For this project, I attempted to create a sparrow in a more or less step by step process. Over a week, I tried real hard to take as many pictures of each sequence as I could (sometimes forgot!) as I carved along. My apologies for the poor quality pics, some of which are terribly out of focus. However, if they help one beginner out there who is trying out bird carving for the first time, then I will have accomplished my mission.
I started with a standard cutout in tupelo wood. I got this one from KV Woodcarvers Supply (see Links) but are available through many outlets. It is cut on the side profile only, so you have to draw and carve the top profile, unless you have a bandsaw and are very skilled in its use.
First is to draw some reference lines. I begin by making a centerline all around, which greatly aids in keeping things in proportion and symetrical as you carve.
The centerline is all the way around. A flexible plastic rule is used.
Here I have begun to draw out the beak details. Using good reference material is important. The outline of the beaks' profile, height, width and thickness are drawn.
Don't forget the bottom side!
You can now complete the top profile, laying out how you want the wings to lie. Your choice here whether you want the wings to cross, just touch, or have one or both dropped along the side of the bird. There's enough wood for any of the choices.
I had my best reference photos right in front of me, on the workbench. I had more on the wall as well. A quick search on the internet affords many great photos in many poses. There is also a veritable library of bird books available too.
I cut in the top profile using the Foredom with a Typhoon bit. Note the dust collector hose, which I have fastened to the workbench and is simply an extension of the household central vac system. Otherwise, I'd be relegated to the great outdoors! Even with the vac, I still wear a dust mask as well.
So here is the rough out completed. I have left just a hair of wood outside the line.
Now it's time to detail out the beak, starting with profiling the sides. I like to use the fine kutzall bit for the initial rough cuts.
Redraw your reference lines for accuracy and symmetry.
Start the fine detailing with ruby and diamond flames and points. I like to start at the beak for if I screw this part up real bad, there is always still enough wood around to make a smaller bird!! I learned that trick from the pros, and I believe that many a carved hummingbird started its life as a much larger specie.
Once detailed out and sanded smooth, an application of superglue hardens the soft and fragile tip.
I jumped a few steps here but what you see is the result of some carving away of the edges of the rough out in order to shape the body. This I did with the Foredom and a variety of bits such as the typhoon cylinder and mostly a small 3/4 inch sanding drum. Notice that I leave the centerline intact as this protects the side profile. Overall, you must try to acheive symmetry on both sides.
Here is the top view -same idea - go for symmetry and keep the centerline.
And a side view.
Here I have drawn lines to begin representing where various feather groups will lay. From the references I had, I could readily see a distinction between the neck (nape) and shoulder(scapular) regions.
I can then rough draw in the outline of the wing feathers. Make sure both sides are relatively the same, unless you are purposely dropping one wing for realism or design.
With a small sanding drum, or ruby flames, the lines are followed to rough in the wing edges. Notice that the neck and shoulder areas have also been stepped in to give these areas definition.
Now the body has been more or less completely contoured, and the wings, neck and shoulders defined. The tail area has been reduced in thickness and the entire bird was sanded smooth. I started with 100 grit, and moved progressively down to 320.
Another view of the sanded bird.
I notice two areas at the top of the throat that are still too thick, so I mark them and carve them out, then I will re-sand the areas smooth.
The eye channel is carved in using a ruby flame. Take care to ensure the grooves are placed on both sides symmetrically.
Not too bad. The picture is worse than the carving.
Next will be the placement of the eyes. Here I measure from reference information to ensure the centres will be the same for right and left eyes.
I have used a round 1/8" cutter bit for the initial hole, and will carefully widen it to just about 5mm.
Poor focus, but both eyeholes are in place and even.
Here I start to lay out the wing feathers.
And the scapular region. Try not to make a shingled roof effect here, so vary the sizes a bit and the alignments.
With a 1/8" round ball, I create feather groups or bunches on the body of the bird.
Heres a look at the breast.
The edges of the grooves are softened using a ruby flame. The body will then be sanded smooth to offer a flowing look.
With a sharper flame point, I like to insert just a few deeper feather breaks along the contour feathers. I think it adds a bit a realism and otherwise breaks up the otherwise unnatural long flowing lines. Remember that these feathers are the soft puffy ones, and these breaks also give the impression of depth and airyness.
I begin the actual feathering at the crissom, or vent area of the bird. Within each feather group or bunch, I draw in the individual feather tips.
Using either white or blue stones, each feather tip is detailed. Sorry for the poor picture quality, I should have reviewed the pics as I went along.
As you can see, I move up the body, stopping to draw in feather tips in the bunches ahead.
Completed up to the head at this point.
Detailing the head. The feather tips got real small! I will go over this area with the wood burning tip later.
Contour feathers complete. Now onto the flight feathers.
Oops! You might have noticed our bird suddenly had his eyes in the picture. Forgot to photograph that sequence altogether. So I backtracked a bit. Here is the bead size of AB Epoxy I use to set the glass eye in place. Then, with the same stuff, I make a very thin "string" of epoxy and work it to shape as the eyelids.
Ok, back to the wings. I use a 1/8" tapered diamond point with a safe end to shape in the wing feathers including the coverts as you see here.
And here the primaries and secondaries are getting outlined.
Jumped another few steps here as well. I am now well into the feather burning. I use a Razertip unit.
Body is now more or less complete. The tail is next.
The tailfeathers are drawn out and the tapered bit is used to detail.
The same is done underneath and each feather is then burned.
Carving completed, the bird gets sealed with a coat of JoSonja's All Purpose Sealer. It is now ready for painting.
And magically, the bird comes to life with applilcations of acrylic paints. I use thin washes and a variety of small brushes. Here is where the camera was all but forgotten completely, and I did not take any pics of the painting process. Perhaps on the next project, whatever that will be.
There remains the habitat to make and of course the feet. Just to the left of the bird you can see what looks like the top of a fence post. There is even some barbed wire around it. This is what our bird will sit on. I used a piece of poplar (aspen) to make the post and painted it grey to give a weathered look.
The barbed wire was fashioned from some black stove wire. I doubled and twisted a piece, then wrapped a few short pieces tightly to the wire to simulate the barbs. I then applied a coat of jesso, then some reddish brown mixture paint to simulate rust.
The feet were made with brass rod and copper wire, each toe being shaped and then silver soldered to a main stem which will be hidden.
Front view.
Standing beside a reference photo, I hope I captured the colours correctly. I always find painting a greater challenge than carving. Having an affliction called medium red-green colour blindness doesn't help!! I always have to double check my colour choices with other family members. Otherwise, all my birds would have a neat alien or tropical appearance.
One last look! The carving now sits in a local gallery, and believe it or not, I forgot to take pictures of the completed specimen before it went on display. I plan to go there later this month, and will get one more picture for this project. I hope you enjoyed the show and I really hope it has helped a beginner somewhere along the way. Please feel free to contact me or leave feedback by email or through the guestbook found elsewhere on this site. Have a great summer!
I started with a standard cutout in tupelo wood. I got this one from KV Woodcarvers Supply (see Links) but are available through many outlets. It is cut on the side profile only, so you have to draw and carve the top profile, unless you have a bandsaw and are very skilled in its use.
Once detailed out and sanded smooth, an application of superglue hardens the soft and fragile tip.
Here is the top view -same idea - go for symmetry and keep the centerline.
And a side view.
I can then rough draw in the outline of the wing feathers. Make sure both sides are relatively the same, unless you are purposely dropping one wing for realism or design.
With a small sanding drum, or ruby flames, the lines are followed to rough in the wing edges. Notice that the neck and shoulder areas have also been stepped in to give these areas definition.
Another view of the sanded bird.
I notice two areas at the top of the throat that are still too thick, so I mark them and carve them out, then I will re-sand the areas smooth.
The eye channel is carved in using a ruby flame. Take care to ensure the grooves are placed on both sides symmetrically.
Not too bad. The picture is worse than the carving.
Next will be the placement of the eyes. Here I measure from reference information to ensure the centres will be the same for right and left eyes.
I have used a round 1/8" cutter bit for the initial hole, and will carefully widen it to just about 5mm.
Poor focus, but both eyeholes are in place and even.
And the scapular region. Try not to make a shingled roof effect here, so vary the sizes a bit and the alignments.
With a 1/8" round ball, I create feather groups or bunches on the body of the bird.
The edges of the grooves are softened using a ruby flame. The body will then be sanded smooth to offer a flowing look.
With a sharper flame point, I like to insert just a few deeper feather breaks along the contour feathers. I think it adds a bit a realism and otherwise breaks up the otherwise unnatural long flowing lines. Remember that these feathers are the soft puffy ones, and these breaks also give the impression of depth and airyness.
I begin the actual feathering at the crissom, or vent area of the bird. Within each feather group or bunch, I draw in the individual feather tips.
Using either white or blue stones, each feather tip is detailed. Sorry for the poor picture quality, I should have reviewed the pics as I went along.
As you can see, I move up the body, stopping to draw in feather tips in the bunches ahead.
Completed up to the head at this point.
Detailing the head. The feather tips got real small! I will go over this area with the wood burning tip later.
Contour feathers complete. Now onto the flight feathers.
Oops! You might have noticed our bird suddenly had his eyes in the picture. Forgot to photograph that sequence altogether. So I backtracked a bit. Here is the bead size of AB Epoxy I use to set the glass eye in place. Then, with the same stuff, I make a very thin "string" of epoxy and work it to shape as the eyelids.
Ok, back to the wings. I use a 1/8" tapered diamond point with a safe end to shape in the wing feathers including the coverts as you see here.
And here the primaries and secondaries are getting outlined.
Jumped another few steps here as well. I am now well into the feather burning. I use a Razertip unit.
Body is now more or less complete. The tail is next.
The tailfeathers are drawn out and the tapered bit is used to detail.
The same is done underneath and each feather is then burned.
And magically, the bird comes to life with applilcations of acrylic paints. I use thin washes and a variety of small brushes. Here is where the camera was all but forgotten completely, and I did not take any pics of the painting process. Perhaps on the next project, whatever that will be.
Standing beside a reference photo, I hope I captured the colours correctly. I always find painting a greater challenge than carving. Having an affliction called medium red-green colour blindness doesn't help!! I always have to double check my colour choices with other family members. Otherwise, all my birds would have a neat alien or tropical appearance.
