Carving Knotwork with Simple Tools | Clint Rose | Skillshare

Carving Knotwork with Simple Tools

Clint Rose, Timber Anew - Wood Carving

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9 Lessons (31m) View My Notes
    • 1. 1 Introduction

    • 2. 2 Class Project & Tools Needed

    • 3. 3 Transferring the Design to the Wood

    • 4. 4 Line Carving Practice

    • 5. 5 Cutting the Outline

    • 6. 6 Creating a Raised Effect

    • 7. 7 Carving out the Gaps

    • 8. 8 Creating a Weaved Effect

    • 9. 9 Other Examples and Final Thoughts


About This Class

With this class you can learn to carve a striking knotwork pattern with little to no experience in woodworking or carving and with very simple and affordable tools. 

I started carving with just a few simple flat chisels and a knife and there's no reason you can't do the same. I'll share with you some tips, tricks and techniques to help you create your own wood carved art and experience the satisfaction of making something of your own. 



1. 1 Introduction: My name is Clint Rose and I'm a woodcarving from the UK and Suffolk and start a timber new in 2016 when I decided to take my hobby and turn into my work. And since then I've completed commissions and carvings there in homes all over the world. I'm a firm believer in getting involved in woodcarving there. Now what kind of budget or space or tools you may have. In this class, you will learn how to make a knot work. Pattern saw similar to chaotic network except a bit more simple, more straight lines, no curvy edges. So because of that, we can use some simple tools and some simple techniques to achieve still a pretty cool result. Anyone can get involved in this class. It's perfect for beginners to woodcarving. What we need is a knife and a chisel. A couple of tools might help her. Knife and a chisel perfectly doable with just those two tools and a piece of wood. And then you'll be ready to go. Even how to cut straight lines of the knife and hold it in a way that's comfortable and steady. You learn how to control the chisel and tight spaces and also to try and make a relatively flat surface look more 3D to give the illusion that something's actually popping out of it. You can use the skills you learn in this video to maybe transfer design onto a cupboard door or a drawer front, or even on a table top or something. Some really big elaborate not work carving on a tabletop. You could also use it to make frames or then even use the knowledge that you gain in here to then move on to getting some more sophisticated or more very tools and make some actual curvy Celtic knot work. Which obviously you can take some parts of this course and use it in that later on if you want to do that. So the end of this class, you CBO learn the simple woodcarving techniques is create your own piece of not work are, and I really hope you enjoy it. So I'll stop talking and let's actually go on with the class. 2. 2 Class Project & Tools Needed: So today we're gonna be relief carving some not work into a piece of pine. It's quite similar to Caltech not work, but few more right angles is to make it more simple for this tutorial. But there's no reason you can use this knowledge and then go on to do Celtic knots afterwards. Interestingly, they date back to the third century BC. And although there's sort of some confusion about what the Nazis actually mean, some founding suggested maybe they represent eternal life or unity, or something along those lines. Say, maybe you have something in mind when you're making a project that represents those things. Or maybe you just want to make it because it looks cool. I mean, either way is good, I think. So Phyllis project, you'll need a piece of wood. I just have a piece of Pyrex that's one of the most readily available and generally less expensive woods, includes more people. Also the template from the resources. There's three different templates and choosing to do this one for the class. But you could pick one of the other templates and follow along if you like, is still going to be the same principles. You should be able to transfer that over to the other templates. I've got some carbon paper here to help me transfer the image onto the word. And you don't have to use Kelvin PyPy could scrub pencil on the background and the driver like that. Or even just get a ruler and workout. You're in patent if you like. So straight lines and right angles, it's not, it's not too difficult once you get used to it. And then a knife was going to help us Skoll round all the outside lines and cut really thin slit is out of that. And a chisel, This is the seven millimeter pattern, and this is a six millimeter chisel. So I found that when I was making the patterns that having the gaps and hear that the millimeter, seven millimeters relates to the width of the threads and also the width of the gaps in there. So having a chisel that some millimeters smaller than is listed on the patent seem to help. So that's why I've chosen to do the seven millimeter apparently with a six millimeter chisel. And then you also might need away to hold this piece of wood dancer. I've got a clamp here. You might have your own way of holding look down if you like, but I would definitely suggest holding it down because to make this more accurate, it helps to have two on the tools while you're using them. So it's pretty hard the whole sums that helped if both your hands are holding the toolbox. I chose this project because not only is a good way to get styling into doing not work, you know, you can move from this into then Caltech not work or may be some more complicated designs, but also just relief carving in general is lots of principles that we'll say in this video that you can then transfer on to making your own relief carvings and stuff. So it's a pretty cool way to get started and that kind of thing with some small tools and some reasonably priced materials. 3. 3 Transferring the Design to the Wood: Okay, so the first thing I'm gonna do is put my carbon paper on them, put the template on top. I'm going to take it down. And then we can get started on the tracing the patent to the world. Make sure the carbon paper is shiny side down. Yes, I have made a mistake on more than one occasion. I wish to repeat it, because it's very annoying. When you trace out a whole pound and you realize the papers are on the way out to just chuck the tape from one corner to try and keep it flat. Go to the other corner. Lots of times you might find that's enough. You know, the pipe is not going to shift amount of another additional couple of pieces there, but I'm just gonna leave that for now. And what we're gonna do is I'm gonna use the Rayleigh to trace out the pattern rather than just doing it free end. Because the strain that you make these lines now, the more you're gonna thank yourself in the future because you're gonna get a nice crisper image at the end are nice crisp coding at the end when you're finished. Rather than trying to fill a wiggly lines, you want to fully lines as straight as possible. So I'm gonna start drawing these lines. You could do, you know, draw a bit debit or if you want, you can take the root of all their crops because these are all even so good to kill two birds with one stone and do the lines there and the lines there if you wanted to. Just as long as you make sure you mock out all crisp, that's, that's the main thing. So let's get started and do the first couple of lines. You don't need too much pressure and I have you do wanna make sure that you get the marks through. Code and paper does most of the work. So hopefully you've managed to get pencil lines on everything without forgetting a line. That can be a bit tricky. If you're wondering if you missed out alone, you can always get it into the lag a little bit. You should be able to see the, the graphite from the pencil left on the lines that you've already drawn on. That's one way to do it. Audience tonight, keeping track of waiting. So let's see how well we've done. And now I've got most of the lines. So even if someone missing, I can fill up pretty easily just using order. So it goes down everything. So traced out. Now we can start figuring out how to cut around the outline. And thus the first thing to do. 4. 4 Line Carving Practice: Okay, so now we're going to have a bit of a practice to try and work out how to cut straight while using a knife without using a ruler. You could use a ruler. I didn't like too, because it doesn't let me see the line properly. And I never know if I'm carrying a knife into the ruler or I don't know for me personally, I didn't like it. So what I'd like to do is just use my hands so I would take the knife like this. It depends on the size of knife you have, but this one is probably quite good for this Conoco. And place my sort of a fingernails here on the word. And take the knife not to harden and it's good to deep. In fact, sometimes it's better just to do a nice shallow or low pressure pulse first and then do a harder pass after was just to get the wind a little bit deeper. And then what I'll probably do is take this hand here and just hold onto my thumb and kinda get these knuckles against somewhere. Other the benchtop oversight of the word or something that don't let it hover in the air because then you still want that kind of instability. If I have small reference points is more reference points for where my hands are touching, then my hands will be steady or when I'm doing the curl. So we just do that. And OK, so you can take it slowly. You are be careful that the knife might want to wave around as it has their little width. Plus i k and come back and correct it. And now we're getting a bit deeper or pressure on recovery, the more confident and get alone Ollie, through illustrator you that same thing from a different angle. So here we are from a different angle. This is my grip on my life. This is my hand on my thumb. I mean, it doesn't have to be holding a thumb. You could just be steadying hand somewhere. Just to give you hand that extra support, putting a knife in there. And then like I said, I've got a contact with one of my knuckles here and available that I've got the contact and handed Another thing you wanna watch out for when you're doing this, when you slide your hands is What shall it, you're not getting any splinters or anything in your hands. So try and make sure the piece of wood is smooth or, or you might be racing gloves or something maybe at the time. Point in there. And pull back slowly. Keep watching all the time. And keep coming keep coming back and back and back and back and back, making micro adjustments as we move. I'm going to go that line is dead on. Getting a couple of cuts deeper. That's nice. Straight down, straight line. Going to use this angle for a moment just to show you the next stage. So we've cut straight down. This is how we're going to do the border of the whole not work coming straight down. And now we want to cut some of the material out of there to kinda Boyd in this line a little bit. There's two ways you can do this probably with the tools we have provided. So the first one we can do is to use a chisel like this. And we'll bring the corner of the chisel into the line. And then angle which is about 45 degrees, and cut up this line. So once again, two hands, one hand at the back here pushing the chisel. And this hand here holding onto the front of the chisel to try and go at it. So I could feel this is getting the wrong way on the grain. That's what we'd need to do. In that situation. Is switched this around or change your hand around Jeanette, whichever way feels best for you. Clamp it down again. And you'll know if you're going the wrong way because it will just feel weird. You'll feel too hot to push through and that's been coming down there. Let us, if it gets to a point where this code is kind of getting in the way, you can't break it off. Just be careful. Break it off in that direction. If you break off in this direction, you might rip some of the other would've away from nasa. And this I take you time if you have to keep doing little bits. And here that's one way to get one of the lines. The other way is to use the knife and come in to account the 45-degree angle. So you can come in around here like this. Join hold or so ago. This hand, keeping the blade steady, obviously make sure you don't put your finger under there. You just want to, on top of the bloat, make sure this isn't a sharp edges wherever you want, one or that one blunt edge. And this hand or this finger calendar for keeping it pressed. And just run a Gilead that three with no reference points again. So I've got this hand against here. I'll go this finger here against the word. Take it slowly. You don't need to go crazy. Don't need to, you know, goes false as you can enter anything. You feel like you miss a bit and then go back again and showing smoothly into it a little bit. But I think it's worth having a couple of practices beforehand on a different piece of wood before you commit to doing your final project. 5. 5 Cutting the Outline: Okay, so we've got a piece firmly clamped down to our Workbench. We have the knife in hand. I will stress as much as I can. The knives and chisels are sharp. Please try and keep them away from your fingers. You know, I know that can solve. Go without saying, but I like to repeat it because I know that, you know, sometimes if you're a bit careless, you end up cutting yourself, Nixon. And it can get ugly. And also, bloodstains are very difficult to get a word. I have experienced quite well. So try not to try to, to get blood on the word. So what we're gonna do now is just take the knife and we're gonna cut all these outlines out all the way round, will cut straight down into the width. So this is the angle of the cut, straight down, like angled or anything straight down. And we'll use both hands loci were before. So we'll start off with a shallow pass. If you get the point of the knife right in the corner there, do a shallow low pressure pass and then a stronger one, and then just do another one if you want. I mean, it's up to you. Whenever you think you've got deep enough, I tend to go about maybe one or two millimeters deep into the work, but you're probably gonna feel more of what you wanna do as you go along. You may wanna go deeper is completely up to you. So because I am standing at this angle and I've done that, I'm just going to keep doing all these cuts, this angle. So I'm gonna do this one as well. And in this instance, the way I'm holding the knife is like this. I have the grasp on that I saw I'm holding my thumb aka wasn't the other one. But I have my thumb on top of the wood palette knife. You could put it on there as well. And just make sure this is not a sharp edge because obviously some nights have to sharp edges. So I've been playing it, putting my hand on the microphone there and then this part of my hand is against the word, so we have a least points of contact on the word, which is helping us keep the knife steady and straight. So we have another shallow pass. Then fisher little harder. Deep foss. Hopefully if the shallow processes work that well, your knife should follow. Another couple of things I would say when you're covering this is to make sure that you really connect your lines up and get right to the corner so you can see there I go right to the corner of that one. I really wanna start right on the corner there again and bring this line in here. And then the other thing to think of is when you're coming to the end of the cup, you're going to kind of tilt the knife up a little bit like this as you're coming to the end. Because if you keep going at this angle and you might end up cutting of it further than you want to, you know. So, but be careful when you do it. You don't want to like flick out or anything. You just want to slowly come to the end. Maybe give a final it will take him with a knife again, but it's up to you. Not here. So it makes it a bit more difficult for them. Xunzi, take it slowly. David cutler, I want to do and come again with the deeper cup. And we should be fine. Entail just slowly ease it, come up to a point at the end. And just keep doing that as you go around and then eventually have all the outline done. 6. 6 Creating a Raised Effect: So we've cut the outline of the whole not work design now with the knife going straight down into the wood, that will I'm going to try and do is just cover a little bit of wood away from around the outside edges and from the inside edges as well. Just so we make this patents or elevate a little bit rather than just being outlined. So we're gonna go to the next step and try and elevates out of this. We're gonna do those cuts that I was mentioning before. I'll do one now. And I slice out of they're all like I said, we can also do those with the chisel. But let's take a little bit of a closer look and I'll show you just how we're gonna do it. And it's the first line I cut was down here on this bit. So I'm gonna do like I did before when I kept following in the same sort of parallel lines. So since I'm facing this way, I'm going to try and cut this one here and want to do is come up and then stop the, I don't wanna keep going across it will deal with this part layer. So I'm going to come up here and stop there. Just gonna get the knife. So even at that corner, that kind of place in that we can do is shallow pass if we want to keep that knife at kind of a 45 degree angle. And then we get a little bit more that's done. Is it just, it's separated a little bit from the back of the word or wealth, not only from the back, from the side. So it looks like it's kind of a more elevated than it actually is. Just Cove, training and illusion does actually, if you want more than one way to do this with a chisel. So the one I showed you earlier was to take the chisel here, put it in there, and just kind of write the chisel up like that. So those people might actually find that easier than the nice technique. Fact I think I would possibly find easier searches about another way you could do it if you want to. Just bring the chisel like this and push down in there like that. And slot, right? So in a way that can be cleaner, you can even use a longer chisel if you wanted to get a cut along the whole thing. So we can use a wider chisel like this and cut down across the whole piece. And you know, that perhaps is even a lot faster as well. There's lots of ways to do one thing. Quite often end with looking at woodcarving, sir. It's probably it's best to find the way that suits you the most store, whichever seeks the tools that you have, and then you can make all different kinds of stuff. Okay, so just one more view of those three different techniques. So first of all, we have the knife. And the reason I started with the knife technique is because, you know, I feel like probably almost everyone will have a knife and maybe not everyone will have a set of chisels. So there's a knife technique just trimming out a little bit of side. Then we have chisel technique, which is taking the chisel, angling it about 45 degrees and then coming in there and coming off a little slither in them. And then the last technique you can do with this small chisel, if that's all you've got. Slice down like this, try and keep aligned straight as you go across. Or if you have a slightly larger chisel. And you can just do this and Puppet hour. So this is probably the fastest technique if you have access this chisel. I mean, this is just a normal bench chisel. So hopefully if you've got a chisel that size you might have on this side as well. They can get some fairly inexpensive on Amazon, maybe some old taus from eBay stuff on that show up in the MATLAB. This will just make your life a lot easier when it comes to these very corners. Now, obviously you can use the knife again or also this is where the small chisel is gonna shine. Because we know it's the right size to go right in here. Okay, well, that's a little bit, so that is a very good use for the small chisel when you're coming to the four corners. 7. 7 Carving out the Gaps: Okay, so we've cut all our outline around the outside edge and around the inside edge isn't as there was sleeping Cuts to kind of indicate where we want this not work to solve. Pop up a little bit. Now what we have to do is count all these little squares around these central parts. So this is another moment for the chisel to shine because doing this kind of thing that the knife is a little bit what would say we already have some lines in there. But I think it's a good idea to come back with a chisel and just give a little vertical cut down there just to make sure they're properly cup. And then we can bring the chisel in here. Push down a little bit there, flicked out with the finger. Just take incrementally small cuts and I just keep trimming little bits of dead when we've done enough that way we can come back the other way if we want. We might want to spin the wood around to do this rather than doing it the way I'm doing it here. And then if you really want to get nice and deep down in there, you can use the bevel. We've been using it bevel up. So that's the bevel, the bevel up. And so we've been using it here. We can turn it around and use it bevel down. And that means that we can a little bit more in the center. And you might have to keep trimming the edge here just to get that piece out and come back this way. So we'll go a bit closer and I'll go through that again just so you can get the gist of it. Okay, so the same thing but a bit close to this time, we're gonna get the chisel just mark square or around. And remember this patent is meant for this saws chisel. So that's the seven millimeter pattern. But I'm using a six millimeter chisel. You could put it over the seven millimeter, but I just feel like it's good to have that extra wiggle room. Depends how accurate your okay. So we've done the lines around there. I'm going to do now. So chisels bevel up. We could start with bevel down if you want. Alright, so let's talk about bevel down earlier. So you do that. Then I'll walk around the table event and come this way rather than reversing my arms, reversing my hands. Okay. So then I've got to fairly deep cuts getting answered. We can come back here. Like that. You might find like this, you've got a little tag on either one come out. So just use a chisel down there in the corner them and come out, no problem. Chisel comes out, bevel down again. Come back this way. Skip everything out. Another thing to think about when you're doing this part is to try and avoid prizing the word up. You don't know, like prizes out. The objective is to slice. We don't wanna, We don't wanna pick stuff up and out of there. We wanna push and slice like that and then trim it off at the end and then slice. We don't want, we don't wanna dig down and prize up because then you'll be lifting up for World wood fibres. Well, you nice caused not so, and they also wanna make sure not to do that. 8. 8 Creating a Weaved Effect: Okay, so hopefully now you've got all we all, we all inside bits cut out there. So the next thing we have to do is start carving the pieces that look like they're going under Neith. So the weave or so, that bit is probably one of the easier parts and also one of the most satisfying parts. So you can actually see that we've coming together. So I'm just gonna show you how to do that bit. You can probably, maybe figure out on your own considering some of the techniques we've looked at already. But of Zelman, uh, show you anyway. So whenever made it sound like this part is super easy, but there is one thing that we have to be careful for and that is to make sure we're counting the correct bit downwards, right? So anywhere where these end is where it has to go down. So we need to take only material there, the here, here, here, here. And of course, when you're drawing down one end like this, you can keep the same pattern, although long the same top here. The same pattern goes across all the way to the corner. Alright? So we need to cut those pieces way. And the simple way that we're going to do that is to just take our chisel, cut off a small piece first. We only go crazy. And just keep coming back cutting bit by bit. And if we need to trim there and we need to trim there, no big deal. And we go, we've got 1-bit diving down, right? You don't have to stop here. I mean, we've come out about maybe two or three millimeters here. There's no reason why you can come a bit further if you wanted to, you know, and maybe come up to a baby 678 millimeters and cut down there. So you have a more gradual slope going down. I think it looks better if you cut one, cut them closer to the edge. So it's kinda diving down quite steeply, but it's entirely up to you, you know, feel free to experiment. There's not an exact science, I suppose, for as long as you get it the way that you want it to look. That's the main thing. I'm just kinda piece over there. And so sometimes it will require a little bit of pressure here is or we haven't cut quite deep enough with the knife and stuff like that. So we just work our way around, keep counting all these bits off. And then we'll see how it looks like at the end. It's worth pointing out so that we can also do this with a knife. Once again, if we wanted to, the only bit we can't really do the knife is taking out this part in the sentence. It would be all scratchy and horrible just because of the style of this night and this part we could do so you can just do the same that we did the outside. So if you prefer to use your knife for this bit, and you can just do that. It's totally up to you. I think it's a bit harder to do this, but with a knife than is the chisel. But let's say until you up to you, if you're more used to a knife, that maybe you would prefer that technique or if you just prefer using the knife and if you'd like that technique. 9. 9 Other Examples and Final Thoughts: So hopefully you've finished now it looks something like this. You might want to go around at the end and clean up a few spots that you don't like. What just happened, sometimes known as bits. A little bit rough. The more you get used to making it nicer as you're doing it. So obviously you don't have to do this one. There's another two templates and the resources if you want to head over there, which is these two patterns here, which I've caught into this piece of cedar. So you can see we've got a kind of big border around the outside is one of the patterns. And then this or small group of knots on the center. You could use these to the dorm furniture. You can make a frame or something I think is obviously really good for stuff like a frame. You know, I was thinking maybe I can carve some letters in there or you could even cut out the center and put something behind it or stamp an image on the top or something. I have this little sunflowers and other idea maybe sticking that and I don't know, there's so many things you can do that. And this class should give you an understanding of relief works. And then you can go on to do things that are a little more creative, a little bit more substantial. Perhaps. I will show you something that I'm working on at the moment. This is actually a really long relief carving that I've been working on for about 6068 or so forth. So you can use this skill to go answer all different kinds of stuff. That's just a nice start to get you going and maybe see if it sparks a little bit of passion or something inside of you that makes you want to continue with it. Thank you so much for taking the class. If you want to show me your projects, please feel free to do so. I love seeing the stuff that people may, loads of people have put projects in the spirit section. And I've loved seeing them. What's in a couple of signs as well that people made and has been so awesome. So thank you so much for sharing her stuff you've made. It's a, it's really cool to see people using what I've taught them to go on and make things. If you have any questions at any time, please feel free to send me a question. We can come into my live stream at Twitch dot tv, Ford's mass timber and knew. I stream there Monday, Wednesday, Friday, and Saturday. So you can easily catch them. And then if you just want to have a chat about anything doesn't have to be woodcarving that I guess that we're going to be the first subject you might talk about. Okay, thank you very much for taking the class. And hopefully I'll catch again another time.