kept at a 65-degree angle. Turn your board 180 degrees and cut the other side of the chip the same way you cut the first side. The cuts should meet in the middle.

If the chip has one curved side and one straight side, carve the straight side first. If both sides of the chip are curved (crescent moon–shaped), carve the inside curve first.

While carving a curve, stand your knife up so the cutting edge of the blade is perpendicular to the surface of the wood when going around the curve, maintaining the 65-degree angle (tilt). By doing this, you will make a smoother cut. Continue to maintain contact with the wood with your thumb and knuckles for accuracy and safety. Make sure the knife is sharp.

Imagine you are cutting a pattern line that is parallel to the bottom edge of this board. This is standard position—the cutting edge of the knife blade is approximately 50 degrees from the wood surface, roughly parallel with the imaginary pattern line, while maintaining the 65-degree angle (tilt). Compare it with the stand-up position at right.

This is stand-up position—the cutting edge of the knife blade is perpendicular to the imaginary pattern line (rather than roughly parallel to it), while maintaining the 65-degree angle (tilt).

Four-Sided Rectangular Chip

Rectangular chips require four cuts. All cuts are made in first position with the knife at a 65-degree angle.

Cuts 1 and 2: Make both the short end cuts first by placing the knife tip on a corner and pushing it in at a 65-degree angle until the sharp side of the blade touches the opposite corner.

Cuts 3 and 4: Make the long side cuts next by using a slicing cut. Place the knife tip on the corner at a 65-degree angle and press down until the knife tip reaches the center of the chip (the center of the rectangle), then slice all the way down the side to the far corner. Turn your board 180 degrees and make the final, fourth cut, the same way you made the third cut.

The chip should come out easily if your knife tip successfully met in the middle of the chip.

Four-Sided Chevron Chip

This kind of chip requires four cuts. All cuts are made in first position with the knife at a 65-degree angle. Rotate the piece as you work to get the best angle as shown in the photos. You will see this chip in a few of the patterns in this book.

Cut 1: Place the knife on the upper left corner (A) and cut down past the inner corner center point of the pattern line (B), almost, but not quite all the way, to the right-side line. Start the cut shallow and cut deeper as you make the cut. The deepest part of the cut will be the end of the cut. The tip of the knife will be at the bottom of the inverted part of the chevron, while the top edge of the blade will be close to the left wall of the chip.

Cut 2: Place the knife tip to the left of the inner corner center point (B) but aligned with the line that goes between the inner corner (B) and the top right corner (C). Press your knife deep (to get to the bottom of the chip, like making cut 1 in reverse) and cut to the top right corner (C).

Cut 3: Place the knife tip on the upper right corner (C) and cut down to the point (D). Start the cut shallow, then make the deepest part of the cut the middle, and then make the cut shallow again at the end. The middle of the cut should be deep enough to intersect with the first two cuts at the very center of the chip (the chevron shape as a whole).

Cut 4: Place the knife tip on the point (D) and cut to the starting corner (A). Like the previous cut, the deepest part of the cut should intersect the first three cuts at the very center of the chip.

Two-Sided Micro Chip

Some of the patterns in this book contain what I call a two-sided micro chip. It is made using two cuts, and it divides a raised/relieved space to add character. (It’s not the same as a two-sided curved chip, which is curved.) It can be used when you want to divide a square in a border or to add decoration to the inside point of a four-sided chevron chip.

First you need to carve the areas around the square in order to relieve the square. In this example, this means carving three-sided triangular chips. The sides of the square should be marked, in the center of the sides, with a small pie-shaped wedge that meets in the middle; you can see them sketched in this photo.

Cut 1: With your knife in first position, make a small cut to the center along one side of a “pie slice.”

Cut 2: Switch to second position and make another cut to the center along the other side of the pie slice, taking out a small two-sided chip.

Remove the chips on all four sides of the square. It will look like four diamond shapes meeting in the middle once all of the two-sided micro chips have been removed.

You can use micro chips to enhance other shapes, such as the four-sided chevron chips, too.

Large Chip

When you have a pattern that has larger chips, it works best to create the chip by starting with a smaller chip in the middle of the chip and working up to the full size rather than trying to take the entire large chip out at once. To take a large chip out as one chip means that you have to put more pressure on you knife, which may reduce your control. More pressure could also stress the structure of your project and increase the chance of the board cracking or breaking.

Start small and work your way to the full size.

Line

A line is similar to a four-sided rectangular chip. Before carving a line, look at the pattern and decide which side you want to make your second cut, because that will determine which direction you make your first cut for the angle of the blade to make a V-shaped trough.

Cut 1: Make the first cut on the line, keeping your eyes approximately ½″ (1.3cm) in front of the blade. Your hand should follow your eyes.

Using a straight edge, such as a ruler, as a guideline as you make the cut is not recommended. If the straight edge moves during the cut, your cut will no longer go where you want it to go. It may take some practice to feel comfortable with lines, but it is worth the practice.

Cuts 2, 3, and 4: Turn the board 180 degrees, then make the second cut going the opposite direction to achieve the desired width for the line. Both of these cuts should slice through the wood. When cutting against the grain (as shown in the photo), the ends of fine lines will often release by themselves. If they don’t release or if you are cutting with the grain of the board, you may need to place very small stop cuts at the beginning and end of the line in order to release the chip.

Straight-Walled Chip

Using straight-walled chips in your carving adds a different kind of dimension. These are also known as Old World chips. To carve a straight-walled chip, you will need to make two vertical cuts at a 90-degree angle and one horizontal cut at approximately a 30-degree angle. Straight-walled chips are pink in the patterns in this book.

Cut 1: With your knife in first position, but at 90 degrees instead of the standard 65 degrees, place the knife tip on the top corner (where you want the deepest part of the chip to be), push the knife into the wood approximately ⅛″ (3.2mm) deep, and pull the knife to the bottom right corner. Make sure the knife edge goes all the way to the corner to avoid chipping out.

Cut 2: Rotate the board 90 degrees. With your knife in first position, but at 90 degrees instead of the standard 65 degrees, place the knife tip on the top corner of the triangle, push the knife into the wood approximately ⅛″ (3.2mm) deep, and pull the knife to the bottom left corner of the triangle.

Cut 3: To hold the knife for the third cut, pinch it between your first finger and thumb, still keeping your thumb in contact with the board at all times. Place the knife tip on the bottom right corner, where your first cut ended. With the knife tip on the corner, at an approximately 30-degree angle, push the knife tip in toward the top corner and slice all the way along the bottom line of the chip to the bottom left corner.

Accent Layer

Adding accent layers to existing chips can add interest to your project. They add an extra layer, casting another shadow to catch the eye. The patterns in this book indicate where the stop cut is placed for an accent layer with a green line.

Cut 1: Make a stop cut by pushing your knife into the wood slightly at a 90-degree angle. It only needs to be pushed in approximately 1/16″ (1.6mm).

Cut 2: At the same 65-degree angle as the original chip, make a small slicing cut down to the stop cut.

Continue to place the layered accents in the remaining area as desired.

Layered Design: Leaf

This is a design that I like to use in the middle of a project to form a focal point. It may look challenging, but you will find it manageable with a little practice. The patterns in this book indicate where the stop cut is placed for the veins with a green line.

To start, make a two-sided curved chip with two curved sides, cutting at a 50-degree angle instead of the usual 65-degree angle. The two cuts should meet in the middle.

Mark lightly with a pencil where you want the veins of your leaf. Holding the knife in first position at a 90-degree angle, make stop cuts on the right side of the leaf just above the pencil lines (the pencil lines will be carved off). The stop cuts should be approximately 1/16″ (1.6mm) deep.

Still on the right side of the leaf, switch to second position. Approximately 3/16″ (4.8mm) below the stop cut, lay your knife almost flat on the inside of the chip, parallel to the stop cut, and take out a sliver of wood by using a push cut until it meets the stop cut (remember to always keep the thumb of your knife hand in contact with the project). Continue to do this until you feel the cut is deep enough to cast the shadow you want. Do the same thing with the second stop cut on the right side.

Turn the board 180 degrees and make the stops cuts on the opposite side of the leaf. Make sure that the stop cuts meet in the middle, forming an angle where the veins of the leaf meet.

For this side of the leaf, hold the knife in the first position. Place the knife along the edge of the two-sided chip approximately 3/16″ (4.8mm) from the top of the stop cut and remove a sliver of wood to the stop cut. Continue to do this for all the veins on that side of the leaf.

Clean up any wood particles that may remain. Here is your beautiful leaf!

Layered Design: Stepped Triangle

This layered chip starts out by carving a standard three-sided triangular chip that is ½″ (1.3cm) long and ¼″ (0.6cm) high, but with some changes. In the photos, there are pencil lines indicating where the next cuts will be made. Normally you would not want to draw the lines in because they are hard to get out if you don’t carve them off—the lines in these photos are for demonstration purposes only. The patterns in this book indicate where the stop cuts are placed with a green line.

Make the first two cuts, along the short sides of the triangle, the same as the three-sided large triangular chip. The third cut, however, should be cut approximately 1/32″ (0.8mm) to the inside of the bottom line, rather than along the bottom line, and at the traditional 65-degree angle.

Here are the demonstration guidelines for the following cuts. The V-shaped lines start in the middle of the side wall cuts and end together in the middle of the bottom line. Draw them on if you are just practicing.

Holding the knife in first position, make a stop cut on the left V-shaped line. The stop cut should be at a 90-degree angle and no deeper than 1/32″ (0.8mm).

Switching to second position, place another stop cut on the right V-shaped line. The stop cut should once again be at a 90-degree angle.

Placing the knife tip at the bottom right corner of the triangle and following the original pattern line, slice down to the stop cut, removing a 1/32″ (0.8mm)–wide slice at the standard 65-degree angle.

Repeat on the other side.

Clean up your chips as you work.

Layered Design: Woven Triangle

This layered chip starts out by carving a standard straight-walled chip that is ½″ (1.3cm) long and ¼″ (0.6cm) high. In the photos, there are lines indicating where the next cuts will be made. Normally you would not want to draw the lines in because they are hard to get out if you don’t carve them off—the lines in these photos are for demonstration purposes only. The patterns in this book indicate where to place the stop cuts with a green line.

After cutting the standard straight-walled chip, the first cut for the layered design should be made approximately ⅛″ (3.2mm) from the right side wall of the chip, parallel to the right wall. Make a stop cut along this line in first position at a 90-degree angle.

Place the knife on the upper corner of the small inset triangle formed by the stop cut with the knife in first position. At an approximately 45-degree angle, slice off a layer of wood that covers all of this small inset triangle. This forms the second layer. The deepest part of the new chip will be the top of the triangle.

To form the third layer, you will make a stop cut approximately ⅛″ (3.2mm) from the left side wall of the chip, parallel to the left wall, as shown marked here.

Make a stop cut along this line on the second layer only in first position at a 90-degree angle.

Place the knife tip at the upper corner of the second layer. With your knife held in second position and at a 65-degree angle, slice down to the second stop cut. The deepest part of the slice will be the tip of the chip. This forms the third and final layer of the chip.

Clean out your chips as you go.

Carving a Center with Back-to-Back Chips

Before beginning, figure out which way the grain is going on your project. The first chip that is taken out should be with the grain. Work around this pattern clockwise.

Cut the first chip entirely.

The first cut on the second chip should be the one that shares an edge with this first chip.

As you make each chip next to the previous chip, there should be a sharp ridge between the chips. If the ridge you are creating is flat, you are not getting the cuts close enough together.

Keep working around in a clockwise direction.

As you finish your last chip of the half, either at the top or the bottom, the last chip will end with the grain. This reduces the chance of a chip-out. Repeat for the other half of the design.

Helpful Carving Tips

• Carve a few chips on a practice board for a warm-up before you start carving on your project.

• When starting a new project, take a close look at the pattern. If you feel that part of the pattern may be a bit too much of a challenge, practice that part of the pattern in particular on a practice board.

• While carving, try to imagine where the tip of the knife is at all times. The cuts will have to meet at the middle part of the chip to enable the chip to come out. Visualizing will help with muscle memory and the uniformity of your chips. Keeping like chips uniform in depth is visually more appealing; the shadows are consistent. A deeper chip tends to create more shadow. The picture below is a good example of one chip that is deeper than the rest. This piece would never get a blue ribbon in competition because of that one chip.

• When carving chips that are next to each other, complete the first chip first. Then, on the next chip, carve the side that is touching the previous chip first. If you have a large chip and a small chip next to each other, carve the larger chip first; this helps avoid chipping out. When carving chips next to each other, there should be a sharp ridge between the chips. You do not want a flat top between adjacent chips.

• When I carve, I like to start in the middle of the piece and work my way out to the edges.

• When carving a pattern, try to carve your pattern lines off so you have less cleanup to do when you are done.

• Don’t let a pattern seem overwhelming—remember, you only take out one chip at a time. Enjoy the experience and learn from it; not everything turns out perfect, but that is okay.

• As you carve, self-evaluate: Is the knife sharp enough? Do my cuts leave a shine? Do my angles meet in the middle or widest part of the chip? Am I going at the correct angle and depth? Do I have a sharp ridge between my chips?

• It is easier if you keep your work clean as you carve. Clean out the little pieces of wood that may remain in the bottom of your chips as you go. It is harder to go back at the end of the project and clean up.

• Get up and move around once in a while when carving. Give yourself a break. This also gives your eyes a rest.

The very center chip in this photo is the low chip with more shadow.

PRACTICE BOARD

This board (facing page) includes all of the chip types and techniques covered in the previous pages. Photocopy it directly from the book, or use a pencil to measure and sketch your own practice shapes using this board as inspiration. The thinner lines indicate where your cuts should meet to complete the chip. Practice carving these chips with and against the grain. Also use a practice board to practice a pattern, or the difficult parts of a pattern, before carving on a project itself. Practice boards do not need to be a specific size—just grab a scrap board!

FIXING A CHIP-OUT

It never fails that when you are chip carving, eventually a piece of wood will tear out, or, as we call it, chip out. But don’t fear—glue can save the day!

When a piece of wood comes out that was not expected, hopefully you can find the piece or it is still attached to a chip. If that is the case, you can easily place some glue on the piece with a toothpick and glue the chip back in. If you can’t find the chipped-out piece, it may be necessary to replicate a piece from another piece of wood and glue the replicated piece in. Once the glue has dried, clean the area with your knife. I have found using cyanoacrylate (CA) glue/super glue for chip carving repair may be noticeable once a finish is applied. The glue that I prefer to use is a white craft glue called Sobo. (I had learned about Sobo glue when I took a class given by Wayne Barton, a renowned chip carver and Woodcarving Illustrated 2005 Wood Carver of the Year.)

Sometimes a small piece of wood may chip out between chips. This can happen when cuts are not made all of the way into a corner of a chip. When the chip is removed, some of the wood that was not cut through may tear out.

To repair a small chip-out, place a small amount of white craft glue where the chip-out occurred.

Then place some basswood sawdust on top of the glue and press it in. You can sand the area with 220-grit sandpaper to level it with the rest of the board, being careful not to flatten any carving ridges that may be near the chip-out.

Once it has dried, you can clean it up with your knife.

FIXING UNDERCUTS

Undercuts aren’t difficult to fix.

There are times when your knife will go deeper on a cut than you want. This will leave a curled edge inside the chip basin. This is often the case when making the third cut along the bottom. To fix this, take a wooden skewer or a toothpick and run it along the curl to push it back down into the cut. Don’t use anything sharp or push too hard to avoid leaving a mark in the wood.

CUTTING WITH THE GRAIN

When you are carving a chip and the last cut is with the grain, you may notice that the chip does not leave a clean cut. The grain may tear or split as you get to the deepest part of your last cut. You can avoid this by making the cut with the grain either your first or second cut instead of the last. This can be more noticeable if you are carving a border with the grain and the border contains three-sided chips.

TEXTURING

Texture can be used in chip carving to help accentuate a specific area. One tool I like to use is a fine-tipped awl. There are many different things that can be used to add texture to your wood. Anything that punctures or indents the wood will do.

An awl like this one can make a great texturing tool.

Use an awl at a vertical angle, pressing down.

Using an awl works best with downward pressure. Hold it at a 90-degree angle, perpendicular to your project, then push down with pressure enough to separate the wood and leave a puncture mark. Continue to do this in a random pattern until the area that you want textured is covered. You can cover the entire area or leave a rim of untextured area if you like. You are in total control of what you want your project to look like. Keep in mind that once you have added the finish to your project, any texture will be more pronounced. Experiment with texture on a scrap piece of wood before applying it to the carving to make sure you are achieving the look you want.

Finishing will make the texture stand out more.

Try adding texture to mimic natural features, like in the acorn caps in this project.

FINISHING

Remember to sign and date your piece before applying the finish. Years later, it is interesting to know when the piece was carved. I sign my complete name and the year carved on the bottom of the project; some carvers use their initials, and still others have an emblem. Your creativity can be endless. Leave a legacy!

I have always enjoyed applying the finish to my carvings. I feel the finish brings out the pattern by accentuating the shadows.

Before applying your finish, clean up your piece by erasing pattern marks. Sanding should be used as a last resort for removing lines, because it may push the toner or graphite into the wood. Remove any wood particles that may be in the bottom of the chips. Lightly sand your entire piece with 220-grit sandpaper, being careful not to flatten the ridges between the chips. Keep an even pressure while sanding, but don’t press too hard. If you use a corner of the sandpaper or sand too much in one place, you risk leaving a low spot on your piece. Always sand with the grain of the wood. Don’t sand across the grain, which is also known as against the grain—it may leave noticeable scratches, and those scratches can become even more noticeable after the finish is applied. After sanding your piece, remove the dust using a clean microfiber cloth. These cloths can be washed and reused. Not all microfiber cloths are created equal, though—make sure your microfiber cloth does not leave fibers on your piece. If you shake out the cloth, avoid breathing in the wood dust.

There are many different finishes that can be used on chip carved projects, and most carvers have their favorite. When deciding what finish to use, consider where the piece will be. Will it be somewhere that it may get wet? Will it be in the sun? Will it be in a room where there will be high humidity? All of these factors may help you decide what finish to use. Also be aware of what sort of final gloss will be on the piece once finished. I personally like a satin finish; I feel that a gloss finish takes away from the carving, pulling the eye to the shine instead of the carving. But use what you like. Always remember to read the product instructions and information before applying the finish. Most finishes require ventilation. Also be aware of how to dispose of the rags that are used during the application process; some may be combustible.

Brush-On Polyurethane

Most items in this book have been finished with three coats of a brush-on, oil-based, satin finish polyurethane from Minwax. I prefer the 8-oz. (240mL) cans; I have found that the larger cans can start to solidify before the finish is completely used up. The brush you use should be labeled for urethanes, oil-based finishes, or oil-based clear finishes. I recommend wearing disposable gloves when applying finishes to protect your hands.

Make sure the brush you use to apply the finish is suitable for the finish.

When applying the finish, be careful that the finish does not pool in the bottom of the chips; apply it sparingly and with the grain. Take extra care to make sure that the bottom of the chips and all of the side surfaces are being covered.

Apply sparingly but thoroughly.

Use a dry brush to remove any pooled finish.

I use a natural-bristle chip brush as a dry brush. The chip brush is a low-cost brush that can be disposed of if you don’t want to clean it.

If there is pooling in the bottom of a chip (which should be rare), take a dry brush and brush the extra finish out of the chipped area. By using a dry brush, you are not adding more finish to your project, but instead drawing out what is already there. The dry brush can be wiped on a lint-free cloth to remove the extra polyurethane that is being brushed out, and then used to remove more finish if necessary.

Lightly sand between coats of polyurethane with 220-grit sandpaper. When sanding, try closing your eyes and letting your fingers feel for areas that may need a little extra attention with the sandpaper or spots you may have missed. After the first coat dries, it often raises the grain in the wood, leaving a slight bumpy feeling—that is what you are sanding off. Be careful not to over-sand. After sanding between coats, wipe your piece down with a microfiber cloth to remove any dust from the sanding. Apply two more coats as described. Do not sand after the final coat.

Wipe-On Polyurethane

Wipe the finish on using a lint-free cloth.

Wipe off excess with a clean cloth.

If your project is smaller, such as the necklaces in this book, apply two or three coats of wipe-on satin polyurethane; I use Minwax. Wearing disposable gloves and using a lint-free cloth, apply the finish liberally and rub it into the wood. Make sure the finish gets to the bottom of the chips and all surfaces are completely covered.

Then, with a clean cloth, wipe off the extra finish and absorb any extra finish that may be pooled at the bottom of the chips. After the coat dries, sand lightly with 220-grit sandpaper, taking off any grain that may have raised and left a slightly rough feeling. Wipe the piece off with a microfiber cloth to remove the sanding dust. Apply a second coat, allow it to dry, sand it, and wipe it down again. Apply a third coat, and do not sand afterward.

Staining

Staining basswood can be a bit of a challenge, but it is not impossible. Before staining basswood, seal it. If basswood is not sealed, the stain can appear blotchy and inconsistent. I seal my pieces with one coat of brush-on polyurethane, paying special attention to the end grain. If the end grain is not sealed well, it will be darker after staining. After the seal coat has dried, lightly sand the piece with 220-grit sandpaper to remove the grain that may have risen from the polyurethane. Wipe the piece down to remove the dust.

With disposable gloves, apply a generous layer of gel stain with a stiff-bristled brush, making sure the stain goes into the bottom of the chips. Any stiff-bristled brush will work. I use an old brush; I cut the bristles shorter so they would not have as much flex when applying the stain. Check over all the chips and continue to brush the stain in until all the surfaces of the chips have been covered. Do not add extra stain to the project once you have applied your initial layer—it can cause the first layer of stain to lift.

Once you have the stain applied and all of the surfaces are covered, take a clean rag and wipe off the excess stain. If too much stain remains in the chips, continue to brush out the stain and wipe off the extra with a rag.

Apply a gel stain with a stiffbristled brush.

Wipe off excess stain.

Allow to dry between coats.

You will need to wait until the first coat has dried before adding another coat. Two to three coats of stain may be necessary depending on the color you are trying to achieve. After completing all coats of the stain, apply two more coats of polyurethane. Try staining a practice piece before putting stain on a project. By doing a practice piece, you can perfect your technique and check for the desired color.

HAVING FUN WITH PATTERNS

Feel free to be creative with the patterns in this book, or any pattern you use. To change a pattern, some chips can be left uncarved. If the chip is larger than you feel comfortable carving, the chip can be divided in half.

Some of the patterns in this book call for layered chips, but the layers do not need to be carved if you are not ready to attempt them. The pattern will still look attractive without the layers. Don’t let the size of a project stop you from making something beautiful—beauty comes in all sizes. You may also come up with other projects that the patterns can be used on. So, enjoy the patterns and projects, but most of all, have fun.

When carving a box, try chip carving on the inside of the lid. It gives the person opening the box a little surprise. You can simply use part of the pattern from the top of the lid for the under-lid carving. It doesn’t need to be complicated. It can also make a difference if you plan to use the piece in a competition—it makes the piece just a little more interesting.

I didn’t add the markings for the stab knife on the patterns in this book, because some people may not want to add them to their carving, or others may want to add them in other parts of the pattern. Be creative!

Both the version with layers (top) and the version without (bottom) are beautiful.

Part 2: Projects

Now it is time to put all of the skills that you have read about in Part 1 to work. The projects in this book include patterns that work well for a beginning carver or a carver who is experienced, as well as everyone in between. You may even want to take a pattern and put it on a project of your own creation. Many of these projects can be used as presents or perhaps donations to a local charity that is holding a fundraising event. Regardless of the final goal for a project, relax and enjoy the experience!

Beginner Projects

Coasters and Holder

Beginner

Chip carving patterns on here

Project plan on here

Coasters and a holder can be a wonderful project for a beginner or a challenging project for the more experienced carver, depending on the patterns you choose. The possibilities are endless—you could make a set of four with all the same pattern, or perhaps a set of six with each coaster having a different pattern. Coasters work well as a present for an upcoming birthday or wedding. They are small and portable for those that like to take carving with them when they travel, and they make a great project to work on when you are relaxing in front of the television, watching your favorite show.

MATERIALS

• Basswood coasters (4): 4″ × 4″ × ⅜″ thick (10.2 × 10.2 × 1cm)

• Basswood coaster holder base (1): 5 ½″ × 5 ½″ × ½″ thick (14 × 14 × 1.3cm)

• Dowels (coaster holder uprights) (4): 2 ¼″ long × ⅜″ dia. (5.7 × 1cm)

• Wood glue

TOOLS

• Standard chip carving toolkit

• Table saw

• Drill/drill press

• Drill bit: ⅜″ (1cm)

• Router (optional)

• Router bit: ⅛″ (3.2mm) roundover (optional)

TIP

If you’re carving the more complicated leaf coaster design, the green lines on the pattern indicate the layers on the leaf; see here for more detailed instruction on carving layers.

Step-by-Step Instructions

I have illustrated the basic coaster pattern here to help guide the new carver. Remember to clean up the chips as you carve, removing small pieces of wood that may be left at the bottom of the chips.

Start the center design. Start in the middle of the project by tackling chip 1. Make the first cut with the grain in first position with the knife at a 65-degree angle. Continue to make the other two cuts to remove the chip.

Continue the center design. For chip 2, make the first cut with the grain, then continue to make the other two cuts and complete the chip.

Continue the center design. For chip 3, the first cut is the one that shares an edge with chip 2. Your knife tip should be angled away from chip 2. After removing chip 3, continue working in a clockwise direction around the center. Keep in mind that any cut that is going with the grain should either be your first or second cut of the chip.

Finish the center design. For chip 8, make the first cut along the top, the second cut with the grain, and the third cut along the long side of the triangle.

Carve the two-chip sets. For the four sets of two chips that butt up against each other, make the first cut with the grain. Complete the chip. Turn the piece 180 degrees and remove the second chip of the set with your first cut with the grain. Complete the chip. Turn your piece 90 degrees and carve the next set of two chips. Proceed to carve the remaining sets. There’s no need to worry about the grain on these—just remember when cutting the second chip that the first cut should be on the line that is shared with the first chip.

Carve the inner border. When cutting the inner triangle border, make the first cut with the grain. Make the second cut across the top of the chip and the third cut along the long side of the triangle.

Carve the corner sets. For the corner sets, start on the leftmost chip and work your way to the right. The first cut of the second chip of the set will always be the cut that shares a border with the previously removed chip, even if it is not with the grain. If it is not with the grain, then the second cut of the chip will be the one that is with the grain.

Carve the outer border. Continue taking out chips on the outer triangle border, always keeping in mind the grain direction.

Start small if desired. If you feel that it is too hard to remove the larger chips all at once, remember that you can remove smaller chips from the middle first. It will then require less pressure to remove the larger chips.

Clean up. After removing all the chips, clean up your work. You should have been cleaning up as you worked as well, but at the end you can do a final pass across the whole piece.

11 Make the coaster holder. Apply the holder pattern and carve it before starting to assemble the holder. It also softens the look of the holder if you slightly round the upper edge of the wood by either sanding it or using a router with a ⅛″ (3.2mm) roundover bit. The dowel length given in the materials list suits a stack of four coasters. If you plan to add felt pads or rubber bumpers to each of your coasters, or to stack more than four coasters in the holder, you will need to adjust the length of the dowels as needed; keep in mind that ¼″ (0.6cm) of the total dowel length is sunken into the holder. Drill the holes for the dowels in the center of each side, ½″ (1.3cm) from the edge, then cover the ends of the dowels in wood glue and insert them. When gluing, use a square to make sure the dowels are standing at a 90-degree angle from the base. Wipe away any excess glue.

TIP

While carving, remember that if the chip that you are going to remove runs with the grain for any of the cuts, the cut with the grain should always be the first or second cut in that chip. If the last cut is with the grain, the chip may break out instead of the knife cutting it. This will result in a rough, uneven cut.

Diamond Ornaments

Beginner

Chip carving patterns on here

These diamond ornaments are a simple geometric shape, but what is carved on the inside of the ornament makes them distinctive. These ornaments let you practice some of the basic chips. You can be creative with texture or a stab knife if you want, or just allow the eye-catching patterns to shine.

MATERIALS

• Basswood diamond (1): 2 ¾″ × 3 ¾″ × ¼″ thick (7 × 9.5 × 0.6cm)

• Hanger of choice

TOOLS

• Standard chip carving toolkit

• Band saw

Most carvers like to make ornaments. Many woodcarving guilds have ornament trees as fundraisers, or they make them for donations for charities. Ornaments are very portable, but they also help your carving skills without forcing you to dedicate yourself to a large, time-consuming project. They are also great projects to try out texture and stab knife patterns on.

To get started, transfer the pattern and the ornament outline to a piece of basswood. Place the pattern so the grain of the wood is the same direction as the length of the ornament. Cut the diamond shape out with a saw. Use 220-grit sandpaper to sand the edges to smooth them out, being careful to not sand the pattern. Then have fun carving!

These ornament designs consist of three-sided triangular chips, large and small, with different-sized lines; one pattern contains some two-sided curved chips as well. For the four-star ornament, carve the stars first, keeping in mind the grain—the first chip taken out should go with the grain. Then carve the lines. For the pinwheel ornament, carve the pinwheel first, taking out the first chip with the grain, then carve the outer chips. When carving the two-sided curved chips, carve the straight side first. If you want texture, that can be added after the ornament is carved. For the ornament with the star in the middle, carve the star first. Once again, start the star with a chip that goes with the grain, then carve the outer chips. If you want to add the stab knife marks, they can be added at the end. Finally, for the ornament with the large lines that meet in the middle, carve the lines first, then carve the smaller star shapes; once again, the first chip you remove should be with the grain.

Hanger Options

There are many options for hanging your ornaments. Whichever you choose, use an awl to mark where you want to place the hanger in order keep the drill bit from wandering. Remember to be careful when drilling holes for your hanger—you don’t want to drill into what has been carved.

• Drill a hole through the side of the ornament, then use that hole to insert cord, string, a standard wire ornament hanger, or anything else you want to use.

• Use an awl to mark where you want to place an eye screw, then drill a 1/64″ (0.4mm) hole. Insert a 15/32″ (1.19cm) eye screw in the top of the ornament.

• You can also use eye pins, which are designed for jewelry making, instead of eye screws. This works best when going into the end grain. Cut the eye pin to the desired length. Make a hole in the ornament with a large needle (you may need to push it in with pliers). Place a small amount of gel CA glue (super glue) on the eye pin before inserting it into the hole in the ornament. Wipe off excess glue and let it cure. Practice on a small scrap of wood for fit.

• You can also use an inserted lamè cord. Use an awl to mark where you want to place the hanger, then drill a 1/16″ (1.6mm) hole. Cut the cord 6″ (15.2cm) long, put some white glue on both ends of the cord, and insert both ends in the hole. Take a round toothpick with some white glue on the tip, push it into the hole, and break the tip off so it is flush with the ornament. Wipe off excess glue with a damp towel.

Bell Ornaments

Beginner

Chip carving patterns on here

Bells ringing brings back fond memories of Christmases past. Families gathering, carols playing on the radio, presents under the tree, and perhaps enjoying the peppermint flavor of a candy cane. These ornaments add warmth and character to any tree or garland. I designed the bells with the purpose of giving the original pattern to a carving guild I belong to as well as to some friends. Many carvers look for new ornament patterns that are smaller, but distinctive, to carve and donate to local charities. Our guild donates to a local veteran’s home.

MATERIALS

• Basswood bell (1): 3 ⅛″ × 3 ⅛″ × ⅜″ thick (7.9 × 7.9 × 1cm)

• Hanger of choice

TOOLS

• Standard chip carving toolkit

• Scroll saw

Apply the pattern so the grain of the wood runs from the top to the bottom of the pattern, then cut it out with a saw. Sand the edges with 220-grit sandpaper to remove the saw fuzzies. Start carving the star in the middle and work your way outward. As you carve, focus on keeping the knife at a 65-degree angle, making sure that the deepest part of your cut coincides with the widest part of each chip. When cutting a chip that may have a side that runs parallel with the grain, make the cut with the grain either your first or second cut. When carving a chip next to a chip that has already been carved, carve the side of the new chip that shares the side of the previous chip first. This helps prevent chip-out. Strive to keep a sharp ridge between the chips. Once you have the ornament carved, clean up any remaining lines and any fuzzies that may remain in the bottom of the chips. Apply the finish and a hanger (see here), and enjoy the seasonal cheer!

3D Sled Ornaments

Beginner

Chip carving patterns on here

My desire to design an ornament that was three-dimensional inspired this sled design. Of course, growing up in the Midwest, winter and sledding go hand in hand. These sleds remind me of sledding with my brothers, with the snow blowing in our face, our cheeks turning pink and fingers getting chilled. These sleds use mostly two-sided and three-sided chips that don’t take long to master, and they look adorable on the Christmas tree. Friends and family will be able to look at the ornament for years to come, remembering the person who gave it to them.

MATERIALS

• Basswood sled top (1): 3 ¼″ × 1 ¾″ × ¼″ thick (8.3 × 4.4 × 0.6cm)

• Basswood runners (2): 4″ × ¾″ × ¼″ thick (10.2 × 1.9 × 0.6cm)

• Dowel (1): 1 ½″ long × ⅛″ dia. (3.8 × 0.32cm)

• 1″ (2.5cm) spacer (any scrap piece of wood)

• Double-sided woodturning tape

• Wood glue

• Hanger of choice

TOOLS

• Standard chip carving toolkit

• Scroll saw

• Drill/drill press

• Drill bit: ⅛″ (3.2mm)

First cut the sled top and runners with the grain running lengthwise using a saw. I recommend cutting both of the runners at the same time by stacking the pieces with double-sided woodturning tape between the wood so they are identical once they are cut out. Be aware that using too much of the tape may make it difficult to separate the runners. Drill the ⅛″ (3.2mm)–wide hole for the dowel while the runners are stacked to make sure the holes line up.

Transfer the patterns to the sled top and the runners. When transferring the pattern on the runners, be sure to place the pattern on the outward facing side of both runners. When carving, make sure your knife is at a 65-degree angle and that the deepest point of the chips coincides with the widest part of the chip.

One of the patterns has pink chips in it. This indicates that the chip should be made as a straight-walled chip (see instructions on here). If you would feel more comfortable making a standard three-sided chip instead, that would also work.

To assemble the sled base, first place a small amount of wood glue on each end of the dowel, then slide a runner onto each end of the dowel, making sure the carved sides are out and using a spacer to ensure correct spacing. Also make sure the runners sit flat. You may need to twist them on the dowel to make this happen, so do this before the glue dries.

To assemble the final sled, first place the sled top on a solid surface with the carved side down. Place a very small ribbon of glue on the top edge of both runners. Center the runners on the bottom of the sled top. Make sure the front of the runners (doweled end) and the front of the sled (curved outward) are on the same end. Remove any glue that squeezes out with a clean paper towel. Place the spacer between the runners again, make sure that it doesn’t accidentally get glued to the sled. Place a small weight, such as a can of soup, on the runners and allow to dry. Once the piece has dried, remove the spacer and apply your desired finish.

See additional patterns on here.

Fan and Light Pulls

Beginner

Chip carving patterns on here

Dress up your ceiling fans with these fan and light pulls. Never get confused again about which chain to tug to change the speed of the fan or to turn the light off—label the pulls with an F or an L, or, alternatively, always make one shape the fan and the other the light.

MATERIALS

• Teardrop shapes (2): 2″ × 2 ⅞″ × ¼″ thick (5.1 × 7.3 × 0.6cm) basswood

• House shapes (2): 2″ × 1 ⅞″ × ¼″ thick (5.1 × 4.8 × 0.6cm) basswood

• Screw eyes (4): ⅝″ (1.6cm)

• Ball chain pull loop connectors (4)

• Double-sided woodturning tape (optional)

TOOLS

• Standard chip carving toolkit

• Scroll saw

• Drill/drill press

• Drill bit: 3/64″ (1.2mm)

• Two pairs of pliers

There are two ways you could cut these shapes out. You could apply the patterns to the wood and then cut each shape out individually. Or you could stack your wood with double-sided woodturning tape, stack cut the shapes first, and then apply the patterns for carving. The pattern needs to be applied to both sides of the pull.

The carving of this project consists mainly of three-sided chips. When carving, focus on keeping the ridges between the chips sharply peaked and not flat. The letters are carved with straight cuts with your knife kept at the normal 65-degree angle. Make the horizontal cuts first, then the vertical cuts, leaving the serifs for last (the serif is the part of the letter that forms a small triangular shape at the end of the straight chip). I recommend carving the letters on a practice board until you’re satisfied before carving them on your project.

Once each pull is carved, round over the edges by sanding with sandpaper. This softens the look and feel of the pull. Apply your desired finish. Then drill 3/64″ (1.2mm)–wide holes for the screw eyes into the top of each pull. Open the screw eye by twisting the eye loop open with two pairs of pliers. Insert the connector, then close the screw eye by twisting it shut with two pairs of pliers again. Attach the screw eye to the pull by drilling a 3/64″ (1.2mm) pilot hole into the top of the pull and then turning the screw eye into the hole. Then attach the pull to the chain on your fan or light. Voilà!

Intermediate Projects

Trinket Box

Intermediate

Chip carving patterns on here

Project plan on here

This trinket box is a decorative vessel you can use to store something small, like a piece of jewelry, extra buttons, tokens, or anything little that you don’t want to misplace. It would also make a great gift for someone’s birthday or retirement. It has a fun top that twists to open and is held shut with a magnet. It is really a great project for honing your skills. The beautiful star in the middle lets you practice smaller and larger three-sided triangular chips. It also has some two-sided curved chips; remember to carve the inside of the curve first. One of the additional patterns also has accent layers (shown as green lines on the pattern). These don’t need to be carved, but if you choose to do so, they are a nice addition.

MATERIALS

• Contrasting wood sides (4) (A): 1 ½″ × 3″ × ⅜″ thick (3.8 × 7.6 × 1cm)

• Basswood top (1) (B): 3 ⅜″ × 3 ⅜″ × ⅜″ thick (8.6 × 8.6 × 1cm)

• Basswood bottom (1) (C): 3″ × 3″ × ¼″ thick (7.6 × 7.6 × 0.6cm)

• Steel pins (2): ⅛″ dia. × ½″ long (0.32 × 1.3cm)

• Magnet (1): ¼″ dia. × ⅛″ thick (0.6 × 0.32cm)

• Wood glue

• Gel CA glue

• Painter’s tape

TOOLS

• Standard chip carving toolkit

• Table saw

• Bar clamps

• Drill/drill press

• Drill bits: ⅛″ (3.2mm), ¼″ (0.6cm)

• Router (optional)

• Router bit: ⅛″ (3.2mm) roundover (optional)

Contrasting woods used (from top): black walnut, cherry, purpleheart

Step-by-Step Instructions

Number the chips. Start by carving the star in the middle of the piece. Number the chips in the order the chips should be carved as shown. You will be starting and ending the star with the grain, which is running up and down in this picture.

Carve the first chip. Start with chip 1 and work your way around the star in a clockwise direction.

Carve slowly and carefully. When you have two chips that are next to each other, remember to carve the larger chip first. This helps to avoid chip-out. If you feel that the chip is too large, you can take out a smaller chip from the center to make it easier to remove the larger chip.

Finish the star. The last chip of the star is with the grain. The first cut will be the side of the chip that connects with the previous chip (chip 15); the second cut will be with the grain and shares a side with chip 1.

Start carving the curves. The next step to carving this box top will be the two-sided curved chips that surround the star. To successfully carve a curve like these, carve the inside part of the chip first. Stand your knife up a little more to get around the curve with a smooth cut. It also helps if you make the cut in one complete motion without stopping in the middle.

Continue carving the curves. Once you have the inside cut made, turn the piece 180 degrees and cut the outside of the curve. Once again, make the cut in one continuous motion.

Relieve the leaves. The leaves around the outside add some contrast to the star in the middle. If you look closely at the pattern, you will notice that the chips around the leaves are still three-sided—there is just a little curve to them. Make each first cut next to a previously carved chip. Carve the side that shares a side with the carved chip first. Stand your knife up around the curves.

Continue relieving the leaves. When carving the side that is against the grain, for the larger chips, make the edge cut first. This will keep the edge from chipping out. You have a higher chance of this chipping out because your knife is inserted and going around a corner, which can create a prying motion. This could split the grain.

Carve the corners. When carving the lines in the corners that separate the corner leaves, make the first cut in first position (left photo) and the second cut in second position (right photo). This will help prevent chip-out on the corners where it is more fragile. The veins in the leaves can be carved by making very small two-sided curved chips.

Clean up and finish. You should have been cleaning up as you worked; finish your cleanup after removing the final chip. Apply the finish of your choice.

11 Assemble the box. Apply the pattern and carve it before starting to assemble the box. Cut the wood pieces to size and cut the mitered edges—the side pieces require 45-degree mitered cuts. After lightly sanding the mitered ends, lay them mitered side down on a flat surface in a row. Using painter’s tape, apply two continuous strips joining all the sides together. Turn them over and bring the ends together. Apply tape to the last untaped corner. This should show how tight your box sides fit. If all appears good, remove the last tape applied and turn over. Apply wood glue to the corners and reassemble, taping the last joint again. After the glue dries, sand the top and bottom edges for a smooth fit with the top and bottom pieces. Glue the bottom onto the sides and clamp with bar clamps. When dry, remove the clamps and sand the entire box exterior. Locate and drill ⅛″ (3.2mm) holes into opposite corners of the box sides for the pins. Drill a ⅛″ (3.2mm) hole into one corner of the top for a pivot pin and drill a ¼″ (0.6cm) hole into the opposite corner for the magnet. Pay attention to hole depths, as the pivot pin hole should be shallower than the magnet pin hole. Install the pins and magnet. The pins will not need glue, so simply press to fit; install the magnet with gel CA glue (super glue). (Use specifically gel CA glue, as regular CA glue tends to bleed out the side grain.) Round over the top on the upper and lower edges with a ⅛″ (3.2mm) roundover router bit, or use sandpaper.

Mini Box

Intermediate

Chip carving patterns on here

Project plan on here

Who doesn’t have a use for a small box to hold a treasured keepsake, a piece of jewelry, or a ring? This little box has a top that twists to open and is held shut with a magnet. It is the perfect project for a carver who is starting out but wants the challenge of working on a small surface. This makes a stunning box to hold a family heirloom.

MATERIALS

• Contrasting wood sides (4) (A): 1 ½″ × 2 ⅛″ × ¼″ thick (3.8 × 5.4 × 0.6cm)

• Basswood top (1) (B): 2 ½″ × 2 ½″ × ⅜″ thick (6.4 × 6.4 × 1cm)

• Basswood bottom (1) (C): 2 ⅛″ × 2 ⅛″ × ¼″ thick (5.4 × 5.4 × 0.6cm)

• Steel pins (2): ⅛″ dia. × ½″ long (0.32 × 1.3cm)

• Magnet (1): ¼″ dia. × ⅛″ thick (0.6 × 0.32cm)

• Wood glue

• Gel CA glue

• Black velvet foam tray pads for rings, 4 rows with 3 ring lines: 3 ¼″ × 5 ½″ (8.3 × 14cm) (optional)

TOOLS

• Standard chip carving toolkit

• Table saw

• Bar clamps

• Drill/drill press

• Drill bits: ⅛″ (3.2mm), ¼″ (0.6cm)

• Router (optional)

• Router bit: ⅛″ (3.2mm) roundover (optional)

This project can be carved after the box has been assembled—the top of the box should be able to be pulled off the completed box, since it is held on by just one pin, which it pivots on. Assemble the box following the general directions for the Trinket Box project (here), which has the same closure method with pins and a magnet. To convert this mini box into a ring box, cut a black velvet foam tray pad for rings to size and insert it into the box.

For carving, once you have your pattern applied, start carving in the middle of the project, working your way to the outside. If you choose a pattern that has accent layers or the layered leaf, cut out the main part of the chip, then the stop cuts, and then make a small slice to each stop cut. A couple of the patterns also have some curves to them. When carving a curve, stand your knife up to help keep a clean cut. By standing the knife up, you have less of the blade moving through the wood at one time, allowing the knife to turn more easily. Practice the accent layers, layered leaf, and any curved parts on a practice board before you carve them on the project.

Contrasting woods used (from top left): black walnut, padauk, purpleheart, purpleheart

Single Deck Card Box

Intermediate

Chip carving patterns on here

Project plan on here

“Want to play some cards?” That is a phrase I have heard many times at family gatherings. Our family favorite card game is Five Hundred—what’s yours? This box is a perfect present to give to a family member or friend who is an avid card player. Locating a deck of cards will be much easier when they are stored in one of these attractive boxes, and it will also save the cardboard box from getting beaten and dented.

MATERIALS

• Contrasting wood front/back (2) (A): 1″ × 4 ½″ × ⅜″ thick (2.5 × 11.4 × 1cm)

• Contrasting wood sides (2) (B): 1″ × 3 ½″ × ⅜″ thick (2.5 × 8.9 × 1cm)

• Basswood top (1) (C): 3 ⅝″ × 4 ¾″ × ½″ thick (9.2 × 12.1 × 1.3cm)

• Basswood bottom (1) (D): 3 ½″ × 4 ½″ × ¼″ thick (8.9 × 11.4 × 0.6cm)

• Hinges (2): 1″ × 13/16″ (2.5 × 2.1cm)

• Screws (8): #2 × ¼″ (0.6cm)

• Wood glue

• Painter’s tape

TOOLS

• Standard chip carving toolkit

• Table saw

• Bar clamps

• Drill

• Drill bit sized for hinge screws

• Router (optional)

• Router bit: ⅛″ (3.2mm) roundover (optional)

• Screwdriver

Make the box first, then carve it. First, cut the wood pieces to size. Cut the mitered edges as needed—the side pieces require 45-degree mitered cuts. After lightly sanding the mitered ends, lay them mitered side down on a flat surface in a row. Using painter’s tape, apply two continuous strips joining all the sides together. Turn them over and bring the ends together. Apply tape to the last untaped corner. This should show how tight your box sides fit. If all appears good, remove the last tape applied and turn over. Apply wood glue to the corners and reassemble, taping the last joint again. After the glue dries, sand the top and bottom edges for a smooth fit with the top and bottom pieces. Glue the bottom onto the sides and clamp with bar clamps. When dry, remove the clamps and sand the entire box exterior. Round over the top on the upper and lower edges with a ⅛″ (3.2mm) roundover router bit, or use sandpaper. Position the top piece and attach the hinges.

To carve the box, remove the top from the box before carving and reinstall it once the finish has been applied. The patterns for this project range from beginner to intermediate and even advanced. Many of the chips are three-sided, but the patterns also include lines, chevrons, and curves. While carving, remember to self-evaluate: are the chips coming out clean, are the ridges sharp, are you keeping a consistent angle with the knife when carving, and are the chips either too shallow (not allowing enough shadow) or too deep?

Contrasting woods used (clockwise from top): purpleheart, black walnut, padauk

Keepsake Box

Intermediate

Chip carving patterns on here

Project plan on here

If you are looking for a box that is the epitome of handsome, this project is for you. This would be a wonderful place to store your watch or a special souvenir you want to keep in a safe place.

MATERIALS

• Contrasting wood front/back (2) (A): 2″ × 5 ½″ × ⅜″ thick (5.1 × 14 × 1cm)

• Contrasting wood sides (2) (B): 2″ × 3″ × ⅜″ thick (5 × 7.6 × 1cm)

• Basswood top (1) (C): 3″ × 5 ½″ × ⅜″ thick (7.6 × 14 × 1cm)

• Basswood bottom (1) (D): 3″ × 5 ½″ × ¼″ thick (7.6 × 14 × 0.6cm)

• Hinges (2): 1″ × 13/16″ (2.5 × 2.1cm)

• Screws (8): #2 × ¼″ (0.6cm)

• Wood glue

• Painter’s tape

• Tagboard (optional)

• Double-sided woodturning tape (optional)

• Lining material of choice (optional)

TOOLS

• Standard chip carving toolkit

• Table saw

• Band saw

• Bar clamps

• Drill/drill press

• Drill bit sized for hinge screws

• Router (optional)

• Router bit: ⅛″ (3.2mm) roundover (optional)

• Screwdriver

This box needs to be built before carving the design. First, cut the pieces to size. Cut the necessary mitered edges—the side pieces require 45-degree mitered cuts. After lightly sanding the mitered ends, lay them mitered side down on a flat surface in a row. Using painter’s tape, apply two continuous strips joining all the sides together. Turn them over and bring the ends together. Apply tape to the last untaped corner. This should show how tight your box sides fit. If all appears good, remove the last tape applied and turn over. Apply wood glue to the corners and reassemble, taping the last joint again. After the glue dries, sand the top and bottom edges for a smooth fit with the top and bottom pieces. Glue the top and bottom pieces onto the sides and clamp with bar clamps. When dry, remove the clamps and sand the entire box exterior. Using a band saw, cut ⅞″ (2.2cm) in from the top of the box to divide the box into two pieces. Sand the cut edges on both top and bottom. Round over the top with a ⅛″ (3.2mm) roundover bit, or use sandpaper. Reassemble the top with the bottom using painter’s tape along the cut lines—this allows for proper alignment when attaching the hinges. Finally, attach the hinges.

Contrasting wood used: purpleheart

To carve this piece, the lid should be removed from the box for carving and then reinstalled once the finish has been applied. The pattern on this box has chips that fan out and meet in the middle. To keep these chips from chipping out, take care not to cut too deeply or undercut. This is a good part of the pattern to practice on your practice board. This pattern also has some two-sided curved chips. For these, cut the straight side of the chip first, then the curved side. Make sure that your chips are looking smooth and crisp. Keep your knife sharp.

After you have the box finished, you may want to line it. Here’s my preferred method. Cut a piece of tagboard to fit in the bottom of the box. Take the tagboard out of the box, cover it with double-sided woodturning tape, then cover the tape with the lining material of your choice. Trim the lining edges flush with the tagboard and place the entire piece into the box. I like to use a burgundy-colored velvet if the contrasting wood is purpleheart or black velvet if the contrasting wood is black walnut.

Hexagon Box

Intermediate

Chip carving patterns on here

Project plan on here

This is an intriguing little box, not just because the shape is different, but because it opens with a magnetized twist top. It is a beautiful piece to place on a table or a dresser. Let your imagination tell you what can be stored in such an admirable vessel. This would also be beautiful if all of the sides were made out of the same contrasting wood.

MATERIALS

• Basswood sides (3) (A): 1 ½″ × 2 ½″ × ⅜″ thick (3.8 × 6.4 × 1cm)

• Contrasting wood sides (3) (B): 1 ½″ × 2 ½″ × ⅜″ thick (3.8 × 6.4 × 1cm)

• Basswood bottom (1) (C): 4 5/16″ × 5″ × ¼″ thick (12.54 × 12.7 × 0.6cm)

• Basswood top (1) (D): 4 ⅝″ × 5 ¼″ × ⅜″ thick (11.7 × 13.3 × 1cm)

• Steel pins (2): ⅛″ dia. × ½″ long (0.32 × 1.3cm)

• Magnet (1): ¼″ dia. × ⅛″ thick (0.6 × 0.32cm)

• Wood glue

• Gel CA glue (super glue)

• Painter’s tape

TOOLS

• Standard chip carving toolkit

• Table saw

• Bar clamps

• Drill/drill press

• Drill bits: ⅛″ (3.2mm), ¼″ (0.6cm)

Build the box before carving. First, cut the pieces to size. Cut the necessary mitered edges—the side pieces require 60-degree mitered cuts. After lightly sanding the mitered ends, lay them mitered side down on a flat surface in a row. Using painter’s tape, apply two continuous strips joining all the sides together. Turn them over and bring the ends together. Apply tape to the last untaped corner. This should show how tight your box sides fit. If all appears good, remove the last tape applied and turn over. Apply wood glue to the corners and reassemble, taping the last joint again. After the glue dries, sand the top and bottom edges for a smooth fit with the top and bottom pieces. Glue the bottom onto the sides and clamp with bar clamps. When dry, remove the clamps and sand the entire box exterior. Locate and drill ⅛″ (3.2mm) holes into opposite sides of the box (centered) for the pins. Drill a ⅛″ (3.2mm) hole into one side (centered) of the top for the pivot pin and drill a ¼″ (0.6cm) hole into the opposite side (centered) for the magnet. Pay attention to the hole depths, as the pivot pin hole is shallower than the magnet pin hole. Install the pins and magnet. The pins will not need glue—simply press to fit. The magnet should be installed with gel CA glue (super glue). (Use specifically gel CA glue, as regular CA glue tends to bleed out the side grain.) Round over the top on the upper and lower edges using a router with a ⅛″ (3.2mm) roundover bit, or use sandpaper.

Now it’s time to carve. Simply remove the cover from the top of the box and carve. This design has four-sided chevron chips that may challenge a carver, but with practice, all chips can be achieved. Once you have carved the chevron chips, you may notice that the inner corner that protrudes into the center of each chip does not line up with the outer point of the chip. This can be fixed by adjusting the inner corner by slicing off some wood on one side to center the point. Carve the chevron chips before you carve the two-sided micro chips.

Contrasting wood used: padauk

Cell Phone Holder

Intermediate

Chip carving patterns on here

Project plan on here

With technology so central in our lives, a cell phone holder is something that most people could use. This project looks good on your desk at work or on the kitchen counter. Both patterns are distinctive and make this stand ornamental as well as practical. For this project, I recommend using a distinctive piece of wood for the base. For the ones I carved, I chose cherry, because I love the reddish tint it has once the finish is applied, and black walnut, because it has some spectacular grain.

MATERIALS

Note: Wood grain should run horizontally.

• Contrasting wood base (1) (A): 3 ½″ × 5″ × ¾″ thick (8.9 × 12.7 × 1.9cm)

• Basswood front (1) (B): 1″ × 5″ × ⅜″ thick (2.5 × 12.7 × 1cm)

• Basswood back upright (1) (C): 4 ¼″ × 5″ × ⅜″ thick (10.8 × 12.7 × 1cm)

• Wood glue

TOOLS

• Standard chip carving toolkit

• Table saw

• Dado blade set for table saw: ⅜″ (1cm) dado

• Router (optional)

• Router bit: ⅛″ (3.2mm) roundover (optional)

• Fine-tipped awl (for acorn design)

Before carving, cut the project pieces to size. The wood grain should run horizontally. Then cut a ⅜″ (1cm) dado with a table saw, ¼″ (0.6cm) deep and ¼″ (0.6cm) from the front of the base at a 90-degree angle to hold the front piece in place. Then cut a ⅜″ (1cm) dado with the table saw, ⅜″ (1cm) deep and 1 ⅛″ (2.9cm) from the front of base at a 60-degree angle. This will hold the upright, the piece the back of the phone rests against.

Slightly round over the edges on the base. Use a router with a ⅛″ (3.2mm) roundover bit or hand-sand if desired. The front and upright pieces should only be rounded on three sides, leaving the bottom side that fits into the slot on the base flat for a snug fit.

Apply the pattern to the front and back pieces, centering it but taking into account the ¼″ (0.6cm) of it that will be glued into the base. If you are carving the pattern with the acorns, carve around the leaves and the acorns first, keeping your knife at the standard 65-degree angle. To separate the acorn cap, make a stop cut and then carve up to it, rounding the profile with your knife. Sand just the acorns with 150-grit, then 220-grit sandpaper to give them a smooth look. Use a fine-tipped awl to add texture to the acorn caps. You may want to practice the acorns and the oak leaves, or the other leaves, before carving on your final piece.

After completing and finishing your carving, apply a small amount of wood glue to the bottom edges of the front and back pieces and glue them into the base in the appropriate slots.

Contrasting woods used (from top): black walnut, cherry

Trivet

Intermediate

Chip carving patterns on here

Project plan on here

This is a project that can be used on your table or to decorate a wall. Adding a contrasting wood trim frames your carving and dresses up the project. These are reminiscent of quilts used to keep warm on cold winter nights.

MATERIALS

• Basswood center (1) (A): 4 ¾″ × 4 ¾″ × ½″ thick (12.1 × 12.1 × 1.3cm)

• Contrasting wood trim (4) (B): ½″ × 5 ¾″ × ½″ thick (1.3 × 12.7 × 1.3cm)

• Contrasting wood pads (4) (C): ¾″ × ¾″ × ⅜″ thick (1.9 × 1.9 × 1cm)

• Wood glue

TOOLS

• Standard chip carving toolkit

• Table saw

• Band clamp

• Router (optional)

• Router bits: ⅛″ (3.2mm) roundover (optional)

Make the trivet before carving the design. After cutting the pieces, use wood glue to attach the trim pieces to the sides of the center. Secure with a band clamp. After this has dried, sand all sides smooth. Round the edges, top and bottom, with a ⅛″ (3.2mm) roundover bit, or use sandpaper. Also round the edges of the pads that go on the bottom of the trivet. Use wood glue to attach these pads to the corners.

The trivet patterns contain straight-walled chips in the borders, as indicated with pink on the pattern, as well as traditional chips. It is helpful if your knife is very sharp for the straight-walled chips. If you are not feeling comfortable with the straight-walled chips, you can carve standard three-sided chips instead. The leaf pattern trivet has stab knife marks on the bases of the leaves. If you have a stab knife, wonderful; if not, the piece looks just as charming without them. Remember to self evaluate your work as you carve. Is your knife sharp, are you keeping the 65-degree angle, and are you cutting all the way into the corners of the chips? Don’t forget to clean up your work as you carve.

I hang these up by placing a finishing nail in the wall, then drilling a small hole in the center of one of the pads. This lets the trivets hang diagonally on the wall, which adds a decorative appearance. If you’re going to use these functionally, make sure to choose a finish that can easily be wiped off with a damp cloth.

Contrasting woods used (from top): cherry, padauk

Napkin Holder

Intermediate

Chip carving patterns on here

Project plan on here

What a stylish way to keep napkins readily available on the counter for quick access! This is a functional item, but it also adds a touch of character to the kitchen. You can leave it on the table or island until the next meal without it looking out of place.

MATERIALS

• Basswood base square (1) (A): 6″ × 6″ × ½″ thick (15.2 × 15.2 × 1.3cm)

• Contrasting wood base trim (4) (B): ¾″ × 7 ½″ × ½″ thick (1.9 × 19 × 1.3cm)

• Basswood top square (1) (C): 4 ⅜″ × 4 ⅜″ × ⅜″ thick (11.1 × 11.1 × 1cm)

• Contrasting wood top trim (4) (D): ¾″ × 5 ⅞″ × ⅜″ thick (1.9 × 14.9 × 1cm)

• Poplar dowels (uprights) (2) (E): 3 ½″ long × ⅜″ dia. (8.9 × 1cm)

• Wood glue

TOOLS

• Standard chip carving toolkit

• Table saw

• Band clamps

• Drill/drill press

• Drill bits: ⅜″ (1cm), ½″ (1.3cm)

• Router (optional)

• Router bit: ⅛″ (3.2mm) roundover (optional)

Make the base and top of the napkin holder first, then carve them, but do not insert the uprights until after the base has been carved. To assemble the project, first cut the pieces. Then use wood glue to attach the trim pieces to the sides of the top and the base. Secure with band clamps. After the top and base have dried, sand all sides smooth. Round the corners on the top and base. Round the edges, top and bottom, with a ⅛″ (3.2mm) roundover bit, or use sandpaper. Locate and drill two ⅜″ (1cm) holes that are ⅜″ (1cm) deep in the base as shown in the project plan. Also locate and drill two ½″ (1.3cm) holes in the top as shown in the project plan. Dry fit the dowels and check to make sure the top slides easily over them, but do not glue them in until after the carving has been completed. When gluing the dowels in, use a square to ensure that they are perpendicular to the base. Before the glue has dried, double check to make sure the top continues to slide easily over the dowels. If not, you can make adjustments before the glue fully dries.

The designs for this napkin holder are made up mostly of traditional three-sided chips. There are also straight-walled chips (shown in pink on the pattern), with layers, in the border of one of the patterns. The other pattern has straight-walled chips (shown in pink on the pattern) that surround the star in the middle, which helps highlight the star. While carving, cut up to the corners of the chips, but not past them. If you cut past them, it will leave a knife mark that you cannot remove.

Contrasting wood used: black walnut

Doorstop

Intermediate

Chip carving patterns on here

Project plan on here

While carving one day, I placed a decorative pillow from our couch in front of the door that goes outside to keep it open. I wanted the fresh summer air to enter through our screen door. Looking at the pillow leaning against the door, I thought there had to be something better than a pillow to hold the door open. That is when I designed this doorstop. It was the perfect opportunity to take something ordinary and add a decorative flair to make it unique. Due to the smaller footprint of this project, it doesn’t get in the way of foot traffic. The contrasting layers of wood complement each other and add to its appeal. The angled top makes it easier to view and appreciate the carving.

MATERIALS

• Basswood bottom (1) (A): 3″ × 5 ½″ × ⅜″ thick (7.6 × 14 × 1cm)

• Butternut second layer from bottom (1) (B): 3″ × 5 ½″ × ¾″ thick (7.6 × 14 × 1.9cm)

• Black walnut third layer from bottom (1) (C): 3″ × 5 ½″ × ¾″ thick (7.6 × 14 × 1.9cm)

• Butternut fourth layer from bottom (1) (D): 3″ × 5 ½″ × ¾″ thick (7.6 × 14 × 1.9cm)

• Basswood top (1) (E): 3 ½″ × 5 ½″ × ⅜″ thick (8.9 × 14 × 1cm)

• Self-adhesive rubber bumpers (4): ½″ (1.3cm) (optional)

• Wood glue

TOOLS

• Standard chip carving toolkit

• Table saw

• Band saw

• Bar clamps

• Router (optional)

• Router bit: ⅛″ (3.2mm) roundover (optional)

Carve this project after it has been assembled. Glue together the bottom four layers (A–D on the project plan). After the piece has dried, cut the C and D layers (combined) at a 63-degree angle. Sand the cut smooth, then glue the top piece, piece E, to the top of the stack (the sawn angle). Trim this piece so the edge angles coincide with the already-cut angled sides of the doorstop. Sand the entire doorstop on all sides to smooth the sides and align the top to the existing sides. Round over all the edges with a ⅛″ (3.2mm) roundover bit, or use sandpaper.

The chips in this project are mostly two-sided and three-sided. I find it easier to carve the leaves when I carve up the right side and down the left side of the leaf. When carving the center, be careful not to undercut the chips, which may cause them to chip out.

Once the finish has been applied to the project, place some self-adhesive clear bumpers (available at most hardware stores) on the bottom to keep it from sliding if it is going to be used on a smooth surface.

Jewelry Holder

Intermediate

Chip carving patterns on here

Project plan on here

This project began when I wanted something that would hold multiple necklaces and earrings, but still allow them to be easily accessible. This design allowed a decorative front for contrast and carving that enhanced the beauty of the jewelry holder. By tilting the stand at a 65-degree angle, it allows the necklaces to hang behind the earrings, an efficient use of space.

MATERIALS

• Basswood base (1) (A): 5″ × 8″ × ½″ thick (12.7 × 20.3 × 1.3cm)

• Basswood braces (2) (B): 1 ½″ × 2″ × ½″ thick (3.8 × 5.1 × 1.3cm)

• Basswood front plate (1) (C): 2 ½″ × 8″ × ⅜″ thick (6.4 × 20.3 × 1cm)

• Contrasting wood outer uprights (2) (D): ¾″ × 12″ × ⅜″ thick (1.9 × 30.5 × 1cm)

• Contrasting wood earring braces (2) (E): ½″ × 6 ½″ × ⅜″ thick (1.3 × 16.5 × 1cm)

• Contrasting wood top/bottom braces (2) (F): ¾″ × 6 ½″ × ⅜″ thick (1.9 × 16.5 × 1cm)

• Screw eyes (12): 15/32″ (1.19cm)

• Dowels (18): ½″ (1.3cm) long × ⅛″ (3.2mm) dia.

• Wood glue

TOOLS

• Standard chip carving toolkit

• Table saw

• Band saw

• Bar clamps

• Drill/drill press

• Drill bits: 1/64″ (0.4mm), ⅛″ (3.2mm)

The carving on the project has some accent layering in the end triangles for added interest. For the accent layers, make stop cuts where indicated by the green lines on the pattern, being careful not to cut too deep, then remove a sliver of wood by slicing to the stop cut. The lines give separation to the different areas of the carving. Practice carving some diagonal lines on a practice board before carving on the project. Carve the lines before carving the leaves. The straight-walled chips around the star in the middle emphasize the middle as the focal point.

The base and the upright portion of this project should be assembled separately. Do not attach the front plate until after it has been carved.

To make the base, first cut out the base piece, rounding the back two corners and angling the front of the piece to 65 degrees. The grain for the base should be horizontal. Next, cut out two brace pieces with the grain vertical. Cut the fronts of the braces at a 65-degree angle so they match the base. Glue the braces to the base, lining up the edge of the base with the angles of the braces. Dowel these in place (drill holes to insert dowels to connect the pieces) with ⅛″ (3.2mm) dowels that are ½″ (1.3cm) long, two on each side.

The upright part of the project consists of two upright pieces and four horizontal pieces. Before assembling, pre-drill the twelve starter holes ½″ (1.3cm) apart for the screw eyes in the top horizontal piece using a 1/64″ (0.4mm) drill bit, being careful to not drill all the way through. For the earring braces, notch 3/16″ (4.8mm) out of the middle back of the brace to allow the earrings to fit properly. This notch is 5 ½″ (14cm) long, centered. Then use a ⅛″ (3.2mm) drill bit to center and evenly space fourteen holes ⅜″ (1cm) apart along the brace. The bottom brace does not have any alterations. Assemble the upright by drilling holes ¼″ (0.6cm) deep for ⅛″ (3.2mm) dowels in the appropriate places in the uprights to coincide with where the braces are placed. Also drill ⅛″ (3.2mm) holes, ¼″ (0.6cm) deep, in the end of the braces for the dowels to be inserted. Assemble the frame, glue and clamp it, and let it dry.

Contrasting wood used: purpleheart

You are now ready to attach the frame to the base. Dowel them together with ⅛″ (3.2mm) dowels for strength.

After the front plate has been carved, attach it with ⅛″ (3.2mm) dowels to the front, one on each side. Note that the pattern should not go all the way to the end of the front plate, to allow room for doweling. Apply your chosen finish, then insert the twelve eye screws after opening them up to allow a necklace to hang from them.

Necklaces

Intermediate

Chip carving patterns on here

I am not a person who likes to wear statement jewelry. So, when designing these necklaces, I wanted them to be noticeable but not overwhelming. The basswood front is 3/64″ (1.2mm) with a ⅛″ (3.2mm) contrasting wood back. Sanding the sides to a 25-degree angle allows the contrast layer to provide a natural frame for the carving. The layering of the wood gives depth to the designs by piercing through the top layer (basswood) and allowing a touch of the contrast wood to show. I chose mahogany as the contrast wood for these pieces. Butternut would also be a good contrast wood that is fairly easy to chip carve.

MATERIALS

• Basswood top layer (1): 1 ⅜″ × 1 ⅜″ × 3/64″ thick (3.5 × 3.5 × 1.2mm)

• Contrasting wood bottom layer (1): 1 ⅜″ × 1 ⅜″ × ⅛″ thick (3.5 × 3.5 × 0.32cm)

• Bail (1 per necklace): sized to match drill bit

• Necklace cord (1 per necklace): 16″ (41cm) with a 2″ (5cm) extension

• Wood glue

TOOLS

• Standard chip carving toolkit

• Band saw

• Disc sander

• Drill

• Drill bit: 3/64″ (1.2mm)

The carving on these necklaces includes traditional chips, straight-walled chips that are layered, and leaves with accent layers. These pendants can be a little tricky to hang onto while carving because of their size, so if you are not comfortable holding them in your hand, try using a lapboard. Make sure you are wearing a carving glove while carving—a knife can slip before you know what happened, so stay safe.

To create these pendants, I recommend starting with larger pieces of wood and cutting multiple pendants from it. First glue the two wood layers together, then cut the pieces to size and sand the edges to a 25-degree angle. Carve and finish the pendants. Then drill a hole through the corner of the piece, on the basswood, front to back, to accommodate the icepick bail, also known as a pinch bail, which will attach the necklace cord. These bails are simple to use: pull them apart with your fingers, then place the pegs of the bail in the hole on the pendant and push it shut. Bails can be found at craft stores that sell do-it-yourself jewelry supplies as well as online.

Contrasting wood used: mahogany

Pencil Holder

Intermediate

Chip carving patterns on here

Project plan on here

I was standing at my workbench one day and needed to put one of my mechanical pencils into my pencil holder, but it was already bursting at the seams. Of course, since this pencil holder is sitting on my workbench, it holds more than pencils—it holds small screwdrivers, a nail punch, an old toothbrush, short steel rulers, and even a small tube of powdered graphite. I asked my husband, Kim, if he could make me a larger pencil holder. It didn’t have to be anything special, because I was not going to carve it. After all, it was just for my workbench. A couple of days later, I was blessed with a solid basswood pencil holder that worked perfectly. It just so happened that I had been drawing up a new carving design and wanted to give it a try on something. And what was a perfect size to try it on? This pencil holder!

MATERIALS

• Basswood sides (4) (A): 4″ × 4 ¼″ × ⅜″ thick (10.2 × 10.8 × 1cm)

• Basswood bottom (1) (B): 4 ¼″ × 4 ¼″ × ⅜″ thick (10.8 × 10.8 × 1cm)

TOOLS

• Standard chip carving toolkit

• Table saw

• Band clamps

• Router (optional)

• Router bit: ⅛″ (3.2mm) roundover (optional)

Assemble the holder before carving it. Simply cut the pieces to size and then glue according to the project plan. Once it is assembled, rounding over the edges is always an option to take those sharp corners off. Use a ⅛″ (3.2mm) roundover bit and a router, or sand by hand.

This design has some large three-sided chips, so if you feel that they are too hard to cut out as one large chip, take smaller chips out of the middle first. The accent layers (marked in green on the pattern) are a bonus; you can leave them out if you want. The four-sided chips on the border are new, though, so you may want to practice them on a practice board before you carve them on your piece. To carve them, place the tip of your knife on a corner of the chip and push your knife in at a 65-degree angle until the blade of the knife reaches the opposite corner. When doing this, your knife tip should reach the center of the chip with each cut, allowing the chip to come out after the fourth side has been cut. As a reminder, any chip that has a side that runs with the grain should have the grain side cut be the first or second cut to remove that chip.

Serving Tray

Intermediate

Chip carving patterns on here

Project plan on here

Most serving trays that I have seen are made using the same wood throughout the piece. When my husband was making this project, he suggested using two different types of wood that complement each other, but offer a contrast to using all basswood. When designing the middle section, I wanted the focal point to be elongated, to coax the eye to the ends of the tray. When I designed the border for the inside and the outside of the tray, I included a portion of the design that is in the focal point.

MATERIALS

• Basswood front/back sides (2) (A): 2″ × 18″ × ⅝″ thick (5.1 × 45.7 × 1.6cm)

• Basswood handle sides (2) (B): 3 ¾″ × 13″ × ⅝″ thick (9.5 × 22 × 1.6cm)

• Basswood bottom center (1) (C): 4″ × 17 ⅜″ × ⅜″ thick (10.2 × 44.1 × 1cm)

• Black walnut bottom outsides (2) (D): 4 3/16″ × 17 ⅜″ × ⅜″ thick (10.6 × 44.1 × 1cm)

• Biscuits (4): size 10 (20mm × 52mm)

• Wood glue

TOOLS

• Standard chip carving toolkit

• Table saw

• Dado blade set: ⅜″ (1cm)

• Scroll saw

• Band clamp

• Drill/drill press

• Drill bit of choice for pilot hole

• Biscuit joiner

• Router

• Router bit: ¼″ (0.6cm) roundover

The pattern should be applied and carved after all the parts are cut out and the center three boards have been glued together and sanded. First, cut out all the pieces. The bottom of the serving tray consists of three pieces that are glued together and clamped. Once the bottom has dried, sand all the sides. The handle and front/back pieces (A and B on the project plan) require a ⅜″ (1cm) dado, 5/16″ (0.8cm) deep, ¼″ (0.6cm) from the bottom on the inside for the bottom tray to fit into. When cutting the handles into the handle pieces, use a scroll saw to cut the hole and rout the edges of the hole with a ¼″ (0.6cm) roundover bit. Also rout the top edges of the handle pieces and the front/back pieces with a ¼″ (0.6cm) roundover bit. When assembling, use a biscuit joiner to spline the corners of the tray for additional strength. Once all of the pieces are cut out and assembled, dry fit to check alignment. You are now ready to apply the patterns and carve the bottom, sides, and the front/back of the tray.

To apply the pattern, find the center of the middle and the sides of the tray. Apply the pattern to each half, making sure the patterns line up in the middle. Then carve. When carving the chevron chips in the center of the tray, you may feel more comfortable if you remove a smaller chip from the middle of the chip, then carve the size indicated. This will require less pressure on the knife as you carve. When carving the border, it is very important to keep your knife at a 65-degree angle. This lessens the chance that the ridges that go against the grain will chip out. Have fun and take your time carving the borders. This is not a marathon—if you sit a long time and carve, you increase your chances of making a mistake.

After carving, assemble, glue, and clamp the tray using a band clamp. For the finish, I used three coats of a clear satin polyurethane. I wanted a finish that would protect the wood and could be easily wiped clean if necessary.

Advanced Projects

Picture Frame

Advanced

Project plan on here

I like picture frames that have a narrower rim, especially if they are holding a picture that is 5″ × 7″ (12.7 × 17.8cm) or smaller. So, my challenge was to take a frame that had a ½″ (1.3cm) basswood border and see what could be carved on it. Never let yourself think that you are limited by the size of the item you carve. Take a space and make the most of it!

MATERIALS

• Basswood short sides (2) (A): ½″ × 5 ¾″ × ⅝″ thick (1.3 × 14.6 × 1.6cm)

• Basswood long sides (2) (B): ½″ × 7 ¾″ × ⅝″ thick (1.3 × 19.7 × 1.6cm)

• Contrasting wood short sides (2) (C): ⅜″ × 6 ½″ × ⅝″ thick (1 × 16.5 × 1.6cm)

• Contrasting wood long sides (2) (D): ⅜″ × 8 ½″ × ⅝″ thick (1 × 21.6 × 1.6cm)

• Picture frame easel back with ¾″ (1.9cm) extended leg (1): 5″ × 7″ (12.7 × 17.8cm)

• Glass (1): 5″ × 7″ (12.7 × 17.8cm)

• Picture frame turn buttons/fasteners with screws (4): ⅝″ (1.6cm)

• Wood glue

TOOLS

• Standard chip carving toolkit

• Table saw

• Dado blade set: 3/16″ (4.8mm) for cutting rabbet

• Bar clamps

• Band clamp

• Router

• Router bit: your choice

• Screwdriver

Assembling the Frame

Before carving, build the frame. You will need two boards that are each 30″ (76.2cm) long, one basswood that is ⅝″ × ½″ (1.6 × 1.3cm) and one contrast wood that is ⅝″ × ⅜″ (1.6 x1cm). This length allows extra room for the miter cuts. Glue the boards together along the ⅝″ (1.6cm) sides so that the thickness is the same across the boards once glued. Clamp with bar clamps. Once dried, sand. Cut the pieces to length according to the materials list. Make a rabbet cut 3/16″ × 3/16″ (4.78 × 4.78mm) along the inside bottom edge for the glass, picture, and easel back. Glue the sides together and clamp with a band clamp. Once dried, sand. Rout the outside upper edge of the frame with your router bit of choice.

Contrasting wood used: black walnut

Step-by-Step Instructions

You will need to hand draw the pattern on this frame. It is too small of a carving area to trace or use a heat transfer tool. Make sure you have these items from the standard toolkit: a mechanical pencil with B lead, a ruler, and a T-square.

Mark the measurements. To start, mark ⅛″ (3.2mm) in from each side of the basswood. This leaves a ¼″ (0.6cm) space in the middle. Then mark 1/16″ (1.6mm) in from each side of the basswood. That leaves a 1/16″ (1.6mm) margin of the basswood that will not be carved. Place these marks at least twice on each side of the frame.

Draw the lines. Draw lines all the way around the frame on your ⅛″ (3.2mm) and 1/16″ (1.6mm) marks. Pay close attention to make sure that the lines meet in the corners.

Draw squares. In the ¼″ (0.6cm) area in the middle of the border, draw ¼″ (0.6cm) squares around the entire frame.

Draw triangles. Starting from a corner, mark diagonally through the ¼″ (0.6cm) squares, alternating the diagonal direction, to create a series of triangles with ½″ (1.3cm) hypotenuses.

Draw rectangles. At every corner of every triangle both top and bottom, draw a straight line through the 1/16″ (1.6mm) space, forming thin ½″ (1.3cm) rectangular spaces within the 1/16″ (1.6mm) borders.

Finish drawing the pattern. Complete drawing the pattern on all sides of the frame, making sure the lines meet neatly in the corners as shown. You are now ready to start carving!

Make the first cut in the center corner. Start carving at one corner. The first cut should start parallel with the corner seam. Do not cut on the seam, but slightly to the side of the seam. By making this cut first, you lessen the chance of the seam chipping out.

Make the second cut. The second cut in this chip, and the following chips, will be with the grain. Move the knife to the inside of the chip just slightly to the left of the line and make the cut.

Make the third cut. Complete the chip by making the third cut to remove it.

Check your chip. Your completed chip will look like this. It will be slightly smaller than the triangle that was drawn when cut inside the line—this is correct.

Continue cutting the triangles. Continue to take out the triangular chips in this way. Remember to make the second cut of each triangular chip slightly to the inside of the chip, to the inside of the line.

Start the stepped triangle. Make one stop cut on the inside of each triangle chip, keeping your knife at a 90-degree angle to the bottom of the chip. The cut should go from the center of the long edge of the chip to the center of the left wall of the chip. This should form a 45-degree angle from the long edge.

Make the second stop cut. Make one stop cut on the inside of each triangle chip again, but this time make the cut so it is in the center of the right wall of the chip.

Finish the stepped triangle. Using the original line that was drawn for the long side of the triangle, remove a small piece of wood up to each stop cut. This completes the stepped design.

Do the opposing row. Repeat with the remaining triangles in the row so that a small, raised square appears in each triangle.

Start the rectangular chips. Keeping the knife at the usual 65-degree angle, make all the small cuts at the ends of the small four-sided rectangular chips.

Make the third cut. When cutting the long sides of each four-sided rectangular chip, make the third cut the long side that is right next to the triangle.

Finish the rectangular chips. Make the final cut on the outside line.

Finish the entire frame. Continue carving your way around the frame. Make sure your corners look like this and that you maintain clean ridges between each triangle and rectangle.

20 Finish the frame. After you are done carving, clean up your pencil lines with a white hi-polymer eraser, then apply your desired finish. Once the finish is dried, attach four picture frame turn button/fasteners to the back of the frame. These will hold in the glass, picture, and easel back with extended leg in place. I recommend using an easel back that allows the option of setting the picture up or hanging it.

Tablet Holder

Advanced

Chip carving patterns on here

Project plan on here

Have you ever sat at your desk or kitchen table and had the thought, “I wish I had a stand that would hold my tablet while I use it?” If so, this project is for you. It is similar to the Cell Phone Holder project (here), but larger to accommodate a tablet.

MATERIALS

Note: Wood grain should run horizontally.

• Contrasting wood base (1) (A): 4 ½″ × 7 ¼″ × ¾″ thick (11.4 × 18.4 × 1.9cm)

• Basswood front (1) (B): 1″ × 7 ¼″ × ⅜″ thick (2.5 × 18.4 × 1cm)

• Basswood back upright (1) (C): 5 ¾″ × 7 ¼″ × ⅜″ thick (14.6 × 18.4 × 1cm)

• Wood glue

TOOLS

• Standard chip carving toolkit

• Table saw

• Dado blade set: ⅜″ (1cm)

• Router

• Router bit: ⅛″ (3.2mm) roundover (optional)

Before carving, cut the project pieces to size. The wood grain should run horizontally. Then cut a ⅜″ (1cm) dado with a table saw, ¼″ (0.6cm) deep and ¼″ (0.6cm) from the front of the base at a 90-degree angle to hold the front piece in place. Then cut a ⅜″ (1cm) dado with the table saw, ⅜″ (1cm) deep and 1 ⅛″ (2.9cm) from the front of the base at a 60-degree angle. This will hold the back piece, the piece the back of the tablet rests against.

Slightly round over the edges on the base. Use a router with a ⅛″ (3.2mm) roundover bit or hand-sand if desired. The front and back pieces should only be rounded on three sides, leaving the bottom side that fits into the slot on the base flat for a snug fit.

Apply the pattern to the front and back pieces, centering it but taking into account the ¼″ (0.6cm) of it that will be glued into the base. This piece offers multiple chip styles to challenge your carving skills. It has the straight-walled chips (pink lines) in the corner areas and in the diamond shape in the middle, accent layers (green lines) throughout the focal point, and layered (green lines) and two-sided micro chips in the border. Use a practice board to perfect some of the chips before attempting them on the project. When carving the straight-walled chips, keep the long edge of the chip straight. If you are not comfortable with these chips, you can substitute a standard chip, but it would be a large chip, so take a smaller chip out of the middle first. When carving the border, focus on keeping the lines straight.

After completing your carving, apply a small amount of wood glue to the bottom edges of the front and back pieces and glue them into the base in the appropriate slots. Once the glue has dried, apply your chosen finish.

Contrasting wood used: black walnut

Decorative Plate

Advanced

Chip carving patterns on here

I won the basswood plate blank for this project in a raffle at a carving show in the fall. I was so excited to actually win it, since I am not usually lucky enough to get my name drawn, and I thought it would be a good challenge. When winter came, along with snow and cold, I knew it was a good time to design and carve my prize. It was snowing outside when I was designing this plate. As the snow fell to the ground, an occasional breeze would send the flakes swirling. I was reminded of, and longed for, warmer days and the sight and smell of blooming flowers and butterflies moving from bud to bud. As you carve your plate, I hope it brings back memories for you of summers spent outside enjoying the sunshine.

MATERIALS

• Rim plate (1): 12″ (30.5cm) total dia. with 8″ (20.3cm) dia. center

TOOLS

• Standard chip carving toolkit

Lightly sand the plate before applying the pattern. To apply the pattern, divide the inside of the plate into quarters, making sure that the north/south line is with the grain. Center the pattern in the dish of the plate with the leaves lined up on the lines. Then trace the pattern with graphite paper or use a heat transfer tool to apply the pattern. When applying the pattern to the rim, divide the rim into sixteen sections. Make sure that the rim leaves line up with the leaves in the middle of the plate. Place leaves on the rim at 12:00, 3:00, 6:00, and 9:00 positions so they line up with the leaves in the center of the plate. Once the pattern is placed correctly, trace with graphite paper. By tracing the rim, it allows you to manipulate the pattern to fit as needed, because plates may vary slightly. Instead of tracing a quarter of the rim pattern at one time, you can use a portion of the pattern (an eighth or even a sixteenth) to make placement more precise.

Make sure to keep your blade at a 65-degree angle. The four-sided rectangular chip on the butterfly is also carved with a 65-degree angle. When using a 65-degree angle, you will get a nice shadow to your chips. When you are done carving, remove marks that may remain, sand very lightly, and apply the finish.

Desk Clock

Advanced

Chip carving patterns on here

Project plan on here

My husband and I have long been intrigued by hexagonal boxes and interesting designs. One item that we felt would work well for a hexagonal design was a desk clock. We wanted the front to be large enough to have an interesting design, with the main design on the back. When positioned on a desk, the main design is viewable by a visitor, whereas the functional clock side, with its own adornment, faces the owner. Everyone’s happy!

MATERIALS

• Basswood center sides (6) (A): ¾″ × 2 ¾″ × 1″ thick (1.9 × 7 × 2.5cm)

• Contrasting wood intermediate layers (2) (B): 4 ¾″ × 5 ½″ × ¼″ thick (12.1 × 14 × 0.6cm)

• Basswood outer layers (2) (C): 4 ¾″ × 5 ½″ × ½″ thick (12.1 × 14 × 1.3cm)

• Clock face (1): 2 ¾″ (7cm) dia. with a 2 ⅜″ (6cm) dia. hole insert

• Wood glue

• Painter’s tape

TOOLS

• Standard chip carving toolkit

• Table saw

• Band clamp

• Bar clamps

• Hole saw for clock face: 2 ⅜″ (6cm) dia.

• Router

• Router bit: your choice

Assemble the clock before carving. First, cut all the pieces to size. The six basswood center pieces are assembled first. After lightly sanding the mitered ends, lay them mitered side down on a flat surface in a row. Using painter’s tape, apply a continuous strip joining all the center pieces together. Turn them over and bring the ends together. Apply tape to the last untaped corner. This should show how tight your joints fit. If all appears good, remove the last tape applied and turn over. Apply wood glue to the corners and reassemble, taping the last joint again. Use a band clamp if necessary. After the glue dries, sand the top and bottom edges for a smooth fit with the intermediate layer pieces. Then glue the intermediate contrasting wood layers and the basswood outer layers to the outside of the center piece. Secure with bar clamps. Double-check the grain on the intermediate and outer layers to make sure it is all going the same direction. Once it has dried, trim the excess with a band saw. Sand smooth to align with the center basswood piece. Locate the center point of one face of the wooden clock house and drill a 2 ⅜″ (6cm) hole with a hole saw for the clock insert. Double-check your clock insert for the hole size needed, as sizes may vary. Rout the outer edges with your desired router bit—we used an interesting stepped shape.

This clock has many accent layers (green lines) and layered chips (pink with green lines). The other chips are basic three-sided triangular chips. Make sure to practice some of these chips on a practice board before carving the final piece. For this project, practice the chips with and against the grain. When carving the woven triangle chips, focus on keeping your knife at a 90-degree angle to the project for the vertical stop cuts.

When carving the back of the clock, start carving in the middle and work your way out to the edges. When working on the accent layers on the back of the clock, carve a complete group of chips, like in the middle of the clock or a fan shape, and then carve the accent layers. When cutting in the layers for the fan shapes, take care to keep the ridges sharp.

For the layered chips, start by making a straight-walled chip with the vertical stop cuts at a 90-degree angle. The first horizontal layer of the woven triangles is cut at approximately 30 degrees. Then make your 90-degree vertical stop cut for the second layer, approximately ⅛″ (3.2mm) from the right side wall of the chip. The second layer horizontal cut is made at approximately 45 degrees. Make your 90-degree vertical stop cut for the third layer ⅛″ (3.2mm) from the left side wall of the chip. The horizontal cut for the third layer is at approximately 65 degrees. The design for the front is primarily made up of woven triangle chips. The sides of the clock are the woven triangle chips and standard three-sided triangular chips. Enjoy this challenge, and don’t forget to sign your name and date the project!

Design on the back of the clock.
Contrasting wood used: purpleheart

Perspective Wall Hanging

Advanced

Chip carving patterns on here

Project plan on here

One day I was preparing to apply the finish on some projects that I had carved. Two of the projects were a coaster and a frame. I happened to be holding a carved coaster under a carved frame, and I liked how they complemented each other. So I talked with my husband, showed him the effect it had, and asked if he could recreate something similar to carve. This is the wall hanging that we came up with. This piece has won multiple awards at carving competitions.

MATERIALS

• Basswood outer frame (4) (A): 1 ½″ × 6 ½″ × ⅞″ thick (3.8 × 16.5 × 2.2cm)

• Contrasting wood outer frame trim (4) (B): ½″ × 7 ½″ × ⅞″ thick (1.3 × 19 × 2.2cm)

• Basswood middle insert (1) (C): 3″ × 3″ × ¼″ thick (7.6 × 7.6 × 0.6cm)

• Contrasting wood middle insert trim (4) (D): ½″ × 4″ × ¼″ thick (1.3 × 10.2 × 0.6cm)

• Wood glue

• Painter’s tape

• Saw tooth hanger with screws or finishing nails (optional)

TOOLS

• Standard chip carving toolkit

• Table saw

• Dado blade set: ¼″ (0.6cm)

• Bar clamps

• Band clamp

• Router

• Router bit: your choice

• Screwdriver

• Hammer

Assemble this project before carving it. You will need two pieces of wood that are 32″ (81.3cm) long, one basswood that is ⅞″ × 1 ½″ (2.2 × 3.8cm) and one contrast wood that is ⅞″ × ½″ (2.2 × 1.3cm). This length allows extra room for the miter cuts. Glue the pieces of wood together along the ⅞″ (2.2cm) sides so that the thickness is the same across the boards once glued. Clamp with bar clamps. Once dried, sand. Cut the pieces to length as described in the materials list with mitered cuts. Make rabbet cuts 5/16″ × ¼″ (0.8 × 0.6cm) along both inside edges, top and bottom. Glue the sides together and clamp with a band clamp. Once dried, sand. Rout the outside upper edge of the frame with the router bit of your choice. Cut the insert center and trim pieces. Glue the trim pieces to the center and clamp. Once dried, sand. Ensure the insert fits properly into the frame, but do not glue the assembled insert into the frame until it has been carved and a finish applied. It would be impossible to obtain the correct knife angles if you attempted to carve the insert after it has been glued into the frame.

I suggest carving the entire star before carving the star accent layers. For the border of the insert, carve the woven triangle chips first, then carefully carve the small three-sided triangular chips, taking care to not chip out the uncarved part between the woven triangle chips and the small three-sided triangular chips. When carving the woven triangle chips, take extra care to keep the border lines straight.

When carving the frame, take your time. There is a lot of repetition in the design, so if you find yourself getting tired, put the carving down for a while. Carve the woven triangle chips first and then carve the small three-sided triangular chips. The last step in the carving is adding the accent layers to the small three-sided triangular chips. Try carving one side of the frame at a time; this will break up the monotony of carving so many similar chips. It is always exciting to see the pattern develop as you carve.

Apply the finish to the assembled/carved insert and the assembled/carved frame individually before gluing the two pieces together. Before applying the finish, dry fit the pieces together to determine where to apply the glue. Place ¼″ (0.6cm) painter’s tape to the front of the insert and the back of the frame where you plan to place the glue. Make sure to dry fit your project once again to make sure that the painter’s tape is not visible from the front of the project. Apply a finish to the two pieces, over the painter’s tape. This provides a clean wood-to-wood surface for gluing. Once the finish has dried, remove the painter’s tape and glue the insert into the frame. Finally, add the saw tooth hanger with screws or small finishing nails.

Personally, my favorite way to display this wall hanging is to turn it 45 degrees and hang it from a corner. It also looks great displayed on an easel.

Contrasting wood used: purpleheart

Tissue Box Cover

Advanced

Chip carving patterns on here

Project plan on here

Freestyle chip carving is not always thought of as chip carving because it does not use the traditional geometric shapes. Before I made this pattern, I had never produced patterns for freeform carving but wanted to give it a try. When I saw this uncarved tissue box cover, I wanted to create a pattern that would flow around the opening on the top and on the sides. For research, I picked some leaves off of our rose plant and from wild roses to see how they were formed. I also researched photos online and viewed videos on how to draw roses. After some trial and error, I created this pattern.

MATERIALS

• Basswood sides (2) (A): 3 ¾″ × 10 ¼″ × ⅜″ thick (9.5 × 26 × 1cm)

• Basswood ends (2) (B): 3 ¾″ × 5 ¾″ × ⅜″ thick (9.5 × 14.6 × 1cm)

• Basswood top (1) (C): 5 ¾″ × 10 ¼″ × ⅜″ thick (14.6 × 26 × 1cm)

• Wood glue

• Gel stain (optional)

• Painter’s tape

TOOLS

• Standard chip carving toolkit

• Table saw

• Scroll saw

• Band clamp

• Bar clamps

• Drill/drill press

• Drill bit of choice for pilot hole

• Router (optional)

• Router bit: ⅛″ (3.2mm) roundover (optional)

Assemble the project before carving, following the project plan as well as the general box assembly instructions from the Trinket Box project on here, including making mitered cuts, testing the fit with painter’s tape, and gluing the sides together (but don’t glue the top yet). After the sides dry, sand the top and bottom edges smooth. Next, mark the opening on the top piece, referring to the project plan. Cut the opening by first drilling a pilot hole and then cutting the opening with a scroll saw. Glue the top onto the sides and clamp with bar clamps. When the entire piece is dry, remove the clamps and sand the entire box exterior. Round over the top on the upper edge and opening with a ⅛″ (3.2mm) roundover router bit, or use sandpaper.

This carving is mostly comprised of two-sided curved chips and lines. The only three-sided chips in this design are at the bottom of some of the roses. Practice the roses on a practice board. Keep your knife sharp. Stand the knife up on the curves, and always carve the inside of the curves first.

Although the lines for the leaves may look fairly simple, they can be challenging when it comes to carving the veins. Be careful not to use too much pressure on your knife to avoid undercutting. Also be aware of the grain and how it may affect your carving where the veins intersect the main vein. Carve the main vein first, then the secondary veins. Cut the top part of the secondary veins on the left side of the leaf in second position. Then carve the underside of the secondary veins in first position. For the secondary veins on the right side of the leaf, cut the bottom of the vein in second position, then the top part of the vein in first position. This way, your knife will always be moving away from the center vein, which should help avoid chipping out where the secondary veins meet the main vein.

The roses are carved with mostly two-sided curved chips. When carving the curves, try to keep the knife moving and upright around the curves. Some of the chips may be wider in some parts of the chip. This helps define the overall shape of the rose.

When finishing the project, I wanted the roses and leaves to be more visible. After one coat of the standard polyurethane, I applied a couple of coats of gel stain, making sure I worked the stain into the carved areas with a stiff-bristled brush. Once it was stained, I brushed on the final coats of polyurethane.

Patterns and Project Plans

In these chip carving patterns, straight-walled chips are marked in pink and stop cuts for accent layers are marked in green. Feel free to modify, simplify, and mix and match patterns as desired.

The full project plans for cutting and building each project are provided; see additional assembly guidance for each project within the project text.

All chip carving patterns are provided at full size. The project plans are not full size.

About the Author

Charlene Lynum discovered chip carving in the 1980s. Since her retirement in 2015, she found a deeper love for chip carving. She believes chip carving is an art, not just a craft. A simple piece of wood can be made into a decorative, graceful, and useful item that gives the carver a feeling of accomplishment. It is a skill that can be developed without a major investment in tools and supplies.

Charlene is mostly self-taught. She has taken three classes, one with Virginia Van Vuren of Eau Claire, Wisconsin, who shared her love of chip carving with others at a local heritage center, the Ager House. The Ager House, which is run by Waldemar Ager Association, promotes Nordic culture. She took an additional two classes with Wayne Barton, a professional woodcarver well known for his chip carving and promotion of the art. Charlene is also an active member of the West Wisconsin Woodcarvers Guild in Eau Claire, Wisconsin.

She has had multiple chip carving projects and designs published in Woodcarving Illustrated magazine. Her work has won awards at the International Woodcarvers Congress, Wisconsin River Woodcarvers show in Stevens Point, Wisconsin, and the Artistry in Wood show in Dayton, Ohio. She received first place finishes for her carvings.

Charlene has also taken part in virtual carving shows, winning awards from the Richmond Carvers Society show, British Columbia, where she also earned the Tom Parks Award of Excellence. She also participated in the New England Woodcarvers Inc. show. She placed in both shows, earning first place awards.

If you would like to know what Charlene is working on or see some of her completed projects, you can find her on Instagram @thelynums.