designing with stamping toolsŠ lesson two almost...

Copyright 2007 Paul Burnett 1 PAINTINGCOW.COM NEWSLETTER AND RLC TUTORIAL DECEMBER 2007

DESIGNING WITH STAMPING TOOLS�LESSON TWO

ALMOST READY I am putting the finishing touches on Lesson Two of the Designing with Stamping Tools course. It should be ready for mailing about January 10, if not sooner. In it I will show you how to design for irregular shaped items such as holsters, scabbards, spur straps, etc. I will show you how to design rambling borders and give you several unique one to try. You will discover how to compose a design for an odd shape. I will show you how to divide spaces to create interesting textured areas while at the same time create a place for spot designs. I will illustrate how to start from the center of something and build a design outwards to fill spaces. ORDER IN ADVANCE OF SHIPPING DATE (JANUARY 20, 2008)

AND I WILL PAY THE FREIGHT! SAVE EVEN MORE WHEN YOU ORDER BOTH LESSONS 1 & 2

REALISTIC LEATHER CARVING WILDLIFE STUDY BIG HORN RAM

This packet contains detailed carving, tooling and paint-ing instructions for the big horn ram along with toned layout pattern. Included are anatomical drawings to help you understand the anatomy of the ram so that you can achieve a more realistic rendering of this magnificent animal. This is the first in a continuing series of Studies, de-signed to help you develop your skills and to reinforce what I teach in my courses. YOU LEARN BY DOING. You will be putting �Realistic Leather Carving� and �Coloring Leather� to work for you.

ORDER IN ADVANCE AND SAVE

See Our Leather Feather Jewelry line at the PAINTING COW GIFT SHOP

at www.paintingcow.com Our 23 years of marketing this jewelry make them a �sure-to-please�gift.

Four sizes of earrings, two sizes of pins and two sizes of barrettes

ZOOM TO 400 PERCENT ON THE IMAGE TO SEE THE DETAIL


Victorian Style Home Study Course: Lesson One ��Floral Ornamentation�

is now available The Victorian Style Home Study Course is designed to take you to the mas-ter level of leather carving. The step-by-step, tool-by-tool demonstrations will show you exactly what to do and what is more, how to analyze your subjects in order to make accurate and rhythmic carvings. It expounds on the concepts of the �Realistic Leather Carving Home Study Course� and more fully and completely explores how to achieve pictorial definition and realism in your carving. In this first lesson of a multiple-lesson course, Paul will take you through the floral work of the cover subject (Lesson Two will cover the Animals). This lesson includes an 11� x 14� carving and tooling pattern, with tonal drawings to help you model and shape the

floral work correctly. It also has individual carving and tooling patterns for the demonstrations in the lesson for you to practice and learn before tackling the carving as a whole work. It includes an enlarged color photo of the cover piece tooled by Paul so that you can see the details of the finished work. Sheet protectors are included.

To order go to www.paintingcow.com. I hope to have Lesson Two ready the later part of January or early February 2008

Last month I expressed my concern about some of the tools in the Tandy Leather Factory tool line. This month I want to say that their tool line improvements are underway and the new model-ing tools are probably the best that they have ever offered. The only thing that would make them better is for them to have been made of stainless steel, but that would really raise the price and put them out of reach for many who are just learning to do leather carving. These are plated tools so you will not be able to alter them. However the variety of sizes and shapes that are offered should cover just about any situation you may encounter. All things considered, they are tools that will serve you well. If you are just starting out, I highly rec-ommend that you acquire this set of modelers. This is not a paid advertisement. Just an honest appraisal of what is available to you.

This is a scanned image from the latest Tandy Leather Factory Buyers Guide, 2008 Leather Craft Catalog #182 (used with permission)


My dictionary defines �modeling� in the graphic arts sense as: �the process of rendering the il-lusion of the third dimension� and then further defines it as: �the undulations (the wavelike bends, curves or elevations) of form in sculpture�. Leather carving is a form of sculpture in the bas relief category, sculpture in shallow relief like on a coin or the side of a building. The above statement tells us a lot about what the purpose of modeling in leather carving is all about. We are trying to create the illusion of the subtle forms of a subject; those forms which do not have hard defined edges, but soft rounded or wavy edges. We want to develop a sense of space and depth within which the forms can exist. When I was a Boy Scout the merit badge project was to tool a floral design on a billfold back using only the modeling spoon with a pointed tip on one end and stylus tip on the other. It is amazing what can be accomplished with just one simple tool. Now we have available many dif-ferent sizes and shapes of modeling spoons. Of course we now use the swivel knife, bevelers and shapers to do the �heavy work� for us, but we still need the modeling spoon to do the deli-cate and subtle forms. Modeling the subtle forms is what really gives realism to our subjects, especially when it comes to rendering figures. As one doesn�t know what one will encounter when tooling figures in leather, it is a good idea to acquire as many different kinds or modeling spoons as one can find.

Here are a few of my basic off-the-rack model-ers. The top two are the standard old 8039 modelers with pointed and stylus tips. I have had these for about 40 years. The bottom one is a more recent modeler with small and large rounded tips.

Here are a couple of dental tools that I have found useful in doing small or intricate details. Dental tools are being offered in some craft stores and wood carving catalogs. Check flea markets and ask your dentist.

The is a custom set of modeler made by Gordon Drumen (deceased). I have had these for about 35 years. They are top of the line stainless steel perfectly shaped tools.

This is a set of very tiny modelers made by George Gross. He does very intricately de-tailed modeled pictures using only modelers.

There may come a time when you will want the finest you can buy like this set. I sug-gest that you see Robert Beard or Barry King. Both make fine modeler.


LEARNING TO USE THE BASIC MODELER I have encountered many who say: �I have no artistic talent�or knowledge�I can�t draw, etc., etc.� To them I say: art is more knowledge than it is talent. You don�t have to be born with it, you can learn it. But as human beings you are already thoroughly trained in seeing form. Reach for any object and notice how your hand automatically takes the shape of the object you are about to pick up or touch. You know right away when your tire is flat by the fact that it has changed shape. So there is really nothing all that special about learning to read and shape forms in leather. You just have to think about what you see before you. So that means that if you are given the form to observe, you should be able to understand it. All that is remaining is how to make the tool create the form that you observe. That is a simple task. Just observe what the tool does when you push it, pull it, press down on it, turn it this way to use this edge and that way to use another edge. It shouldn�t take over a few minutes for you to discover these things.

BASIC MODELERS 8039�REGULAR AND SMALL

Here are some of the ways you can use the basic modeler to bevel, shape and create texture. This by no means covers the full range of things that can be accomplished with this great tool.

Slightly lean the spoon end to the right or left sides to bevel a sharply defined edge.

Use point at steep angles for inside corners, i.e. eyes.

Here a pointed tip is pulled to you to make a wide furrow.

Here the pointed tip is pushed forward repeatedly to make a series of impressions or wavy lines.

Use the bottom of spoon to make con-caved impressions.

Tilt spoon sides at right angle of the surface of the leather, using just the side of the tip to make tightly bev-eled lines.

Here the edge of the tool is moved back and forth to create a rippling effect i.e. moose�s neck.

Here the stylus tip is pulled to you to make a narrow furrow.

Here the stylus tip is push forward repeat-edly to create a nappy texture i.e. a sheep�s coat.

Here the stylus tip is used to scribble small circles to create a smaller nap.

Here the tip of the spoon end is moved from side to side repeatedly to give the effect of rippled water etc.

SPOON END STYLUS END

The new Tandy Leather Factory modelers 8039-01, 8039-2, 8039-3 and 8039-6 give you a good range of shapes and sizes to meet almost any need in modeling. I recommend them.


DEALING WITH DASHED LINES The problem for most of us starting out in leather carving is that we depend on one simple little pattern to give the information we need. Rarely is that enough to achieve the goal of realism in leather carving. For as long as I can remember, modeling lines have been supplied to us, both in drawn layout and plastic transfer templates, as dashed lines. Dashed lines tell us very little about the form, give only a hint of where the subtle edges are located. That is what we have, so that is what we have to live with�perhaps I should say deal with�because I don�t live by them or with them when it come to modeling. Let me tell you of some of the problems with dashed lines (other than not giving enough infor-mation). Many novice leather carvers have a tendency to bare down with the stylus when trans-ferring a layout to leather. Understandable, as they lack the experience and confidence in the be-ginning and feel they need to distinguish between what is to cut and what is not to be cut. The number one fallacy is that leather carving is simply a matter of transferring a line to leather then cut and tool it. �Just follow the line,� it is said. I say: �You cut from the mind�.not follow the line�. In other words: understand what each and every line means. Transferred lines are there only as a guide. Transferred layouts should be only heavy enough to use for a guide�.they should disappear as the work progresses. If they are made too heavy, especially dash lines they may end up in the final piece�.especially if the leather humidity was such as to burnish them in. Dashed lines are usually interpreted incorrectly. To many, they only say, run the modeling spoon down this line, giving very little indication to the form that needs to be created. This usu-ally means that modeling ends up as just some recessed lines in a figure. It adds something to a figure, but it leaves the image somewhat flat. Never transfer dashed lines to the leather as dashed line. The way to deal with dashed lines is to transfer them as lighter solid lines, and establish in your mind, at the time of transfer, that the points at which the line changes from a hard edge to a softer less defined edge. If you have been doing that? Quit it. This, more than anything else I can teach you, will cause you to begin thinking more of the form, texture and space of your subject.


In the early 1980�s Al Stohlman adopted the philosophy of not using dashed lines. When he wrote �Figure Carving Finesse� the com-panion set of layout drawings omitted dashed lines. In their place he used tonal drawings to better indicate the form of the subject and inked lines to indicate what should be cut. To me that is a much better idea, so I adopted it and will always use it in my courses. Once you finish this lesson you will see the reasoning behind such a decision. Unfortu-nately, the industry didn�t accept this new concept, although he and I both tried to get the point across. So we are still left with dashed lines to deal with, except here. You can tell that these tonal drawings give you a lot more information than dashed lines ever could. Imagine what this would look like with dashed lines. These drawings give a sense of how a shape is beveled, rounded and what is deep (darker areas) and what is shal-low (lighter areas).

Even with that, more information is needed. Additional research is often required in or-der to get a realistic carving. Always keep your layout and research material available for quick reference during the cutting and tooling phases of working the leather. That way, you will break your dependency on the transferred lines and cut and tool with a more mindful understanding of your subject. The results may astound you.

You may not be able to discern if these areas are concave (recessed) or convex (raised). Additional information can help you to determine things like that. From the side view it is evident that these ar-eas are raised areas.

INK AND TONED LAYOUT DRAWINGS GIVE YOU A BETTER UNDERSTANDING OF THE FORMS TO BE MODELED


A revolutionary new concept in learning to carve leather. Paul Burnett shares with you his common sense approach to the skillful execution and artistic understanding of all forms of leather carving � for all levels of experience �� from beginner to advanced leather workers. We now include sheet protectors with this course. SERIES ONE: A PROPER FOUNDATION LESSON ONE � Swivel Knife Expertise LESSON TWO � Carving Tools, Patterns & Procedure LESSON THREE � Cutting and Tooling for Space, Form and Texture Visit www.paintingcow.com for details and to pur-chase

TRANSFERRING THE LAYOUT TO THE LEATHER

When you transfer the layout to the leather you should be using that time to think about which lines are to be cut and which are not. Make your transfer as accurate as possible. If your layout has dashed lines, transfer them as solid indication lines. If a tonal layout like given here, use the darkest tones as your guide for the lines. Transfer modeling lines lightly.


THE IMPORTANCE OF ACCURATE SWIVEL KNIFE WORK

The cut outline defines the forms of a figures outer form or general shape. They are cut be-cause they have distinct hard edges. It is most important that the outlines are cut very accurately. Every little twist and turn of a line indicates a change in the subtle wavelike bends, curves and elevations spoken of in the definition, creating the illusion of the third dimension �� in other words, modeling. We all have a tendency when using the swivel knife to �straighten� out lines �� sort of �cheat� on a curve a bit. This is especially true of the novice carver. If you are trapped in the concept of following the line, this be-comes even more evident. By the time you reach the stage of cutting a figure in the leather you have had two previous occasions to straighten out the lines �� once when you traced the pattern, and the second when you transferred it to the leather. If you con-tinue to do that in the cutting phase, then you will lose a lot of the modeling indications of the subtle shapes within the general outline. On the other hand, if you exaggerate the turns and twists the figure will take on a grotesque appearance. I encourage you to always pay close attention to all the little turns and twists in a given line. In my �Realistic Leather Carving Course� I give a practice exercise in Lesson One devoted to learning to skillfully execute the in-line twist cuts. This is a skill with the swivel knife to which many are never exposed. It can make all the difference in how realistic your final carving will ap-pear. Examine closely how the modeling indication lines relate to the outline in these two figure carving examples. They will guide you as to how the inner form transcends from the outer shape of the figure.


BEVELING IS A PREREQUISITE TO MODELING

The more accurate the cutting; the more accu-rate the beveling. Beveling tools give you the relief necessary to do good modeling. With-out depressing the leather along the outer lim-its of a figure you will not have the necessary depth to create the various depths (elevations) of the subtle shapes and forms of a figure. Weak cutting and weak beveling limit greatly the ability to model a figure correctly. Now we come to what I call �beveling-in�. Beveling-in gives you a �leg up� on modeling in that it prepares a path for the modeling spoon to make the transition from the outline to the interiors forms. When beveling in, I usually only make one or at the most, two impressions with the beveler itself. All we are looking to do is create that starting point for the modeler. You could cre-ate that starting point with the modeler but I find that it is better to do with the beveler. There is an exception to this rule and that

is: Sometimes a larger interior shape must be created. These are lines that do not need to be tooled quite as deep nor are the edges quite as hard as the outline but they define a somewhat major shape, such as the jaw line of this moose cow. Often these can be beveled with the stan-dard beveler, but sometimes you will run into a situation where the figure carving bevelers will do a better job. Figure carving bevelers make a harder edge than regular bevelers. You will notice that I didn�t bevel the eyes. Unless you have some real special bevelers it is best to use modeling spoons to bevel and shape the eyes.


INTERIOR BEVELING WITH THE MODELING SPOON

A modeling spoon is a type of beveler. It is also a shaping tool like a pear shader. So the first phase of modeling a figure is to de-fine major forms of the interior and make the transitions of the forms that fade into the interior of the figure. To use the modeler as a beveler usually means that you lean the tool to one edge (side) or the other, making it into a beveler. For a situation where a pointed beveler is required, use the pointed tip, such as the corners of the eye. I model eyes by setting the corner with the pointed tip of the spoon then keeping a steep angle, I carefully round the eye ball. Of course the size of the eyes will deter-mine the size of the spoon. Some eyes can be very tiny. That is when dental tools and special custom spoons come in handy. Of course, if the eyes are very large, figure carving bevelers can be used and then the spoon to smooth and round the ball. Notice how I used the bottom of the spoon to make a depression ( a wide furrow) in front of the eye socket. Once the major interior shapes are estab-lished then you can complete the modeling by rounding the edges and creating the more subtle shapes.


This is a good example of the versatil-ity of modeling tools. All the shapes and textures of this big horn ram was done with the old standard modeler with stylus and pointed tips. Zoom in on this image and see all the subtle shaping and texturing. These are the things you will learn and see demonstrated in my new Realistic Carving Studies series.

MODELING COMPLETED Here you see the completely modeled figure. You will notice that there is not a single area of the moose cow�s head that has not been touched or shaped with a modeling spoon. We have a more realistic rendition of a moose cow, showing the major forms as well as the subtle forms �� much more realistic that a few depressed lines on a head.

I used a F902 pointed beveler inside the ear, then textured it with the stylus end of a modeler.

Here is an image from the new Big Horn Ram Study pack. I had to use the first step in coloring because I lost my tooled images somewhere in the computer or else accidentally deleted them.

One more step to go��. ��...see next page��.


REDEFINING THE OUTLINE Often, because of the intense modeling that has been done, the outline will have to be re-defined.

Areas along the edges will have been depressed where they are at nearly the same level as the background, so it becomes necessary to re-bevel the outline of the figure. To do this I used my deep pitch bevelers in order to get more contrast and to create a sense of space behind the figure, (the same bevelers you used in the beginning will work) . After redefining the figure, then the background can be leveled out using the matting tools.

I hope that you can understand the importance of accurate modeling and that it requires a little thought and good research. It is a lot more than just depressing a few lines in the leather with a modeling spoon. The modeling tools play an important role in leather carving. More than any other tool, it will prevent your work from looking flat and give it a more three dimensional look. Even in traditional floral carving they can be very useful for smoothing edges and delicate de-tails. Next months tutorial will be on walking tools. I will explain the walking principle. If you are having problems walking a tool I will give you the simple solution, the �secret� of walking a tool. I will explain which tools need to be walked and why. Enjoy.

designing with stamping toolsŠ lesson two almost...

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