1ISSN 1753-3651 3.50(Free to BWA Members)

Published by the British Woodcarvers Association Volume 3 - Issue 2 Autumn 2013

WOODCARVERSWOODCARVERSGazette

WOODCARVERSTHE

Double Star by Bjarne Jespersen

Interviews:Sharon Littley

Bjarne Jespersen

Reports:Treefest 2013

Woodentops Summer ShowCowper & Newton Museum Visit

European Woodworking Show 2012Gloucestershire Summer Seminar 2013

Features:Carving Found Wood

The Structure of TreesA sideways look at Carving Supplies

9 771753 365012

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3NOTICES EDITORIALMembership Renewal

If you havent paid your 20 membership fee for 2013/14, please do so as soon as possible. Half

of your membership fee goes straight back to your regional group to support your meetings and club.

Pay your Regional Leader in cash or by cheque (with your membership number on the back)

ORSend the Membership Secretary a cheque

(with your membership number on the back)

BWA Membership Secretary16 Coney Hill Road,

West Wickham,Kent

BR4 9BX

Welcome to the Autumn issue of The Woodcarvers Gazette. The Summer issue seems to have been quite a success with many positive comments and feedback. I have tried to make this issue just as good and hopefully you will all like it just as much.

Again, please dont hold back from making any comments, criticism or suggestions (my email address is on the back page). The Woodcarvers Gazette is your magazine so your opinions will be taken into account.

I have had many article submissions for this issue which I would like to thank all of you for. I have squeezed most of them in but if your submission hasnt been included in this issue, I havent forgotten about you and will aim to include your submission in the next issue.

If you see any interesting carvings on your travels, why not send me a photo for inclusion in the out & about section. Large carvings with a dramatic impact are always worth a look.

Please keep the photos and articles coming in, they are all welcome and as members of the BWA, we are all keen to see what everyone else is up to Im sure.

If you would like to submit one of your recently completed carvings to

Jason Townsend

the members gallery for the next issue, email me or use the form on www.thewoodcarversgazette.co.uk

I am trying to interview woodcarvers and other people with something to say on the topic of woodcarving or who have a particular carving talent. If you would like to be interviewed or would like to suggest someone for me to interview, please email me.

On the website www.thewoodcarversgazette.co.uk I have put up several opinion polls to try and get some useful or annecdotal information that can be published in the gazette. Please take a look and cast your votes. Currently in Helen Smiths search for a plurral word for woodcarvers, the most popular suggestion is still unclear with four suggestions running equal.

This issue of the gazette is a few days late in publication but the winter issue should be published on time at the beginning of December.

ERRATA

European Woodworking Show Carving Competition 2013

Just a quick reminder to get carving your entries for the 2013 carving competion held at Cressing Temple on 21st & 22nd September.

If you wish to enter but are unable to attend the show we can arrange to receive postal entries and ensure their safekeeping and ultimately return them to you after the event. If you have any questions regarding postal en-tries or indeed the competition in general please contact either:-

Ken Veal by telephone on 01277 899684e-mail on ken.veal@btinternet.comorBrian Pitcher by telephone on 01277 651672e-mail on bj.pitcher@talktalk.net

In Volume 3 Issue 1 of The Woodcarvers Gazette, sever-al photos were labelled up as Mick Mills (Hamlet Wood Region) and should have been labelled up as Mick Martin (Essex Region). Apologies to both of you for the error.

Some of you may also have noted my typing error on page 23 when trying to type Grinling Gibbons.

4OUT & ABOUT OBITUARIES

By Sarah Lawrenson

An owl is from Dunham Massey in Cheshire (National trust property and home to Grindling Gibbons resurrection)

Sarah Lawrenson, a keen wanderer, finds some Owls on her travels this time...

This lakeside Owl is a carved mooring post, looking out over Derwent Water at Keswick

Paula Noble spotted this Grinling Gibbons carving of fish at the National Trusts Oxburgh Hall near Swaffham

George Wroot

George was the Retired Regional Leader of the BWAWest Midlands Group . He died suddenly on Sunday 14 July, just a few weeks after the death of his wife Barbara.He was a tireless worker for our region, always on the front line, building up the membership and raising the regions profile.

He organised carving demonstrations, events and shows. Can any of our older members forget the MARQUEE at Kings Heath, How are we going to fill this with carvings George? He did fill it; he was never in any doubt. He was that sort of person, a man who could, when asked, fill a marquee. Through George, the region donated carvings and raised money for charities many close to his heart; Air Ambulance, The Lord Mayors Charity, Alzheimers and the Stroke Association.

He spent wisely when he was our regions treasurer. He always led with certainty as Leader. A really good negotiator it must have been his Northern charm. He encouraged everyone and was never lost for words. A fault we all have them: He could never say no to free wood. The rubbish he would sometimes bring along to the club made us groan and smile, but he meant well!

He battled a stroke 3 years ago but made a great recovery and was soon back to his carving.Nothing was ever too much for George, his legacy to our region is immeasurable. Without his dedication, tenacious direction and just plain hard work, it wouldnt be what or where it is today! We owe him many thanks.

A good friend, well-liked and much loved he will be greatly missed.

By Gill Lidsey

5OBITUARIES Woodentops Summer ShowThe Woodentops Summer Show was held at Coolings Nursery Hall in Rushmoor Hill, Kent, on 5th May 2013. All in all, the event was a great sucess.

By Clive Nash

Anne High specialises in miniature carvings

Mary Paddick supervises the popular soap carving for youngsters

A hall full of carvings and people

Our original Leader Mick Cuomo, displays his magnificent art

Our logo carved by various members - one letter each. A competition at this Show chose the best letter (peoples choice). Winner was Tom Young, for the letter W.

Jan demonstrates

6BWA Woodcarvers @Cowper and Newton Museum,

House and Gardensin Olney, Bucks

Picture a garden full of English flowers dating back to the 17th century, birds singing their songs and the sun showering this idyllic scene with a warm glow. Could anything have enhanced the gardens of the Cowper and Newton Museum on Sunday 21st July 2013 anymore? Yes! It was the addition of gouges tapping on wood from my friends in the British Woodcarving Association.

Our aim was to whet the appetites of non-carvers and to re-inspire those who hadnt handled a gouge for many years. I would like to thank BWA Essex region represented by Michelle Toon, Hugh Ingram and Dave Colvin, from BWA Oxfordshire/ South Bucks region, Jeff Wheeler, and Terry, Janet and Alan of the BWA Herts region for their unstinting support all day. They showed such patience, kindness and bags of enthusiasm to our visitors. The children were enthralled with soap carving and Dave bravely let them sand the base of his rather splendid Pied Piper. We had lots of interest from the public who also came to enjoy the museum and tranquil gardens ( Janet captured the flowers perfectly, as she painted them into her sketch book). Many visitors stayed with us most of the day to enjoy soap and balsa wood carving.

Two visitors had travelled many miles to see if woodcarving was for them the BWA carvers had them hooked! Interest was shown in setting up a new region in North Bucks we hope this may become possible one day. The BWA is truly a special bunch of people who pull together to make

Jeff Wheeler shares his advice

A family enjoy Daves enthusiasm for carving

Hugh Ingram

Dave Colvin carves his Pied Piper

7the most of their precious carving time. The Association is all about sharing love for wood carving including the frustrations and successes (thank you to Dave for sorting out my Christmas scene relief perspective issues!) The Cowper and Newton Museum would love to have us back next year. If you are keen to join me again, let me know some dates next July and Ill arrange it. I will bake us another cake!

Another huge thank you to Michelle, Dave, Hugh, Jeff, Terry, Janet and Alan without whom the day wouldve been far less fun!

A group absorbed in carving with balsa wood and soap

Visitors travelled from afar to try carving and were hooked!

By Paula NobleLuke and Ryan enjoying the soap carving

BWA BerkshireSome of the Berkshire region members attending a display that they put on for a local Church Garden Party near Reading on June 15th.

We were able to exhibit some of our members carvings and sell some smaller items, all the proceeds of which went to the Church Organ Fund.

By Roger Edwards

By Belinda Newstead

BWA Norfolk & SuffolkOn the 6 - 7th of July the Norfolk and Suffolk group attended the Heveningham country fair, we had 2 days of wonderful weather and lots of interested people, we have already had a gentleman join us having had a chat at the show.

8An Interview with Bjarne JespersenBjarne Jespersen is a master woodcarver from Denmark, witha passion for Magic woodcarvings. He specialises in mathematical forms of astounding complexity.

How did you get into carving, were you taught?I have always had the urge to do things with my hands. I enjoyed the woodworking lessons we had at school and was good at it. As a boy I made brooches out of wood and coco-nut shells for my mother and sisters. The magic carving started when I was seventeen. I had bought a new knife on a trip to Sweden and wanted to see if I could carve a loose ball within a stick that I found. My elder brother had made a beautiful paperknife some years earlier that really impressed me. It had a ball inside the handle and beautifully inlayed leaves on the blade. I certainly did not reach his level of refinement, but I did manage to loosen two balls inside the stick and a chain link at the top. This was my first magic carving. I have come a long way since then and I have had to teach myself everything.

What sort of tuition or courses do you think would benefit someone starting out in woodcarving?As far as magic carving goes I do not know of any courses except a few that I have given myself for beginners. But any whittling course that teach you how to handle sharp tools and give you a feel for the nature of wood will be an advantage.

What was the first thing that you carved?I already told you about my first magic carving. What I might have carved earlier, I simply dont remember and it

would not have been more important to me than what I was drawing or making out of clay or paper.

What aspects of woodcarving are you most passionate about?Obviously the desire to impress people by making what seems impossible has been a powerful motivation and still is. But gradually the joy of searching for new models by creative use of geometry has become more important to me. But still it is as objects for magic carvings that I value them. Otherwise I might just as well have them 3D-printed.

How do you keep your tools sharp?I always carry my tools in a small pencil pouch, so I need something that is small enough to fit in there. For many years I had a small artificial grinding stone with a coarse and a fine side. It fitted in a small box that I made from one end of a fine cigar box so that I could open it with either side up. Alas, it was stolen some ten years ago and now I use a modern diamond coated steel sheet in a plastic case. It works fine and its much smaller than the stone I lost.

Where do you find inspiration for your carvings?Most of my inspiration comes from the study of solid geometry the many families of symmetric solids with varying degrees of regularity, the most basic of which are the five Platonic solids. The magic spheres, the tessellated balls that are my new field of work, are very much inspired by the famous Dutch artist M. C. Escher, who is the absolute master of figurative tessellations. I am hoping, however, to be able to learn how to develop my own tessellations.Tetra Knot

9Do you have a favourite wood to use?Wood from fruit trees is ideal for magic carving. It has the required density and evenness and is not too hard. Pear is perhaps the best to carve but I find the colour and lack of visible structure somewhat dull, so I prefer cherry or plum. But I like to try many different kinds of wood, also more exotic hardwoods. Since you have to work slow in any case, it doesnt matter so much if the wood is a little harder to carve.

Why do you practice the art of woodcarving?I do it because I love it. Its such a relaxing sort of work; it gets me into a meditative state of mind. I also feel some obligation to do it because I can: If I dont carve these objects nobody else will and I feel that would be a shame.

Are there any artists or craftsmen that you find particularly inspiring?I have known Eschers work almost from the start and he has been a major inspiration throughout. In later years, through the internet, I became acquainted with two American artists who uses geometry in ways similar to mine: Bathsheba Grossman and George Hart. Whereas I needed structures with interlinked parts for my magic carvings, and would discard any structure that formed a connected whole, they tended to do the opposite, thinking that a sculpture should be a connected shape. As Bathsheba once put it: We seem to have complementary minds. I visited them both when I went to the US for the preparation of my book. George kindly agreed to write the foreword for the book, and, more important, he got me involved with an organization called Bridges that convene every year in an effort to bridge the gap between art and mathematics. I just returned from my fourth Bridges conference, this time in Holland, and it has been enormously inspiring to meet with some three hundred people of a similar mindset.

How do you think more people can be encouraged to take up woodcarving?The schools have a great responsibility here and Im afraid the tendency points in the wrong direction. Schools focus more and more on academic skills at the expense of

manual skills. The problem is not just that the kids do not acquire those skills but that they learn they are less worth than academic skills. The fact that these aspects of life are closely related is not acknowledged. One of the most remarkable books I ever read is a study of mathematics by two cognitive psychologists (Lacoff and Nues) as a case of how human reasoning works. They prove very convincingly that mathematics, the most abstract subject we have, is nothing but layers upon layers of abstractions and generalizations by analogies based on simple concepts such as containment and path that are acquired as bodily experiences in early childhood. This should be required curriculum for all coming teachers.

Where do you do most of your carving?I guess most of the work has been done at our dining room table. The initial sawing is done in my workshop where I can hold the piece in a vise. After that I can cary the work with me wherever I go, like knitting. I like to bring a project with me when I travel. I sit in parks and at caf tables holding the piece in my left hand. The basic tools easily fit into a leather pencil pouch.

Do you have any advice for anyone attempting intricate carvings like yours?First of all do not attempt anything complicated until you have completed one or two simple projects. Success will encourage you to go on, while failure tends to do the opposite. Then there are my four golden rules:

- Work in small steps and complete each step all way round keeping attention to symmetry.- Always leave a little extra material to be removed later. For each step the extra material will be less and less until you finally remove it with sandpaper.- Let the tools do the work. Look for ways to avoid excessive pressure, like cutting at at different angle or sharpening the tool.- Dont rush. Magic woodcarving is for pleasure, so why hurry? You will enjoy it more and make fewer mistakes if you work slowly.

For further information see Bjarnes book reviewd in Volume 3, Issue 1 or visit Bjarnes website www.lommekunst.dk

By The Editor

Wave Packet

Magic Sphere with Lizards

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BWA @TreefestWestonbirt, Gloucestershire

24th 26th August 2013

The bank holiday weekend at Treefest was a huge success, where we enjoyed catching up with our BWA friends from Gloucestershire, Hertfordshire, South Wales, Essex and West Kent. We were treated to loads of visitors with bountiful questions and fascinating information to share with us too. The regions display boards were as impressive as ever. The carvings entered into a public vote to win the much-coveted Westonbirt Trophy really challenged our visitors who found it hard to choose just one winner. One lady insisted she should be allowed to vote for three of them!

Whilst Lynn Kimm of the Herts region had the voting under control, our fellow woodcarvers were working on their latest projects, all with gorgeous human stories behind them.

On the South Wales table (I hadnt noticed a dog under their table until I looked back at the photos!), Ron Jones was fashioning a tulip mirror surround, as Eric Danter was lovingly carving a beautiful spoon for his granddaughters christening. Isla will adore it when shes old enough to appreciate her granddads craftsmanship. Dave Lambert who once worked in the coal mines of the Garw Valley was carving a miner from teak. Maureen, Daves wife, had chosen

oak in which to carve a special 50th birthday spoon for their son. What a lucky lad! Maureen explained that she had been inspired by a design from Sharon Littley of Heartwood. Sharon used to be the Regional Leader of South Wales and is now carving professionally. (See Sharons 5ft (!) spoon made for IKEA here: www.sharonlittley.com/family-profiles). David Edwards was carving a Scottie dog, secretly hoping it will turn out better than his Dads, Derek (current regional leader for South Wales). How lovely that father and son are enjoying this hobby together. (My daughter is desperate to join me in the Herts region hum, my dilemma is do I encourage her, or continue to enjoy a few hours of peace once a month? Bless her!!). Derek had carved green men into green wood. The effect was amazing the little men seemed more alive!

TREEFEST

Gill Deacon with Stan Kimm

David Edwards

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Jean and Maurice Harper, regional leaders of the Gloucestershire region were proudly displaying their groups talented carvings. Lyn McCracken took lots of professional photos of the entries for the Westonbirt Trophy competition. She took the award winning photos too, the results of which you will have to wait for until the end of my article.......! On their table, they had a series of rabbits in various states of completion. A design by Lyn McCracken, Dave Johnson uses this shape as an introduction piece for new carvers to their region. Many new carvers, many new rabbits, all with their own little personalities!

The Herts region Hertfordshire Quilt attracted people eager to share stories of their memories of each place depicted upon it. Each major place within Hertfordshire has been carved by different members of the group, showing historical and geographical points of interest. Stan Kimm added a new creation to the table a snake with a chain of Mobius rings hanging from its forked tongue. That mustve taken some super concentration to carve.

Outside the display marquee were Michelle Toon with her loveable meerkat (Orlov Toon?!). He began his life at the Cowper and Newton Museum in Olney and has come on so much since then. Hes already showing chief lookout meerkat skills! Dave Johnson was carving an amazing pair of shoes in lime, to be modelled as part of his friends college project. They will be attached to an elegant pair of feet with ribbons. I hope Dave will share the finished photo of them in a future Gazette. They are astonishing!

Our youngest visitor, Silas (meaning Man of the Wood), was showing early woodcarving abilities, quite at home with a mallet under the age of 5! He took a shine to Orlov Toon!

And now on to the awards...

Well, much to our surprise the British Woodcarvers Association won Treefests Most Inspiring and Original Use of Wood award!

A certificate was presented to us along with a Japanese Maple. Where shall the Maple reside? Watch this space - we will let you know....

Natasha hoping to carve a rabbit one day

Our youngest visitor to show - Silas!

We won the Treefest award!

Ron Jones and Maureen Lambert

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Westonbirt Trophy 2013

Our huge congratulations go to Bryan Harris, this years winner of the Westonbirt Trophy, with Barn Owl and Mouse. A super piece of work, to be enjoyed from all angles.

Second place went to Tony Bush with his Dormouse and third place was won by Richard Pepperd with Kioni. Well done indeed to you all and youre all from the Gloucestershire region!

The carvings pictured were all entries for the Westonbirt Trophy, which is voted for by the public. Photographs s by Lyn McCracken and Paula Noble.

Westonbirt Trophy presentation

Winner of Westonbirt Trophy 2013, Bryan Harris

Tony Bush - 2nd prize Richard Pepperd - 3rd prize

Barn Owl and mouse, Bryan Harris.

Doormouse, Tony Bush

Kioni, Richard Pepperd Spike Milligan Memorial, Mark Davis

Kioni, Richard Pepperd Baccus, Ian Todd

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By Paula Noble

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An Interview with Sharon LittleySharon Littley is know to many of you as an excellent carver and many like me probably own the book on Lovespoons that she co-authored. In this interview she explains her inspirations and and how it came about that she should be a woodcarver.

How did you get into carving, is there a family history of carving?As far as I am aware, there is no history of carving in my family, although my Aunt has just found a money box that was made by my great-grandfather that had thumbnails carved around the edge of the lid. I got into carving, aged 33, after my husband was diagnosed with a brain tumour. Two years after his intensive radiotherapy he needed to get out to meet people and, as his driving license had been taken away and he could no longer work, it meant I had to drive him there and back. As there was nothing else of interest on the adult education syllabus I decided to have a go and havent looked back. As the saying goes, out of every grey cloud there is a silver lining and woodcarving became my silver lining.

What was the first thing that you carved or whittled?A lovespoon. We were given paper and pencil and had to design a spoon. Someone I shared my bench with cut my spoon out and showed me how to hold the chisel and that was about all the tuition I had at that point.

What sort of tuition or courses do you think would benefit someone starting out in woodcarving?Any course that you can attend is of enormous benefit as the tutor usually assists with your learning by showing, for example, techniques, tool handling, sharpening and finishing which is much better than struggling by yourself. If there arent any courses then see if there are any groups such as the British Woodcarvers Association and join them there is usually someone in the group that is happy to help and give information.I attended the City and Guilds Woodcarving Course with Dick Onians and found this beneficial especially as you can pick up tips and ideas from other people as well as from the tutor.

What aspects of woodcarving are you most passionate about?All aspects. When I first made the transition from a hobby carver to professional, as a Welsh person, I didnt want to specialise in lovespoons. I wanted the challenge of carving all sorts of things and this is what I have done, although I have carved a lot of commissioned lovespoons and co-authored a book on them too!

Where do you find inspiration for your carvings?In all sorts of places. For example, one of my City

and Guilds projects was to carve an everyday object of irregular shape. As I was in my room the evening before the weekend course began I looked around and everything was of regular shape i.e. square/oblong/rectangle, and then I glanced to the floor and there lay a much loved and well worn pair of ankle boots and that became my project. It still remains one of my favourite carvings to this day.

Do you have a favourite wood to use?No, I dont, although I use Maple quite a lot. I particularly like this because its light in colour so will show the detail I include in my carvings and is strong in structure which means I can create delicate work that will maintain strength especially whilst working it.

Why do you practice the art of woodcarving?Because I love it. Wood is a fabulous medium (and Ive tried many other crafts). Transforming a block of wood into whatever you want is both rewarding and therapeutic. When you see the shape emerging it inspires you to continue and, as a professional, there is nothing better than seeing the pleasure on the face of the new owner or hear the pleasurable intake of breath when they see their commission for the first time it makes the challenge worthwhile.

Are there any artists or craftsmen that you find particularly inspiring?There are at least 4 that spring immediately to mind. The first is Ray Gonzales. I first saw Rays work at Wembley when hed just finished a female figure standing legs akimbo with the wind blowing a shawl onto her back. It was stunning and realistic. I was fortunate to attend a 2/3 day carving course with Ray back in the early 90s and

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have valued that experience still to this day.

The next person would, of course, be Ian Norbury. Having visited his exhibitions when he held them at his Studio in Cheltenham (before moving to Ireland) you cannot help but be in awe of his talent.

Third, is Dick Onians. Having attended many City and Guilds weekend courses with Dick I never cease to be

amazed at his extensive knowledge he is a mine of information. If I knew a fifth of Dicks knowledge Id be pleased but, alas, my knowledge doesnt even come that far up the scale. I once spent my weeks salary (I was teaching Lovespoon Carving at Missenden Abbey, Bucks., at the time) on purchasing one of Dicks maquettes a sort of abstract carving of the vaults? in Church ceiliings and it was worth every penny.

Finally, Grinling Gibbons must feature in the list. His skill and techniques used must be applauded. Visiting Petworth House, West Sussex, was a delight, as was the exhibition of his work at the V&A museum a few years ago.

Where do you do most of your carving?At my workshop, although I have been known to take work with me when Im teaching away so that I can work on my commissions when everyone has left the workshop.

Do you have a favourite subject for carving?No, although I quite like carving animals.

Do you have any anecdotes about carving or any of your carvings?Of the time I was commissioned to carve a lovespoon for the sister of this particular person. It was the sisters 50th anniversary and I was asked to put lots of roses and hearts into the design. The person had attended 2 courses with me and I asked for the usual non-refundable deposit that I take on confirmation of order. This didnt arrive but, as I knew her, I continued to carve the spoon. Towards the end, I wrote for the balance and this didnt come either. By now I loved this spoon and really didnt want to part with it so was hoping that the person wouldnt want it. As she was due to attend another course I dutifully took the spoon with me ready to explain that I was happy to keep it but, before I could open my mouth, she thrust an envelop into my hand with all the money inside. She didnt have a bank account and hadnt received my letter and did most certainly want the spoon what a shame, it would have looked lovely hanging on my wall!

Of how an accidental meeting in America of a contemporary spoon carver, can prove to be a lucky encounter. My friend Clive Griffin and I visited a Woodturning Symposium and stumbled upon this table of spoons. As we were looking at them the owner appeared and we started talking/explaining about welsh lovespoons, showing him photos of mine. He handed me a business card and I gave him mine. By the time we got home Norman had emailed me and commissioned me to carve a spoon for him. He wanted a spoon carved of Mother Goose and, again, this is another of my favourite commissions. I carved this wizened woman reading a story to a goose who craned his head to look as if he

16

could read the book himself. This beginning has lead to an established friendship and an exchange of long emails. Norman has since gone on to publish a book of his Contemporary collection (which now totals over 300 from around the world) and Mother Goose features in it shes also been an exhibition piece at many events and talks hes given. Norman is now making plans to hand over his collection to a museum for posterity.

Another commission was for me to carve a pineapple ring (to wear on a finger and not the edible kind). The person explained that as his relationship moved to a more serious relationship with his girlfriend (and Im not sure where the pineapple fits into it) but she said that, if he ever proposed to her he would need to do it with a pineapple ring as thats the only way shell know hes serious. Needless to say, he proposed on Christmas Eve and she accepted the wedding takes place this month and Im sure their year old baby will be a flower girl.

Finally, although somewhat sad, last year I was asked to carve an upright standing bear carrying a toolbox. After discussing ideas and agreeing price, the gentleman told me the carving was to be a memorial for his family as he had been diagnosed with Cancer. His children called him Daddy Bear hence the bear - and he wanted the bear to carry a toolbox as Philip made many things in wood. Unfortunately, Philip never got to see a photo of the bear, let alone the finished piece, as his Cancer was more aggressive than anticipated. Needless to say the family were thrilled with the bear when I delivered it to them. They then showed me some of Philips work which was superb - he made a fabulous Thomas the Tank Engine (and Annie the carriage) for his son when he was young, then, when hed outgrown it Thomas was used to raise money for the Church and Charities. There was an awful lot of emotion that went into the carving of the bear but what a wonderful person Philip was to make sure that there was something, as a reminder of him, for his family not that they needed reminding of course.

By The Editor

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Woodspirit carving with Peter Berry

The students of a one day course on carving a wood spirit head, held at Gayle Mill, Hawes, proudly show their days work. The course was excellently tutored by Peter Berry, and the students each carved into a piece of Lime their own interpretation of Peters log spirit carving, as seen on the bench in the photo. Each student was also given a log to take home in which they could further put into practice the skills learned from the course.

By Darren Hird

POLLHow do you prefer to sharpen your tools? There seems to be such a variety of possibilities from Water stones to Oil stones to Diamond stones to grinders and diamond steels. Vote in the online poll to see what the most popular methods are.

Please vote for your favourite at :www.thewoodcarversgazette.co.uk

18

Gawking at new carving tools and the huge range of other carving-related items that I tell myself I tell are simply indispensable to own if I am to improve my carving skills is, for me, one of the great pleasures of carving as a hobby. Items are added with impunity to the Christmas present list, and even if this ends up being ignored by friends and family, I at least have had the joy of finding new and interesting products.

No doubt Im like others, who get inspiration and seek out carving supplies from advertisements in carving magazines, from the well-known websites, or (better, but getting rare by the day) by thumbing through catalogues from one of the good well-known suppliers. One day, after not finding what I wanted in the usual places, I started searching further afield on the Net. The results were very fruitful.

My first foray was for some magnifying lenses. The usual carving suppliers had these, but there was generally a limited range. I then found Quicktest, a Watford based jewellery supply company which has a huge range of magnifiers, including the sort surgeons wear (but much cheaper than operating room-grade products) plus reading lamps, hand-held magnifiers and all sorts. Of course, as their website is badged for jewellers it is not the first that comes to mind for carvers, or indeed the first that Google finds when you start searching on the Web. Not only does it have a great range, but theres very useful explanatory text so you can identify which is best for you. And being a jewellers supplier, it has other things of interest to us woodies, such as bench clamps, hand vices, polishing mops and rouge for tool sharpening all at reasonable prices.

See www.quicktest.co.uk

That led me to think of dental suppliers. Bracon, for example, has a wide range of dental equipment, including burrs for carving, as well as modelling tools (designed to carve wax tooth models, but great if you want to make a clay or plasticine maquette for your next project). They do Swann Morton scalpels too, a range of miniature saws and those pointed scrapers that dentists use, horribly but effectively, to probe the corners of your mouth, but which are also ideal to add fine detail to carvings. Bracon is at http://www.bracon.co.uk. It has a very helpful

helpline. BDSI, another dental supplier, sells burrs and sanding materials as well as face masks and dental picks, in particular it has reasonably priced diamond burrs :

See www.ukdentalsupplies.com

Watch makers suppliers are worth a look as well. Eternal Tools has some interesting diamond burrs which they say are: for engraving, carving and sculpting in glass, stone, ceramics and hard wood, plus grinding work in Lapidary and jewellery. Due to the diamonds being sintered they are extremely durable.

See www.eternaltools.com/diamond-sintered-burs/

Diamond wheel grinders by the same firm are also surely worth a look the website quotes one user who said: Diamond wheels have transformed my life. They come into their own when I have an odd shaped tool, challenging on a water stone but a piece of cake on the diamond wheel, which makes a significant improvement to the finish I can get

See www.eternaltools.com/small-diamond-grinding-wheels/

Id not come across Derbyshires before this surfing adventure, and they supply an excellent range of carving products (including carving blanks) and their items are particularly for those who favour power carving.

See www.aderbyshire.co.uk

So the moral is Look Around. Use your search engine with imagination and you could be surprised what you turn up. You may find just the products you want in unexpected places quite possibly at very good prices.

A Sideways Look at Carving Supplies

By Clive Nash

19

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Conniscliffe Carving Club

In June, The Eddie Morgan Award For Valued Contribution was awarded at Conniscliffe Carving Club. The award was given to Keith Hardisty and handed to him by BWA regional leader David Shires. The bird in the centre of the shield was carved by Eddie as a fun entry in the competition we had when we hosted the BWA AGM in 2006. The theme for the carvings was fridge magnets and light-pulls and Eddie was the clear winner, and the judge was Stan Kimm.

By Clin Laycock

Eddie was a member of Coniscliffe Carving Club from the inaugral meeting and had been a member of the British Woodcarvers Association for quite a few years prior to that. He passed away in march 2012 after a short illness. He was 76years old and had worked in the ship building industry as a Marine Architect.

He was a quiet man who loved Nature and carving and his wish was for a memorial that could be won by anyone, and not by the best carver or carving as that would make the field too restricted. Also it is a clever way to keep everyone involved competing to further the clubs existence.

Keith Hardisty was the person chosen by secret ballot, for his contribution to the club as treasurer since the club was formed in 2000.

The club remains vibrant, meeting each Tuesday 7p.m. until 9p.m.in High Coniscliffe Primary School and demonstrates and displays at fairs and shows all over the North East.

20

2012With this years European Woodworking Show approaching, heres a reveiew of last years carving competition. The competition is organised by the Essex region and sponsored by Classic Handtools. First Place went to Micheele Toon and her Green Turtle Diving winning 750. Second Place went to Anthony Smith and his Smith Coat-of-arms, winning him 250. Voting in the carving competition is done by the public based on the carving that theyd most like to take home.

High Jump by Ted JeffreyLime

Cute little cat by John ThompsonLime on Oak base

Sun worshipper by Mick IvesLime on Mahogany base

Aphrodite by Len MappJelutong

Pair of Owls by Dave LodgeLime

Flying Barn Owl by Dave LodgeLime

Lovers by Gerry GuiverLimebased on a carving by Fred Zaveril

Cheers by Brian JacksonLime

Viking by Brian JacksonLime

The Cardinal by Ken VealBoxwood

The Tackle by Ted GreenJelutong

21

The veiled lady is at Chatsworth House by Gerry GuiverLime

Winston Churchill by Anthony SmithBrazilian Cedar on Mahogany

Lady Gaga bt Gordon PringleMahogany from an article in Woodcarving

Meerkat by Jan WensleyLime

Arctic tern by David Higgs Lime (painted)

Guinea pig by Mick MartinLime on Mahogany

Turtle exiting egg by Maureen RobertsLime

Polar bear on ice by Lynne KyleLime

Bear fights Butterfly by Martin HowellsLime and Laburnum

Spitfire by Ted JeffreyLime (painted)

Green Sea Turtle Diving by Michelle ToonSpalted beech and sycamore on a marine ply base

Monkey by Stan KimmSycamore with ebony eyes

22

The Bridesmaidby Maureen HockleyLime

Stallionby Pat BrooksWalnut

The Lookoutby Steven Smart Plum

Harmonyby Steven Smart Walnut

Contemplationby Hugh IngramBlack Walnut

Be careful when you go out in the light of the morning by Bill CrossWalnut with ebony based on a design by Tom Harvey

Otter Divingby Gill DeaconRedwood

On the beachby Dave HollingworthLime and Mahogany

Orphan Owlsby Maureen HockleyLime

Dove of peaceby Mary IvesLime

A Knot of Frogsby Sheila HumphreyLime

Prey or Pray?by Barbara BeardMahogany and Lime

Campanologyby Barbara BeardLime on Mahogany

23

WOODWORKINGWOODWORKINGSHOW

EUROPEAN

TICKET OFFICE NOW OPEN

Call 01473 785 946

or visit www.europeanwoodworkingshow.eu

Saturday and Sunday 21st and 22nd September 2013

Cressing Temple Barns, Near Braintree, Essex

Woodworking in Action

5th YEAR

Well done to all of the entrants in last years competition!

Why not have a go at entering this years competition!

Jazz by Roger EdwardsSycamore on walnut

Sea Horsesby Janette StewartLime

Smith coat-of-armsby Anthony SmithLime

The Voice factorby Gordon PringleChestnut

Jigsawby Gordon PringleLime on Mahogany

Spinners stoolby John WilkinsElm and Oak

Welsh Dragonby John ThompsonLime on Black walnut

Mickey Mouseby Peter RobertsLime (painted)

Gold by John UrbanowskiLime in Oak frame

Isabelby Maureen HockleyLime

By Maureen Hockley

24

THE STRUCTURE OF TREESUnderstanding their nature and form

Crown

Bole(Trunk)

Hardwood Tree showing Dendritic habit

Softwood Tree showing Excurrent habit

Trees are incredible organisms. The longest living organisms on the planet, the most massive organisms that ever lived. I find trees fascinating and feel a sense of awe every time I stand beneath a mature tree and look to the canopy. We all use wood in our everyday lives and in our carving; the product of these incredible organisms.

We all know that there are hardwood and softwood trees. What does that mean though? In order to explain fully, it is important to step back and look at the classification of trees. Trees are woody plants in the Spermatophyte group (seed-bearing plants), that have an elongated stem supporting leaves or branches.

Firstly, it is important to say that not all wood comes from trees. Wood is produced by many woody plants that are not trees. Some plants use wood to reinforce their stems and roots. These plants include some Herbs like Rosemary, Shrubs like the Rose and Lianas like the Monkey Ladder vine.

Before I go on, another important concept is that there is not really a formal definition of a Tree. A tree is often defined as being over a certain height at maturity and a shrub as being below a certain height at maturity. A shrub also tends to have more than one main stem and a tree tends to have a single main stem.

The Spermatophyte classification is divided into two groups called Angiosperms and Gymnosperms. Angiosperms are trees that produce covered seeds, i.e. are fruit bearing. Gymnosperm literally means naked seeds and these are therefore trees that produce their seeds in cones and other structures.

The Angiosperms include all Hardwood trees and the Gymnosperms include all Softwood trees. The European Yew seems to bear fruit though doesnt it? Not so; the fleshy and poisonous berry around a Yew seed is actually a modified seed cone scale.

Angiosperms also include plants that are often considered trees like the Bamboos and Grasstrees, which are not Hardwoods, the former in fact being members of the grass family. Although these plants can be carved and are used for many items including walking sticks, I shall not cover these plants in any more detail than this.

There are several terms that could be used to describe softwood and hardwood trees to try and distinguish them but many are incorrect. Evergreen cannot be used solely to describe softwood trees. In the tropics, most hardwood trees will be in leaf all year round and there are several evergreen Oaks that bear leaves all year round. Likewise we cannot use the term deciduous solely to describe hardwood trees because some softwood trees like the European Larch will drop their leaves in winter.

The wood from hardwood trees is not necessarily harder than that from a softwood tree. Balsa wood is very soft although it comes from very large, long-living hardwood trees. During the drying process, it loses two-thirds of its weight. European Yew is a softwood and its wood is indeed much harder than the wood from many hardwood trees like Balsa.

25

By The Editor

We can generally say then that most hardwood trees are broad-leaved, fruit-bearing trees with a dendritic habit. Softwood trees are Coniferous trees bearing naked seeds with an excurrent habit. A dendritic habit is where the tree has a sub-dividing form where the stem branches and each subsequent branch may branch again, creating a familiar forking structure. An excurrent habit is where the tree has a dominant main stem and subordinate lateral branches growing outwardly from it.

Trees comprise several structural elements. The have a root system, usually below ground although that is not always the case. They have a trunk (or Bole), which supports the Crown which is made up of limbs, branches, twigs and leaves. Timber from a hardwood tree is usually harvested from the trunk and the larger limbs whereas timber from a softwood tree is usually only harvested from the trunk.

Beverley MinsterBeverley Minster in Yorkshire is well worth a visit. Due to it being a minister it did not suffer during the reformation, only the cathedrals had carvings smashed, like hands and faces destroyed, which is a crime.

Outside stone carvings are in abundance, the Percival stone carving is the best in Europe, so they claim. There are Medieval misicords, a font

cover which took six years to carve and some great carved signs of the four apostles on the main door. It costs 3 to have a look around and take photos.

By Ken Willoughby

Panoramic photo Panoramics 2012

Free eBooks

eBooks are fast becoming ubiquitous and are an easy way for people to self-publish.

Below is a link to a first-class free eBook about Netsuke carving:

http://www.sterlingsculptures.com/Resources_folder/Netsuke_Book_folder/Carving_Netsuke.htm

Below is a link to a great free eBook giving tutorials on making your own small tools, ideal for anyone doing Netsuke or small work:

http://sculptingtools.blogspot.co.uk/

By Roland Laylock

26

BWA GloucesterSummer Semminar 2013

This seminar had taken a year to plan and we were fortunate that our normal meeting venue was not only large enough to cope but could also provide us with lunches at a very reasonable price. The quality of catering turned out to be very good and really contributed to the atmosphere. Many thanks to the Gala Club.

Our tutor group was recruited largely from our personal networks and all of them provided a first class input again, without overstretching our budgetary limitations. All of thanks to them. These limitations were our biggest worry in the early stages of planning because we were unsure that we would be able to recover the outlay. In the event we need not have been concerned because we very quickly filled the majority of places and, to cope with demand, had to increase delegate numbers from 6 8 per session to cope with demand. This gave us the confidence to include lunch and timber within the workshop price, which at 30 for members and 35 for non members has got to be one of this years bargains.

We are hugely fortunate in the Gloucestershire Region that we have the dynamic duo of Lyn McCracken and Janette Stewart whose combined skills and energy dealt with the vast majority of admin, marketing and finance problems. It is their efforts which were responsible for bringing this event from idea to fruition. Thanks also go to our Regional Leaders Jean & Maurice Harper who undertook host/hostess duties during the weekend and to the various members who lent us equipment for some of the workshops.

It is my experience that, regardless of the planning and resource allocation, the key element to any good party lies in the party goers themselves. On this basis my final thanks go to all the delegates who attended and really entered into the party spirit. Though the local members represented the majority of delegates I was particularly pleased to see so many non-members and guest members.

It is already too late to start planning to do it again next year but I think that this years success will lead to another attempt sometime in the future.

I was immensely lucky to attend the very friendly Gloucester BWA Seminar on the 22nd & 23 June 2013. There was a choice of six workshops with:

Maureen Hockley - Carving the Human Head

Terry Moss - Lettering

Peter Walwin - Furniture Decoration

Dave Johnson - Chip Carving and Carving a Greenman

Bob Jubb - Netsuke / Small carvings

A wide range of tastes were catered for and we were able to peek in at other courses during the excellent buffet lunch.

On Day1 I took Bob Jubbs Netsuke Course. Bob started by providing us with folders packed with instructions on what we would be tackling, finishing techniques, multi views of carving projects and tool information. We then had a slide show on the history & types of Netsuke. Best of all was the chance to pass around Bobs own carvings which we all found very hard to give back. We started work on double ended pre-cut frogs, inlaying eyes and texturing its body. Bob provided us with mini kits and we were able to try some of his tools. More information & demonstrations followed, for carving feathers, fish scales and finishing techniques. I would have loved to have had a second day trying more techniques.

By Dave Johnson

Terry Moss, Kay Lane and Wenda Stewart

Maureen Hockley, Sara Irvin and Steve Mechin

Bob Jubbs Toad

27

By Sarah Lawrenson

Day 2, I was with Maureen Hockley carving the Human Head. Once again we had thoughtfully been provided with pre-cut heads, tools & equipment were available to loan. Maureen quickly got us drawing out the proportions on our heads with instruction sheets and a carved piece to guide us. We then set to removing the bulk of wood to start to rough shape the 90 degree angle from the nose to the sides of the face. Maureen guided us all individually talking us through each feature and how to achieve its shape. Some of us were over cautious while others knew no fear. Indeed members from other groups were sent to pay homage to Rogers Contemporary twist on the human head. The afternoon passed with the appearance of eyes & lips, each individually tutored as we progressed. We also came away with notes to enable us to finish our heads. Maureens husband made film stars of us all by videoing the day.

It was very obvious from the laughter & discussions from the other courses that everyone was having a great time. A number of us had travelled from other parts, I found myself sitting next to a fellow North Westerner. Thank you so much to the organisers at Gloucester

for all the obvious hard work & thought that went into a brilliant seminar.

I am just coming back down to earth following a magnificent weekend at Gloucester regions Summer Seminar! I would like to pass on my thanks and congratulations to Gloucester (in particular Jean, Maurice, Anne, Chalkie and Richard) for arranging such a wonderfully inspiring day. All the people were so friendly and welcoming and there was a lovely mix of both their region and others who had travelled in such as Dianne from Chester and Martin, Regional leader from Essex, there were plenty of refreshments to hand, an amazing buffet lunch, and a great venue.

I drove down for the day (and yes it is a very long way from Preston in Lancashire) and I was so delighted that I did! I chose to do the day with Bob Jubb, Netsuke carver. It was a delight to see all his carvings and he allowed us to hold and examine them all, and even use all his tools. I was only expecting to practice techniques on a scrap bit of wood but Bob had roughed out a natterjack toad for each of us to do, and provided the materials to inlay not just the eyes on this one but more too! Obviously he realised we would be hooked after seeing all his finished pieces - he even signed his book that I had already bought - a true gentlemen, that I very much hope I have the pleasure of meeting again. Seeing Bobs toad, I can only hope I get somewhere near in the future! Well done Gloucester, and I hope to be back next time!

Bob Jubb, Richard Pepperd, Diane Barrett and Martin Howells

By Dianne Barratt

Peter Walwin, Janette Stewart and Duncan McConnachie

Lunch on Day 1

Dave Johnson, Karen Chater, Gavin McDonald, Barbara Jordan, Jean Harper and Jayne Burrows

28

Carving Found WoodI define Found Wood as not machined, natural shaped wood, because bought is the opposite of found and bought wood is almost always machined. The title Found Wood Carving does seem a bit inaccurate. There really is no difference between found wood carving and any other carving; the tools, the skill and techniques are the same. The difference is in the design and expectation. Design you might expect but expectation is perhaps a surprise?Any sane woodcarver, after a quick look at my Splits carving, would not want to carve it out of a block of straight grained wood. The waste would be horrendous and there would be fears of weakness due to short grain on the legs and arms. Yet, in the 15 years since it has been carved, I have regularly picked it up by an arm or leg and banged it on a table to demonstrate to carvers groups the strength that has been built into the piece because it grew that way. It was carved from a whole beech tree - the legs from roots, the trunk from the trunk and the arms and head from branches. The benefits of Found Wood are that you have some inspiration and strengths supplied by the wood, and an opportunity to explore shapes that you would or could not make out of straight timber.

Expectation

About 40 years ago, I took over as Membership Sec of the British Woodcarvers Association and went to Cheltenham to pick up the files from Betty Norbury. We had a cup of tea round a blazing log fire and I noticed that the logs they were burning looked rather superior. I asked Ian Norbury what wood it was and he said walnut. I wanted to grab them off the fire and take them home with me. I asked Ian why was he burning it? He said that when people are paying his prices for a carving, 2000 a piece (and that was 40 years ago), they expected perfect carvings out of perfect wood.

With Found Wood you have the opposite. You have - Rejected wood - Wood with no self respect - Wood that may be rotten in places - Wood that has splits - Wood that has perhaps been broken off rather than cut off the tree, Wood that may be green and subject to cracking. You cannot hope to achieve the results you normally aspire to. The wood is of variable quality, so getting a high gloss finish with glass paper is often impossible. An off the tool finish lends a harmony to the work.

When you start a normal carving you can go and buy a piece of wood big enough for it. With found wood you are restricted to the piece of wood Mother Nature left about for you. Most of you doing a normal carving aspire to achieve some form of perfection, realism, or realism with some slight simplification, a C19 view of art when a perfect copy of a natural form was the ideal. With Found wood you are moving on to the C20 when artist movements like Cubism and Impressionism were in

vogue. Think of Rodin and Henry Moore and their partial figures. It is the Art of the Possible not Art of Perfection

Design

When I was putting these thoughts together, everything up to this point flowed easily. Then I typed Design and it all stopped dead. It is difficult to say how you should design a normal carving and describing how to design for found wood

carving is much more difficult.

I have the disadvantage / advantage of never really being taught woodwork or carving, of not starting with proper tools or proper wood. I started with what I could get hold of, a knife and Found Wood and worked it out from there by trial and error.

I was never taught a theory of design. I learnt to do it by doing it. I have never worked out any theory. I have never tried to explain it before. It is like trying to tell someone how to do a three point turn or sharpen a gouge. It is impossible and you just have to show them, but that is impossible in an article. There are some pointers that hopefully will be useful

Some Pointers

Greek Ideal. The ancient Greeks had the idea that every stone has a sculpture inside it and all the sculptor has to do is release it. By release they mean by taking off the least amount of stone. If you take this theory to its nth extent then it should be possible to find a stone or piece of wood that is already a perfect sculpture. In 60 years I have only done this twice.

Texture. Found wood may come with a texture that no carver could reproduce. If possible incorporate it into your design. Bark can also be attractive. Dont be too quick to scrape back to the wood.

Knots make eyes. Quite often it has been a knot that first attracted me to a piece of wood. They are harder and darker than the surrounding wood which has been worn away

Branches and roots. These make arms and legs that do not suffer from short grain problems because you are going along with the strength of the wood.

Splits

29

By John Adamson

Burr. Celebrate burr (or Burl in the US). I have used it as frilly underskirt on a ballroom dancer and as foliage.

Where to start

You may just know what you want to do. In that case just do it. Think about the suggestions above. Is there some texture that is attractive? Are there any knots or branches that may be a starting point? Does the overall shape or part of the shape look interesting?

For the less inspired, I would suggest drawing the piece of wood. I can almost hear some of you saying Its ok for him, he can draw and I cannot. Well, what I am suggesting is more like tracing than drawing. Put your wood on a piece of paper and draw round it. Take the wood away and just look at the image on the paper. See if it says anything to you. Squint at it. Turn it round. Sleep on the problem. In desperation start again with another piece of wood as not every piece of wood has a sculpture inside it, what ever the ancient Greeks said. I often leave uninspiring bits of wood on the floor of my workshop. As I trip over them, I move them to a new position and see them in a new light. I repeat this until inspiration dawns or the wood finds an out of the way corner.

You may find it helpful to make a Plasticine model of the wood, actual size for small pieces or scaled down for the bigger bits. I find measuring the wood in inches and the model in cms is useful, so a 36 piece of wood make a 36cm model, i.e. a third size. You can carve your model to see if your ideas are possible. The model should only be as detailed as necessary to solve the current problem; it can be updated if you meet further problems during the carving process.

With found wood you have lost some of the usual design aids that you get with normal square timber carving, a front and side view and the clear picture in your mind of where you are going from the start of the carving. The model will help.

Having decided on your design, you will have to sort out where the base will be. On a normal carving project, you will probably have bought an extra bit of wood so that you have somewhere to hold it. On Found wood, you might have to screw or glue some wood to your base so it can be held. If, as with the Splits, there is no actual base and nowhere to hold it, I carve it carefully holding the wood between my knees.

From here on it is just like a normal carving project. You have your idea and/or a Plasticine model to refer to, and all your woodcarving skills and tools.

BWA Rockingham Forestvisit Art in Action

A Coach load of members, wives and friends enjoyed this day visit on Saturday 20th July to the event at Waterperry House, Oxfordshire.

Our Chairman Glyn Mould had a stand in the Woodcarving Marquee with one of his exhibits: a six foot high Seat entitled Freedom of Information Act displayed in the Best of the Best Exhibition Marquee. Given Pride of Place at the front of the Marquee, the seat drew crowds of appreciation, both for the skilled and detailed craftsmanship and also the subject matter, which depicted our current and former Political Leaders in compromising circumstances they all had their trousers down!

For readers who have not been to the show, held in the grounds of Waterperry House near Oxford, it covers the entire Arts spectrum and is the largest of this kind of event in the Country. Many Artists are present with their stands, and as visitors, and there are various Teaching exhibits throughout the four days of the show. We were fortunately spared the intense heat of the previous days, and with the many places to sit and eat or drink, everyone thoroughly enjoyed the experience. Without hesitation, I would recommend this gathering of artistic work as a very interesting and informative day out.

Chairman - Glyn Mould, Secretary - Tony Smith and Treasurer - Eddie Talbot

By Tony Smith & John Wright

30

MEMBERS GALLERY Wedding FavourBy Kate Press

Kate hasnt been carving that long and decided to do a carv-

ing from a scrap of wood for the Gazette competition which ended in February. Obviously it wasnt finished in time but she

decided to finish the piece, and was able to give it to the bride

and groom at a wedding she went to - which will be a lovely

individual momento of their day.

Owl BabiesBy Brian Rogers

Brian Rogers carving in lime is based on Martin Waddells book Owl Babies illustrated by Patrick Benson. A popular member of the Shropshire group, Brian sadly died earlier this year.

Rosemary carved the Pennington Coat-of-arms from Lime

Pennington Coat-of-armsBy Rosemary Pennington

Wistmans WoodBy Jerry Hughes

A relief carving in lime inspired by a visit to mysterious Wistmans Wood on Dartmoor.The stunted fern bedecked oak trees appear to be advancing on the moss covered rocks that resemble fallen warriors.

Musical FamilyBy Liz Spiers

Liz Spiers carved this fine study of her musical family from a single peice of lime

The Wolf By Gerry Guiver

The IndianBy Gerry Guiver

The Wolf was carved from a magazine and The Indian is an adaption of one of Ian Norburys figures

If you would like to submit one of your recently completed carvings to the gallery for the next issue, email me or use the form on the website.

editor@britishwoodcarversassociation.co.uk

www.thewoodcarversgazette.co.uk

31

BWA ShropshireCelebrates 20 Years

To mark the 20th Anniversary of the Shropshire Branch of the BWA, members celebrated with a Garden Party at which a birthday cake decorated with the club logo was cut by founder members Heather and Chris. As part of the celebration members were given the competitive challenge of creating carvings based on the theme of 20 with a Dremel 4000 kindly donated by Dremel as the prize. This stimulated a fascinating and ingenious range of carvings.

Towards the end of July the Shropshire group organised a seven day carving exhibition in the Goods Shed located at the Victorian Town, Blists Hill Museum. The exhibition coincided with the first week of the school summer holidays which combined with the good weather resulted in hundreds of visitors from across the country and around the world descending upon us. Five or six members were on duty each day to demonstrate their skills and answer our visitors many questions. The venue provided an excellent showcase for our carvings and an opportunity to promote woodcarving it certainly stimulated much interest and we endeavoured to provide contact details of BWA groups around the country.

The Victorian town was a fabulous place to wander about in our downtime when we were also able to visit the onsite woodcarvers led by the ever enthusiastic Malcolm Gibbon. Malcolm, claiming antecedents to Grinling Gibbons, is renowned for his carved rocking horses, including full scale versions.

The Shropshire Carvers currently have a membership of forty with thirty signed up for our weekly carving sessions in the workshops of a local secondary school. We are very much looking forward to hosting next years BWA AGM on the weekend 17 18 May when we plan to lay on a range of workshops, talks and social activities for those of you venturing into the beautiful county of Shropshire.

By Jerry Hughes

Heather and Chris prepare to cut the cake

Shropshire Woodcarvers gathered for their garden party

Carvings on display

A crowded Goods Shed

A range of entries for our 20th anniversary competition

32

Region Leader Phone Number Email Address

Mid-Thames Roger Edwards 01628 672 223 mid-thames@britishwoodcarversassociation.co.uk

Devon and Cornwall Les Wilkins 01548 810 442 devon-cornwall@britishwoodcarversassociation.co.uk

Durham & North Yorkshire David Shires 01325 374 686 durham@britishwoodcarversassociation.co.uk

Essex Ken Veal 01277 899 684 essex@britishwoodcarversassociation.co.uk

Gloucestershire Jean and Maurice Harper 01666 502 010 gloucestershire@britishwoodcarversassociation.co.uk

Hamlet Wood, Maidstone Mick Mills 01622 759 313 maidstone@britishwoodcarversassociation.co.uk

Hampshire John Tybjerg 01425 470 906 hampshire@britishwoodcarversassociation.co.uk

Hertfordshire Stan Kimm 02089 070 378 hertfordshire@britishwoodcarversassociation.co.uk

Jersey Eric Payn 07797 729 483 jersey@britishwoodcarversassociation.co.uk

Kent, Wormshill David Howard 01227 265 085 kent@britishwoodcarversassociation.co.uk

Lancashire Sarah Lawrenson 01772 715 503 lancashire-cheshire@britishwoodcarversassociation.co.uk

Leicestershire Martyn Neal 01162 716 635 leicestershire@britishwoodcarversassociation.co.uk

N. Lincs & E. Yorkshire 0 H Boyd 01652 618 071 lincsandyorks@britishwoodcarversassociation.co.uk

N.E. London & W. Essex Martin Howells 02085 901 824 w.essex@britishwoodcarversassociation.co.uk

S.E. London & W Kent Thomas Young 01689 851 500 w.kent@britishwoodcarversassociation.co.uk

Norfolk & Suffolk Belinda Newstead 01508 488 342 norfolk-suffolk@britishwoodcarversassociation.co.uk

Notts & Derby Roland Laycock 01623 636 343 nottsandderby@britishwoodcarversassociation.co.uk

North Staffordshire Tom Buttress 01782 533 061 n.staffordshire@britishwoodcarversassociation.co.uk

North Wales Borders Eileen Walker 01352 770 706 n.wales@britishwoodcarversassociation.co.uk

Oxfordshire & Bucks Brian Eastoe 01235 203 626 oxandbucks@britishwoodcarversassociation.co.uk

Rockingham Forest (East Mid-lands) John Wright 01733 810 312 e.midlands@britishwoodcarversassociation.co.uk

Ryedale, North Yorkshire Andrew Clark 01751 473 206 n.yorkshire@britishwoodcarversassociation.co.uk

Shropshire Meriel Brown 01743 861 159 shropshire@britishwoodcarversassociation.co.uk

Solway Woodcarvers (Cumbria) Clive Firth 01697 331 995 cumbria@britishwoodcarversassociation.co.uk

South Wales Derek Edwards 01639 883 137 s.wales@britishwoodcarversassociation.co.uk

Warwickshire Mick Kitchen 01926 843 159 warwickshire@britishwoodcarversassociation.co.uk

West Midlands Tony Newton 01214 411 534 w.midlands@britishwoodcarversassociation.co.uk

Yorkshire Paul Schofield 01274 687 492 yorkshire@britishwoodcarversassociation.co.uk

National Council Office Officer Phone Number Email Address

Chairman Mark Davis 01525 862 489 chairman@britishwoodcarversassociation.co.uk

National Secretary Lynn Kimm 02089 070 378 secretary@britishwoodcarversassociation.co.uk

Treasurer Bryan Corbin 01452 698 991 treasurer@britishwoodcarversassociation.co.uk

Membership Secretary Roger Timms 02084 621 371 membership@britishwoodcarversassociation.co.uk

Editor Jason Townsend 07970 535 189 editor@britishwoodcarversassociation.co.uk

Regional Liason Eileen Walker 01352 770 706 liason@britishwoodcarversassociation.co.uk

Website Manager Graeme Murray 07748 350 252 webmaster@britishwoodcarversassociation.co.uk

Publicity Paula Noble 01908 216 925 publicity@britishwoodcarversassociation.co.uk

www.britishwoodcarversassocation.co.uk