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T H E H A N D C A R V E D B O W L

Chapter 1 | H A R V E S T

Balance is key here, and the

aim is to slow the loss of moisture

enough so the wood doesn’t signifi-

cantly crack, but not so slow that it

welcomes mold or rot. Checks will

inevitably occur, but the objective

is to limit them. Working with

green wood requires a considerable

amount of care for the selection,

storage, and harvest of the materi-

al, but because of its nature, stock-

ing up isn’t always a good thing.

Keep a Small Supply

A furniture maker could fill a

warehouse with lumber and still

use it years later. A green wood-

worker, on the other hand, has to

be mindful of keeping a small sup-

ply that will carry them through

much shorter periods of time to

ensure the material’s viability.

This typically means having

a reliable, steady source of good

material that makes it worth the

effort. There’s a reason lots of us

have arborist friends or a really

good relationship with the local

lumberyard. But there are other

ways to come by material.

WHAT KIND OF WOOD CAN BE USED?

In a simple sentence, common hardwoods are hard to beat, but of course this depends

on where you live. In Maine I look for birch, maple, cherry, aspen/poplar, and alder. I

don’t get much walnut up here, but it’s a wonder to carve. Fruit trees make beautiful

tight-grained wood, but it can be difficult to find large enough pieces, so it is best suited

for small bowls. Birch is plentiful, is moderately easy to carve and takes a clean, smooth

finish cut so it tends to be a favorite. Ash and oak are not recommended because they

take a toll on tool edges and can be a bear to carve, though it is possible.

Maple and apple can be on the

harder end to carve but give great

finish cuts. Cherry has a tenden-

cy to split so it’s best to work it

quickly and dry it steadily. It also

has a beautiful contrast between

sapwood and heartwood that if

arranged just right can make

some wonderful natural design

features. Aspen/poplar is quite

light in both color and weight, but

doesn’t stand up to wear and tear

as well as other hardwoods and

can take a slightly fuzzy finish cut

if the approach angle is off or the

tool isn’t keenly sharp. I like to use

it for more flamboyant designs

that would be difficult to carve in

harder woods, and strop my tool

edges often to get the cleanest

cuts possible.

Traditionally, softwoods like

pine or spruce were also used

because of their availability, but

again, they may show their wear

more than other woods. This can

also be part of the appeal.