Want to get more depth to my carving

[mulefool]

Thanks for asking this. I have always struggled with this, too. I get the cuts and beveling deep, but I have trouble with the backgrounding. It seems like if I hit the backgrounder hard enough to get it on the level I want it looks like a big cavern and I chicken out and background lighter. Maybe once you actually get the whole thing done it looks better. I do know it's better when things are properly cased. Does anyone ever press down the background with something like a pear shader first just to get it firm and lower, and then background? I mostly get orders for basket and geometric stamps so I don't get a chance to practice the carving as much as I'd like to stay good at it. Hard to spend time playing around when you're behind on orders.

[bruce johnson]

One of the best lessons I have received in the last year is to create the illusion of depth, rather than to beat depth into my piece. This illusion is accomplished by beveling at different depths (like lighter where stems cross than where the stem is next to background), Steeper bevelers to avoid mashing down large areas, fading the knife cuts, etc. It is not a crime to leave "high" areas in an element like a leaf or flower untouched. A smooth area between a depressed center and pear shaded edge creates more depth at each end than if the pear shading and center beveling meet. Another way to create depth is having a fair amount of crossing stems in the pattern, rather than everything on the same plane to start with.

Another option not mentioned yet is using undershots and propetal tools to raise and round up areas.

Regarding backgrounding, It doesn't have to be deep, as long as it breaks up the design and looks even. This can be accomplished by either texture or burnishing of the background tool. I have used matters to first depress the area in the background, and then textured with a stamp like a 104. I now mostly use a 6 piece set of backgrounders that are different shapes and sizes, but the same checkering pattern. I have a fine set and a medium checkered set. The are real time savers, less walking. The larger ones double as matting tools.

Like Mulefool, I do a lot of basket and geometrics on orders due to customer cost constraints. I am pretty healed up and able to swivel knife more - so I am playing around with more florals again on the stock items. It is coming back. I look at some of the carved pieces of Jim Jackson and others on 3/4 oz, and wish I could get that look on skirting. Those guys have got it going.

Bruce Johnson

[mulefool]

Bruce, where did you get the set of backgrounders? I've used the same 2 backgrounders for 20 some years. I really like the bargrounders, but only when someone else uses them. I've toyed with getting some from Barry King, but usually just end up getting some kind of geometric or basket if I'm in the mood to part with some money. One thing I do like in regards to the illusion of depth is when the edge of a leaf or some part of the carving overlaps the border. I always think that looks pretty sharp.

[bruce johnson]

I got my backgrounders from Barry King. I also had him make me up a few with even more distinct checkering (similar to a 104) but not a complete set. The fine is really fine - finished look is almost a smooth matte look. That is what really makes these work as matters also. The medium shows some checkering burnish.

Bruce Johnson

[skipj]

Does the "quality" of the stamp make a difference? All my stamps are Tandy. How do the stamps differ between mass produced stamps and the stamps from Bob Beard, Barry King, etc. Do the better stamps have more depth, how do they differ from Tandy for example. The price difference is enormous to me as a hobbyist.

Skip

[mulefool]

I think it does. On another thread somewhere there was some discussion on this and some people felt if you did a good job, it didn't matter. I'm not sure if on things like pear shaders it makes so much difference, but I sure do notice on things like basket and geometric stamps. The impression is more distinct. Nice and crisp. I think the color os better,too. Since I do this for a living, I can justify the expense of the good tools. Kind of rough when you feel like you have to take out a second mortgage on the house to buy a tool. If I were a hobbyist wanting some nice tools I would probably concentrate on the ones where they need to make a crisp impression, like basket stamps to start with and not feel you have to have ALL expensive ones.

[Roger]

Does the "quality" of the stamp make a difference? All my stamps are Tandy. How do the stamps differ between mass produced stamps and the stamps from Bob Beard, Barry King, etc. Do the better stamps have more depth, how do they differ from Tandy for example. The price difference is enormous to me as a hobbyist.

Skip

quality tools make a huge difference!

i got a set of barry king bevelers for my birthday this year and i no longer doubt weather they are worth the money.

also... l didn't think about lifters ect. after looking at pictures of what a lifter sorta looked like and what it did i came up with my own. i had this seat come up and this is what started my thinking about it.

lifting and matting will add huge amounts of depth to your tooling. i use 5-6 oz leather btw

Edited June 6, 2007 by beezachoppa

[yaklady]

I've been carving with some of the same tools I bought 37 years ago when I started leather work. Sure, I love Bob and Barry's tools, but the old Tandy's tools sometimes can't be beat. When I'm trying to get good depth on a project, I start with about 8 oz. leather of good quality. I use heavy illustration board for backing, and case it properly (put it in a plastic bag overnight). Deep cuts and good beveling is a must, as has been mentioned already. The part that counts the most for me is the backgrounding and matting. Tony Laier taught me to start in the center of the area to be backgrounded. I use an A104 that I've had forever. Don't hit it too hard at this point. When it's pretty well covered, go over it a second time, hitting it much harder than the first. Walk your tool over and over the area. Make each hit consistant with the last, to get it even. Tony says you should be able to shine a light across the background and not see any bumps. LOL! I go over it about a million times until it's as perfect as I can possibly get it. Once this is accomplished, notice the depth you have now. You will have square edges on you subject now, so round them out with your modeling spoon. I go over everything with the spoon when i finish akk the stamping.

Hope this helps!

Kathy Flanagan

[fleabitpokey]

I've been carving with some of the same tools I bought 37 years ago when I started leather work. Sure, I love Bob and Barry's tools, but the old Tandy's tools sometimes can't be beat. When I'm trying to get good depth on a project, I start with about 8 oz. leather of good quality. I use heavy illustration board for backing, and case it properly (put it in a plastic bag overnight). Deep cuts and good beveling is a must, as has been mentioned already. The part that counts the most for me is the backgrounding and matting. Tony Laier taught me to start in the center of the area to be backgrounded. I use an A104 that I've had forever. Don't hit it too hard at this point. When it's pretty well covered, go over it a second time, hitting it much harder than the first. Walk your tool over and over the area. Make each hit consistant with the last, to get it even. Tony says you should be able to shine a light across the background and not see any bumps. LOL! I go over it about a million times until it's as perfect as I can possibly get it. Once this is accomplished, notice the depth you have now. You will have square edges on you subject now, so round them out with your modeling spoon. I go over everything with the spoon when i finish akk the stamping.

Hope this helps!

Kathy Flanagan

Thank you Kathy, makes learning easier with help that comes from this group. Stephanie

[whinewine]

It sticks in my mind (perhaps incorrectly, who knows...) that certain background tools, like the A104 (which I don't like & do not use) & perhaps the bargrounders should be used when the leather is drier than is proper for, say bevelers, pear shaders & the like. This way, the pattern is not mashed down into deep, separate, choppy elements, but flow nicely into the overall pattern of a smoothly flowing background.

So, to modify my earlier post about casing: coolness to the cheek, BUT the leather should be somewhat drier when using certain background tools (A104).