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Signs of Spring
During my sophomore year of college in upstate New York,
it started snowing in November and didn’t stop ’til early
April. I love snow, but that was a bit much. As the days slowly
warmed and the snow grudgingly melted, my roommate and
I made a game of searching for “signs of spring”—patches of
green grass, buds on trees, the first spears of snowdrops and
crocuses in the flowerbeds, and goslings on the lake.
Many years have passed since that reluctant spring, but
my former roommate and I still send each other photos of the
signs of spring as we find them each year. So although there
is snow on the ground as I write, I planned this Spring issue with an eye
toward signs of the season.
I can’t offer you the bright color and feathery soft feeling of new
grass, but we do have a riot of flowers. Wanda Marsh shares step-by-
step instructions for power-carving and painting a delicate and realistic
morning glory, complete with leaves and twining stem (page 76). Or, try
the Thai method of soap carving and make Sue Wagner’s cheery flower
(page 26). This is a great project to share with a new carver, whether
child or adult. And speaking of painting, with this issue Betty Padden
starts a year-long series on painting techniques by demonstrating
blending on a pretty tulip plaque (page 66).
Wayne Barton’s flower decorates a chip-carved bread board (page
38). Wayne used a simple pattern and natural wood tones to depict
the delicate design, and adds a monogram for the personal touch. I’m
sure this board will be a favorite for Mother’s Day this year. And for
Valentine’s Day we have a gorgeous hearts-and-flowers lovespoon from
Barry Onslow (page 45). Lovespoons originated as romantic gifts that
showcase carving skills, so it’s the perfect project for February.
While I’m a little short on wobbly-legged lambs and darling
ducklings, turn to page 28 for a charming caricature skunk from Bob
Hershey. You can personalize the carving by adding a sign, changing
the hat, or choosing a different color scheme. For a completely different
but equally appealing design, consider Terry Everitt’s semi-realistic
cardinal (page 60). Painted in the muted colors of a nesting female bird,
the cardinal is an ideal symbol of the season.
Spring is often a time of renewal, rebirth, and trying new things.
Here at the office, we’ve been experimenting with woodturning. We
happen to enjoy turning pens, but we’ve also been thinking about
turning carving blanks. On page 52, you’ll find a brief introduction to
lathes, and on pages 19 and 54 are two very different projects made
from turned blanks. You can make either
one with purchased blanks, but if you
happen to have access to a lathe, try
turning your own—it gives you complete
control over the size, shape, and wood
in your carvings and ensures that your
projects are truly made “from scratch.”
Finally, send me photos of your signs
of spring—either your versions of these
projects or the little indications that
winter is giving way to warmer weather,
and kinder days are on their way. Enjoy!
Mindy Kinsey
Wanda Marsh’s power carved
morning glory project can be
found on page 76.
Woodcarving Illustrated
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SPRING 2014
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