Chris Pye: Woodcarving Workshops.

tv
101 Master Woodcarving Secrets
If you have a copy of 101 Master Woodcarving Secrets by myself, Chris Pye, then you must have
subscribed to Woodcarving Workshops.tv - or at least answered a questionnaire about why you didnt!
In either case, thank you. This distillation of my teaching experience is a way of showing appreciation
for your support.

What you've got here: These are not really true arcana, rather the 101 most common pieces of advice I've given to
woodcarving students over the years - I keep class notes of any carving-related observations I make and find myself repeating
time and again. You are reading a distillation of the notes: new information based on real-world experience; old saws and new;
points I've made elsewhere; thoughts and advice I've plucked from the air, both practical and philosophical - all sorts, even
contradictions, and with some 'secrets' left hanging in the air - all thrown into a cherry bowl for dipping into and thinking about.
I'm hoping these secrets might potentially, even radically, alter the way you carve. They're offered in small bites - so accept
them as such, chewing and digesting bit by bit. In each case, try and see what I'm getting at and how a particular thought
could apply to your own situation.

How to Use 101 Master Woodcarving Secrets: I made the font size quite large, thinking you might like to print it out, cut
up the text and stick these important pieces of advice around your carving bench where you'll see them!
You can print and use 101 Master Woodcarving Secrets for yourself. You may copy and distribute this document to your
woodcarving friends. But you may not alter the document in any way or use the copyright content elsewhere without my
express permission. (Hey, I'm a friendly guy! Just write.)

Lastly, before we begin: My appreciation and thanks go to my great friend Mark Kimble, a man with a keen eye and sensitive
pen, for proof-reading and editing this document.
I hope you gain from what you read here and that your carving excels as a result of fresh understanding.
Chris Pye Chris Pye Chris Pye Chris Pye

Chris Pye: 101 Master Woodcarving Secrets 2012
For more essential woodcarving advice and projects, visit our site: www.woodcarvingworkshops.tv
Chris Pye: Woodcarving Workshops.tv
101 Master Woodcarving Secrets





1. 1. 1. 1. At the end of the day: it is just a piece of wood. At the end of the day: it is just a piece of wood. At the end of the day: it is just a piece of wood. At the end of the day: it is just a piece of wood.
2. 2. 2. 2. Most students go into their carving with too little rese Most students go into their carving with too little rese Most students go into their carving with too little rese Most students go into their carving with too little research, correcting arch, correcting arch, correcting arch, correcting
mistakes as they go along, putting all their errors mistakes as they go along, putting all their errors mistakes as they go along, putting all their errors mistakes as they go along, putting all their errors - -- - along with their hopes along with their hopes along with their hopes along with their hopes
- -- - into the one carving. Better to carve a second and burn the first into the one carving. Better to carve a second and burn the first into the one carving. Better to carve a second and burn the first into the one carving. Better to carve a second and burn the first - -- - but but but but
we rarely do, which is a great pity. we rarely do, which is a great pity. we rarely do, which is a great pity. we rarely do, which is a great pity.
3. 3. 3. 3. In the early, rough stage of a carving, aim to plac In the early, rough stage of a carving, aim to plac In the early, rough stage of a carving, aim to plac In the early, rough stage of a carving, aim to place the grooves or troughs e the grooves or troughs e the grooves or troughs e the grooves or troughs
you make with your quick gouge just above the final surface. Then, you you make with your quick gouge just above the final surface. Then, you you make with your quick gouge just above the final surface. Then, you you make with your quick gouge just above the final surface. Then, you
need only remove the crests between to be close to the fi need only remove the crests between to be close to the fi need only remove the crests between to be close to the fi need only remove the crests between to be close to the finish nish nish nish. .. .

Chris Pye: 101 Master Woodcarving Secrets 2012
For more essential woodcarving advice and projects, visit our site: www.woodcarvingworkshops.tv
4. 4. 4. 4. The more you can visualise (feel) what you want to carve, the more likely The more you can visualise (feel) what you want to carve, the more likely The more you can visualise (feel) what you want to carve, the more likely The more you can visualise (feel) what you want to carve, the more likely
you are to be successful. you are to be successful. you are to be successful. you are to be successful. Research and preparation increase your ability Research and preparation increase your ability Research and preparation increase your ability Research and preparation increase your ability
to succeed. to succeed. to succeed. to succeed.
5. 5. 5. 5. A lot of carving involves thinking backwards. A lot of carving involves thinking backwards. A lot of carving involves thinking backwards. A lot of carving involves thinking backwards.
6. 6. 6. 6. Setting in by stabbing straight away into the wood creates side pressure Setting in by stabbing straight away into the wood creates side pressure Setting in by stabbing straight away into the wood creates side pressure Setting in by stabbing straight away into the wood creates side pressure
from the wedge of the outer bevel. This side pressure may weaken or from the wedge of the outer bevel. This side pressure may weaken or from the wedge of the outer bevel. This side pressure may weaken or from the wedge of the outer bevel. This side pressure may weaken or
break shor break shor break shor break short grain. Eliminate the pressure by lining in first t grain. Eliminate the pressure by lining in first t grain. Eliminate the pressure by lining in first t grain. Eliminate the pressure by lining in first (often with a V (often with a V (often with a V (often with a V
tool) tool) tool) tool), allowing the wood to crumble away as you subsequently set in. , allowing the wood to crumble away as you subsequently set in. , allowing the wood to crumble away as you subsequently set in. , allowing the wood to crumble away as you subsequently set in.
7. 7. 7. 7. Setting in by 'matching' Setting in by 'matching' Setting in by 'matching' Setting in by 'matching' - -- - ie. using the sweep of the gouge to match ie. using the sweep of the gouge to match ie. using the sweep of the gouge to match ie. using the sweep of the gouge to match
exactly the cut you want exactly the cut you want exactly the cut you want exactly the cut you want - -- - is the best way to copy something. It's is the best way to copy something. It's is the best way to copy something. It's is the best way to copy something. It's also t also t also t also the he he he
basis for repeat carving, particularly on mouldings. basis for repeat carving, particularly on mouldings. basis for repeat carving, particularly on mouldings. basis for repeat carving, particularly on mouldings.
8. 8. 8. 8. When setting in, keep your elbows in and your weight behind the chisel. When setting in, keep your elbows in and your weight behind the chisel. When setting in, keep your elbows in and your weight behind the chisel. When setting in, keep your elbows in and your weight behind the chisel.
Carve from the floor. Carve from the floor. Carve from the floor. Carve from the floor.
9. 9. 9. 9. It's It's It's It's not a real frog not a real frog not a real frog not a real frog. It's . It's . It's . It's a woodcarving a woodcarving a woodcarving a woodcarving ( (( (meant to represent a frog meant to represent a frog meant to represent a frog meant to represent a frog) )) ). .. .

Chris Pye: 101 Master Woodcarving Secrets 2012
For more essential woodcarving advice and projects, visit our site: www.woodcarvingworkshops.tv
10. 10. 10. 10. Relax! Ease your neck and shoulder m Relax! Ease your neck and shoulder m Relax! Ease your neck and shoulder m Relax! Ease your neck and shoulder muscles regularly while uscles regularly while uscles regularly while uscles regularly while you're you're you're you're carving. carving. carving. carving.
11. 11. 11. 11. In particular, check your breathing. Many carvers unconsciously hold In particular, check your breathing. Many carvers unconsciously hold In particular, check your breathing. Many carvers unconsciously hold In particular, check your breathing. Many carvers unconsciously hold
their breath for long periods. their breath for long periods. their breath for long periods. their breath for long periods.
12. 12. 12. 12. Protect your back muscles by working at the right height. Protect your back muscles by working at the right height. Protect your back muscles by working at the right height. Protect your back muscles by working at the right height.
13. 13. 13. 13. If you have never carved before, the work can be tiring o If you have never carved before, the work can be tiring o If you have never carved before, the work can be tiring o If you have never carved before, the work can be tiring on the wrists. n the wrists. n the wrists. n the wrists.
Rather than suffer, find ways to strengthen your wrists and grip. For Rather than suffer, find ways to strengthen your wrists and grip. For Rather than suffer, find ways to strengthen your wrists and grip. For Rather than suffer, find ways to strengthen your wrists and grip. For
example, try suspending a weight example, try suspending a weight example, try suspending a weight example, try suspending a weight - -- - something like a brick something like a brick something like a brick something like a brick tied with a light tied with a light tied with a light tied with a light
rope to the middle of a short bar. Hold the bar horizontally, with your rope to the middle of a short bar. Hold the bar horizontally, with your rope to the middle of a short bar. Hold the bar horizontally, with your rope to the middle of a short bar. Hold the bar horizontally, with your
hands at either end. Slo hands at either end. Slo hands at either end. Slo hands at either end. Slowly wind the string wly wind the string wly wind the string wly wind the string - -- - and the weight and the weight and the weight and the weight - -- - up and up and up and up and
down. (My own teacher had me do this.) down. (My own teacher had me do this.) down. (My own teacher had me do this.) down. (My own teacher had me do this.)
14. 14. 14. 14. Sharpening tools has the same relevance to carving as tuning has to Sharpening tools has the same relevance to carving as tuning has to Sharpening tools has the same relevance to carving as tuning has to Sharpening tools has the same relevance to carving as tuning has to
playing a guitar well. playing a guitar well. playing a guitar well. playing a guitar well.
15. 15. 15. 15. Many students Many students Many students Many students don't don't don't don't appreciate the immense appreciate the immense appreciate the immense appreciate the immense Importance Importance Importance Importance of tool corners of tool corners of tool corners of tool corners
in gettin in gettin in gettin in getting a clean cut. g a clean cut. g a clean cut. g a clean cut.

Chris Pye: 101 Master Woodcarving Secrets 2012
For more essential woodcarving advice and projects, visit our site: www.woodcarvingworkshops.tv
16. 16. 16. 16. What if you've 'carved it off' by mistake? You can often work apparent What if you've 'carved it off' by mistake? You can often work apparent What if you've 'carved it off' by mistake? You can often work apparent What if you've 'carved it off' by mistake? You can often work apparent
magic and 'carve the wood back on' by adjusting the magic and 'carve the wood back on' by adjusting the magic and 'carve the wood back on' by adjusting the magic and 'carve the wood back on' by adjusting the relationship relationship relationship relationship of parts. of parts. of parts. of parts.
17. 17. 17. 17. Sharp! Sharp! Sharp! Sharp! Sharp! Sharp! Sharp! Sharp! Sharp! Sharp! Sharp! Sharp!
18. 18. 18. 18. Never tell anyone about mistakes. Never tell anyone about mistakes. Never tell anyone about mistakes. Never tell anyone about mistakes.
19. 19. 19. 19. Never let out work that is not 100% your Never let out work that is not 100% your Never let out work that is not 100% your Never let out work that is not 100% your best. best. best. best.
20. 20. 20. 20. A rasp or riffler is sometimes useful for consolidating forms, before A rasp or riffler is sometimes useful for consolidating forms, before A rasp or riffler is sometimes useful for consolidating forms, before A rasp or riffler is sometimes useful for consolidating forms, before
returning to carving tools. returning to carving tools. returning to carving tools. returning to carving tools.
21. 21. 21. 21. As you carve, pay more attention to what you leave on than what you As you carve, pay more attention to what you leave on than what you As you carve, pay more attention to what you leave on than what you As you carve, pay more attention to what you leave on than what you
take off. take off. take off. take off.
22. 22. 22. 22. Carving differs from modelling in the stronger changes from plane Carving differs from modelling in the stronger changes from plane Carving differs from modelling in the stronger changes from plane Carving differs from modelling in the stronger changes from plane- -- -to to to to- -- -
plan plan plan plane that arise from the sheer act of cutting. Modelling requires a totally e that arise from the sheer act of cutting. Modelling requires a totally e that arise from the sheer act of cutting. Modelling requires a totally e that arise from the sheer act of cutting. Modelling requires a totally
different technique from carving, and one must respect the difference different technique from carving, and one must respect the difference different technique from carving, and one must respect the difference different technique from carving, and one must respect the difference
between the two. between the two. between the two. between the two.

Chris Pye: 101 Master Woodcarving Secrets 2012
For more essential woodcarving advice and projects, visit our site: www.woodcarvingworkshops.tv
23. 23. 23. 23. Always work from the mass, the form, into the space. Never Always work from the mass, the form, into the space. Never Always work from the mass, the form, into the space. Never Always work from the mass, the form, into the space. Never ' '' 'just make a just make a just make a just make a
hole hole hole hole' '' '. Such holes tend t . Such holes tend t . Such holes tend t . Such holes tend to get bigger as the wood around them is shaped, o get bigger as the wood around them is shaped, o get bigger as the wood around them is shaped, o get bigger as the wood around them is shaped,
ending up quite corrosive to the form. ending up quite corrosive to the form. ending up quite corrosive to the form. ending up quite corrosive to the form.
24. 24. 24. 24. Thus: position edges and forms three dimensionally in space Thus: position edges and forms three dimensionally in space Thus: position edges and forms three dimensionally in space Thus: position edges and forms three dimensionally in space first. first. first. first.
Undercut them Undercut them Undercut them Undercut them last. last. last. last.
25. 25. 25. 25. The two grips which I teach, and have named in my books The two grips which I teach, and have named in my books The two grips which I teach, and have named in my books The two grips which I teach, and have named in my books and in the and in the and in the and in the
website lessons website lessons website lessons website lessons: :: : 'High Angle' 'High Angle' 'High Angle' 'High Angle' and and and and ' '' 'Low Angle Low Angle Low Angle Low Angle' '' ', will accommodate 99% of all , will accommodate 99% of all , will accommodate 99% of all , will accommodate 99% of all
your carving work. your carving work. your carving work. your carving work.
26. 26. 26. 26. In Pen & Dagger, the thumb of the lower hand (pen) is crucial as a pivot. In Pen & Dagger, the thumb of the lower hand (pen) is crucial as a pivot. In Pen & Dagger, the thumb of the lower hand (pen) is crucial as a pivot. In Pen & Dagger, the thumb of the lower hand (pen) is crucial as a pivot.
27. 27. 27. 27. In the Low Angle grip, put your body weight behind the cut and keep your In the Low Angle grip, put your body weight behind the cut and keep your In the Low Angle grip, put your body weight behind the cut and keep your In the Low Angle grip, put your body weight behind the cut and keep your
elbows in. elbows in. elbows in. elbows in.
28. 28. 28. 28. When roughing out, When roughing out, When roughing out, When roughing out, always work across the grain. The chips break off and always work across the grain. The chips break off and always work across the grain. The chips break off and always work across the grain. The chips break off and
fall away in small pieces, and you fall away in small pieces, and you fall away in small pieces, and you fall away in small pieces, and you needn't needn't needn't needn't worry about grain direction. worry about grain direction. worry about grain direction. worry about grain direction.

Chris Pye: 101 Master Woodcarving Secrets 2012
For more essential woodcarving advice and projects, visit our site: www.woodcarvingworkshops.tv
29. 29. 29. 29. Always look for interest. Squeeze the lemon of interest. Always look for interest. Squeeze the lemon of interest. Always look for interest. Squeeze the lemon of interest. Always look for interest. Squeeze the lemon of interest.
30. 30. 30. 30. Sometimes leaving something out is more Sometimes leaving something out is more Sometimes leaving something out is more Sometimes leaving something out is more important important important important than putting than putting than putting than putting
something something something something in. in. in. in.
31. 31. 31. 31. Copying is a good way to learn, early on. But in the end, copying Copying is a good way to learn, early on. But in the end, copying Copying is a good way to learn, early on. But in the end, copying Copying is a good way to learn, early on. But in the end, copying
generates nothing new. What generates nothing new. What generates nothing new. What generates nothing new. What' '' 's always new is s always new is s always new is s always new is you you you you, and your own creativity. , and your own creativity. , and your own creativity. , and your own creativity.
32. 32. 32. 32. Drawing to Drawing to Drawing to Drawing to i ii im mm mp pp prove your chances of a successful woodcarving, or to rove your chances of a successful woodcarving, or to rove your chances of a successful woodcarving, or to rove your chances of a successful woodcarving, or to
i ii im mm mp pp prove your eye, or to capture ideas rove your eye, or to capture ideas rove your eye, or to capture ideas rove your eye, or to capture ideas, , , , is not is not is not is not the same as drawing for the same as drawing for the same as drawing for the same as drawing for
galleries. galleries. galleries. galleries.
33. 33. 33. 33. If you draw a sculpture in the round, draw its side and back If you draw a sculpture in the round, draw its side and back If you draw a sculpture in the round, draw its side and back If you draw a sculpture in the round, draw its side and back views views views views too: too: too: too:
think 3D right from the start. think 3D right from the start. think 3D right from the start. think 3D right from the start.
34. 34. 34. 34. Other than more carving, drawing is the next best Other than more carving, drawing is the next best Other than more carving, drawing is the next best Other than more carving, drawing is the next best practical practical practical practical way to way to way to way to
improve improve improve improve your carving your carving your carving your carving skills skills skills skills: : : : look and look and look and look and draw, draw, draw, draw, draw, draw, draw, draw, draw. draw. draw. draw.

Chris Pye: 101 Master Woodcarving Secrets 2012
For more essential woodcarving advice and projects, visit our site: www.woodcarvingworkshops.tv
35. 35. 35. 35. Cut the wood cle Cut the wood cle Cut the wood cle Cut the wood cleanly as you go along, so you wont need a long anly as you go along, so you wont need a long anly as you go along, so you wont need a long anly as you go along, so you wont need a long ' '' 'touching touching touching touching
up and finishing off up and finishing off up and finishing off up and finishing off' '' ' session at the end. Finish as you go. session at the end. Finish as you go. session at the end. Finish as you go. session at the end. Finish as you go.
36. 36. 36. 36. To create the 3D effect, a painter must play with colour, a drawer with To create the 3D effect, a painter must play with colour, a drawer with To create the 3D effect, a painter must play with colour, a drawer with To create the 3D effect, a painter must play with colour, a drawer with
shading. Carvers play with depth. Removing wood is playing with dep shading. Carvers play with depth. Removing wood is playing with dep shading. Carvers play with depth. Removing wood is playing with dep shading. Carvers play with depth. Removing wood is playing with depth. th. th. th.
Make full use of what you have: of hard and soft edges, of undercutting, Make full use of what you have: of hard and soft edges, of undercutting, Make full use of what you have: of hard and soft edges, of undercutting, Make full use of what you have: of hard and soft edges, of undercutting,
of planes. of planes. of planes. of planes.
37. 37. 37. 37. The carving tools you buy are an investment. The best tools make for the The carving tools you buy are an investment. The best tools make for the The carving tools you buy are an investment. The best tools make for the The carving tools you buy are an investment. The best tools make for the
best investment. best investment. best investment. best investment.
38. 38. 38. 38. If you find yourself doing without a tool that might truly make a If you find yourself doing without a tool that might truly make a If you find yourself doing without a tool that might truly make a If you find yourself doing without a tool that might truly make a
difference f difference f difference f difference for a particular job, still order that tool. Chances are or a particular job, still order that tool. Chances are or a particular job, still order that tool. Chances are or a particular job, still order that tool. Chances are you'll you'll you'll you'll
need it again. need it again. need it again. need it again.
39. 39. 39. 39. Only the actual cutting edge is sharp. It follows that if both hands and Only the actual cutting edge is sharp. It follows that if both hands and Only the actual cutting edge is sharp. It follows that if both hands and Only the actual cutting edge is sharp. It follows that if both hands and
fingers are behind the edge, it is fingers are behind the edge, it is fingers are behind the edge, it is fingers are behind the edge, it is impo impo impo impossible to cut them. ssible to cut them. ssible to cut them. ssible to cut them.

Chris Pye: 101 Master Woodcarving Secrets 2012
For more essential woodcarving advice and projects, visit our site: www.woodcarvingworkshops.tv
40. 40. 40. 40. The slicing cut is the cut The slicing cut is the cut The slicing cut is the cut The slicing cut is the cut par excellence par excellence par excellence par excellence. . . . I u I u I u I use the slicing cut 95% of the se the slicing cut 95% of the se the slicing cut 95% of the se the slicing cut 95% of the
time. time. time. time.
41. 41. 41. 41. Smooth any knot or problem Smooth any knot or problem Smooth any knot or problem Smooth any knot or problem- -- -grain by going across it with a light cut, grain by going across it with a light cut, grain by going across it with a light cut, grain by going across it with a light cut,
slicing either to the left or right as necessary. slicing either to the left or right as necessary. slicing either to the left or right as necessary. slicing either to the left or right as necessary.
42. 42. 42. 42. A sharp tool will easily cut against the grain A sharp tool will easily cut against the grain A sharp tool will easily cut against the grain A sharp tool will easily cut against the grain with a light, slicing cut. with a light, slicing cut. with a light, slicing cut. with a light, slicing cut.
43. 43. 43. 43. When you bury a quick (#10 When you bury a quick (#10 When you bury a quick (#10 When you bury a quick (#10 or 11) gouge or V or 11) gouge or V or 11) gouge or V or 11) gouge or V tool in the wood, inward tool in the wood, inward tool in the wood, inward tool in the wood, inward
pressure from the outside bevels can crack the side walls. Use these tools pressure from the outside bevels can crack the side walls. Use these tools pressure from the outside bevels can crack the side walls. Use these tools pressure from the outside bevels can crack the side walls. Use these tools
with less force. with less force. with less force. with less force.
44. 44. 44. 44. Sometimes the work divides into two, with a particular type of holding Sometimes the work divides into two, with a particular type of holding Sometimes the work divides into two, with a particular type of holding Sometimes the work divides into two, with a particular type of holding
and tool selection for the initial heavy work, th and tool selection for the initial heavy work, th and tool selection for the initial heavy work, th and tool selection for the initial heavy work, then a repositioning and en a repositioning and en a repositioning and en a repositioning and
changing of tools for subsequent lighter work. It's normal to need several changing of tools for subsequent lighter work. It's normal to need several changing of tools for subsequent lighter work. It's normal to need several changing of tools for subsequent lighter work. It's normal to need several
means of holding the same piece of work at different stages. Develop an means of holding the same piece of work at different stages. Develop an means of holding the same piece of work at different stages. Develop an means of holding the same piece of work at different stages. Develop an
easy repertoire. easy repertoire. easy repertoire. easy repertoire.
45. 45. 45. 45. Use the largest carving tool possible for the job. Use the largest carving tool possible for the job. Use the largest carving tool possible for the job. Use the largest carving tool possible for the job.

Chris Pye: 101 Master Woodcarving Secrets 2012
For more essential woodcarving advice and projects, visit our site: www.woodcarvingworkshops.tv
46. 46. 46. 46. You can usually ma You can usually ma You can usually ma You can usually make one tool do the work of others. By using any ke one tool do the work of others. By using any ke one tool do the work of others. By using any ke one tool do the work of others. By using any
carving tool for as long as you can, you minimise carving tool for as long as you can, you minimise carving tool for as long as you can, you minimise carving tool for as long as you can, you minimise ' '' 'down time. down time. down time. down time.' '' '
47. 47. 47. 47. Woodcarving involves the head, the body, and the heart Woodcarving involves the head, the body, and the heart Woodcarving involves the head, the body, and the heart Woodcarving involves the head, the body, and the heart and not and not and not and not
necessarily in that order. The carvings that move us most are those in necessarily in that order. The carvings that move us most are those in necessarily in that order. The carvings that move us most are those in necessarily in that order. The carvings that move us most are those in
which the c which the c which the c which the carver has led from the heart. arver has led from the heart. arver has led from the heart. arver has led from the heart.
48. 48. 48. 48. The three elements of design, material, and technique must always work The three elements of design, material, and technique must always work The three elements of design, material, and technique must always work The three elements of design, material, and technique must always work
together together together together, , , , consciously consciously consciously consciously. P . P . P . Pay great attention to this. ay great attention to this. ay great attention to this. ay great attention to this.
49. 49. 49. 49. If it If it If it If it doesn't doesn't doesn't doesn't look right, it probably look right, it probably look right, it probably look right, it probably isn't isn't isn't isn't. The carving has to . The carving has to . The carving has to . The carving has to ' '' 'read read read read' '' ' right, ie. right, ie. right, ie. right, ie.
the the the the v vv vi ii ie ee ewer wer wer wer mustn't mustn't mustn't mustn't be be be be confused. If you confused. If you confused. If you confused. If you can't can't can't can't get the right get the right get the right get the right ' '' 'read, read, read, read,' '' ' change change change change
the lighting; use a mirror; go away and come back afresh. Sometimes you the lighting; use a mirror; go away and come back afresh. Sometimes you the lighting; use a mirror; go away and come back afresh. Sometimes you the lighting; use a mirror; go away and come back afresh. Sometimes you
have to creep up on have to creep up on have to creep up on have to creep up on wha wha wha what tt t' '' 's ss s ' '' 'right right right right' '' '. S . S . S . Softly, softly. oftly, softly. oftly, softly. oftly, softly.
50. 50. 50. 50. Time spent working out the idea, the design, is never wasted. But at some Time spent working out the idea, the design, is never wasted. But at some Time spent working out the idea, the design, is never wasted. But at some Time spent working out the idea, the design, is never wasted. But at some
point point point point procrastination must end, and the battle commence. procrastination must end, and the battle commence. procrastination must end, and the battle commence. procrastination must end, and the battle commence.
51. 51. 51. 51. You cannot spend too much time researching, but you can spend too little. You cannot spend too much time researching, but you can spend too little. You cannot spend too much time researching, but you can spend too little. You cannot spend too much time researching, but you can spend too little.

Chris Pye: 101 Master Woodcarving Secrets 2012
For more essential woodcarving advice and projects, visit our site: www.woodcarvingworkshops.tv
52. 52. 52. 52. Have at least three carvings on the go: one starting, one finishing, and Have at least three carvings on the go: one starting, one finishing, and Have at least three carvings on the go: one starting, one finishing, and Have at least three carvings on the go: one starting, one finishing, and
one in the middle so that you can keep a fresh flow of wo one in the middle so that you can keep a fresh flow of wo one in the middle so that you can keep a fresh flow of wo one in the middle so that you can keep a fresh flow of work moving along. rk moving along. rk moving along. rk moving along.
53. 53. 53. 53. Have three books going for ideas and reference: sketchbook, notebook, Have three books going for ideas and reference: sketchbook, notebook, Have three books going for ideas and reference: sketchbook, notebook, Have three books going for ideas and reference: sketchbook, notebook,
and scrapbook. and scrapbook. and scrapbook. and scrapbook.
54. 54. 54. 54. Oiling darkens wood and shows up any figuring in the grain more vividly. Oiling darkens wood and shows up any figuring in the grain more vividly. Oiling darkens wood and shows up any figuring in the grain more vividly. Oiling darkens wood and shows up any figuring in the grain more vividly.
55. 55. 55. 55. Keep the wood clean, right from the start. Dirty hands are the most Keep the wood clean, right from the start. Dirty hands are the most Keep the wood clean, right from the start. Dirty hands are the most Keep the wood clean, right from the start. Dirty hands are the most
common cause common cause common cause common cause of dirty carving. Sweaty, oily hands transfer grime. of dirty carving. Sweaty, oily hands transfer grime. of dirty carving. Sweaty, oily hands transfer grime. of dirty carving. Sweaty, oily hands transfer grime.
56. 56. 56. 56. If you find sharpening a problem or a chore, you are probably not carving If you find sharpening a problem or a chore, you are probably not carving If you find sharpening a problem or a chore, you are probably not carving If you find sharpening a problem or a chore, you are probably not carving
enough. You will not yet have learned that keen cutting edges are the enough. You will not yet have learned that keen cutting edges are the enough. You will not yet have learned that keen cutting edges are the enough. You will not yet have learned that keen cutting edges are the
gateways to excellence. gateways to excellence. gateways to excellence. gateways to excellence.
57. 57. 57. 57. Most nicks and similar injuries wi Most nicks and similar injuries wi Most nicks and similar injuries wi Most nicks and similar injuries will happen when you are taking out and ll happen when you are taking out and ll happen when you are taking out and ll happen when you are taking out and
putting away your carving tools. putting away your carving tools. putting away your carving tools. putting away your carving tools.

Chris Pye: 101 Master Woodcarving Secrets 2012
For more essential woodcarving advice and projects, visit our site: www.woodcarvingworkshops.tv
58. 58. 58. 58. As you carve, be sensitive to what is happening at the moment the wood As you carve, be sensitive to what is happening at the moment the wood As you carve, be sensitive to what is happening at the moment the wood As you carve, be sensitive to what is happening at the moment the wood
is cut. This enables you to react immediately and change direction is cut. This enables you to react immediately and change direction is cut. This enables you to react immediately and change direction is cut. This enables you to react immediately and change direction
according to the lie of the grain, the wood fib according to the lie of the grain, the wood fib according to the lie of the grain, the wood fib according to the lie of the grain, the wood fibres. res. res. res.
59. 59. 59. 59. If the grain tears, If the grain tears, If the grain tears, If the grain tears, don't don't don't don't persist. Stop! Reverse the direction of carving. persist. Stop! Reverse the direction of carving. persist. Stop! Reverse the direction of carving. persist. Stop! Reverse the direction of carving.
60. 60. 60. 60. Surface texture Surface texture Surface texture Surface texture - -- - what is left from the chisel what is left from the chisel what is left from the chisel what is left from the chisel - -- - is an is an is an is an imp imp imp important design ortant design ortant design ortant design
element and must be used to the full. element and must be used to the full. element and must be used to the full. element and must be used to the full.
61. 61. 61. 61. Keep a few offcuts to repair splits. Keep a few offcuts to repair splits. Keep a few offcuts to repair splits. Keep a few offcuts to repair splits.
62. 62. 62. 62. The first rough stage of a s The first rough stage of a s The first rough stage of a s The first rough stage of a sculpture should end up looking as if it were culpture should end up looking as if it were culpture should end up looking as if it were culpture should end up looking as if it were
covered in a film of opaque covered in a film of opaque covered in a film of opaque covered in a film of opaque ' '' 'cling wrap. cling wrap. cling wrap. cling wrap.' '' ' All the masses are present in All the masses are present in All the masses are present in All the masses are present in
relationship to each other, with the proportions, flow, and relationship to each other, with the proportions, flow, and relationship to each other, with the proportions, flow, and relationship to each other, with the proportions, flow, and ' '' 'sense sense sense sense' '' ' clearly clearly clearly clearly
present. present. present. present.
63. 63. 63. 63. Always cut, never tear or pull shavings or chips away. Always cut, never tear or pull shavings or chips away. Always cut, never tear or pull shavings or chips away. Always cut, never tear or pull shavings or chips away.
64. 64. 64. 64. Check twice cut once. Check twice cut once. Check twice cut once. Check twice cut once.

Chris Pye: 101 Master Woodcarving Secrets 2012
For more essential woodcarving advice and projects, visit our site: www.woodcarvingworkshops.tv
65. 65. 65. 65. Sand only if an absolutely smooth surface is needed. Sanded surfaces look Sand only if an absolutely smooth surface is needed. Sanded surfaces look Sand only if an absolutely smooth surface is needed. Sanded surfaces look Sand only if an absolutely smooth surface is needed. Sanded surfaces look
hard, like egg shells, and can be as beautiful. hard, like egg shells, and can be as beautiful. hard, like egg shells, and can be as beautiful. hard, like egg shells, and can be as beautiful.
66. 66. 66. 66. Sanding should always be a choice, not an expedient. Sanding should always be a choice, not an expedient. Sanding should always be a choice, not an expedient. Sanding should always be a choice, not an expedient.
67. 67. 67. 67. Sanding into corners may take as long as sanding the main Sanding into corners may take as long as sanding the main Sanding into corners may take as long as sanding the main Sanding into corners may take as long as sanding the main surfaces. surfaces. surfaces. surfaces.
68. 68. 68. 68. When you look at a carving or sculpture, be aware of what your eyes are When you look at a carving or sculpture, be aware of what your eyes are When you look at a carving or sculpture, be aware of what your eyes are When you look at a carving or sculpture, be aware of what your eyes are
doing, how you are looking, and doing, how you are looking, and doing, how you are looking, and doing, how you are looking, and vitally vitally vitally vitally - -- - what you are feeling as you what you are feeling as you what you are feeling as you what you are feeling as you
look. Your eyes and heart will tell you to what to do. look. Your eyes and heart will tell you to what to do. look. Your eyes and heart will tell you to what to do. look. Your eyes and heart will tell you to what to do.
69. 69. 69. 69. Beware of working from Beware of working from Beware of working from Beware of working from another's another's another's another's drawings. Dra drawings. Dra drawings. Dra drawings. Drawings are two wings are two wings are two wings are two- -- -
dimensional, carvings three. What, in a drawing, may look easy to carve dimensional, carvings three. What, in a drawing, may look easy to carve dimensional, carvings three. What, in a drawing, may look easy to carve dimensional, carvings three. What, in a drawing, may look easy to carve
could prove more difficult than you were expecting could prove more difficult than you were expecting could prove more difficult than you were expecting could prove more difficult than you were expecting because carving because carving because carving because carving
involves more depth, more objects, or the other sides of objects. involves more depth, more objects, or the other sides of objects. involves more depth, more objects, or the other sides of objects. involves more depth, more objects, or the other sides of objects.
70. 70. 70. 70. When photographing your work, always When photographing your work, always When photographing your work, always When photographing your work, always take the best shots you can. take the best shots you can. take the best shots you can. take the best shots you can.
Snapshots almost never do justice to your efforts and often make fine Snapshots almost never do justice to your efforts and often make fine Snapshots almost never do justice to your efforts and often make fine Snapshots almost never do justice to your efforts and often make fine
work look poor. work look poor. work look poor. work look poor.

Chris Pye: 101 Master Woodcarving Secrets 2012
For more essential woodcarving advice and projects, visit our site: www.woodcarvingworkshops.tv
71. 71. 71. 71. ' '' 'The person who never made a mistake, never made anything The person who never made a mistake, never made anything The person who never made a mistake, never made anything The person who never made a mistake, never made anything' '' ' but but but but it's it's it's it's
what you do about mistakes that matters. what you do about mistakes that matters. what you do about mistakes that matters. what you do about mistakes that matters.
72. 72. 72. 72. Extend your carving kit to matc Extend your carving kit to matc Extend your carving kit to matc Extend your carving kit to match your work h your work h your work h your work. Buy your . Buy your . Buy your . Buy your tools on the basis tools on the basis tools on the basis tools on the basis
of need. of need. of need. of need.
73. 73. 73. 73. Never put tools away in anything other than the condition Never put tools away in anything other than the condition Never put tools away in anything other than the condition Never put tools away in anything other than the condition in which in which in which in which you you you you
want them when you get them out again. want them when you get them out again. want them when you get them out again. want them when you get them out again.
74. 74. 74. 74. With the gouge, follow the contour you are seeking With the gouge, follow the contour you are seeking With the gouge, follow the contour you are seeking With the gouge, follow the contour you are seeking - -- - like sketching in like sketching in like sketching in like sketching in
three three three three- -- -dimensions. dimensions. dimensions. dimensions.
75. 75. 75. 75. Two equ Two equ Two equ Two equally competent carvers will be distinguished by what they do with ally competent carvers will be distinguished by what they do with ally competent carvers will be distinguished by what they do with ally competent carvers will be distinguished by what they do with
their competency ie. the quality of their ideas, and their solutions to their competency ie. the quality of their ideas, and their solutions to their competency ie. the quality of their ideas, and their solutions to their competency ie. the quality of their ideas, and their solutions to
design problems. design problems. design problems. design problems.
76. 76. 76. 76. Swing the mallet from your shoulder, not your elbow Swing the mallet from your shoulder, not your elbow Swing the mallet from your shoulder, not your elbow Swing the mallet from your shoulder, not your elbow and keep the elbow and keep the elbow and keep the elbow and keep the elbow
tucked into the body to minimi tucked into the body to minimi tucked into the body to minimi tucked into the body to minimise strain. For less strain and longer se strain. For less strain and longer se strain. For less strain and longer se strain. For less strain and longer
working, move to a lighter mallet. working, move to a lighter mallet. working, move to a lighter mallet. working, move to a lighter mallet.

Chris Pye: 101 Master Woodcarving Secrets 2012
For more essential woodcarving advice and projects, visit our site: www.woodcarvingworkshops.tv
77. 77. 77. 77. Add a wrist flick to increase the power of a mallet stroke. And stand side Add a wrist flick to increase the power of a mallet stroke. And stand side Add a wrist flick to increase the power of a mallet stroke. And stand side Add a wrist flick to increase the power of a mallet stroke. And stand side- -- -
on, to keep your body out of the way as you use your shoulder. on, to keep your body out of the way as you use your shoulder. on, to keep your body out of the way as you use your shoulder. on, to keep your body out of the way as you use your shoulder.
78. 78. 78. 78. Inspiration is not Inspiration is not Inspiration is not Inspiration is not ' '' 'out there out there out there out there' '' ', , , , even if the G even if the G even if the G even if the Gr rr reeks did think that we inspire eeks did think that we inspire eeks did think that we inspire eeks did think that we inspire
d dd divine ideas with our breath. Inspiration comes from within. ivine ideas with our breath. Inspiration comes from within. ivine ideas with our breath. Inspiration comes from within. ivine ideas with our breath. Inspiration comes from within.
79. 79. 79. 79. Frames around a relief carving draw in the Frames around a relief carving draw in the Frames around a relief carving draw in the Frames around a relief carving draw in the v vv vi ii ie ee ewer and set off the image. wer and set off the image. wer and set off the image. wer and set off the image.
But before you begin to carve, think what a frame will do for the finished But before you begin to carve, think what a frame will do for the finished But before you begin to carve, think what a frame will do for the finished But before you begin to carve, think what a frame will do for the finished
pieceand to th pieceand to th pieceand to th pieceand to the e e e vie vie vie viewer. Ensure that the frame becomes part of the wer. Ensure that the frame becomes part of the wer. Ensure that the frame becomes part of the wer. Ensure that the frame becomes part of the
design and not merely an afterthought. design and not merely an afterthought. design and not merely an afterthought. design and not merely an afterthought.
80. 80. 80. 80. ' '' 'bung macht den Meister bung macht den Meister bung macht den Meister bung macht den Meister' '' ': Practice makes the Master. : Practice makes the Master. : Practice makes the Master. : Practice makes the Master.
81. 81. 81. 81. Always use the best wood Always use the best wood Always use the best wood Always use the best wood possible possible possible possible. Unless the better woods are absolutely . Unless the better woods are absolutely . Unless the better woods are absolutely . Unless the better woods are absolutely
unavailable or unaffordable, never co unavailable or unaffordable, never co unavailable or unaffordable, never co unavailable or unaffordable, never compromise mpromise mpromise mpromise. B . B . B . Beginners often tend to eginners often tend to eginners often tend to eginners often tend to
use poor quality material for 'practice', but you need all the help you can use poor quality material for 'practice', but you need all the help you can use poor quality material for 'practice', but you need all the help you can use poor quality material for 'practice', but you need all the help you can
get, and poor wood really doesn't help get, and poor wood really doesn't help get, and poor wood really doesn't help get, and poor wood really doesn't help. .. .
82. 82. 82. 82. ' '' 'It It It It' '' 's in the book s in the book s in the book s in the book' '' '. .. . Or Or Or Or, now, , now, , now, , now, on the WW.tv on the WW.tv on the WW.tv on the WW.tv websi websi websi website... te... te... te...

Chris Pye: 101 Master Woodcarving Secrets 2012
For more essential woodcarving advice and projects, visit our site: www.woodcarvingworkshops.tv
83. 83. 83. 83. Carving is about nothing if it is not about light and Carving is about nothing if it is not about light and Carving is about nothing if it is not about light and Carving is about nothing if it is not about light and shadow. shadow. shadow. shadow.
84. 84. 84. 84. A bubble is merely surface. It contains nothing, feels empty, A bubble is merely surface. It contains nothing, feels empty, A bubble is merely surface. It contains nothing, feels empty, A bubble is merely surface. It contains nothing, feels empty, and suggests and suggests and suggests and suggests
no sense of mass. A woodcarving, however, contains real mass, and the no sense of mass. A woodcarving, however, contains real mass, and the no sense of mass. A woodcarving, however, contains real mass, and the no sense of mass. A woodcarving, however, contains real mass, and the
vi vi vi vie ee ewer must be able to sense this. wer must be able to sense this. wer must be able to sense this. wer must be able to sense this.
85. 85. 85. 85. Ambidexterity, being able to swap hands, is a sign of the professio Ambidexterity, being able to swap hands, is a sign of the professio Ambidexterity, being able to swap hands, is a sign of the professio Ambidexterity, being able to swap hands, is a sign of the professional. nal. nal. nal.
Being able to reverse hands Being able to reverse hands Being able to reverse hands Being able to reverse hands - -- - and thus tool direction and thus tool direction and thus tool direction and thus tool direction - -- - affords great affords great affords great affords great
advantages, particularly in the Low Angle grip. advantages, particularly in the Low Angle grip. advantages, particularly in the Low Angle grip. advantages, particularly in the Low Angle grip. Strengthen your less Strengthen your less Strengthen your less Strengthen your less
dominant hand by giving it tasks you would normally do with your dominant hand by giving it tasks you would normally do with your dominant hand by giving it tasks you would normally do with your dominant hand by giving it tasks you would normally do with your
dominant one (e.g., peeling an orange, cleaning dominant one (e.g., peeling an orange, cleaning dominant one (e.g., peeling an orange, cleaning dominant one (e.g., peeling an orange, cleaning your teeth, hammering, your teeth, hammering, your teeth, hammering, your teeth, hammering,
etc.). etc.). etc.). etc.).
86. 86. 86. 86. Keep both hands on the carving tool at all times, unless you are using a Keep both hands on the carving tool at all times, unless you are using a Keep both hands on the carving tool at all times, unless you are using a Keep both hands on the carving tool at all times, unless you are using a
mallet. mallet. mallet. mallet.
87. 87. 87. 87. Work from the tools. Co Work from the tools. Co Work from the tools. Co Work from the tools. Co- -- -operate with the sweeps by letting them guide operate with the sweeps by letting them guide operate with the sweeps by letting them guide operate with the sweeps by letting them guide
your lines and cuts. your lines and cuts. your lines and cuts. your lines and cuts.

Chris Pye: 101 Master Woodcarving Secrets 2012
For more essential woodcarving advice and projects, visit our site: www.woodcarvingworkshops.tv
88. 88. 88. 88. Many times there are no right or wrong solutions. But Many times there are no right or wrong solutions. But Many times there are no right or wrong solutions. But Many times there are no right or wrong solutions. But just as many times just as many times just as many times just as many times
there are. there are. there are. there are.
89. 89. 89. 89. When you think you have finished your carving, change the lighting, take When you think you have finished your carving, change the lighting, take When you think you have finished your carving, change the lighting, take When you think you have finished your carving, change the lighting, take
the work outside, look at in a mirror. Then renew your decision. the work outside, look at in a mirror. Then renew your decision. the work outside, look at in a mirror. Then renew your decision. the work outside, look at in a mirror. Then renew your decision.
90. 90. 90. 90. Carvings can b Carvings can b Carvings can b Carvings can be mounted either in contrast (e e mounted either in contrast (e e mounted either in contrast (e e mounted either in contrast (eg. using a different material, g. using a different material, g. using a different material, g. using a different material,
colour, tex colour, tex colour, tex colour, texture ture ture ture, or lines) or in complement (e , or lines) or in complement (e , or lines) or in complement (e , or lines) or in complement (eg. sympathetic curves). g. sympathetic curves). g. sympathetic curves). g. sympathetic curves).
91. 91. 91. 91. Modelling Modelling Modelling Modelling ( (( (in clay in clay in clay in clay) )) ) is very useful for pinning down ideas, for measuring is very useful for pinning down ideas, for measuring is very useful for pinning down ideas, for measuring is very useful for pinning down ideas, for measuring
and developing a third and developing a third and developing a third and developing a third- -- -dimensional sense. dimensional sense. dimensional sense. dimensional sense. M MM Model odel odel odel to scale to scale to scale to scale if you can if you can if you can if you can. .. .
92. 92. 92. 92. ' '' 'If I were you, I If I were you, I If I were you, I If I were you, I wouldn't wouldn't wouldn't wouldn't start from here start from here start from here start from here' '' ' Indee Indee Indee Indeed dd d, the trick is not only , the trick is not only , the trick is not only , the trick is not only
knowing where to start knowing where to start knowing where to start knowing where to start but also being there before you want to leave. but also being there before you want to leave. but also being there before you want to leave. but also being there before you want to leave.
93. 93. 93. 93. Two ways to dull your gouge or chisel quickly: scrape your cutting edge Two ways to dull your gouge or chisel quickly: scrape your cutting edge Two ways to dull your gouge or chisel quickly: scrape your cutting edge Two ways to dull your gouge or chisel quickly: scrape your cutting edge
upwards when you've cut up to a vertical wall, and lever upwards when you've cut up to a vertical wall, and lever upwards when you've cut up to a vertical wall, and lever upwards when you've cut up to a vertical wall, and lever- -- -out chips of out chips of out chips of out chips of
wood. wood. wood. wood.

Chris Pye: 101 Master Woodcarving Secrets 2012
For more essential woodcarving advice and projects, visit our site: www.woodcarvingworkshops.tv
94. 94. 94. 94. Carving demon Carving demon Carving demon Carving demonstrates the laws of conditionality strates the laws of conditionality strates the laws of conditionality strates the laws of conditionality: A : A : A : All phenomena depend ll phenomena depend ll phenomena depend ll phenomena depend
on, arise from, and change into on, arise from, and change into on, arise from, and change into on, arise from, and change into, ,, , others. So the finished carving depends others. So the finished carving depends others. So the finished carving depends others. So the finished carving depends
on the surface modelling which depends on the shaping (the roughing on the surface modelling which depends on the shaping (the roughing on the surface modelling which depends on the shaping (the roughing on the surface modelling which depends on the shaping (the roughing
out) which depends on the selection of material which d out) which depends on the selection of material which d out) which depends on the selection of material which d out) which depends on the selection of material which depends on the epends on the epends on the epends on the
idea idea idea idea your history. So the actual origin of any carving is your history. So the actual origin of any carving is your history. So the actual origin of any carving is your history. So the actual origin of any carving is imp imp imp impossible to ossible to ossible to ossible to
see. see. see. see.
95. 95. 95. 95. As much as the sharpness of the cutting edge, the state of the bevel is As much as the sharpness of the cutting edge, the state of the bevel is As much as the sharpness of the cutting edge, the state of the bevel is As much as the sharpness of the cutting edge, the state of the bevel is
extremely extremely extremely extremely i ii im mm mp pp portant in determining how well a carving tool cuts. Unless ortant in determining how well a carving tool cuts. Unless ortant in determining how well a carving tool cuts. Unless ortant in determining how well a carving tool cuts. Unless
you have a particula you have a particula you have a particula you have a particular reason for doing so, keep the bevels as flat as r reason for doing so, keep the bevels as flat as r reason for doing so, keep the bevels as flat as r reason for doing so, keep the bevels as flat as
possible. possible. possible. possible.
96. 96. 96. 96. You can take it as it comes. But you will progress a lot quicker if you set You can take it as it comes. But you will progress a lot quicker if you set You can take it as it comes. But you will progress a lot quicker if you set You can take it as it comes. But you will progress a lot quicker if you set
yourself opportunities and tasks for learning and developing strengths. yourself opportunities and tasks for learning and developing strengths. yourself opportunities and tasks for learning and developing strengths. yourself opportunities and tasks for learning and developing strengths.
Take a path of regular steps, increasing the cha Take a path of regular steps, increasing the cha Take a path of regular steps, increasing the cha Take a path of regular steps, increasing the challenges of your projects llenges of your projects llenges of your projects llenges of your projects
gradually, not in too big leaps. gradually, not in too big leaps. gradually, not in too big leaps. gradually, not in too big leaps.

Chris Pye: 101 Master Woodcarving Secrets 2012
For more essential woodcarving advice and projects, visit our site: www.woodcarvingworkshops.tv
97. 97. 97. 97. ' '' 'Bosting in Bosting in Bosting in Bosting in' '' ' (sketching out the masses and flow of the piece) is the most (sketching out the masses and flow of the piece) is the most (sketching out the masses and flow of the piece) is the most (sketching out the masses and flow of the piece) is the most
imp imp imp important ortant ortant ortant, , , , and probably the most difficult stage and probably the most difficult stage and probably the most difficult stage and probably the most difficult stage, ,, , in carving. Bosting in in carving. Bosting in in carving. Bosting in in carving. Bosting in
requires courage. requires courage. requires courage. requires courage.
98. 98. 98. 98. When taking off wood by bosting i When taking off wood by bosting i When taking off wood by bosting i When taking off wood by bosting in, n, n, n, don't don't don't don't nibble. You can be bold if you nibble. You can be bold if you nibble. You can be bold if you nibble. You can be bold if you
have properly prepared. have properly prepared. have properly prepared. have properly prepared.
99. 99. 99. 99. A lot of practice will make a little talent go a long way. A lot of practice will make a little talent go a long way. A lot of practice will make a little talent go a long way. A lot of practice will make a little talent go a long way.
100. 100. 100. 100. Carve the form first, and the details will take care of themselves. Sort out Carve the form first, and the details will take care of themselves. Sort out Carve the form first, and the details will take care of themselves. Sort out Carve the form first, and the details will take care of themselves. Sort out
the major problems first. The rest follows on. the major problems first. The rest follows on. the major problems first. The rest follows on. the major problems first. The rest follows on.
101. 101. 101. 101. You can k You can k You can k You can keep fiddling with a carving until the cows come home. At some eep fiddling with a carving until the cows come home. At some eep fiddling with a carving until the cows come home. At some eep fiddling with a carving until the cows come home. At some
point you have to finish point you have to finish point you have to finish point you have to finish and often it is and often it is and often it is and often it is simply simply simply simply when when when when you've you've you've you've had enough. had enough. had enough. had enough.
But still, when you think you have finished, put the carving away for a But still, when you think you have finished, put the carving away for a But still, when you think you have finished, put the carving away for a But still, when you think you have finished, put the carving away for a
week, then come back, and refresh the decision. week, then come back, and refresh the decision. week, then come back, and refresh the decision. week, then come back, and refresh the decision.