Dedication
This book is dedicated to those who have always wanted to carve but are just starting out. Now is the time, now is the place to begin—and I am thrilled to be carving along with you as you do.

Layout Designer and Hand Model: Chris Morrison
Editors: Danielle Schagrin and Kaylee Schofield
Cover Photography: Mike Mihalo
Step-by-Step Photography: Carlyn Hindes Zelko

© 2020 by Tom Hindes and Fox Chapel Publishing Company, Inc., 903 Square Street, Mount Joy, PA 17552.

Whittling in Your Free Time is an original work, first published in 2020 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.

For a printable PDF of the patterns used in this book, please contact Fox Chapel Publishing at customerservice@foxchapelpublishing.com, quoting the ISBN and title of this book, as well as the pattern or patterns required.

Print ISBN 978-1-4971-0070-1

eISBN 978-1-6076-5771-2

Library of Congress Control Number: 2020930923

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.

First printing

Because working with wood and other materials inherently includes the risk of injury and damage, this book cannot guarantee that creating the projects in this book is safe for everyone. For this reason, this book is sold without warranties or guarantees of any kind, expressed or implied, and the publisher and the author disclaim any liability for any injuries, losses, or damages caused in any way by the content of this book or the reader’s use of the tools needed to complete the projects presented here. The publisher and the author urge all readers to thoroughly review each project and to understand the use of all tools before beginning any project.

CONTENTS

INTRODUCTION

GETTING STARTED

PROJECTS

Basics:
Sampler

Exercise 1:
Carving With and Against the Grain

Exercise 2:
Carving Up and Downhill

Safari Animals

Giraffe

Rhino

Lion

Hippo

Aquatic Animals

Dolphin

Polar Bear

Whale

Woodland Animals

Deer

Wolf

Standing Fox

Running Fox

Farm Animals and Pets

Golden Retriever

Scottie

Horse

Chicken

Pig

Appendix

Safety

Basic Cuts

Basics of Sharpening

Finishing

Patterns

About the Author

INTRODUCTION

This book is an introduction to whittling, or carving wood with a knife. I whittle in a simplified flat-plane style, in which I establish the shape of a piece with angular facets; you won’t find many rounded edges in this book! Using four basic knife cuts, I’ll show you how to whittle a menagerie of animals, from the proud lion to the adorable Scottie dog.

Along with the aesthetic appeal, I whittle in the flat-plane style because it doesn’t take much time. Every project in this book is portable and can be completed in under 20 minutes! Even those with a busy schedule can take a few moments out of their day to carve one of my animals.

Whether you are a beginner or more experienced wood carver, I encourage you to check out the Getting Started section, as well as the Appendix in the back. These two sections cover everything from whittling safety to picking the right knife. Once you know the basics, move on to the exercises. They will help you warm up and get comfortable with the knife before you get started on the projects.

What is Whittling?

I define whittling as carving wood with just a knife; whittlers don’t use chisels, gouges, or power tools. When some people think of whittling, specific projects come to mind: pointed sticks, wood chains, and a ball-in-cage. But when I think of whittling, I think of any carving that involves only a knife.

Whittling doesn’t require a large investment in tools or wood. All you need is a good knife, a good piece of wood, and a decent strop to keep your knife edge sharp. I give suggestions on knives and wood to use in the following sections (pages). If you aren’t sure how to sharpen a knife, check out the Basics of Sharpening section (page) in the Appendix.

Whittling is a great hobby that you can take anywhere you go. While some pull out their cell phones when they’re in a waiting room, I work on my latest project! This is why most of the projects in this book are small—I like to choose pieces that can fit in my pocket. I also enjoy doing projects that can be completed quickly. This is what makes whittling fun for beginners—they get immediate satisfaction and are anxious to keep on whittling more pieces.

My whittling often attracts attention from the people around me, especially children. Children are the best audience for whittling because they like small things and they don’t need too much detail to figure out what the whittled animal is. However, even if everything you make is for children, your piece will need some distinguishing characteristics. For example, lions are known for their thick, bushy manes, which are easy for both children and adults to identify quickly. The projects in this book will show you what features to leave in and what to leave out when depicting an animal. Hopefully, it will inspire you to design your own whittled animals, too!

What is Flat-Plane Woodcarving?

Flat-plane woodcarving is a Scandinavian folk art form that employs flat edge cuts rather than rounded edge cuts. Using one knife, the carver establishes a shape using very few cuts, letting the carved facets remain rather than sanding them smooth. Harley Refsal, a master at the flat-plane style, calls it “the difficult art of simplification.” Flat-plane carving often falls under the umbrella of “whittling.”

GETTING STARTED

What Makes a Good Whittling Knife?

One of my favorite things about whittling is that you can do it anywhere. This means the knife you use should be easily transportable. I prefer a folding pocketknife; nothing beats the convenience of safely slipping a folded knife into your pocket. If you would rather use a regular carving knife, just make sure to sheath the blade properly before transporting. Many carvers use cork or a length of silicone rubber tubing for this purpose.

Many manufacturers create folding knives for whittling (or carving) with blades that resemble classic carving knives. These specialty knives can get expensive. They are worth the money if you do a lot of whittling, but you don’t need to buy a specialty knife to whittle.

Many carvers keep a second pocketknife for everyday use in tasks such as opening cardboard boxes, to avoid dulling the sharp pocketknife they use for whittling.

When selecting a knife for whittling, keep the following factors in mind:

Carbon Steel Blade

Many pocketknife blades are made from stainless steel. Stainless steel holds an edge for a long time and doesn’t corrode if you close the knife with a wet blade—both great qualities for pocketknives. But because stainless steel dulls slowly, it sharpens slowly as well. Most carving tools are made from high-carbon steel. Knives with high-carbon steel blades are more expensive than knives with stainless steel blades, but they are easier to sharpen.

Many manufacturers are creating high-carbon stainless steel blades, which combine the durability of stainless steel with the added benefits of carbon steel.

Blade Location

Some pocketknives have 10 to 20 blades. These knives are generally less comfortable to use for long periods of time, and the blades you want to carve with are seldom in the center of the handle. If the knife blade is not in the center of the handle, you lose leverage, which reduces your carving power and control. Instead, look for a knife with two or, at most, three blades, which should ensure the blades are conveniently placed.

Blade Shape

Look for a sheepsfoot blade—one where the tip of the knife is closely aligned with the main cutting edge, similar to a utility knife or standard bench knife. Many pocketknife blades have a drop-point shape, which centers the tip of the knife in the middle of the blade. The drop-point shape works well for general cutting purposes, but makes it difficult to carve small details. I prefere a blade that has had the bevel removed and ground flat. You can reshape a blade using sharpening stones and sandpaper, but the process is time-consuming.

A sheepsfoot blade (top) is better suited for whittling than a drop-point blade (bottom).

Locking Blades

A locking blade keeps the sharp knife from accidentally closing on your fingers, which is a good safety feature. However, as long as you are always aware that a knife can close on your fingers, you should be safe, regardless of whether or not your knife features a locking blade.

Choosing the Right Knife for You

Selecting the ideal knife for you is a matter of personal preference. The size of your grip compared with the size of the handle will greatly influence how comfortable the knife is to use over extended periods of time. The ideal knife for your friend may not be well suited for you. Ask other whittlers for their opinions, but then handle and test several knives before making a purchase.

Selecting the Wood

The main requirement in selecting wood for whittling is that the wood must be able to hold detail. To hold detail, wood should have a tight grain free of knots. Several species of wood meet these basic criteria; however, for newer and less experienced whittlers, the wood should also be easy to whittle. For this reason, basswood is preferred in the United States; in Europe, carvers prefer lime wood or linden wood. These varieties of wood are readily available at modest prices. This does not mean that other types of wood cannot be whittled; it just means that, generally, newer whittlers will have more success with basswood. Keep in mind that not all basswood is the same. When whittling harder basswood, spray a mix of 50-50 water and rubbing alcohol onto the wood and let it absorb. This will make the wood more workable.

Preparing Wooden Blanks

The first things to notice about your wooden block are the end grain (on the ends of the board) and the straight grain (running the length of the board). Master wood carver Everett Ellenwood best describes end grain as “looking like the end of a bundle of straws” that run the length of the wood. Always orient the pattern so the weakest part of the carving will take advantage of the strength of the long “bundles.” For example, you want the giraffe’s neck to run the length of the wood grain; orient the grain horizontally and the neck will more likely snap.

The patterns I use for flat-plane whittling are one-dimensional side views of the object to be whittled. You can source these patterns from a few different places—your own sketches, coloring books, and copyright-free illustrations on the Internet. You will probably need to make changes to most illustrations you find. Most animal drawings have curved edges; draw straight lines to give the overall impression of the animal silhouette rather than an exact copy.

Once you settle on a subject and illustration, you can size the pattern. You can use a copier or a computer and printer to reduce or enlarge the pattern to suit your preference. When your pattern is ready, trace it onto the wood with a pencil and cut the shape with a scroll saw, band saw, or coping saw. Now you’re ready to whittle!

Once you’ve traced the shape onto the wood, you can cut out the blank with your saw of choice.

PROJECTS

Animals are some of my favorite carving subjects! And with so many different species to choose from, I never lack inspiration. For this book, I scoured the African savanna, the ocean, the forest, and the farm for some of the most iconic and well-loved beasts of land and sea. In the Safari Animals section, you’ll see a giraffe, rhino, lion, and hippo. Some of the most exciting animals live in or around water, including the dolphin, polar bear, and whale. Next, head to the forest and look for a deer, wolf, and two foxes (one standing, one running). Finally, you may find some familiar faces from the farm, including the golden retriever, Scottie dog, horse, chicken, and pig.

These animals make excellent gifts. While some may be too small for young children, older kids (and adults) will love seeing their favorite animal rendered in wood. Experiment with different paint colors and finishing techniques to customize each creature—you can go as realistic or as fanciful as you like.

I designed the following exercises and projects to give you a solid foundation for all your future whittling projects. Each provides you with an opportunity to try different cuts. If you’re just starting out, you may find that one type of cut feels easier or more natural than the others. With practice, you’ll become more comfortable with the various cuts and learn how to use them effectively.

For a printable PDF of the patterns used in this book, please contact Fox Chapel Publishing at customerservice@foxchapelpublishing.com, quoting the ISBN and title of this book, as well as the pattern or patterns required.

Basics: Sampler

In years past, young girls were taught the basic stitches used in sewing. They made “samplers,” which required them to repeat the basic sewing stitches over and over again. These samplers could be very simple practice pieces or more elaborate pieces with words and scenes. The thought behind this activity is: practice, practice, practice.

I created this whittling sampler so beginners could practice the basic cuts used in whittling: the stop cut, the push cut, and the paring cut. See Basic Cuts in the Appendix on page for more information about them.

In this project, you will practice on each corner of the blank, as well as on one of the flat sides. On Corners 1 and 2, you’ll make stop cuts and notches. This will prepare you for Corners 3 and 4, where you’ll practice making noses and eyes. While these cuts are particularly useful if you ever want to start carving people, the skills can apply to animal projects, too.

Materials & Tools

Materials:

• Basswood, ¾" (1.9cm) thick: 2" x 7" (5.1cm x 17.8cm)

Tools:

• Knife

Making Stop Cuts

Make stop cuts on Corners 1 and 2. Measure and mark the blank on two corners at ¼" (6mm) intervals. Make a shallow stop cut, about ⅛" (3mm) deep, at each mark.

Easier Stop Cuts

Now is a good time to start a habit. When you’re whittling smaller projects, it is easier to make stop cuts by moving the wood into the blade rather than by moving the blade into the wood. You may not be able to do this all the time, but practice it whenever possible. Place the blade on the measured mark, hold it firm, and “rock” the piece of wood into the blade to make a stop cut.

Carve notches. Remove small, angled chips from each side of the stop cuts to make evenly spaced notches. These are paring cuts.

Carving Eyes and Noses

Carve the bottom of a nose. Measure and mark Corners 3 and 4 at ¾" (1.9cm) intervals. Make ³/₁₆" (5mm)-deep stop cuts at each mark. Then use a push cut to remove a chip up to each stop cut. This will create the bottom of a nose. Repeat at each of the remaining stop cuts.

Complete the nose. Draw the nose and the tops of the eyes. Make stop cuts on either side of the nose by plunging the knife tip into the wood at the top of each side, and then rocking the knife blade down to the bottom of the nose as shown in the photo. Angle the blade to avoid undercutting the nose.

Carve the eye sockets. Make stop cuts at the top of each eye socket by plunging the knife tip into the wood where it intersects with the top of the nose, and then rocking the knife blade out as shown in the first photo. Then, using the knife tip, carve up to the stop cuts that define the sides of the nose and the tops of the eye sockets, and remove a chip from each side of the nose. The deep area where the cuts intersect is the eye socket. Make these cuts to form a nose and eye area at each of the remaining measured marks on this corner of the sampler.

Practice carving the eyes. On a flat side of the blank (between the corners), use the point of the blade to make two short, intersecting stop cuts. Then, remove the chip outlined by these two stop cuts with the point of the blade.

Add eyes to the eye sockets. Now that you feel comfortable, practice adding these “stop cut” eyes to the eye sockets on Corners 3 and 4.

Exercise 1: Carving With and Against the Grain

If you are new to whittling, use this exercise to practice the basic knife cuts (stop cut, paring cut, push cut) and their modifications. The goal is to establish clean, uniform cuts (flat planes). Before you begin, familiarize yourself with the safety practices applied to woodcarving (page).

Prepare the blank; I used a scroll saw to cut a 4" (10.2cm)-diameter circle from ½" (1.3cm)-thick basswood. For this exercise, you will also need a carving knife, a carving glove for the hand holding the wood, and a thumb protector on the thumb holding the knife.

Mark the grain direction. Look at the flat surface of the circle to determine the general direction of the wood grain. Mark the direction on the circle blank with a pen or pencil.

Mark the end grain. The area opposite the marked grain direction is the end grain. Mark the end grain with a pen or pencil.

Mark the centerline along the edge of the circle blank.

Make shallow stop cuts on both sides of the blank. Make the cuts about ¾" to 1" (1.9cm to 2.5cm) apart on the edges of the circle. Then remove a ¾" (1.9cm)-long slice of wood from the edge of one side of the blank. Use a paring cut, a thumb-assisted push cut, or a push cut with your thumb as a pivot. Approach the first cut slowly and notice the direction of the wood grain. If you feel resistance as the knife blade digs into the wood, you are going against the grain. Reverse the direction of the cut and go with the grain. The knife should slide easily through the wood. Continue making similarly sized cuts all the way around the circle, tapering it down toward the centerline at the edges.

Flip the blank over and repeat. Make the same knife cuts on the other side of the blank to match the knife cuts on the first side.

Tips to avoid removing too much wood and prevent tear-out:

• Keep your blade sharp. A sharp knife will produce cleaner cuts.

• Start thin! Start a cut with the idea of removing a very thin slice of wood.

• Limit the force/pressure you apply to the knife when cutting.

Exercise 2: Carving Up and Downhill

Like the first exercise, this one will help you become more comfortable with cutting flat planes. The many edges and curves of the blank will prepare you for the various edges and curves on your animals. You will come across end grain and grain running the length of the blank. Cut this shape or any similarly shaped blank on the scroll saw. My blank is made of ½" (1.3cm)-thick basswood.

Clean Knife Cuts

To achieve a clean knife cut that is both safe and comfortable to perform, you may have to turn the piece several times to find the ideal cutting angle—where the knife cut with the grain and lets you maintain a safe and firm grip.

Make shallow stop cuts around the edges of the blank. Place them in corners where lines meet. Try to make the cuts about the same depth. Note: Try rocking the blank while you hold the knife still.

Remove thin slices of wood from one stop cut to the next. Start wherever you like. Use a paring cut or a thumb-assisted push cut. Try to make clean, continuous cuts that are uniform in width.

Continue around the entire blank. Then flip it over and do the same thing on the reverse side.

GIRAFFE

See pattern on page

Mastering this gentle giant will put you head and shoulders above the rest! Although giraffes are the tallest animals in the world, my mini version requires no more strength or skill than the rest of the projects in this book—except perhaps in the painting stage. Be sure to keep the legs connected at the center; trying to separate them completely can lead to breakage. And enjoy your visit to the African savanna!

Materials & Tools

Materials:

• Basswood, ⅝" (1.6cm) thick: 2" x 3¼" (5.1cm x 8.3cm)

• Pen or pencil

• Spray adhesive: temporary-bond (optional)

• Sandpaper: assorted grits

• Toothpick

• Acrylic paints, such as Folk Art: bark brown, pure black, starlight gold, titanium white

Tools:

• Coping saw, band saw, or scroll saw

• Carving knife

• Paintbrushes: assorted small

Getting Started

Transfer the pattern to the wood using temporary-bond spray adhesive or your preferred method. Then cut around the perimeter with a band saw, scroll saw, or coping saw. Draw detail lines for the neck, legs, and tail on both sides and a centerline along the edges of the blank.

Separate the tail from the rump. Make stop cuts between the giraffe’s rump and tail on both sides of the blank. Start by placing the blade on the edge of the blank and then rocking it up and down across the pencil line. Begin to shape the tail. Make a series of shallow, decisive cuts from the end of the tail up to the stop cut you just made. Use your thumb as a pivot point for control. Then, thin the tail down until you’ve removed about a third of the width on either side.

Separate the head from the neck. Make stop cuts between the giraffe’s head and neck, on both sides of the blank. Use the rocking motion from Step 1.

Thin the head. Use push cuts or paring cuts to remove thin slices of wood from the nose back to the stop cut between the head and neck. Again, use your carving thumb as a pivot point, if desired. Keep removing thin slivers of wood until the head is slightly thinner than the body, and tapers toward the nose.

Thin the neck. Using either paring or thumb-assisted push cuts, thin the long neck area, removing all harsh lines so the neck flows up seamlessly into the head. Do this on both sides of the blank.

Add the haunch details. Make V-cuts on the haunch detail lines (behind the front leg and in front of the back leg). Do this on both sides of the blank. Use the centerline for reference to make the chips the same size and shape.

Add the flat-plane details. With a pencil or pen, mark the points where the straight edges intersect—in other words, wherever a straight line along the perimeter changes direction. Make a shallow stop cut at each of these places. Then, remove a thin sliver of wood between every set of cuts. Continue these cuts around the entire body, using a combination of thumb-assisted push cuts and paring cuts. The resulting flat planes should be clean and of uniform width (about one third of the blank’s thickness); if you’re careful, you will get one continuous line running around the entire giraffe. Do this on both sides of the blank.

Separate the ears. Make two angled cuts between the ears and then remove the chip, taking care not to snap the ears. Create a V-shaped cut running up the front of the front legs and the back of the back legs; this simulates a full separation without compromising stability. Decide where the eyes will go. Enhance the flat planes for the eyes using the knife. Then examine the whole carving and clean up cuts as needed.

Painting and Finishing

You can complete the giraffe in a few different ways: leave the knife cuts visible in a flat-plane style, and then paint or stain it to finish, or sand it smooth. (For a simpler look, you could also leave it unfinished.) I chose to paint my version with thinned acrylics and sand it lightly once dry to highlight the facets.

RHINO

See pattern on page

Sticks and stones may break our bones, but words will never hurt us—but however thick-skinned we might think we are, we’ve got nothing on the rhino. In fact, rhinoceros are covered in a tough armor over five times the thickness of human skin. While you’re carving, pay special attention to his defining features: the horn area and broad, square shoulders. Pachyderms might just become your new favorite carving subject!

Materials & Tools

Materials:

• Basswood, ¾" (1.9cm) thick: 1¼" x 2¼" (3.2cm x 5.7cm)

• Pen or pencil

• Spray adhesive: temporary-bond (optional)

• Sandpaper: assorted grits

• Toothpick

• Acrylic paints, such as Folk Art: medium gray, pure black, titanium white

Tools:

• Coping saw, band saw, or scroll saw

• Carving knife

• Paintbrushes: assorted small

Getting Started

Transfer the pattern to the wood using temporary-bond spray adhesive or your preferred method. Then cut around the perimeter with a band saw, scroll saw, or coping saw. Draw detail lines for the horn, legs, and tail on both sides and a centerline along the edges of the blank.

Separate the tail from the rump. Make stop cuts between the rhino’s rump and tail on both sides of the blank. Start by placing the blade on the edge of the blank and then rocking it up and down across the pencil line. Begin to shape the tail. Make a series of shallow, decisive cuts from the end of the tail up to the stop cut you just made. Use your thumb as a pivot point for control. Then, thin the tail down until you’ve removed about a third of the width on either side.

Separate the head from the neck. Make stop cuts between the rhino’s head and neck, on both sides of the blank. Use the rocking motion from Step 1.

Thin the head area. Make a stop cut between the horn and the face. Use push cuts or paring cuts to remove thin slices of wood from the tip of the horn back to the stop cut on both sides. Then, using the same method, make cuts along the face back to the stop cut on the neck. Again, use your carving thumb as a pivot point, if desired. Keep removing thin slivers of wood until the head is slightly thinner than the body, and tapers toward the horn.

Thin the neck. Using either paring or thumb-assisted push cuts, make a V-shaped valley that meets at the stop cut between the neck and head. Do this on both sides of the blank.

Add the haunch details. Make V-cuts on the haunch detail lines (behind the front leg and in front of the back leg). Do this on both sides of the blank. Use the centerline for reference to make the chips the same size and shape.

Add the flat-plane details. With a pencil or pen, mark the points where the straight edges intersect—in other words, wherever a straight line along the perimeter changes direction. Make a shallow stop cut at each of these places. Then, remove a thin sliver of wood between every set of cuts. Continue these cuts around the entire body, using a combination of thumb-assisted push cuts and paring cuts. The resulting flat planes should be clean and of uniform width (about one third of the blank’s thickness); if you’re careful, you will get one continuous line running around the entire rhino. Do this on both sides of the blank.

Separate the ears. Make two angled cuts between the ears and then remove the chip, taking care not to snap the ears. Decide where the eyes will go, and enhance the flat planes for the eyes using the knife. Then examine the whole carving and clean up cuts as needed.

Painting and Finishing

You can complete the rhino in a few different ways: leave the knife cuts visible in a flat-plane style, and then paint or stain it to finish, or sand it smooth. (For a simpler look, you could also leave it unfinished.) I chose to paint my version with thinned acrylics and sand it lightly once dry to highlight the facets.

LION

See pattern on page

This king of beasts needs no fanfare—lions have a quiet power that speaks for itself. I’ve designed this project after an adult male lion, recognizable for its tawny coat and voluminous mane. It’s an instant hit with cat lovers and fans of a certain hit musical. Once you get the hang of one, you can adapt it to create an entire pride of majestic felines; soon you’ll feel like a king, too.

Materials & Tools

Materials:

• Basswood, ½" (1.3cm) thick: 2" x 2½" (5.1cm x 6.4cm)

• Pen or pencil

• Spray adhesive: temporary-bond (optional)

• Sandpaper: assorted grits

• Toothpick

• Acrylic paints, such as Folk Art: chocolate brown, pure black, titanium white, yellow ochre

Tools:

• Coping saw, band saw, or scroll saw

• Carving knife

• Paintbrushes: assorted small

Getting Started

Transfer the pattern to the wood using temporary-bond spray adhesive or your preferred method. Then cut around the perimeter with a band saw, scroll saw, or coping saw. Draw detail lines for the mane, legs, and tail on both sides and a centerline along the edges of the blank.

Separate the tail from the rump. Make stop cuts between the lion’s rump and tail on both sides of the blank. Start by placing the blade on the edge of the blank and then rocking it up and down across the pencil line. Make a series of shallow, decisive cuts from the end of the tail down to the stop cut you just made. Use your thumb as a pivot point for control. Repeat the process, slightly deepening these stop cuts and thinning the tail until you’ve removed about a third of the blank’s thickness on either side. Use the centerline for reference.

Separate the mane from the head and body. Make stop cuts between the lion’s head and mane, and then mane and body, on both sides of the blank. Use the rocking motion from Step 1.

Thin the head. Use push cuts or paring cuts to remove thin slices of wood from the snout back to the stop cut between the face and mane. Again, use your carving thumb as a pivot point, if desired. Keep removing thin slivers of wood until the head is slightly thinner than the mane and tapers toward the snout.

Thin the shoulder area. Taper the shoulder area up to the stop cuts you made earlier along the edge of the mane. This will make the mane stand out from the body.

Add the haunch details. Make V-cuts on the haunch detail lines (behind the front leg and in front of the back leg). Do this on both sides of the blank. Use the centerline for reference to make the chips the same size and shape.

Add the flat-plane details. With a pencil or pen, mark the points where the straight edges intersect—in other words, wherever a straight line along the perimeter changes direction. Make a shallow stop cut at each of these places. Then, remove a thin sliver of wood between every set of cuts. Continue these cuts around the entire body and mane, using a combination of thumb-assisted push cuts and paring cuts. The resulting flat planes should be clean and of uniform width (about one third of the blank’s thickness); if you’re careful, you will get one continuous line running around the entire lion, and then a separate one running around the mane. Do this on both sides of the blank.

Clean up the cuts. Decide where the eyes will go and enhance the flat planes in those areas using the knife. Then examine the whole carving and clean up cuts as needed. If two of the flat planes form a high peak, you may want to remove the top point for a more rounded look.

Painting and Finishing

You can complete the lion in a few different ways: leave the knife cuts visible in a flat-plane style, and then paint or stain it to finish, or sand it smooth. (For a simpler look, you could also leave it unfinished.) I chose to paint my version with thinned acrylics and sand it lightly once dry to highlight the facets.

HIPPO

See pattern on page

If you want a hippopotamus for Christmas, then I have just the project for you! Derived from an ancient Greek term meaning “river horse,” hippopotami live up to their name. These semiaquatic mammals inhabit the lakes, rivers, and swamps of sub-Saharan Africa, but my carved version will be happy on any shelf, windowsill, or nightstand around the world.

Materials & Tools

Materials:

• Basswood, ¾" (1.9cm)-thick: 1½" x 2¾" (3.8cm x 7cm)

• Sandpaper: assorted grits

• Acrylics, such as Folk Art: pure black, titanium white, vandyke brown

Tools:

• Coping saw, band saw, or scroll saw

• Knife: small carving

• Paintbrushes: assorted small

Getting Started

Transfer the pattern onto the wood and cut around the perimeter with a band saw, scroll saw, or coping saw. Draw the detail lines on both sides and the centerline on the edges of the blank.

Separate the tail from the rump. Make stop cuts between the hippo’s tail and rump on both sides of the blank. Remove thin slices of wood from the outside edge of the tail to the stop cuts. Use the thumb as a pivot point. Repeat the process of slightly deepening the stop cuts and removing the thin slices of wood from the tail until you’ve removed about one third of the tail’s thickness on each side of the blank. Use the centerline as a reference to keep both sides even.

Thin the head. Make stop cuts between the head and the neck, on both sides of the blank. The head should be slightly narrower than the body (not too much because hippos are round and have big heads). Use push cuts or paring cuts (whatever you are most comfortable with) to remove thin slices of wood from the nose back to the stop cut between the head and neck.

Thin the neck. Using either paring cuts or thumb-assisted push cuts, thin the neck area from the body to the stop cut between the head and neck. Using the thumb as a pivot point may help. Do this on both sides of the blank.

Add the haunch details. Make V-cuts on the haunch detail lines (behind the front leg and in front of the back leg). Do this on both sides of the blank. Use the centerline for reference to make the cuts the same size and shape.

Add the flat-plane details. With a pencil, mark where the straight edges of the blank come together, and make a shallow stop cut at each point. Between each of the shallow edge stop cuts, remove a thin sliver of wood from the edge of the blank. Use a combination of thumb-assisted push cuts and paring cuts. Using your thumb as a pivot point may help to make uniform slices. Create flat planes on both sides of the blank. Try to keep the cuts clean and uniform in width (about one third the thickness of the blank). If you’re careful, you will get one continuous line running around the entire hippo. Clean up your cuts.

Separate the ears and nostrils. Make two angled cuts between the ears and then remove the created chip.

Painting and Finishing

There are several ways to finish the hippo: leave the knife cuts visible in a flat-plane style, stain it, paint it, or sand it smooth. Mix and match these techniques or leave the hippo unfinished. See the Finishing section in the Appendix for more information. I chose to paint the hippo with dark gray paint, sanding it lightly once dry to highlight the facets.

DOLPHIN

See pattern on page

Your friends will flip over this adorable dolphin! Known for their intelligence and agility, dolphins also display playful behavior in the wild. Emphasize the sleek, athletic body with smooth, clean cuts; make sure your knife is sharp. Once you get the form down, you can carve a pod of these popular marine mammals!

Materials & Tools

Materials:

• Basswood, ½" (1.3cm) thick: 2" x 2⅞" (5.1cm x 7.3cm)

• Sandpaper: assorted grits

• Acrylics, such as Folk Art: dark gray, pure black, titanium white

Tools:

• Coping saw, band saw, or scroll saw

• Knife: small carving

• Paintbrushes: assorted small

Getting Started

Transfer the pattern onto the wood, and cut around the perimeter with a band saw, scroll saw, or coping saw. Draw the detail lines on both sides of the blank, and a centerline on the edge.

Separate the dorsal fin from the body. Make stop cuts between the dolphin’s dorsal fin (located on its back) and the body on both sides of the blank. Rock the knife blade up and down to make the cut.

Thin the dorsal fin. With the knife, remove thin slices of wood from the outside edge of the dorsal fins down to the stop cuts. Use the thumb as a pivot point to control these cuts. Thin both sides of the blank evenly, using the centerline as a reference.

Relieve the flippers from the body. Make stop cuts in front and in back of the flippers. Remove chips of wood from the dolphin’s belly to the stop cuts. Do this on both sides of the dolphin. Use the centerline as a reference.

Distinguish the flukes (tail) from the body. Make a stop cut at the base of the flukes. Using the thumb as a pivot point, taper the dolphin’s body from the flippers back to the stop cut at the base of the flukes.

Add the flat-plane details. With a pencil, mark where the straight edges of the blank intersect. Then make a shallow stop cut at each of these places on the edge. Between each of the shallow edge stop cuts, remove a thin sliver of wood from the edge of the blank. Use a combination of thumb-assisted push cuts and paring cuts, creating smooth facets. Try to keep the cuts approximately the same width (about one third the thickness of the blank). If you’re careful, you will get one continuous line running around the entire dolphin. Clean up your cuts.

Painting and Finishing

There are several ways to finish the dolphin: leave the knife cuts visible in a flat-plane style, stain it, paint it, or sand it smooth. Mix and match these techniques or leave the dolphin unfinished. See the Finishing section in the Appendix for more information. I chose to paint the dolphin with gray paint, sanding lightly after it dried to highlight the facets.

POLAR BEAR

See pattern on page

The Polar Bear’s scientific name, Ursus maritimus, means “maritime bear.” Fittingly, while the bear is born on land, it spends much of its time hunting on the ice and in frigid arctic waters. Pay special attention to the curvature of the bear’s back; the flat planes will add motion and character, suggesting the bear is ready to set off on its next journey across the ice.

Materials & Tools

Materials:

• Basswood, ¾" (1.9cm) thick: 1½" x 2" (3.8cm x 5.1cm)

• Sandpaper: assorted grits

• Acrylics, such as Folk Art: pure black, titanium white

Tools:

• Coping saw, band saw, or scroll saw

• Knife: small carving

• Paintbrushes: assorted small

Getting Started

Transfer the pattern onto the wood, and cut around the perimeter with a band saw, scroll saw, or a coping saw. Draw the detail lines on both sides and a centerline around the edge of the blank.

Separate the tail from the rump. Make stop cuts between the tail and the rump on both sides of the blank. Rock the knife blade up and down to make the cuts.

Thin the tail. With the knife, remove thin slices of wood from the outside edge of the tail to the stop cuts. Use the thumb as a pivot point. Repeat the process of slightly deepening the stop cuts and removing thin slices of wood from the tail until you remove about one third of the tail’s thickness on each side of the blank. Use the centerline as a reference.

Define the head. Make stop cuts between the polar bear’s head and the neck on both sides of the blank. The head should be narrower than the body. Use push cuts or paring cuts (whichever is more comfortable) to remove thin slices of wood from the nose back to the stop cut between the head and neck. Remove these thin slices of wood until the head is thinner than the body, tapering slightly toward the nose. Using either paring or thumb-assisted push cuts, thin the neck area from the body to the stop cut between the head and neck. Do this on both sides of the blank.

Add the haunch details. Make stop cuts behind the front legs and in front of the back legs, as shown on the illustration. Remove V-shaped chips of wood from the belly to the stop cuts at the rear of the front legs and the front of the rear legs. Use the centerline for reference to make the chips the same size and shape.

Add the flat-plane details. With a pencil, mark points where the straight edges of the blank intersect. Make a shallow stop cut at each of these points. Complete on both sides of the blank. Between each of the shallow edge stop cuts, remove a thin sliver of wood from the edge of the blank, creating flat planes. Use a combination of thumb-assisted push cuts and paring cuts. Make sure the cuts are clean and uniform in width (about one third the thickness of the blank). If you’re careful you will get one continuous line running around the entire bear. Clean up your cuts.

Separate the ears. Make two angled cuts between the ears and then remove the created chip.

Painting and Finishing

There are several ways to finish the polar bear: leave the knife cuts visible in a flat-plane style, stain it, paint it, or sand it smooth. Mix and match these techniques or leave the polar bear unfinished. See the Finishing section in the Appendix for more information. I chose to paint the polar bear with diluted white paint, sanding lightly after it dried to highlight the facets.

WHALE

See pattern on page

Mysterious and majestic, whales are the largest creatures on planet Earth—and now you can carry them around in your pocket! With its distinctive coloring, my carving looks like a gray whale; you can tweak the features to make the baleen whale of your choice, from the massive blue whale to the musical humpback.

Materials & Tools

Materials:

• Basswood, ¾" (1.9cm)-thick: 1½" x 2¾" (3.8cm x 7cm)

• Sandpaper: assorted grits

• Acrylics, such as Folk Art: dark gray, pure black, titanium white

Tools:

• Coping saw, band saw, or scroll saw

• Knife: small carving

• Paintbrushes: assorted small

Getting Started

Transfer the pattern to the wood, and cut around the perimeter with a band saw, scroll saw, or coping saw. Draw the detail lines on both sides of the blank, and a centerline on the edge.

Separate the features. Make stop cuts between the whale’s dorsal fin (located on its back) and the body on both sides of the blank. Rock the knife blade up and down to make the cut. Do the same for the flukes (tail).

Thin the dorsal fin. With the knife, remove thin slices of wood from the outside edge of the dorsal fin down to the stop cuts. Use a paring cut. Thin the dorsal fin on both sides of the blank evenly, using the centerline as a reference.

Thin the flukes. Use paring and/or thumb-assisted push cuts to thin and taper the area between the dorsal fin and the tail. Do this on both sides. You might find that using your thumb as a pivot point will help you make these cuts. Thin the flukes in the same manner. Use the centerline as a reference.

Relieve the flippers from the body. Make stop cuts at the edge of the blank in front and in back of the flippers. Remove chips of wood from the belly to the stop cuts. Do this on both sides. Use the centerline as a reference so the sides are even.

Add the flat-plane details. With a pencil, mark where the straight edges of the blank intersect/ come together. Then make a shallow stop cut on the edge at each of these points. Between each of the shallow edge stop cuts, remove a thin sliver of wood from the edge of the blank. Use a combination of thumb-assisted push cuts and paring cuts, creating smooth facets. Try to keep the cuts approximately the same width (about one third the thickness of the blank). Clean up your cuts.

Separate the flippers. Make angled cuts and remove the chip formed, taking care not to snap any of the delicate details.

Painting and Finishing

There are several ways to finish the whale: leave the knife cuts visible in a flat-plane style, stain it, paint it, or sand it smooth. Mix and match these techniques or leave the whale unfinished. See the Finishing section in the Appendix for more information. I chose to paint the whale with diluted dark gray acrylic paint, sanding it lightly once dry to highlight the facets.

DEER

See pattern on page

The white-tailed deer, found across North America and as far south as Peru, raises its tail in alarm when it detects a predator nearby. My carving is a doe (a deer, a female deer…), but you can add antlers if you leave enough space on the top of the head. Take special note of the proportions of the legs; make them too short, and your deer can end up looking more like a dog. Keep them long so your deer can run and leap through the forest.

Materials & Tools

Materials:

• Basswood, ⅝" (1.6cm) thick: 2¾" x 3" (7cm x 7.6cm)

• Sandpaper: assorted grits

• Acrylics, such as Folk Art: bark brown, pure black, titanium white

Tools:

• Coping saw, band saw, or scroll saw

• Knife: small carving

• Paintbrushes: assorted small

Getting Started

Transfer the pattern onto the wood, and cut around the perimeter with a band saw, scroll saw, or coping saw. Draw the detail lines on both sides and the centerline around the edge of the blank.

Thin the tail. Make stop cuts between the deer’s tail and rump on both sides of the blank. Remove thin slices of wood from the outside edge of the tail over to the stop cuts. Try using the thumb as a pivot point. Repeat this process of making stop cuts and removing the slices of wood until you remove about ⅓ of the tail’s width on either side of the blank.

Distinguish the head from the body. Make a stop cut between the head and neck. Then remove thin slices of wood from the sides of the deer’s nose back to the stop cut that separates the head from the neck. Use thumb-assisted push cuts and/or paring cuts. Repeat the process until the deer’s head is narrower than its body and tapers slightly toward the nose.

Shape the neck. Use either paring cuts or thumb-assisted push cuts to remove wood up to the stop cut between the head and neck. Do this on both sides of the blank.

Add the haunch details. Make stop cuts behind the front legs and in front of the back legs, as shown on the pattern. Remove chips of wood from the belly to the stop cuts at the rear of the front legs and the front of the rear legs. Use the centerline for reference to make the chips the same size and shape.

Add the flat-plane details. With a pencil, mark points where the straight edges of the blank intersect. Make a shallow stop cut at each of these points. Complete on both sides of the blank. Between each of the shallow stop cuts, remove a thin sliver of wood from the edge of the blank, creating flat planes. Use a combination of thumb-assisted push cuts and paring cuts. Make sure the cuts are clean and uniform in width (about one third the thickness of the blank). If you’re careful, you will get one continuous line running around the entire deer. Don’t forget the tail. Clean up your cuts.

Separate the ears. Make two angled stop cuts between the deer’s ears and remove the chip.

Painting and Finishing

There are several ways to finish the deer: leave the knife cuts visible in a flat-plane style, stain it, paint it, or sand it smooth. Mix and match these techniques or leave the deer unfinished. See the Finishing section in the Appendix for more information. I chose to paint the deer with diluted light brown paint, sanding lightly after it dried to highlight the facets. Then I added white paint to the underside of the tail.

WOLF

See pattern on page

This charming canine will have you howling with delight! Strategic cuts accentuate the wolf’s defining features: a long muzzle, thick fur, large paws, and a curved tail. While they are predominantly gray, wolves can also display white, brown, black, and red fur in their coats. Wolves are social animals, so carve a pack and give them out to friends and family as gifts!

Materials & Tools

Materials:

• Basswood, ⅝" (1.6cm) thick: 2¾" x 2⅞" (7cm x 7.3cm)

• Sandpaper: assorted grits

• Acrylics, such as Folk Art: dark gray, pure black, titanium white

Tools:

• Coping saw, band saw, or scroll saw

• Knife: small carving

• Paintbrushes: assorted small

Getting Started

Transfer the pattern onto the wood, and cut around the perimeter with a band saw, scroll saw, or coping saw. Draw the detail lines on both sides and the centerline around the edge of the blank.

Separate the tail from the rump. Make stop cuts between the wolf’s tail and the rump on both sides of the blank. Rock the knife blade up and down to make the cut.

Thin the tail. Remove thin slices of wood from the outside edge of the tail over to the stop cuts. Use the thumb as a pivot point. Repeat the process of slightly deepening the stop cuts and removing thin slices of wood until you remove about one third of the tail’s thickness on each side of the blank. Use the centerline as a reference.

Shape the head. Make stop cuts between the head and the neck on both sides of the blank. Use push cuts or paring cuts to remove thin slices of wood from the nose back to the stop cut. Remove thin slices of wood until the head is narrower than the body, tapering slightly toward the nose.

Thin the neck. Use paring cuts to thin the neck area from the body to the stop cut between the head and neck. Do this on both sides of the blank. Take care not to thin the neck too much.

Add the haunch details. Make stop cuts behind the front legs and in front of the back legs, as shown on the illustration. Remove chips of wood from the belly to the stop cuts at the rear of the front legs and the front of the rear legs. Use the centerline for reference to make the chips the same size and shape.

Add the flat-plane details. With a pencil, mark points where the straight edges of the blank intersect. Make a shallow stop cut at each of these points. Complete on both sides of the blank. Between each of the shallow stop cuts, remove a thin sliver of wood from the edge of the blank, creating flat planes. Use a combination of thumb-assisted push cuts and paring cuts. Make sure the cuts are clean and uniform in width (about one third the thickness of the blank). If you’re careful, you will get one continuous line running around the entire wolf. Clean up your cuts.

Separate the ears. Make two angled cuts between the ears and then remove the created chip.

Painting and Finishing

There are several ways to finish the wolf: leave the knife cuts visible in a flat-plane style, stain it, paint it, or sand it smooth. Mix and match these techniques or leave the wolf unfinished. See the Finishing section in the Appendix for more information. I chose to paint the wolf with diluted dark gray acrylic paint, sanding lightly after it dried to highlight the facets.

STANDING FOX

See pattern on page

Red foxes are stealthy, smart, and adaptable to a variety of locales, from balmy Australia up to the frigid Arctic Circle. You can carve my stylized version just about anywhere, too—just don’t let this sly guy get too close to the chicken on page!

Materials & Tools

Materials:

• Basswood, ½" (1.3cm) thick: 1⅛" x 3¼" (2.9cm x 8.3cm)

• Pen or pencil

• Spray adhesive: temporary-bond (optional)

• Sandpaper: assorted grits

• Toothpick

• Acrylic paints, such as Folk Art: pumpkin orange, pure black, titanium white

Tools:

• Coping saw, band saw, or scroll saw

• Carving knife

• Paintbrushes: assorted small

Getting Started

Transfer the pattern to the wood using temporary-bond spray adhesive or your preferred method. Then cut around the perimeter with a band saw, scroll saw, or coping saw. Draw detail lines for the neck, legs, and tail on both sides and a centerline along the edges of the blank.

Separate the tail from the rump. Make stop cuts between the fox’s rump and tail on both sides of the blank. Start by placing the blade on the edge of the blank and then rocking it up and down across the pencil line. This will help you to shape the tail.

Shape the tail. Make a series of shallow, decisive cuts from the center of the tail down to the stop cut you just made. Use your thumb as a pivot point for control. Then, thin the tail from the center toward the tip.

Separate the head from the neck. Make stop cuts between the fox’s head and neck on both sides of the blank. Use the rocking motion from Step 1.

Thin the head. Use push cuts or paring cuts to remove thin slices of wood from the nose back to the stop cut between the head and neck. Again, use your carving thumb as a pivot point, if desired. Keep removing thin slivers of wood until the head is slightly thinner than the body and tapers toward the nose.

Thin the neck. Using either paring or thumb-assisted push cuts, thin the neck area down from the body and head, creating a V-shaped valley at the point of the stop cut. Do this on both sides of the blank.

Add the haunch details. Make V-cuts on the haunch detail lines (behind the front leg and in front of the back leg). Do this on both sides of the blank. Use the centerline for reference to make the chips the same size and shape.

Painting and Finishing

You can complete the fox in a few different ways: leave the knife cuts visible in a flat-plane style, and then paint or stain it to finish, or sand it smooth. (For a simpler look, you could also leave it unfinished.) I chose to paint my version with thinned acrylics and sand it lightly once dry to highlight the facets.

RUNNING FOX

See pattern on page

We all have that one friend who never stops moving—so why not carve that person a swift, confident fox to adorn their standing desk or home office? While I’ve designed most of the animals in this book to stand or perch, this project is a different story. From the sharp angle of his legs to the swish of his tail, he radiates movement despite being stationary. While detailing this fox, practice adding the suggestion of movement everywhere you can think of; he may just run right off the workbench!

Materials & Tools

Materials:

• Basswood, ½" (1.3cm) thick: 1" x 3" (2.5cm x 7.6cm)

• Pen or pencil

• Spray adhesive: temporary-bond (optional)

• Sandpaper: assorted grits

• Toothpick

• Acrylic paints, such as Folk Art: pure orange, pure black, titanium white

Tools:

• Coping saw, band saw, or scroll saw

• Carving knife

• Paintbrushes: assorted small

Getting Started

Transfer the pattern to the wood using temporary-bond spray adhesive or your preferred method. Then cut around the perimeter with a band saw, scroll saw, or coping saw. Draw detail lines for the neck, legs, and tail on both sides and a centerline along the edges of the blank.

Separate the tail from the rump. Make stop cuts between the fox’s rump and tail on both sides of the blank. Start by placing the blade on the edge of the blank and then rocking it up and down across the pencil line. This will help you to shape the tail.

Shape the tail. Make a series of shallow, decisive cuts from the center of the tail down to the stop cut you just made. Use your thumb as a pivot point for control. Then, thin the tail from the center toward the tip, giving the tail a wavy shape to suggest movement.

Separate the head from the neck. Make stop cuts between the fox’s head and neck on both sides of the blank. Use the rocking motion from Step 1.

Thin the head. Use push cuts or paring cuts to remove thin slices of wood from the nose back to the stop cut between the head and neck. Again, use your carving thumb as a pivot point, if desired. Keep removing thin slivers of wood until the head is slightly thinner than the body, and tapers toward the nose.

Thin the neck. Using either paring or thumb-assisted push cuts, thin the neck area down from the body and head, creating a V-shaped valley at the point of the stop cut. Do this on both sides of the blank.

Add the haunch details. Make V-cuts on the haunch detail lines (behind the front leg and in front of the back leg). Do this on both sides of the blank. Use the centerline for reference to make the chips the same size and shape.

Add the flat-plane details. With a pencil or pen, mark the points where the straight edges intersect—in other words, wherever a straight line along the perimeter changes direction. Make a shallow stop cut at each of these places. Then, remove a thin sliver of wood between every set of cuts. Continue these cuts around the entire body, using a combination of thumb-assisted push cuts and paring cuts. The resulting flat planes should be clean and of uniform width (about one third of the blank’s thickness); if you’re careful, you will get one continuous line running around the entire fox.

Separate the ears. Make two angled cuts between the ears and then remove the chip, taking care not to snap the ears. Finish up the flat-plane details on the other side of the blank, and then decide where the eyes will go. Enhance the flat planes for the eyes using the knife. Then examine the whole carving and clean up cuts as needed.

Painting and Finishing

You can complete the fox in a few different ways: leave the knife cuts visible in a flat-plane style, and then paint or stain it to finish, or sand it smooth. (For a simpler look, you could also leave it unfinished.) I chose to paint my version with thinned acrylics and sand it lightly once dry to highlight the facets.

GOLDEN RETRIEVER

See pattern on page

Whether it’s working as a guide dog or hunting dog, or lounging with the family on the couch, the golden retriever is a favorite breed. Along with their loyalty and trainability, goldens are known for their thick, lustrous coats. You can achieve that look on your retriever carving with a few well-placed cuts. Finish the piece by adding a pair of loving puppy dog eyes!

Materials & Tools

Materials:

• Basswood, ⁹/₁₆" (1.4cm) thick: ½" x 2⅜" (1.3cm x 6cm)

• Sandpaper: assorted grits

• Acrylics, such as Folk Art: coffee latte, pure black, titanium white

Tools:

• Saw: coping, band, or scroll saw

• Knife: small carving

• Paintbrush: small

Getting Started

Transfer the pattern onto the wood, and cut around the perimeter with a band saw, scroll saw, or coping saw. Draw the detail lines on both sides and the centerline on the edges of the blank. Note: The tail may be weak where it meets the body. Use caution when holding the dog to make knife cuts. Should the tail break from the body, glue it back on. You can also drill a ⅛" (3mm) hole through the tail and into the body. Apply glue to a piece of ⅛" (3mm) skewer or dowel and insert it into the hole to strengthen the area.

Separate the tail from the rump. Make stop cuts between the retriever’s tail and rump on both sides of the blank. Rock the blade up and down to make the cut. Then remove thin slices of wood from the outside edge of the tail over to the stop cuts on each side of the tail. Use the thumb as a pivot point to make these slicing cuts.

Shape the tail. The tail should be thinner at its tip and base. To achieve this look, remove a small chip of wood at the base of the tail. Then make a point at the tip of the tail.

Outline the ears. Make stop cuts around the perimeter of the ears on both sides of the blank.

Distinguish the head from the body. Make stop cuts between the head and the neck on both sides of the blank. Work around the ears.

Shape the head. Use push cuts or paring cuts to remove thin slices of wood from the nose back to the stop cut that outlines the ear and the stop cut between the head and neck. The goal is to relieve the areas around the ears to make the ears stand out. Taper slightly toward the nose. The head should be slightly thinner than the body.

Shape the neck. Use either paring cuts or thumb-assisted push cuts to remove wood up to the stop cut between the head and neck. Do this on both sides of the blank.

Add the haunch details. Make stop cuts behind the front legs and in front of the back legs, as shown on the pattern. Remove chips of wood from the belly to the stop cuts at the rear of the front legs and the front of the rear legs. Use the centerline for reference to make the chips the same size and shape.

Add the flat-plane details. With a pencil, mark points where the straight edges of the blank intersect. Make a shallow stop cut at each of these points. Complete on both sides of the blank. Between each of the shallow stop cuts, remove a thin sliver of wood from the edge of the blank, creating flat planes. Use a combination of thumb-assisted push cuts and the paring cuts. Make sure the cuts are clean and uniform in width (about one third the thickness of the blank). If you’re careful, you will get one continuous line running around the entire retriever. Don’t forget the tail. Clean up your cuts.

Painting and Finishing

There are several ways to finish the golden retriever: leave the knife cuts visible in a flat-plane style, stain it, paint it, or sand it smooth. Mix and match these techniques or leave it unfinished. See the Finishing section in the Appendix for more information. I chose to paint the retriever with diluted light brown paint, sanding lightly after it dried to highlight the facets.

SCOTTIE

See pattern on page

Beginners and pros alike will go to (kibbles n’) bits over this doggone cute Scottie. When I teach kids to carve, I often start with this project—it’s simple, recognizable, and adaptable to any color palette you prefer. (I once painted one to look like mint chocolate chip ice cream.) With a little practice, you’ll be able to carve one in just ten minutes!

Materials & Tools

Materials:

• Basswood, ½" (1.3cm) thick: 1½" x 1⅝" (3.8cm x 4.1cm)

• Pen or pencil

• Spray adhesive: temporary-bond (optional)

• Sandpaper: assorted grits

• Toothpick

• Acrylic paints, such as Folk Art: pure black, titanium white

Tools:

• Coping saw, band saw, or scroll saw

• Carving knife

• Paintbrushes: assorted small

Getting Started

Transfer the pattern to the wood using temporary-bond spray adhesive or your preferred method. Then cut around the perimeter with a band saw, scroll saw, or coping saw. Draw detail lines for the neck, legs, and tail on both sides and a centerline along the edges of the blank.

Separate the tail from the rump. Make stop cuts between the Scottie’s rump and tail on both sides of the blank. Start by placing the blade on the edge of the blank and then rocking it up and down across the pencil line. Begin to shape the tail. Make a series of shallow, decisive cuts from the end of the tail up to the stop cut you just made. Use your thumb as a pivot point for control. Then, thin the tail down until you’ve removed about a third of the width on either side.

Separate the head from the neck. Make stop cuts between the Scottie’s head and neck on both sides of the blank. Use the rocking motion from Step 1. Then thin the head area. Use push cuts or paring cuts to remove thin slices of wood back along the face toward the stop cut on the neck. Again, use your carving thumb as a pivot point, if desired. Keep removing thin slivers of wood until the head is slightly thinner than the body and tapers toward the snout.

Thin the neck. Using either paring or thumb-assisted push cuts, make a V-shaped valley that meets at the stop cut between the neck and head. Do this on both sides of the blank.

Add the haunch details. Make V-cuts on the haunch detail lines (behind the front leg and in front of the back leg). Do this on both sides of the blank. Use the centerline for reference to make the chips the same size and shape.

Add the flat-plane details. With a pencil or pen, mark the points where the straight edges intersect in other words, wherever a straight line along the perimeter changes direction. Make a shallow stop cut at each of these places. Then, remove a thin sliver of wood between every set of cuts. Continue around the entire body, using a combination of thumb-assisted push cuts and paring cuts. The resulting flat planes should be clean and of uniform width (about one third of the blank’s thickness); if you’re careful, you will get one continuous line running around the entire Scottie. Do this on both sides of the blank.

Separate the ears. Make two angled cuts between the ears and then remove the chip, taking care not to snap the ears. Decide where the eyes will go and enhance the flat planes for the eyes using the knife. Then examine the whole carving and clean up cuts as needed.

Painting and Finishing

You can complete the Scottie in a few different ways: leave the knife cuts visible in a flat-plane style, and then paint or stain it to finish, or sand it smooth. (For a simpler look, you could also leave it unfinished.) I chose to paint my version with thinned acrylics and sand it lightly once dry to highlight the facets.

HORSE

See pattern on page

If you haven’t carved in a while, it’s time to get back in the saddle with the quintessential farm animal! As with the deer, be mindful of the proportions of the legs on this carving; make them shorter, and your horse will become a donkey. I used brown paint, but you can customize the finish (for a horse of a different color!).

Materials & Tools

Materials:

• Basswood, ½" (1.3cm) thick: 2" x 2½" (5.1cm x 6.4cm)

• Pen or pencil

• Toothpick

• Spray adhesive: temporary-bond

• Sandpaper: assorted grits

• Acrylics, such as Folk Art: bark brown, pure black, titanium white

Tools:

• Coping saw, band saw, or scroll saw

• Carving knife

• Paintbrushes: assorted small

Getting Started

Transfer the pattern onto the wood, and cut around the perimeter with a band saw, scroll saw, or coping saw. Draw the detail lines and the centerlines on the blank.

Thin the tail. Make stop cuts between the horse’s tail and rump on both sides of the blank. Remove thin slices of wood from the outside edge of the tail to the stop cuts. Use a plain paring cut or a thumb-assisted paring cut. Repeat this process of stop cuts and removing the slices of wood until you remove about one third of the tail’s width on each side of the blank.

Distinguish the head from the neck. Make a stop cut between the head and neck. Then remove thin slices of wood from the sides of the horse’s nose back to the stop cut that separates the head from the neck. Use thumb-assisted push cuts and/or paring cuts. Repeat the process until the horse’s head is narrower than its body and tapers slightly toward the nose.

Shape the neck. With either paring cuts or thumb-assisted push cuts, thin the neck area from the body to the stop cut between the head and neck. Using the thumb as a pivot may help. Do this on both sides of the blank.

Add the haunch details. Make stop cuts behind the front legs and in front of the back legs, as shown on the pattern. Remove chips of wood from the belly to the stop cuts at the rear of the front legs and the front of the rear legs. Use the centerline for reference to make the chips the same size and shape.

Add the flat-plane details. With a pencil, mark points where the straight edges of the blank intersect. Make a shallow stop cut at each of these points. Complete on both sides of the blank. Between each of the shallow stop cuts, remove a thin sliver of wood from the edge of the blank, creating flat planes. Use a combination of thumb-assisted push cuts and paring cuts. Make sure the cuts are clean and uniform in width (about one third the thickness of the blank). If you’re careful, you will get one continuous line running around the entire horse. Don’t forget the horse’s tail. Clean up your cuts.

Separate the ears. Make two angled stop cuts between the horse’s ears and remove the chip.

Painting and Finishing

There are several ways to finish the horse: leave the knife cuts visible in a flat-plane style, stain it, paint it, or sand it smooth. Mix and match these techniques or leave the horse unfinished. See the Finishing section in the Appendix for more information. I chose to paint the horse brown paint, sanding lightly once dry to highlight the facets. Then I added a white stripe on his face.

CHICKEN

See pattern on page

Don’t count your chickens before they’re carved! The size of this carving makes it a challenge; be careful not to break off the tail, comb, or wattle as you go. The finishing possibilities on your fine feathered friend are just about endless! I chose white feathers to model my carving on the iconic Leghorn chicken, but you can pick your favorite breed.

Materials & Tools

Materials:

• Basswood, ⁵/₁₆" (8mm) thick: 1⅝" x 1¾" (4.1cm x 4.4cm)

• Pen or pencil

• Toothpick

• Spray adhesive: temporary-bond

• Sandpaper: assorted grits

• Acrylics, such as Folk Art: lipstick red, tangerine, pure black, titanium white

Tools:

• Coping saw, band saw, or scroll saw

• Carving knife

• Paintbrushes: assorted small

Getting Started

Transfer the pattern onto the wood using temporary-bond spray adhesive or your preferred method. Cut around the perimeter with a band saw, scroll saw, or coping saw. Draw the detail lines on both sides and the centerline around the edge of the blank.

Thin the tail. Make stop cuts between the chicken’s tail feathers and the rump on both sides of the blank. Remove thin slices of wood from the tail feather area to the stop cut.

Define the comb. Make stop cuts between the comb and the head. Rock the knife blade up and down across the pencil line marking the stop cut. Do this on both sides of the blank. Cut thin slivers of wood down to the stop cut. You may wish to use the thumb as a pivot point to make these slicing cuts. Repeat the process of slightly deepening the stop cuts and removing thin slices until you remove about one third of the comb’s thickness on each side of the blank. Use the centerline as a reference.

Thin the legs. Make a stop cut between the legs and the base. Use a thumb-assisted push cut to remove a chip of wood down to the stop cuts at the base.

Add the flat-plane details. With a pencil, mark points where the straight edges of the blank intersect. Make a shallow stop cut at each of these points. Complete on both sides of the blank. Between each of the shallow stop cuts, remove a thin sliver of wood from the edge of the blank, creating flat planes. Use a combination of thumb-assisted push cuts and paring cuts. Make sure the cuts are clean and uniform in width (about one third the thickness of the blank). If you’re careful, you will get one continuous line running around the entire chicken. Don’t forget the tail. Clean up your cuts.

Shape the wattle. Make a stop cut to distinguish the wattle from the body. Remove thin slices of wood to thin the wattle down to the stop cut on either side of the blank. Separate the wattle by making two angled cuts that meet on the centerline. Then remove the created chip.

Painting and Finishing

There are several ways to finish the chicken: leave the knife cuts visible in a flat-plane style, stain it, paint it, or sand it smooth. Mix and match these techniques or leave the chicken unfinished. See the Finishing section in the Appendix for more information. I chose to paint the chicken with diluted acrylics, sanding lightly after it dried to highlight the facets.

PIG

See pattern on page

Want to whittle a sassy pig worthy of Charlotte’s Web? Look no further than Hildegarde, Wilbur’s less famous (but no less exceptional) cousin. Because of their keen sense of smell, pigs like Hildegarde are often trained to hunt for coveted items like truffles in the wild. And once you master this simple shape, all your loved ones will be coveting little truffle pigs of their own!

Materials & Tools

Materials:

• Basswood, ⅝" (1.6cm) thick: 1¼" x 2" (3.2cm x 5.1cm)

• Pen or pencil

• Spray adhesive: temporary-bond (optional)

• Sandpaper: assorted grits

• Toothpick

• Acrylic paints, such as Folk Art: light flesh, pure black, titanium white

Tools:

• Coping saw, band saw, or scroll saw

• Carving knife

• Paintbrushes: assorted small

Getting Started

Transfer the pattern to the wood using temporary-bond spray adhesive or your preferred method. Then cut around the perimeter with a band saw, scroll saw, or coping saw. Draw detail lines for the neck, legs, and tail on both sides and a centerline along the edges of the blank.

Separate the tail from the rump. Make stop cuts between the pig’s rump and tail on both sides of the blank. Start by placing the blade on the edge of the blank and then rocking it up and down across the pencil line. Make a series of shallow, decisive cuts from the end of the tail down to the stop cut you just made. Use your thumb as a pivot point for control. Repeat the process, slightly deepening these stop cuts and thinning the tail until you’ve removed about a third of the blank’s thickness on either side. Use the centerline for reference.

Separate the head from the neck. Make stop cuts between the pig’s head and neck, on both sides of the blank. Use the rocking motion from Step 1. Then, using either paring or thumb-assisted push cuts, thin the neck area down from the body and head, creating a V-shaped valley at the point of the stop cut. Do this on both sides of the blank.

Thin the head. Use push cuts or paring cuts to remove thin slices of wood from the nose back to the stop cut between the head and neck. Again, use your carving thumb as a pivot point, if desired. Keep removing thin slivers of wood until the head is slightly thinner than the body and tapers toward the snout.

Add the haunch details. Make V-cuts on the haunch detail lines (behind the front leg and in front of the back leg). Do this on both sides of the blank. Use the centerline for reference to make the chips the same size and shape.

Add the flat-plane details. With a pencil or pen, mark the points where the straight edges intersect—in other words, wherever a straight line along the perimeter changes direction. Make a shallow stop cut at each of these places. Then, remove a thin sliver of wood between every set of cuts.

Finish shaping the body. Continue these cuts around the entire body, using a combination of thumb-assisted push cuts and paring cuts. The resulting flat planes should be clean and of uniform width (about one third of the blank’s thickness); if you’re careful, you will get one continuous line running around the entire pig. Do this on both sides of the blank.

Separate the ears. Make two angled cuts between the ears and then remove the chip, taking care not to snap the ears. Do the same for the feet. Decide where the eyes will go, and enhance the flat planes in those areas using the knife. Then examine the whole carving and clean up cuts as needed. If two of the flat planes form a high peak, you may want to remove the top point for a more rounded look.

Painting and Finishing

You can complete the pig in a few different ways: leave the knife cuts visible in a flat-plane style, and then paint or stain it to finish, or sand it smooth. (For a simpler look, you could also leave it unfinished.) I chose to paint my version with thinned acrylics and sand it lightly once dry to highlight the facets.

On the following pages, you’ll find information on safety, basic cuts to make in whittling, sharpening your knife, and finishing your projects. Refer to this section again and again to keep your whittling skills as sharp as your knife!

Safety

There is risk involved whenever you handle sharp tools. A knife sharp enough to cut through wood will easily cut skin. Most cuts are small nicks that heal quickly and don’t leave a scar. However, it’s best to follow simple safety procedures to prevent serious injuries.

A fundamental rule of whittling is to be aware not only of where the blade is, but also where the blade could go. Wood can change density at any point, and you need to change the amount of pressure you apply to the knife accordingly. Imagine pushing hard to cut through a knot, only to find a softer section of wood beyond it. The sharp edge will quickly slice through the softer area and cut into whatever is on the other side. The knife doesn’t care if it’s open air, a carving bench, or your hand.

Wear a glove on the hand holding your carving.

Wear a thumb guard when cutting toward your thumb.

Boy Scouts are taught to always cut away from themselves. While this is good advice, you may occasionally need to cut toward your thumb—for example, when making a paring cut (see page). When making a paring cut, wear a leather thumb protector, wrap your thumb with cloth tape, or position your thumb far enough down on the project that the knife won’t hit your thumb if it slips.

Because most cuts occur on the hand holding the project, carvers often wear a cut-resistant glove on that hand. It is possible to prevent cuts by being aware of where the sharp edge can (and probably will) go. Always cut away from yourself when you are removing bark or large amounts of wood. When carving finer details, anchor your holding hand to the carving hand. Place the thumb of your holding hand on the back of the thumb on the carving hand when making a push cut. Or, rest the fingers of your knife hand on the fingers of your holding hand. Anchoring your hands adds stability and control, making it less likely that the knife will slip.

Some whittlers use their thighs as carving benches. A cut on your thigh can be serious. Carving on a workbench or table is recommended. If you cut toward your thigh, invest in a strip of leather to protect your leg.

Without proper precautions, a slip of the knife can result in an emergency-room visit. Follow my simple safety rules and hopefully you’ll never require anything more than a bandage.

Cut away from yourself to prevent injury.

Whittling in Public

Before whittling in public places, be sure to check with the folks in charge, such as security guards in a public shopping mall, to make sure it’s allowed.

Basic Cuts

Like most types of carving (woodcarving, ice carving, stone carving), whittling is a subtractive art—you remove all of the material that isn’t part of your vision for the final piece. For example, to carve a dog, remove all of the wood that doesn’t contribute to the shape of the dog.

Most whittlers use four basic cuts to remove excess wood: the stop cut, the push cut, the paring cut, and the V-shaped cut. Master these four basic types of cuts and you’ll be ready to tackle a multitude of projects.

Stop Cut

As the name suggests, the stop cut is used to create a hard line at the end of another cut. Your hand position depends on the placement of the cut you need to make. Simply cut straight into the wood to create a stop cut. Make a stop cut first to prevent a consecutive cut from extending beyond the intended area. Make a stop cut second to free a chip of wood remaining from a primary cut.

Push Cut

For the push cut, hold the wood in one hand. Hold the knife in your other hand with your thumb on the back of the blade. Push the knife through the wood, away from your body. This type of cut is also called a “straightaway” cut. For additional control or power, place the thumb of the wood-holding hand on top of the thumb on the blade, and use the wood-holding thumb as a pivot as you rotate the wrist of your carving hand. This maneuver is often called the “thumb-pushing,” or “lever,” cut.

Paring Cut

The paring cut gives you a great deal of control but requires you to cut toward your thumb. Wear a thumb protector or be aware of where the knife could cut at all times, especially if it slips beyond the anticipated stopping point. To perform the paring cut, also called the “draw” cut, hold the wood in one hand. Hold the knife in the other hand with four fingers. The cutting edge points toward your thumb. Rest the thumb of your knife-holding hand on the wood behind the area you want to carve. Extend the thumb as much as possible. Close your hand, pulling the knife toward your thumb, to slice through the wood. This is the same action used to peel (or pare) potatoes.

V-Shaped Cut

To make a V-shaped cut, hold the knife as described for a paring cut. Anchor the thumb of the knife hand against the wood and cut in at an angle with the tip of the knife. Rotate the wood, anchor your thumb on the other side of the cut, and cut in at an angle again. Angle the two cuts so the bottom or deepest parts of the cuts meet in the center. This creates a V-shaped groove. Use the center of the cutting edge to make intersecting angled cuts on the corner of a blank, creating V-shaped notches.

Slicing vs. Push Cuts

Thumb-assisted push cuts that use the knife to make a slight slicing motion (i.e. slicing cuts) will generally remove wood with less effort, but require more experience and practice. Beginners often find that the easiest way to whittle is to make regular push cuts with a well-honed knife blade, especially to achieve fine detail with the tip of the blade.

Basics of Sharpening

Although it may seem contradictory, a sharp knife is a safe knife. When a knife is dull, or not shaped properly, it requires more force to push the blade through the wood. The more force required to make the cut, the less control you have. Because a sharp, properly shaped blade requires less force, it reduces fatigue, resulting in a more enjoyable carving experience. Many novice carvers get discouraged because they are carving with a dull knife or a blade that is not shaped properly.

Sharpening is a simple process. If you boil it down to the basics, sharpening consists of rubbing a piece of metal against an abrasive to create a wedge shape. For the abrasive, you can use anything from simple sandpaper to elaborate power sharpeners. You will start with a coarse abrasive to shape the blade, and then use progressively finer grits to remove the scratches until you have a polished edge.

There are many methods and products to help you achieve a sharp cutting edge, but I recommend that beginners start with sandpaper. Use spray adhesive to attach 6" (15.2cm)-long strips of sandpaper to a perfectly flat surface, such as glass or medium-density fiberboard (MDF). For the initial shaping, start with 200- to 320-grit wet/dry sandpaper, which is more durable than regular sandpaper. Work your way up through the grits to 600–grit, and then polish the blade on a leather strop.

Begin shaping the bevel. Hold the entire length of the blade flat against 200- or 320-grit sandpaper with the cutting edge facing away from you. Lift the back of the blade slightly (about ¹/₃₂", or 1mm). Maintain the same angle as you push the knife away from you, toward the cutting edge and along the length of the sandpaper.

Shape the other side of the blade. Lift the blade off the sandpaper and flip the knife over so the cutting edge is facing toward you. Lay the entire length of the blade on the sandpaper and lift the back slightly (¹/₃₂", or 1mm). Pull the blade toward the cutting edge, along the length of the sandpaper, maintaining a consistent angle.

Finish shaping the bevel. Follow Steps 1 and 2 until you create the desired bevel across the length of the blade. You should see shiny metal where you’ve removed the old bevel and reshaped the blade.

Remove the scratches from the coarser sandpaper. Repeat Steps 1 through 3 using 400-grit and then 600-grit sandpaper. Remove any visible scratches from the coarser sandpaper before moving to the next finer grit.

Polish the edge. Purchase a leather strop or glue a piece of leather, such as an old belt, to a flat piece of wood with the rough side facing up. Apply a small amount of stropping compound to the leather. (Stropping compound is available in powder form at hardware and auto parts stores. The grit is not important for stropping carving knives.) Position the entire length of the blade on the leather strop and lift the back of the blade slightly (¹/₃₂", or 1mm). Draw the blade across the strop, moving away from the cutting edge. Do not push the blade toward the cutting edge or you will damage the strop and round the cutting edge. At the end of the strop, lift the blade, flip the knife over, and place the other side flat on the strop. Lift the back of the blade slightly (¹/₃₂", or 1mm) and draw the blade along the strop, moving away from the cutting edge. This process polishes the blade for a cleaner and smoother cut.

Once you have shaped the bevel, you only need to sharpen with sandpaper if you nick the blade or damage the cutting edge. However, you must maintain the cutting edge by stropping often. When whittling for an extended period, you may have to strop the blade several times. You should be able to feel when the blade is getting a bit dull and in need of a touch-up strop. Form a habit of stropping the blade at the end of each whittling session.

A good way to tell if the knife blade is really sharp is to take a small piece of a dark wood, such as cedar or walnut, and make a long slicing cut across the end grain. If the blade is very sharp, the sliced surface should be shiny. If there are nearly invisible nicks on the blade, they will leave white streaks in the sliced surface.

Finishing

There are several ways to finish your whittled pieces. After you have completed the basic whittling, you can sand the piece smooth or leave it as is. If you decide to stain or paint your piece, make sure to carve off all of the surfaces, as uncarved wood takes paint or stain differently than carved wood does.

You may need to scrub the carving to remove pencil marks and soil from handling, and/or clean up wood fuzzies at the bottoms of cuts. Use a denture brush, hot water, and dish detergent to scrub your project. If you scrub the piece, let it dry before applying any finish.

If you’re interested in painting your projects, I suggest using thinned acrylic paints. Some whittlers and carvers like to use a woodburner to burn the line between each of the colors that will be painted. This woodburned line not only prevents the colors from wicking into each other, but also darkens the wood under the paint to create additional shadowing. If you decide to stain a carving, apply a wood conditioner or sealer first, and then the stain. Finally, apply a coat or two of polyurethane to protect the project. If you decide to leave the piece natural, you still may want to apply wood sealer and then a coat of polyurethane or wax.

Use a denture brush, hot water, and dish detergent to remove any wood “fuzz,” pencil marks, and dirt from your carving.

I use thinned acrylic paints to color my carvings.

A Note on Eyes

I paint the eyes with a round toothpick. Break the toothpick in half and dip the thicker end in white paint for the white of the eye. Let dry and dip the thin end in black to apply the pupil.

PATTERNS

Patterns are actual size

For a printable PDF of the patterns used in this book, please contact Fox Chapel Publishing at customerservice@foxchapelpublishing.com, quoting the ISBN and title of this book, as well as the pattern or patterns required.

Giraffe
page

Rhino
page

Lion
page

Hippo
page

Dolphin
page

Polar Bear
page

Whale
page

Deer
page

Wolf
page

Standing Fox
page

Running Fox
page

Golden Retriever
page

Scottie
page

Horse
page

Chicken
page

Pig
page

ABOUT THE AUTHOR

Tom Hindes discovered woodcarving during retirement. After a career in teaching industrial arts and technical training development, he rediscovered a fondness for working with wood. At first, this interest took the form of cabinet making, but after a few years, Tom wanted to work with something smaller and lighter. He began carving Noah’s arks, complete with the pairs of animals, and immediately was hooked on carving. After years of carving, he put his skills as a technical training developer into creating projects for beginning carvers. He decided to focus on whittling, or carving with one knife, as the medium for these projects. Whittling helped keep the projects easy, fast, and fun!

His first such project, “The 5-Minute Wizard,” published in Woodcarving Illustrated’s summer 2008 issue (#43), was extremely popular. After that success, he contributed more articles to Woodcarving Illustrated, all of which focused on learning to whittle smaller, simplified projects like Santas, gnomes, wizards, and animals. It is his hope with both his articles and Whittling in Your Free Time that beginners view the projects and say, “I can do that!”