Carving the Lozenge panel

Daniel & I worked out editing the first video of panel carving to accompany the sets of drawings. This panel is one I have never carved on video before, nor have I covered it in print.

When I shoot these, I’m the camera-person as well as the carver. That means I get to ruin things two different ways. I shot these in late July, and here two-plus months later, I found out that for one section the camera was not in focus. So when I get to the free-hand stuff outside the diamond, there’s not much detail about what I’m doing. But I think you can see it pretty well. I was very happy with raking light across this one. So much so that we only used the views from one camera. It’s long, like most of my videos so far. If you make it to the end, or scoot through to the end, there’s a gallery of about 4 variations on the pattern.

I still have copies of the drawings for sale –

Working now on set # 2 – I’ll keep you posted when they’re coming along.

scribe lines

scribed layout on face of chest
joinery scribed on face of chest

A reader asked about the scribe lines I left showing on some carving recently. In seventeenth-century work, I find them running the gamut, from scribed on the face of a piece, such as the chest front above, to being barely if at all discernable. It is quite rare to not see some scribe lines somewhere on the piece…

In thinking about why the layout for the joinery is on the face of this stock, I have worked on the notion that it helps to transfer the layout from one rail to its mate, or one stile to its mate, etc. Thus hold two mating pieces edge-to-edge, and then transfer the lines right across the faces. Then carry them across the edges with a square and awl.  And yet I can’t then explain why this chest (below, from the same shop as above)  laid them out on the front face, and the inside face too…

scribed layout on inside face of chest

While I have this file open, here is some carving from one of these chests, and its scribed layout is still visible on the face of the carving. Some of it is hard to pick out, but the margins, compass-work, and three vertical lines that divide the panel into four segments vertically…as well as the lines struck across the panel to locate the compass’ leg for centerpoints for arcs.

carved panel, with layout scribed

scribed lines carving
detail of scribed lines for carving

Back to the one that started this line of thought, here is a detail from the pews from Totnes, Devon. The scribed lines are faint, but there are three horizontal lines struck here; a centerline, and an upper & lower line to locate the arches of the motif.

carved panel, Totnes pews

There’s lots more, usually we find mortise gauge lines, alignment marks in the form of triangles and/or arrows, and chisel-and-gouge-cut marks to identify & dedicate mortises and tenons. I’m glad they left them there, it’s like a road map for me. Makes my job easier.