litery.pdf

Letters

Just a few tools do the job

by Roger Holmes

first saw Frank Cushwa carve a sign at the Bridgewater Fair, a

cattle-and-cotton candy fest up the road from us in rural Con-

necticut. With a single skew chisel and a couple of gouges,

Cushwa incised eight or so 2-in.-high letters in a piece of pine, a

nameplate for someone's vacation home. Layout and carving

took all of about 20 minutes. It was a handsome sign. Though

sketched freehand, the letters were nicely formed and spaced,

and the carving was crisp. Until then, I had thought letter carving

required complicated layout and a trunkful of carving tools.

Cushwa made it look easy—well, accessible at least—so I decid-

ed to look him up and find out more.

Cushwa and his wife, Rhonda, run their business, Kent Carved

Signs, out of a building just behind an old railroad station in the

center of Kent, Conn. While Frank carves at a waist-high, lecturn-

like bench, Rhonda tends the phone, the order book and the

computer. It's clear from a glance at the 15 or 20 signs displayed

around the showroom that carving is only part of the job. Most

are painted pine or poplar, though some are polyurethaned but-

ternut or walnut. After carving, letters are either painted to con-

trast with background colors, or gilded with 23K gold leaf. Gold

leaf is popular for commercial signs—doctors' and lawyers' of-

fices, bakeries, shops. Gold, according to Cushwa, reflects light

as well as status and makes a letter stand out like nothing else. It

is also expensive: 2-in.-high letters, for example, cost $5 apiece

painted, $8 each gilded.

Cushwa is a self-taught carver. After receiving his master's de-

gree in music performance on the clarinet, he decided against

music as a career—he liked the playing, but hated the hustling

required to make it pay. In 1979, a chance encounter with a sign

carver demonstrating his work in a shopping mall planted the

seed of his new career. A carver in Amherst, Mass., told him a bit

about tools and techniques; type books provided a short course

in lettering. Experiment and practice did the rest.

Cushwa's technique is straightforward and involves using carv-

ing tools rather like knives, pushing or pulling them to make slic-

ing instead of chopping cuts. The technique is similar to chip

carving, in that several angled cuts pop a chip of triangular cross

section out of the wood to create an element of a letter. Straight

cuts are made with a skew chisel that is as large as practical for the

letter size. Curves are roughed out with a skew, then the outside,

concave curves are finished with one or two gouges, the inside,

convex curves with the skew. Almost all the cutting is done from

just four hand postions, shown in photos 2, 3, 4 and 7. Cushwa

has built up the shafts of some of his tools with duct tape to

Frank Cushwa carves a sign (top) with only a skew chisel and a

few gouges. His waist-high bench, its surface about ft. on a

side, allows him to move around large signs. Cushwa lays out

letters freehand (bottom), using a plastic rule for straight lines.

Spaces between letters should be roughly equal in area.

Carving Incised

Three basic hand positions are shown here as

Cushwa sets in and makes two vertical straight

cuts for an I. Some trimming with the skew

completes the letter.

make the pencil-grip he frequently employs more comfortable.

The beauty of the method is most evident in the curved gouge

cuts. With the waste cleared by the skew, the gouge needs only

to establish its own bearing surface as it slices down at the begin-

ning of the cut. Then, pushed or pulled according to grain di-

rection, it cuts a fair curve across the wood, guided by the rub-

bing of its bevel on the surface just cut and, minimally, by hand

and eye. This flowing movement is essential to the technique,

whether the cut is straight or curved. In some cuts, the hands,

wrists and tool may be rigid, the upper arms and body moving

them as a unit across the wood. In others, the fingers and wrists

combine to pivot the cutting edge in an arc.

As economical as Cushwa's method is, it's hard work, and hard

on the body. A run of some 300 signs carved over a twelve day

period at the New England States Exposition last year induced a

painful case of tendonitis in his right elbow. To lessen the strain,

Cushwa has been experimenting with other carving styles, as

well as the use of a router to clear waste prior to hand cutting.

Though a simple sign may require only a skew and two gouges

to carve, Cushwa's tool collection is much larger than that. To

accommodate letters of varying size, his skews range in width

from in, to in. Gouges are similar widths, the sweeps

mostly #5, #6 or #7, and include a few in a fishtail pattern.

Punctuation—periods, commas and so on—require narrower,

tighter-radius gouges.

Cushwa prefers thin tools, which slice through the wood with

less effort. To reduce drag on the skews further, he extends the

sharpening bevels back about in. from the cutting edge. He

doesn't grind the bevels, but works them over a series of oil-

stones—medium and fine India, then hard Arkansas. Three in-

creasingly fine grits of buffing compound on a wheel, followed

by stropping with leather, bring the tool to a mirror polish,

which also lessens friction. He works a small, second bevel at a

slightly higher angle on the hard Arkansas stone, then rounds

the tip minutely and the skew is ready to carve. Gouge bevels

are also lengthened, though not quite as much—most of the

To avoid cutting against the grain on a diagonal cut (above), re-

verse the skew and push it away from you. Cushwa uses the hand

position at right to make the top cut of a horizontal letter stroke.

wood is removed first by a skew, so drag isn't as important. Cor-

ners are slightly rounded to keep them from catching during a

cut. Once he prepares a tool with stones and buffing, Cushwa

can carve pine with it for days with only frequent touch-ups on

the hard Arkansas stone.

Cushwa's skews are extremely sharp but fragile because of the

long bevel. A surprising amount of flexing occurs on curved cuts

(Cushwa likens the varying flexibility among skews to that found

in clarinet reeds), and you must be constantly aware of the stress

on the tool. Rounding the tip, Cushwa discovered a couple years

back, helps keep it from snapping off on curves, and saves much

tedious sharpening time.

Regardless of how well it's carved, a sign is only as good as the

form and layout of its letters. Cushwa has a good eye and what

penmanship teachers used to call a good "hand." He keeps a

copy of the Lettraset catalog of transfer type close at hand for

reference, and studies other type books from time to time.

(These books are available at most art supply stores or libraries.)

Most of Cushwa's signs employ letters based on the Caslon face,

an austere, distinguished face consisting of straight lines and

simple arcs. Serifs, small tails ending the strokes that form, the

letter, add a simple touch of grace.

Cushwa rules layout lines on the board, then draws the letters

with a 6B pencil ( 1 ). A short plastic ruler aids him with the

straight lines, but curves are all freehanded. The letter shapes

are roughly, but fluidly indicated; Cushwa defines the final

shape while carving. Spacing is important and more difficult to

alter once carving has begun. After establishing the center of a

line by measurement, he spaces the letters and words by eye,

trying to make the spaces between the letters in a word roughly

equal in area. Cushwa will erase three, four or more times until

a layout looks right—he says he spends more money on erasers

than he does on tools.

Lettering freehand mirrors the carving style the movements

are much the same for both, so the two tasks are complementary.

If you're uncomfortable with freehand lettering, you can trace

letters, shrinking or enlarging them if needed with an overhead

projector. Blue, black or white carbon paper works for transfer-

ring the tracings, depending on the color of the groundwork.

After layout, Cushwa fixes the board securely to the carving

bench with as little obstruction as possible. Small signs are held

by two commercially made aluminum bar clamps called Back-to-

Back Bench Clamps, which clamp to the benchtop and the work

(available from Woodcraft Supply Corp., 41 Atlantic Ave., P.O. Box

4000, Woburn, Mass. 01888). C-clamps hold large signs. Carving

begins by making cuts with a skew along the base and height

lines; Cushwa calls these stop cuts (2). Make them deep in the

center and shallow at both ends, which form the points of the

serifs. Two vertical cuts complete an I, the simplest letter (3, 4).

Each cut begins and ends at the points of the serifs, curving with a

twist of the wrist into or out of the straight cut. The hands and tool

are rigid for the straight cuts, pulled by the upper arms and shoul-

ders. In these and virtually all other cuts, the heel of the right

hand rests on the work (as for holding a pencil) and steadies the

cut. Likewise, all cuts are made holding the tool at an angle be-

tween 30° and 40° to the wood. Cushwa says precise angles and

the depth of the cuts are less critical than the width of the letter's

strokes. Nevertheless, his cuts are of a fairly uniform angle, result-

ing in the narrow strokes being shallower than the wider strokes.

After clearing the chip, clean the juncture of the two cuts and

the serifs. Trim as needed to even the surfaces and straighten

lines (5). Remember, this is freehand carving; each letter need

Rough out the inside and outside

arcs of curved strokes with a skew

before slicing around the outside

curves with a gouge.

Tight curves are cut with a narrower gouge and a pivoting motion

(left). A 360° pivot around a tight radius makes a period (right).

Gold leaf against a painted background brings out the

full character of incised letters.

not be uniform or perfect to create a pleasing sign.

Diagonal cuts are made much like vertical cuts—hands and

tool moved as a unit by the upper arms and shoulders. In photo

6, Cushwa has reversed the skew and is pushing it away from his

body in order to cut with the grain. Horizontal cuts are compli-

cated only by the tendency of the tool to follow the grain. Top

and bottom stop cuts for an E are just like those for an I, only

stretched out between the points of the serifs at each end. After

cutting the letter's vertical stroke, make vertical stop cuts at the

ends of the letter's three horizontal strokes, then make the re-

maining horizontal cuts ( 7 ). The horizontal strokes are narrower

than the vertical one and are, therefore, shallower, widening and

deepening into the serifs.

Cushwa roughs out curved letter strokes with a skew, shifting

hand positions and reversing tool direction as the grain dictates

to cut both the inside and outside curves of the stroke ( 8 ). A

gouge of as large a sweep as is comfortable finishes the outside

curve, as shown in the drawing. Think of the tool as pointing to

the center of an imaginary cone forming the outside curve. Slice

into the wood and rotate the tool through an arc around that cen-

ter to make the cut. While the upper arms and shoulders move

the hands and tool laterally, the tool is also pivoted, the right

hand serving as fulcrum. Large curves may require several cuts to

complete. Finish inside curves with a skew.

Small-radius curves are cut much like large ones. Rough them

out with a skew. Pay particular attention to grain direction on an

S. The gouge cut may be almost entirely pivoted ( 9 ). A period is

the tightest radius curve—twirling the tool almost on a point

pops out a tiny plug ( 10 ). Photo 11 shows how nicely gilded

letters stand out on a painted background.

Roger Holmes is an associate editor of Fine Woodworking.

Plik z chomika:

Inne pliki z tego folderu:

Inne foldery tego chomika: