Steve Russell is from Independence, Iowa. About a year before his retirement from John Deere in 2010, Steve took up carving. Steve has won numerous awards at both the local and national level. He has held classes and workshops at his studio and with the Northeast Iowa Woodcarvers Club. Contact Steve at sjr1953@hotmail.com.

Bench Knives

The tool we call a bench knife comes in many shapes and sizes. Some have long blades that may extend up to 4″ (102mm) from the handle, while others, such as chip-carving knives, have a 1″ (25mm)-long blade. Some blades have straight cutting edges, while others start to curve along the top third of the blade. Some are sharpened on one side only while others are sharpened on both. And each will fit your hand differently.

While many wood carvers have a variety of bench knives in their kits, most return over and over again to just one or two favorite tools. Following are the two main factors to consider.

Steel Quality

It determines how sharp an edge the knife can achieve and keep during a carving session. No matter how skilled you are, you’ll never be able to sharpen inexpensive steel into a bright, clean edge. Any sharp edge you do get will not last long. Be prepared to pay about the same amount for one good bench knife ($20-$25) as you would for a full five-to-six-piece inexpensive beginner’s carving set.

There are several companies (Barton, Flexcut, Helvie, Moore, My Chip Carving, OOCT, Warren) who make carving knives from excellent steel. If you don’t recognize the name, investigate before buying; inexpensive often means low quality steel.

A Comfortable Fit

When you grip the handle, the tips of your middle and ring finger should lie about 1/4″ (6mm) away from or just against your thumb palm. This lets you have free motion of your fingers, thumb, and wrist during any cut—not too tight and not too open. Your fingers should hold the knife handle to the palm without the need for excess pressure.

If the handle is too narrow or thin, your fingertips will need to curve into a clenched shape to hold the knife steady. That causes extra tension in the hand, which over time becomes tiring.

If the handle is too wide, your fingertips will not touch the thumb palm area. To hold it securely, you would need to grip tightly to steady the knife through the cuts. This, too, can cause fatigue and stress on your hands.

Traditionally, tool handles are sized to fit a medium-to-large man’s hand, because until a century ago, woodworking and carving were mostly done by men. Today, though, many professional carvers are women—and these women usually have smaller hands and therefore narrower grips. (My husband is a longtime woodworker. While his hand can hold a large knife comfortably, mine just can’t.)

Fortunately, today, you can find handles in a variety of sizes. Some manufacturers offer you a choice of handle shapes and sizes. In general, those classified as detail knives have smaller handles.

This knife handle is too wide for this carver.

A knife handle that properly fits a woman’s hand…

…will most likely be too small for a man.

A Rule of Thumb

To gauge how well a knife handle will fit your hand, wrap the fingers of your dominant hand around your other thumb. Your thumb represents the knife handle, which rests across your palm. Since the fattest part of your thumb sits nicely in this area, you can use it to see how thick a knife handle you can comfortably use. This is why I never recommend ergonomic grip tool handles, because they only perfectly fit one person’s hand—the person (usually a man) who made the handle mold in the first place.

TIP: Adjusting A Handle

If your knife handle is too large, sand or carve it down to fit your hand. If the handle is too small, wrap vet-wrap tape around the handle to build it up.

Blade Length

A good bench knife, one with high-quality steel and a proper fit, will carve about 90% of the straight cuts that you need for any project.

And for most carving projects, especially if you’re working with milled and kiln-dried wood where the bark and heartwood have been removed, it only needs to make a clean 1/2″ (1.3cm)-wide slice. A longer knife puts your hands farther from the details you’re carving and reduces your control (above right). If you do need to take larger slices, clamp the wood and use a drawknife; this allows you to use both hands on the tool, keeping control despite the length of the blade.

A shorter blade length (top) will afford you more control.

When a Longer Blade is Better

Harley Refsal, author of Carving Flat-Plane Style Caricatures, prefers a longer blade to take the large cuts needed for flat-plane carving. Initially, he ground down a Morakniv blade (a traditional Scandinavian multi-purpose knife) until it was about 2″ (5.1cm) long, and thinned it on a sharpening stone so it would glide through wood more easily. Eventually, he teamed up with Del Stubbs of Pinewood Forge to make the Harley Knife (shown at right).

“The distinct, flat facets created by a fairly large, thin-bladed knife, rather than a tiny detail knife or a variety of gouges, yield the Scandinavian-inspired flat-plane look I most enjoy carving,” Harley explained. He also recommends straight knives by OOCT for flat-plane carving and curved knives by Pinewood Forge, OCCT, and Drake Knives for spoon carving.

Longer knives, such as a traditional Sloyd, also work well to remove bark from large surface areas such as a walking stick. The long blade allows you to glide the cutting edge down the stick, freeing strips of bark.

Mounting a Carving Directly

To attach a large carving to the arm, use a carver’s screw. Drill a pilot hole into the bottom of the blank and thread the carver’s screw into the hole. Carver’s screws are available from most carving supply stores.

For small carvings, you can use a common hanger bolt in lieu of a carver’s screw. Hanger bolts, which have a machine-thread bolt on one end and a lag screw on the other end, are often sold in the plumbing area of hardware stores. I suggest a 5/16″-dia. by
4″-long (8mm by 102mm) hanger bolt.

To attach the hanger bolt to the blank, drill a 3/16″ (5mm)-dia. pilot hole in the bottom of the carving, and thread the lag part of the bolt into the hole. The hanger bolt should protrude at least 2-3/8″ (60mm) so you can attach the piece to the carving arm.

Twist a carver’s screw or hanger bolt into the bottom of the carving.

Using a Mounting Block or Plug

It can be difficult to use a carver’s screw with some projects, such as relief carvings or figures without bases. To mount carvings like this, I use a carriage bolt attached to a temporary mounting block.

To mount a relief carving, choose a piece of 3/4″ (19mm)-thick wood that is large enough to insert at least four wood screws into the relief carving. Position the screws in areas that will not protrude into the finished carving. Drill and countersink the holes for the screws in the bottom of the mounting block. Drill and counter-bore the hole for the carriage bolt in the center of the top of the mounting block. Drive the carriage bolt through the hole and then screw the mounting block to the relief carving.

For an in-the-round carving that doesn’t have a base, such as a human or animal figure, choose a 3/4″ (19mm)-thick piece of wood big enough for the figure to stand on. Determine where the feet will be located and drill and countersink holes positioned so the screws will go into the feet and legs.

Drill a hole for the carriage bolt in the center of the mounting block. To ensure the carriage bolt sits below the surface of the mounting block, counter-bore a shallow hole the same size as the head of the carriage bolt in the top of the mounting block and drive the carriage bolt down through the hole. Use wood screws to attach the carving to the mounting block.

For hollow items, like cane heads, make a plug that fits into the blank. Drill a pilot hole in the plug and insert the lag end of a hanger bolt into the hole. Use wood screws to attach the plug to the blank. When the carving is finished, back out the wood screws to free the carving from the plug.

Use a mounting block to attach a relief carving to a carving arm.

Use a mounting block for an in-the-round carving that does not have  a base.

When you can’t drill into the blank, create a plug. 

Choosing a Handle

Once you have attached a carver’s screw or bolt to the blank or mounting block, you can use either a commercial or a shop-made handle to mount the blank to the carving arm.

To use a commercial handle, place a 5/16″ (8mm)-dia. fender washer onto the carver’s screw or bolt and then add a 5/16″-16 five-star knob.

To make a handle, sketch the shape as pictured. Drill a 1/2″ (13mm)- dia. by 5/8″ (16mm) deep hole in the inner curve and then drill a 5/16″ (8mm) hole all the way through. Cut around the perimeter of the handle. Install a 5/16″-16 threaded insert into the larger hole. Thread a fender washer onto the carver’s screw or bolt and loosely twist on your shop-made handle.

Buy a handle or make your own. 

Using a Carving Arm

Keep the handle loose enough that you can slide the bolt through the slot in the carving arm. Make sure the fender washer is against the handle and tighten until the carving is held securely.

To rotate the carving as you work, simply loosen the handle or knob. Be sure to re-tighten the handle before working again.

Use a handle to attach the mounting block to the carving arm.

LaVerne “Sid” Sidler was a woodworker for more than 50 years and an award-winning woodcarver for over 40 years.

Brush Soap

Brushes should be cleaned well with a good quality soap when you finish painting. While painting, rinse the brushes in water and occasionally dip into an extender such as Jo Sonja’s Retarder to keep the paint from drying in the bristles until you have time to clean them.

Containers for Water

You’ll need two water containers; one to rinse the paint from your brush and the other to pick up water as you paint. Dirty water will change the color of your paint, so keep this container clean. A useful addition to your painting supplies is a brush basin that is divided into two sections with ridges in the bottom. Gently stroke brushes across the ridges to get all of the paint out.

Containers for Mediums, Such as Flow Medium and Clear Glaze Medium

You will need at least two small containers to hold mediums. These can be anything from the cap for a bottle to small candle cups or eggcups.

Disposable Acrylic Palette Paper

Paper palettes are available in pads. These are needed for color mixing and dry palette blending. Make sure the paper you select has one slick side. Pads of palette paper listed for use of both acrylic and oils, which do not have the slick side, may absorb the moisture from acrylic paint too quickly.

Distilled Water in a Squeeze Bottle

Use distilled water if storing your palette of colors in a closed container for any length of time. Some tap water contains mold that may grow and contaminate the paint.

Palette Knife

A plastic, bent-blade palette knife is great for mixing colors and mediums. They’re inexpensive and easy to clean.

Paper Towels

Use inexpensive paper towels to set up your wet palette. Thick paper towels may be used for wiping your brush when painting. Fold them into quarters to save space in your work area.

Pencil and Pencil Sharpener

A #2HB pencil is the easiest to find. Your pencil may be used for drawing or making notes in your sketchbook. The pencil sharpener will also be used to sharpen soapstone (see below).

Sandpaper

Small pieces of various grits of sandpaper are used both for surface preparation and painting. Medium- or light-colored sandpaper will not lose its color on the background. Fingernail files, which are available in a variety of grades, are excellent for hard to reach places.

Sketchbook or Journal

A spiral bound sketchbook or a small journal should be kept for gathering inspiration, color samples, and notes. Glue a mylar pocket from an office supply store to the back to hold small things

Soapstone

Soapstone or plumber’s chalk comes in a stick. It is available at hardware stores in the plumbing supplies. Sharpen the soapstone with a pencil sharpener as needed. This is used to sketch onto the surface of carvings because the lines are easily removed.

Towel for Work Area

An old towel or cloth protects the work surface and provides a cushion for your project.

Wet Palette

A wet palette is used for paint storage and may be set up using any shallow container. A wet palette may be as simple as a paper plate or a foam meat tray. An airtight container for food storage will keep paint workable for several days or weeks. Lay a damp paper towel on top of your palette, and apply the paint on top of the paper towel.

Vicki Rhodes has authored books and numerous magazine articles.

Getting Started

Cut the stock to length using the parts list and diagrams as guides. I use a miter saw. Several pieces have angles cut on the ends; use the drawings to make sure you angle the ends properly. Drill the holes marked on the drawings. Then, apply a waterproofing finish to the pieces. This allows you to leave the main structure of the frame outside; I suggest you bring the press screw and any other metal hardware inside.

To screw in hanger bolts, tighten two nuts against each other. Use a wrench on the top nut to turn the hanger bolt into the table.

Assembling the Frame

Use the assembly drawings as guides to assemble the stand. Drive the table bolts (P) about 3 1/2″ (89mm) into the edge of the press screw mount (H) and clamping tables (I, J) (see Tip). To make it easy to drive the screws at an angle through the table brace (C) into the back table (G), drill pilot holes slightly smaller than the diameter of the screws. Follow the manufacturer’s instructions to mount the press screw.

Using the Frame

Secure the frame to the ground using heavy-duty shepherd-crook-shaped tent stakes. To use the press screw, insert the table screw through the hole of your choice in the upright and lock it in place with the wing nut.  Use the size of the carving to determine where to position the clamping table, and lock it in place with the wing nut. Then, secure the carving with the press screw. Use the other clamping table with a hanger bolt or carving screw to secure an in-the-round carving. Use the back table to secure in-the-round carvings or relief carvings using the press screw mounted on the other side of the upright or with ordinary clamps.

MATERIALS

• Construction 2x4s: 2 each, 8′ (2.44m) long

• Construction 2x6s: 2 each, 8′ (2.44m) long

• Construction 2×10: 8′ (2.44m) long

• Shoulder vise screw: 9″ (22.9cm) long (see Special Sources below)

• Hanger bolts, 3/8″ (10mm) dia.: 3 each, 6″ (15.2cm) long

• Wing nuts, 3/8″ (10mm) dia.: 3 each, with 3″ (76mm) wingspan

• Washers, 3/8″ (10mm) inside dia.: 3 each, 1 1/2″ (38mm) outer dia.

• Exterior deck screws: 1 1/2″ (38mm) long, 2 1/2″ (64mm) long, 3″ (76mm) long

• Shepherd-crook-shaped tent stakes: 2 each

TOOLS

• Saws: miter, circular

• Hand drill with bits: 5/16″ (8mm), 3/8″ (10mm), 7/8″ (22mm) dia.

• Level

SPECIAL SOURCES

An 11 1/2″ (29.2cm)-long veneer press clamp (part number D2893) is available for $16.50 from Grizzly Industrial, grizzly.com, and other online retailers.

Hanger bolts and wing nuts are available for $1.93 each (bolts) and $6.88 each (wing nuts) from MSC, MSCDirect.com.

Ralph Beam is a retired high school earth science teacher who lives in Mishawaka, Ind., with his wife Kay.
He immersed himself in carving after retiring and joined the Council Oaks Woodcarvers Club in South Bend, Ind.
His carving focus is wood spirits.

Controls are on the power hub, not the tool handle.

The Power Hub

The MakerX hub transfers the energy of a 20-volt lithium ion battery to any attached tool through a super flexible cord. The hub has an onboard power switch and variable speed control, negating the need for them to be incorporated into the individual tools. The kit we tested includes a rotary tool and an airbrush—but the hub can power additional MakerX tools, such as an angle grinder, heat gun, and burnisher. The WorX Power Share battery can provide up to three hours of power on a single charge, depending on the tool and how it’s being used.

Changing bits is easy with the integral spindle lock and the wrench supplied in the kit.

The rotary tool has excellent power, with speeds up to 35,000RPM.

The Rotary Tool

The handpiece has a comfortable ergonomic design with a soft-textured rubber grip. There’s plenty of power in the brushless motor, which allows for speeds from 5,000 to 35,000 RPM. We used several carving bits on pine and walnut blanks, and the tool performed well. The universal 1/8″ (3mm) collet holds any brand of rotary accessories.

The tool is not loud, but has a high-pitched whine, especially at faster speeds. It’s worth noting that the tool will shut off when pushed too hard. This is a design feature that surprised us at first—but it occurs so that the bit or blade will not kick back or become difficult to control. If this occurs, reset the system by turning the startup button on the hub off, and then turn on again. Once familiar with the tool, we were able to carve with minimal interruptions.

The compressor pump provides a stable base for the airbrush to stand upright.

The Airbrush

No noisy, bulky compressor or hose needed with the MakerX airbrush! The airbrush pen mounts directly onto a lightweight canister-type compressor that provdes 14-18 psi of air pressure. It also doubles as a comfortable handle for the brush, and solidly supports the unit upright when not in use. The pen itself is a high-quality tool that rivals those from well-known airbrush manufacturers.

Adjust paint flow with the knob on the end of the pen.

Conclusion

When you place all the elements of the system into the well-designed carry bag, you’ll truly appreciate the compact portability of the MakerX. The tote is lined with pockets to hold the tools safely and separately, with ample space left over for carving blanks, a water bottle, several bottles of paint, and an extra battery or two to keep you crafting on the go. The price is modest for the array of quality tools in the kit—not to mention the capability to power carve nearly anywhere you want.

Kit Contents

MakerX rotary tool

MakerX airbrush

Airbrush compressor

MakerX hub

20V battery

Battery charger

Accessory case

Storage bag

Steel brush (1)

Bristle brush (1)

Drum mandrel (1)

Cutting accessories (8)

Sanding accessories (12)

Polishing accessories (4)

Grinding accessories (5)

Engraving accessories (4)

Screw-on mandrel (1)

Threaded mandrel (1)

Drill bit: 1 1/8″ (29mm) (1)

Spanner wrench (1)

Dropper (1)

Cleaning brush (1)

Flexible Shaft vs. Micromotor

Flexible shaft tools are powerful. They can rip through wood at an astonishing rate. But most of them max out at 15,000 to 20,000 rpm, and the bits you generally use to add details, such as diamond and ruby, work better at higher speeds. That’s why most carvers switch to micromotors, which can reach speeds of 50,000 rpm, for intricate work.

And while flexible shaft tools are fine for larger projects clamped securely to a bench, I find them too powerful for smaller pieces that need to be handheld.

Using one, I find myself bracing against the bench and tightening my wrist muscles to withstand the power of the tool. I’m constantly adjusting my position to keep from bending the shaft too sharply, which makes the handpiece jerk around.

Micromotors, conversely, are less powerful but offer better speed and comfort. The handpiece connects to the power supply with a soft, flexible cord, and is easy to hold at all speeds. (I grip it in a fist when roughing out with carbide-point bits, and hold it like a pencil to carve fine detail.)

They are powered in one of two ways, by brushed or brushless motors. Because of how they are constructed, the brushless ones are noticeably more powerful (they tend to last longer, too). The rub is that they cost significantly more: brushed units start at $200, while brushless versions start at around $700. That’s where Foredom’s new brushless micromotor comes in—it lists for less than $600. And while you might expect that that price comes at the expense of other desirable attributes, the opposite is true: the K.1060 revs to 50,000 rpm and is one of the most user-friendly micromotors I’ve ever worked with.

Chuck in an aggressive carbide-point bit to remove waste wood in a hurry.

More Power = Faster Wood Removal

To test the Foredom, I first put an aggressive carbide-point bit in a brushed micromotor and dug into a piece of oak. I couldn’t press very hard before the bit bogged down and the motor stalled. With the K.1060, I had to apply a great deal more pressure to get the tool to stall, and it tore through the hard oak much faster. Not as fast as a flexible shaft tool, perhaps, but plenty fast for my purposes.

With a finer bit, like this fluted cylinder, you can carve fur flow and texture.

Digital Readout = Safer, Easier Use

Where most other micromotors have rough speed marks on the control dial, the Foredom has a precise digital readout, making it safer because you can make sure you’re not exceeding the bit manufacturer’s maximum allowed speed. Moreover, once you dial in a comfortable speed for different bits, you can easily return to that speed after changing them.

Handpiece

The K.1060’s quick-change handpiece accommodates bits with 3/32″ (2.4mm) and 1/8″ (3mm)-diameter shafts. Bit changes take seconds, and the collets grip well. As noted, the handpiece is comfortable to hold and the power cord is flexible and easy to maneuver.

Even finer bits, like this inverted cone (right), add more intricate detail. Below: a sample of bits the K.1060 can handle.

Workability

Power carver Lori Andrews creates most of her projects—including the bear on our cover—using flexible shaft tools. I duplicated her project using just the Foredom. While I had to substitute a smaller carbide-point bit—Lori uses a large cylinder-shaped one with a 1/4″ (6mm)-diameter shaft—I was able to carve the bear in a similar amount of time, quickly and easily. In fact, I prefer the high-speed tool for adding the fur details because it allowed me to take light, quick cuts.

Overall Opinion

If you already have and regularly use a flexible shaft tool, you may not need a micromotor this powerful. But if you’re looking to start power carving, especially if you’re having trouble using edged tools, I highly recommend this bad boy. For most of my power carving, it’s now the only tool I use.

Making the Paint Rack

Cut the pieces as noted in the Materials List. I used a table saw. Use the drawings to mark the screw locations. Drill 1/16″ (2mm)-diameter pilot holes for the screws to keep the plywood from splitting. Countersink the holes in the acrylic so the screws sit flush with the surface. Sand all of the pieces so there are no sharp edges. Then, screw the pieces together.

Materials

• Plywood, 3/4″ (1.9cm) thick: sides,
2 each 7″ x 18 3/4″ (17.8cm x 47.6cm)

• Plywood, 3/4″ (1.9cm) thick: shelf 1, 1 1/2″ x 28 1/2″ (3.8cm x 72.4cm)

• Plywood, 3/4″ (1.9cm) thick: shelf 2, 3 1/8″ x 28 1/2″ (7.9cm x 72.4cm)

• Plywood, 3/4″ (1.9cm) thick: shelf 3, 4 3/4″ x 28 1/2″ (12.1cm x 72.4cm)

• Plywood, 3/4″ (1.9cm) thick: shelf 4 , 6 3/8″ x 28 1/2″ (16.2cm x 72.4cm)

• Tempered hardboard or plywood, 1/4″ (6mm) thick: back 18 3/4″ x 28 1/2″ (47.6cm x 72.4cm)

• Drywall screws, #8: 3/4″ (1.9cm) long;
1 5/8″ (4.1cm) long

• Clear acrylic plastic, such as Plexiglas,
1/8″ (3mm) thick: top shelves, 4″ x 28 1/2″ (10.2cm x 72.4cm); bottom shelf, 2 1/4″ x 28 1/2″ (5.7cm x 72.4cm)

Tools

• Table saw

• Drill with bits: 1/16″ (2mm), countersink

• Screwdriver

Steve Russell is from Independence, Iowa. He took up carving about eight years ago. Steve has won numerous awards at both the local and national levels. He has held classes and workshops at his studio and with the Northeast Iowa Woodcarvers Club. Contact Steve at sjr1953@hotmail.com.