How To… Carve a Kuksa

I came across a fallen hornbeam tree one day while teaching my Sea Cadets some map reading. Attached to it was a burl that produced this beautifully swirled kuksa cup.

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My kuksa

Before I could drink out of my new kuksa I had to sort the small matter of carving it. As I explained in my previous How To… on Carving a Small Noggin cup the name kuksa (also known as kåsa in Sweden) is probably not the correct term for the cup as it was not carved in a Scandinavian country by the Sami peoples. Also it was not carved out of a birch burl but I like the word kuksa and it was carved out of a hornbeam burl at least.

After cutting the burl section from the fallen tree I left it to season for 3 years in a cold but dry area (my garage).

I wanted to create a kuksa that had the swirl of the burl wood and the clean lines of the heart wood. I started trying to saw down the length of the heartwood but that proved too difficult for my hand saw.

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Hornbeam Burl

In the end I inserted two of my log splitting wedges into the saw cut and hammered down on them with a wooden mallet.

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Splitting out

Thankfully they split cleanly leaving me a fairly smooth surface to start axing out the shape of the kuksa.

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Dark wood of the burl

The heartwood was well seasoned and required quite a bit of axe work to get it down to the level I wanted.

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Axing out the blank

I stopped axing out the top of the kuksa when I started to reach the burl wood but kept the heartwood for the handle. I was inspired by Jon Mac with his kuksa handle in the style of an otter’s tail and felt that the heartwood would prove a stronger option to the burl wood.

I drew out my general shape and used my saw again to cut off the excess on the sides. All the excess burl was carved later into either a quaich or a bowl.

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Making most of the burl

The burl was of a very good depth and even though there were some deep fissures I knew for once I would get a decent sized cup out of it.

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Ready to carve the bowl

I did not take any pictures of me carving the bowl or shaping the kuksa as I was too busy carving and there was no one around to photograph for me.

I looked in my archive though and came across these pictures of the master craftsman John Arthur from the Woodlife Makers Guild at the 2011 Wilderness Gathering demonstrating how to quickly blank out a kuksa.

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John Arthur – Master Wood Worker

After chopping out the basic shape, John used a saw to put some stop cuts in. Stop cuts allow you to remove wood from specific areas without any split running off into wood you want to keep (in this case the area that will become the bowl).

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Stop cuts and blanking out the cup

Once John had the basic shape he used his crook knife to carve out the bowl. He kept the knife in his right hand and continually turned the kuksa to carve out the bowl.

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Carving the bowl

Finally he used a small knife to shape the outside of the kuksa. He used a number of cutting styles cutting towards himself and away from himself but he was always in full control of the knife and soon had the basic shape of the kuksa made.

As this was green wood he then explained he would let it dry slowly over a number of weeks before finishing it off.

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Deft knife work

Here are some of John’s finished kuksas on display at the Gathering. With this level of detail you can see why he is a master craftsman.

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John’s creations

Back to my kuksa – the burl wood of the bowl came out very easily with a chisel and my crook knife.

I put lots of stop cuts into the sides of the blank so as to help get rid of the excess here in a controlled way (you can see all the pencil marks where I was to put them). I really took my time here to get rid of the excess wood and not damage the bowl.

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Stop cuts

The whole process of removing the burl wood took quite a while as the outer bark was very hard and the burl wood underneath the bark because of its curving nature was very soft in places and very hard in others.

When I had formed it into the shape you see in the top picture (below) I started using different grades of sandpaper, working up from very rough to very fine, until it reached the smoothness you see in the bottom picture.

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Carving the Kuksa shape

The inside of the bowl was very stable, smooth and did not contain any holes.

The underside was a different matter with small holes in a number of places.

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Smooth bowl but imperfect base

In the up close pictures below you can see that they were fairly deep. I felt I needed to fill these holes to prevent any leakages (never a good thing when you are desperate for a brew).

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Holes – big and small

To fill the holes I used a mixture of wood glue and sawdust from the sanding as a kind of filler. I rubbed the mixture all over the underside of the bowl, allowed it to dry, sanded it and repeated the process again. This all took a couple of days to allow for the drying process.

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Wood glue and shavings on the base

There was still some roughness left over even after the sanding but I felt that went with the character of the kuksa.

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Drying and sanding

To seal the cup I melted beeswax and poured it over the cup. I then re-melted the beeswax with a hairdryer so that as much of it as possible would soak into the burl wood to fill all the pores. I repeated this a number of times, covering the whole cup until no more beeswax would soak into the wood.

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Beeswax filler

The beeswax did what the sanding alone never could; it smoothed out the wood and gave it a lovely shine as well. The swirls of the burl wood really stood out after this process.

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Beautiful swirls on the sides

I particularly liked the contrast of the burl wood of the bowl with the heartwood of the handle. This is what I was hoping for and was very pleased with the outcome.

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Contrasts – heart wood and burl wood

Next up was to test out the waterproofness of the cup. To begin with I poured cold water into the cup and let it stand for an hour. Thankfully there were no leaks.

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Waterproofing test – cold water

Then it was time to add hot water. I started with warm water and in stages moved up until I was pouring just-boiled water into the kuksa. I was fairly happy that there would be no leakages now.

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Waterproof test – hot water

Next up was to see how a brew tasted with all that beeswax in the wood. I poured myself a coffee and could taste nothing of the beeswax. I think the boiling water helped with removing any excess beeswax.

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Taste test 1 – Coffee

A final test was at my friend Fraser’s place (of Coastal Survival) when he made me a beautiful cup of mint and blackberry tea.

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Taste test 2 – Herbal tea

I used more of the burl to make a bowl to go with the cup and it too turned out quite beautifully (in my opinion at least!).

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The set and another brew

Cheers

George

How To… Carve a Small Noggin Cup

This is a How To… of a small wooden cup called a noggin (also known as noigin in Irish and noigean in Gaelic) I made as a Christmas stocking filler for my wife Alison.

Alison had always wanted a one carved for her so I thought it was time to get on with it. These cups were traditionally made out of burls (I will cover this in more detail in my next How To…) however I did not have one available at the time and used silver birch wood instead.

Noggin carving is a skill that has been practiced for millennia but due to modern industrial practices it is now something generally limited to green woodworkers, bowl turners and bushcrafters. These are a few of my carvings, all utilitarian and nothing fancy. The cup at the bottom is the one I made for this How To…

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Carvings

Wood selection and splitting

For this noggin I selected a green piece of silver birch that had no crack lines starting on either end. The log had a few knots in it but looked quite easy to carve.

I split the log on a stump with my axe and drew out the basic shape of the noggin with a pencil. My intention was to carve a shallow flat-bottomed noggin with steep sides as the log was not that big.

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Beginnings – splitting the log and drawing

Tools & the bowl

As the sides were to be steep I opted to use a curved wood chisel and a mawl. I carved out the bowl first for various reasons:

    • To locate any cracks deep in the bowl area quickly
    • Working with the whole piece makes it more stable
    • There is less chance of the side of the bowl cracking
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Mawl and curved wood chisel for the bowl

Carving the bowl

To begin with I worked my way around the edge of the bowl taking out small chippings. I tapped the chisel with the mawl quite gently at this stage. The work piece was placed on my lap with 3 thick layers protecting my legs – two jackets and a small day sack.

I positioned the log so that the chisel was always pointing away from me. A work bench with a vice would have been safer but not available at the time (we were working in the winter in a small roundhouse).

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Fine work to begin with on the bowl

Going Deeper

Once the initial edge area was carved out I was able to use more force with the chisel. By this time I did not need to use the mawl but cut into the wood by just pressing down with force on the chisel. This seemed to work quicker than using the mawl all the time.

Working my way around the bowl I was able to take out a lot of wood rapidly until I had the basic shape roughed out.

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Chunking out the bowl

Axing out the basic shape

Once the bowl was created I axed out the basic shape of the noggin. I used the saw to make ‘stop cuts’ first though so that when I was using the axe I did not cut out areas of wood that formed part of the cup.

I did this work on a stump placed on the floor. The work piece was always well in front of me so that the follow through from any slippage (from the axe) went to the side of me.

Here you can see the two stop cuts created by the saw coming in at either side of the work piece. I then used the axe to cut out the areas of wood I did not require.

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Stop cuts and axe work

Carving with the Sloyd knife

After using the axe to blank out the basic shape of the noggin I then switched to using my Mora Sloyd knife. This small knife is ideal for more detailed, controlled carving.

I was able to carve in a very controlled and safe fashion with my thumbs pressing on the back of the blade. Even though the cuts were always small it did not take long for me to fine tune the shape as the blade itself was very sharp and the wood was green.

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Knife work

The crook knife

When I had the outside of the noggin ready for sanding I decided to use the crook knife on the inside of the bowl.

This was to take out as many of the small ridges produced by the chisel as possible and also to try and flatten out the bottom of the bowl some more. The crook knife enabled me to smooth out a lot of the ridges that the Sloyd could not reach.

After finishing with the bowl I left the noggin in a paper bag to dry slowly over a two-week period as it is easier to sand down dry wood.

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Finishing the bowl with the crook knife

Sanding the Noggin

I used a variety of different sandpapers on the noggin including:

  • Top left – 80 grit
  • Top right – 150 grit
  • Bottom left – 320 grit
  • Bottom right – 1200 grit
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The sandpapers used

I started with the coarsest, 80 grit, ensuring I covered the whole noggin and that all the edges were rounded off. The bottom of the noggin did take a considerable period of time to roughly sand (I should probably have done more knife work) but I wanted to create a small flat area so that it would be stable when set down with liquid in it.

I did not sand the whole of the noggin smooth as I wanted to leave some of the tool marks showing but I did give the rim of the cup an extra bit of sanding as I wanted that bit particularly smooth.

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Sanding

 

I really focused on making the rim smooth as I wanted that smoothness to contrast with the tool marks on the lower area.

Once I had finished with the 80 grit I worked my way up through the other sandpaper slowly smoothing the noggin down until I reached the finest, 1200 grit.

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Smoothing the rim

Boning the noggin

After sanding I oiled the noggin lightly (I used vegetable oil as that was all that was available) then used the back of a spoon to really smooth the surface. This is known as boning and as well as smoothing the surface it helps to seal the oil into the wood (a small rounded pebble works just as well).

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Boning

This whole process took a couple of hours and I added more oil as I went along. I find boning quite therapuetic, and it leaves a beautifully smooth satiny finish.

Lastly I carved a hole in the handle, fixed a leather loop and oiled the noggin once again.

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Before and after oiling

Lovely carvings for lovely ladies (although sadly Alison couldn’t christen hers with a dram of whisky on Christmas Day: she was pregnant with our son Finlay, who was born just a couple of weeks later!).

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Finished stocking fillers

Cheers

George

How To…. Carve a Pretty Pear Platter

While we were on holiday in France at my friend Rick’s cottage he was telling me about some of the trees in his garden. He has an old, gnarly pear tree currently propped up by sticks as it was blown over in a storm a few years ago. It still bears fruit, but only on one side.

Rick agreed that I could trim a branch off the non-fruiting side as that would take some of the weight off the side that was being supported. I like to carve fruit woods when they are green as the wood is easy to remove.

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Before and after

I cut the limb off very close to the trunk so as to minimise the chance of infection damaging the tree. I made a single cut as the branch was easy to support as I cut it. Also the cut was made as close to the Collar as possible so as to give the tree the best chance to heal itself.

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De-limbing

The bark was easy to strip off with my axe – being very careful where my fingers were at all times – and then I used my saw to cut it down further so I had a piece I was happy to carve.

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De-barking and trimming to size

One piece of the branch made a perfect hammer for battoning my work piece in two. I make sure that the blade of the axe is 90 degrees to my body so that if it slips the edge of the axe swings away from me.

This piece did not split evenly as the wood was quite twisted with its age.

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Battoning

To make the split more even, I put the work piece on its side and split it further. A slower method but more controlled I think.

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Splitting out

After splitting I cut out some wood from one of the halves to give it a flatter look.

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Flattening

I used my axe to take of some of the excess wood around what would be the bottom of the platter. As the shape was going to be a shallow curve I did not put any stop cuts in but just chipped away, starting from the ends and chasing the wood back to the centre.

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Axing out the back

To finish the flattening of the top part of the platter I finished with the axe and moved onto my knife.

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Final flatten with the knife

Once the work piece was as flat as I wanted I drew the shape of the bowl area and used my crook knife to start removing the wood from this area. As the wood was very green this excess was removed very easily.

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Using the crook knife

I also used my palm gauge and my bowl knife in this process. These are the only bowl-carving knives I have and I switch between them depending on what the wood is saying to me as I try and carve it out.

These tools make a real difference to carving the bowl area but are ones you really need to practise with a lot to be as safe and efficient as possible with when using them.

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Palm gauge and bowl knife

Once I was happy with the amount of wood removed from the bowl area, I moved onto the back. I like to take my time when working on this area as it is all too easy to cut out large chunks of wood and suddenly reveal a great big hole in the bowl. I use a variety of cuts: brake cuts towards me, small pressure cuts using my thumbs and powerful but small chest lever cuts to name just three. With all cuts, the main thing to remember is that you must always be aware where the blade will end up if the knife slips.

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Different knife cuts

I had a lovely time over a couple of evenings working on this carving – this is what I call relaxing.

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Relaxation and fine work

I had kept a lot of the chippings from the carving and when I had removed enough wood I put the platter and lots of the chippings into a plastic bag and kept it in my garage (a nice cool area) for a month to slowly dry out. I added some water to the chippings every few days for the first week to keep them and the platter slightly damp.

This slow drying process allows the whole of the platter to dry in a much more even manner. The platter would potentially crack if the outside dried at a much faster rate than the inside (caused by pressure differences).

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Roughed-out platter

After a month of drying I used different grades of sandpaper from rough to very smooth to get rid of most of the lumps and bumps.

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Sanding

I coated the platter with 3 layers of olive oil (allowing each coat to dry fully before applying the next).

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Oiling

Then over a couple of nights I used the back of a spoon to rub the surface of the platter so that it became silky smooth (known as boning). Sometimes you get a very shiny surface doing this but I think that this wood may need to season for a bit longer as although it became beautifully smooth it stayed a bit dull.

The fibres of the wood may raise up again over the next few weeks but a light sanding and boning will soon have it smooth again.

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Boning

This is my 99th blog post and I am glad it was about something  I was very happy to carve. The platter is destined to go back to France as a present to Rick for letting us use his cottage for what was a very lovely holiday – Brittany Adventures.

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Finished platter

Cheers

George

How To…. Carve a Simple Spoon: the double-handle technique

This How To…. illustrates some simple steps to carve a small spoon you can easily make when you are out and about.

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A simple spoon

I was training on campcraft in Crowborough (Ashdown Forest in the UK) recently and in between classes decided to carve this simple spoon. A nearby willow tree had been felled a few years ago and lots of shoots had re-grown from the stump.

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Local Willow

I selected a shoot and sawed it off near its base. Cutting the limb cleanly at the base will allow the tree to heal itself quickly and send out a replacement shoot the following year.

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Cut right back

I selected the limb because of its curves, which  help in making a strong spoon. I trimmed the limb in a safe position and used the live limbs as a vice to do the final sawing.

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Trimmed safely

I took two pieces to make a couple of spoons and then trimmed off a couple of the smaller shoots from the top.

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The spoons-to-be

These smaller pieces I re-planted around the base of the tree by pushing them into the ground, as willow has the ability to re-grow from these shoots.

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Re-planting

The next job was to strip off the outer and inner barks. I tried to strip the bark off in one piece but as the sap had not yet risen it was very difficult to do. If the bark had peeled off easily I could have made some nice cordage from it.

I used the back of my knife to scrape off the remnants of the inner bark to get right down to the wood.

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Taking off the outer bark

This inner bark does clog up on the back of the blade so you have to continually scrape it off. The whole process of stripping the bark took about 5 minutes.

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Removing the inner bark

I flattened out the area of wood that would make the bowl of the spoon to give myself a little bit more area to work with.

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Creating a working surface

I like to draw out my spoon leaving areas of waste wood at each end as these act as handles when carving. Also, I prefer to carve the spoon from the top down as this cuts through many different rings thereby making the spoon stronger. I also mark out at this stage all the stop cuts I will need. (The technique of leaving handles to work with was taught to me by my good friend Mark Beer a few years ago and I find they are particularly useful when you are teaching novices.)

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Drawing out the spoon

I like to carve the bowl of the spoon first. To do this job I usually use a palm gouge (on the left) and a crook knife (on the right).

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The bowl tools

I use the palm gouge first, tracking around the edge of the bowl to cut out the waste. Having the two handles in the wood means I can use the same hand to do this (I am left-handed). They also allow me to keep my other hand well away from the sharp edge of the gouge.

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The palm gouge

The gouge makes short work of the waste wood but it does not leave a smooth surface.

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Rough bowl

To smooth the bowl out a bit more I usually switch to the crook knife. I find that the crook knife helps to accentuate the curve of the bowl more than the gouge does. With both tools I always try and cut across the grain of the wood but this is not always possible near the ends so I need to be extra careful there not to lose wood on the edges.

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Smoothing out the bowl with the crook knife

After the bowl is roughed out I saw all the stop cuts. These stop cuts help to stop splits occurring in the wood as I carve the rest of the waste wood away.

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Creating the stop cuts

Stop cuts are particularly important when carving around the bowl; they act like small breaking points for the knife edge, stopping splits occurring.

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Removing the waste

I take my time at this stage and make small cuts to remove each piece of waste wood between the stop cuts. In these two pictures I am using my thumbs on the back of the blade to apply pressure. You can push either with both thumbs on the back of the blade or with one thumb on top of the other.

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Thumb pressure

When I am on a straight section like the handle I tend to use the chest lever grip. This is a very controlled and powerful cut. I have my hands tight against me and use my chest muscles to push my hands apart. This pushes the knife edge into the wood in small, controlled but powerful cuts.

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Chest lever grip

Another cut that can be used here is the shoulder cut. With the work piece off to your side and the bottom of it on a log or on the ground (if the handle at the bottom is long enough), keep your arm locked straight and push down with your shoulder muscles to cut into the excess wood. You can cut big or very fine pieces with this technique.

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Shoulder power cut

I learnt this technique from Mors Kochanski when he was over in the UK at the BCUK Bushmoot a few years ago. I pushed one end of the work piece (perfect when you have these handles on each end) and then, using the knife like a draw knife, cut slivers of wood towards me. This is one of the few cuts where the blade comes towards you. The key to this technique is to keep the arm that is holding the work piece bent and well away from the knife tip. Also the arm that is holding the knife is clamped against my side which stops any big movements. If my knife were to slip with this technique the blade would actually only move a few centimeters.

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Mors Kochanski style

Using these techniques I quickly removed the waste wood around the spoon.

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Top plane cut out

I then marked out the side of the spoon and started to remove the waste wood using the shoulder cut. I could have put stop cuts in at this stage but decided not to as there was not much curve to the spoon on this plane.

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Side plane

Finishing the tail and the bowl requires a lot of fine work. You have to find how the grain of the wood is flowing and just chip away at it with small cuts to form your final shape.

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Fine work

After some final work on the handle of the spoon I slowly carved around the tip of the bowl to remove one of the working handles. Take your time with this so that you get down to the last few fibres of wood before twisting the handle off. Any big cuts here can damage the bowl.

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Trimming the handle and removing one handle

I then repeated the whole process at the other end to remove the other working handle.

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Removing the other handle

The wood was green so full of moisture. Normally I would dry the wood slowly for a few weeks before sanding it down. Sanding green wood can be hard work and no matter how smooth you get it you will need to repeat the process in a few days as small fibres of wood will start to rise up again, giving the spoon a furry texture.

I accept that when making these spoons as I normally want to use it straight away. Ideally I should have used a piece of seasoned wood so that this would not happen but you sometimes have to use what is available. I left the spoon to dry out for a couple of days before sanding it down.

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A blanked out spoon

I used sandpaper of different grades and luckily have some cloth sandpaper that works well when sanding the bowl out.

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Sandpapers

I used the rough sandpaper first and you can see in these pictures how the fibres of the wood are being ripped out here rather than being sanded smooth. All the sandpaper is doing at this stage is flattening out the tool marks.

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Rough first

Eventually the spoon started to take on a more smooth appearance. The bottom picture shows the bowl untouched but the handle is now smoother.

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Taking shape

The cloth sandpaper is ideal for getting into the bowl and smoothing it out. I like this sandpaper as it does not break apart in the bowl as traditional paper-backed sandpaper tends to.

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Smoothing the bowl

After sanding the spoon down using a mixture of grades from rough to very fine (about a half hour’s work) I added some oil to the spoon. I generally use vegetable oil as that is what I usually have in my cooking kit when out in the woods.

After the first coating had soaked in I applied a second coating and left the spoon to dry out.

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First oiling

I like to add a finishing touch by boning the spoon. You can do this with the back of a spoon, a rounded pebble or with  a rounded piece of bone. I rub the spoon with the rounded surface in a circular motion covering the whole of the surface area of the spoon. I normally do this for an hour or so as this seals the fibres of the wood down and adds a beautiful shine to the spoon.

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Boning

This spoon will need to be re-sanded, oiled and boned again in a few weeks as the fibres rise up as it dries out. You can see that the bowl is not perfectly smooth and there are slight imperfections in it. Hopefully these will disappear with that second sanding but for now it is a spoon I can use.

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Imperfections but a working spoon

The different profiles of the spoon.

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Profiles

Ready to go.

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Ready to do its job

Have a go and try out some of these different cutting techniques.

Cheers

George