BALL-N-CLAW - PART II

Time to work the toes.  Imagine the toes as 3/8 inch cylinders...

Consequently, we will define chamfer lines that will begin the process of turning them toes into cylinders.  Then we chisel to those lines.  I'm actually following the 7-5 rule to turn a square corner into a circular corner.  The 7-5 rule is pretty cool and is definitely worth knowing.  Perhaps I'll post something on the 7-5 rule later.

In the photo above, we see the top knuckle and just below that a pencil line.  We will lower the top knuckles of the 2 side toes to that lower pencil line.  However, for the center toe, we will raise the top knuckle.

The visual impact is that the side knuckles are lower than the center knuckles - a very nice touch. Before changing the top knuckle locations we will remove most of the wood in the webbing area to make these modifications easier.

It is difficult to tell, but below we can now see the new top knuckle locations.  As we define the toes these height differences will become more pronounced.  (The photo below is all caddy wampus - whoever took that photo must have just enjoyed a good beer).

We'll start with the back toe.  Unlike the front and side toes, the back toe has no knuckles.  Below I've rounded the back toe and have started defining the transition to the ball.  There are some grain direction changes so one has to go slow and watch the grain very carefully here.  In the background you can see a sample ball-n-claw I carved while at North Bennet Street School for a reference piece.

Front toe next...

 After chamfering and rounding, I begin to define the "scoop" between the knuckles - going across the grain when necessary to avoid grain reversal issues (and tear out).  When going across the grain, I don't just push the chisel - I push and slice back and forth simultaneously for a nice cut.  I think that is a 3-20 gouge below.  I'm also undercutting where the toes meet the ball to add shadow and visual impact.

I like the knuckles sharply defined rather than rounded.  For the side toes, we do the same thing.  However, we need to work a bit more in defining the transitions towards the ankles and the ball.  For the transition of the ankle to the cabriole leg I use a chisel, rasp, spokeshave, and a file.  A file smooths everything out and also prepares the surface for sanding.  Later, when I begin sanding, 120 grit sandpaper will easily remove the file marks.

I also scoop out the knuckles like I did with the front toes.

In the end we have the following.  I have also defined the webbing a bit more with about a 1/16" lip above the ball.  An upside down V is a nice goal for the webbing.

Next are the nails.

BALL-N-CLAW - PART I

I'll post a final photo of the Blacker House armchair once it is upholstered - which will be soon.

In the meantime, here is another project that I am working on for an upcoming woodworking show in Portland, Oregon on May 4th - 6th at the convention center.  It is called the "Gathering of the Guilds".  Woodworking is just a small part of the show.  The project is a ball-n-claw footstool.   I think the west coast aesthetic is different than the east coast.  The east coast would be interested in the more traditional colonial style.  The west coast aesthetic is more modern and asian.  Consequently, I will keep it simple and only carve the claws - no fancy leaf or shell carvings.   I will most likely use either white or black leather for a more modern feel.   One does not see too many nice representations of colonial features on the west coast.  I am looking at blending traditional and modern with this stool.

Here is the footstool with the legs shaped on the bandsaw and the joinery finished.  I am using some beautiful walnut that I purchased back east and hauled around with me.  I sincerely believe the east coasters keep the best for themselves before shipping the second hand stuff out to the west coast.  And most of that which is shipped is surfaced, which sucks as we lose a lot of wood for boards that are no straighter than the unsurfaced stuff.

I don't simply freehand the cabriole leg shapes - the shape is based on what I learned at North Bennet Street School in Boston and there are a lot of layout lines for reference.  The school in turn used a style from a specific cabinet maker in Philadelphia named James Gillingham (~1765-1770).  Philadelphia had a keen eye on style and produced some of the most beautiful pieces during the colonial days.

Them notches you see below define the top locations of the ball vis-a-vis the claw.

I use a small scraper with a curve that matches the ball to clean up the chisel marks to give a nice surface on the ball.

Ready for the toes next.