Tabletop-Artistry.pdf

Tabletop Artistry

Power carving adds style

to classical-looking furniture

By Bill Janney

did not have to look far to find a power-carving project

that would be a nice change of pace from the gunstocks

I customize. My father, Ben Janney, made this mahogany

Queen Anne Handkerchief Table for my wife and I several

years ago. It is one of several pieces of furniture he has

made for our home. Since this would be my first tabletop

carving, I knew I had to be prepared before putting a chisel

to the 23"-square wing.

Getting Started

I found a flowering leaf scroll pattern in Craftool Tech-Tips

by Al Stohlman.After photocopying the pattern in black and

white, I transferred the pattern to Applique Film, a frosted

Ben Janney, at left, made this table for his daughter-

in-law and son, Bill Janney, who carved a flowering

leaf scroll pattern on one of the table’s wings.

& TOOLS

stencil material with a sticky back that peels and adheres to

wood. I decided to practice carving the pattern on a

similarly shaped piece of mahogany, rotating the practice

wood, and later the actual tabletop wing, on top of a lazy

Susan, which enables me to easily rotate the workpiece to

carve different sections.

Carving at various depths, I did half of this project on

the practice board. As a result, I knew to set my GraverMax

power-carving chisel at 1,200 pulses or impacts per minute

with its power source, an air compressor, set at about 20

PSI.With this power-carving system, the chisels I use

MATERIALS:

Applique Film

Pencil

Olympic Interior Oil Based

Wood Stain - Special Walnut

Inexpensive, soft bristle brush

Inexpensive artist’s brush

Old, all cotton T-shirt

TOOLS:

GraverMax power chisel and

high-speed drill

No. 2 round carbide burr

1 ⁄ 8 " 60-degree V tool

X-acto ® knife

2 1 ⁄ 2 -power magnifier

Safety glasses

Dust mask

Tabletop Artistry

Wood Carving Illustrated 1

Materials

operate like little jackhammers, with the strength of the

impact power regulated by a foot pedal. All I do is hold and

guide the chisel and the power generates a reciprocating

action.The tool is fun to use and also physically easy to

handle without fear of repetitive stress injury issues.

Always wear safety glasses and a mask when using this

kind of power equipment.The GraverMax system also offers

ultra high-speed rotary handpieces, and I strongly recommend

using a dust collector and wearing a double-filter mask

because dust is a byproduct of high-speed power carving.

This type of project can be carved even if you do not

have a GRS Tools’ GraverMax.The same company’s System 3

is a simpler and less expensive power unit.A lightweight, air-

impact tool, the System 3 handpiece is a piston-and-port

design, which self-oscillates using normal compressed air.

Other alternatives to complete this project range from using

a Foredom flexible shaft with attachments to hand tools

such as palm chisels for the outlining and a nail you would

push for the stippling. Regardless of which option you

choose, try to do half of the project on a practice board.

Photocopy the pattern onto Applique Film. Using a ruler, center the

pattern over the end of the tabletop wing.

Carving Suggestions

I picked a spot on the right side of the pattern, toward the

middle, to begin carving on the actual tabletop. From my

practice work, I knew this would be a comfortable place to

start carving.When using this chisel, depending on whether

I make a right- or left-hand curve, I keep my artwork to the

right or left side of the chisel—outside of the pattern.When

carving a centerline, I try to keep the chisel in the middle of

the centerline. For this project, I began carving about 1 ⁄ 32 "

deep with a 1 ⁄ 8 " 60-degree V tool. Some portions of the

carving had a final depth of about 1 ⁄ 16 ". Know the depth of

the V tool and try to carve accordingly.With practice, you

will be able to carve at specific depths with each chisel.

When I carve against the grain, I have to cut slower so I

don’t lift or tear out extra wood off the tabletop.The key to

using this tool is to concentrate and not get in a hurry to

finish carving. If you think your attention is wandering, shut

off the machine and take a break. One nice aspect of this

project is the mahogany is softer than walnut, so it cuts

easier and it doesn’t splinter as easily.

Peel and cut off part of the backing on the stencil before applying the

rest of the stencil to the tabletop.Work any air bubbles out as the

rest of the pattern is applied and rubbed onto the tabletop. Examine

the pattern closely. Depending on the quality of the photocopied

pattern, use a pencil to add a few lines.

Finishing Tips

There was no need for me to use sandpaper on the

tabletop, but I did add a little dark stain—Olympic Interior

Oil Based Wood Stain - Special Walnut. See Steps 14 and 15

for the details.

Tips

Adapting Blades

I prefer to adapt my own blades for the GraverMax

system using Flexcut tools, which come in the angles I

prefer and are very sharp.To do so, I remove the handles

of 1 ⁄ 8 " 60- and 70-degree V tools. I then grind the shank

ends to fit the quick-change holder.

Using a 1 ⁄ 8 " 60-degree V tool, begin carving on the right side of the

pattern, toward the middle, at a depth of 1 ⁄ 32 ". Use this tool for all of

the initial outlining of the pattern.

2 Wood Carving Illustrated

Tabletop Artistry

STEP

Proceed to portions of the pattern’s outer perimeter as you continue

the initial outlining of the pattern.When making a right- or left-

handed curve, stay just to the outside of the pattern.

Finish outlining the right side perimeter of the pattern before

proceeding to outline the left side perimeter. Once the outer perimeter

of the pattern has been outlined, examine the piece to see if more

outlines are needed. If not, peel the outer perimeter of the stencil off

the tabletop, leaving the inner part of the pattern on the wood.

Using the same 1 ⁄ 8 " 60-degree V tool on the outer perimeter, carve a

little deeper, about 3 ⁄ 32 " deep.This is about three-quarters of the

depth of the chisel.When carving deep, do not cut deeper than the

side walls of the chisel. Some of these cuts are short but will enhance

the detailed look of the carving.

For the longer curves, it is important to keep them flowing by carving

in a clean sweep.This type of carving should be practiced until you

believe you are comfortable enough to do this on an actual project.

Continue carving on the left side of the pattern. Once the outline is

complete, take a break. Be sure to stand up and walk around.

Using the same 1 ⁄ 8 " 60-degree V tool, only carve about 1 ⁄ 32 " deep to

begin and finish outlining the center sections where the black areas of

the pattern are located.These center areas will be stippled later.

Tabletop Artistry

Wood Carving Illustrated 3

STEP

Using a rotary drill with a no. 2 carbide bur, begin to stipple areas

between the leaves.You are basically adding little dots close to one

another on the wood.This not only adds extra texture but also gives

the tabletop a darker outline and reduces space not carved. Stippling

within the flowers’ petals not only adds texture, but also gives the piece

more definition and depth. Use an inexpensive soft bristle brush to

occasionally dust off the tabletop after you’ve been stippling for a while.

Using the 1 ⁄ 8 " 60-degree V tool, continue to add accent lines

throughout the piece. Examine your work closely, and you’ll probably

find a few areas that need to be carved a little deeper. Using an

X-acto knife, remove the rest of the pattern, first peeling it from the

center, then the left side and finally from the right side.

Brush off the dust after removing the stencil. Using the 1 ⁄ 8 " 60-degree

V tool, further define some places on the inner leaves by carving

another 1 ⁄ 32 " deep.

Continue using the 1 ⁄ 8 " 60-degree V tool to outline around the

stippling.This is an especially good time to use a 2 1 ⁄ 2 -power magnifier

for a better look at your workpiece.

The tabletop is ready for staining with Olympic Interior Oil Based

Wood Stain - Special Walnut.The pigment in the stain settles to the

bottom of the can, which is where you want it. Using an inexpensive

artist’s brush and a circular motion, apply the stain, being sure to

work it into the crevices.

Using an old cotton T-shirt, wipe off the stain.Then use a brush to

wipe a bit more stain out of the crevices so it doesn’t puddle.

Thoroughly wipe off the tabletop wing and let the stain dry for about

two hours before attaching to the rest of the table.

4 Wood Carving Illustrated

Tabletop Artistry

STEP

design by Bill Janney

PATTERN

About the Author

A retired electrician, Bill Janney has a full-time

gunstock carving business. Bill has two videos on

gunstock carving and teaches carving around the

United States. His most recent contribution to

Wood Carving Illustrated is “Classic Roses,” Issue

no. 25, Spring 2004. Bill lives in Middletown, Ohio.

A schedule of his classes and other information is on his website,

www.billjanney.com . Bill also may be reached by email,

billjanney@riva.net or at 937-787-4836.

By Bill Janney

Gunstock Carving

Learn gunstock carving from an expert. Includes

step-by-step projects & instructions, patterns, tips

& techniques.

$19.95 plus $3.50 S&H (parcel post)

Further

READING

Photocopy at 100%

Note to professional copying services.

You may make up to ten copies of this

pattern for the personal use of the

buyer of this magazine.

Available from:

Fox Chapel Publishing

1970 Broad St., East Petersburg, PA 17520

Phone: 800-457-9112 FAX: 888-369-2885

www.FoxChapelPublishing.com

Or check your local supply store.

Fox Chapel Publishing Co., Inc.

Wood Carving Illustrated

Designer: Bill Janney

Tabletop Artistry

Wood Carving Illustrated 5

Project

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