WOLF SONG
By Cynthia Rogers

Cynthia describes to us how carving the 3-D bust of a wolf on commision has its challenges and rewards.

This article is reprinted from issue No. 102 of the Australian Woodworker
with the kind permission of the publishers, Skills publishing.

An incoming commission is always very exciting to receive, but it entails more than just a little responsibility. Have we listened to what the customer wants? Will we fulfil the customers requirements? Will the customer be happy with the result. Are we making the right choices for the customer?

If we listen - really listen - and supply what the client asks for, then there is no reason to suppose they won't be happy with the outcome.

In this instance, the client asked for a carving of a wolf. She wanted it to be free standing, small enough to sit on a side table. She also didn't want a 'tiddly little thing' as she called it. She mentioned that the only wolves she had seen were little figurines in gift shops, and that they didn't impress her.


Already I knew that the figure I'd carve would have to convey size, without being too large itself.

She didn't have any specific timber in mind, just that she didn't want the natural grain covered with paint. I also discovered in casual conversation that she didn't like pale, insipid colours, something that improved to be an important clue for my timber selection.

With this information, I had enough to get started on the job. What to do now? I always start by listing the known requirements, so I can cross them off as I sort them out.

Coming up with a concept is the next major challenge. For this product, I asked myself, 'What's the one thing that protrays the wolf best in my mind? For me, it's the image of a wolf howling his discontent and loneliness to the world at large. After checking that this was also what the client liked, I was ready to move onto the next stage - a design on paper. This would help determine the actual size (keeping in mind the client's preferences).

After some rough sketching I decided on a bust, portraying only the head and neck. This conveyed the essence of the wolf and also allowed for the desired size factor. I worked on these sketches until I had a final side view (profile) of my wolf.

To start 3D sculpture, it helps to have both front and side view sketches (Fig.1). Make sure that the same scale is used for both views. I drew 2" (50mm) squares on my final side view sketch, and then used the same size squares to produce a front view sketch, so all the relevant parts line-up with each other. By adding up the squares, I was able figure out the total size of the project in three dimensions.

Making the stand
How to mount the bust? Free-standing was the order, but it would topple over from the sheer weight of the nose if it was stood up straight. I decided to use a heavy timber for a backing plaque that would rest at an angle on a support base behind it (photo.3). This would counter balance the wolf's head, stopping it from tipping. It's essential when making up the stand, to keep the centre of gravity as low as possible.

Remembering that the client did not like pale timber, 19mm Red Ebony stock was chosen. Being extremely heavy, it provided the necessary weight factor.


A 15" (380mm) x 10" (250mm) oval was used for the backing. This simple design balances and supports the bust without 'over-powering' it. A small bevel is applied on the edge all round. Cut the oval to size and mark the bevel lines about 10mm in, top and side. The waste can then be removed, working down to the line.

When trying to bevel with a 5F/14 fishtail chisel, I found that the timber kept breaking away. In the end I resorted to using a large bastard file to even it out. This works well on very hard brittle timbers, and the Red Ebony was no exception. Keep the file at the required angle, and slowly work around the edge, pushing the file in a downwards direction.

Two 7/8" (22mm) dia. dowel holes are drilled into the plaque as shown (Photo.3). These are used later during assembly to fix the wolf head in place, it having holes to match.
The stand base is made up of two triangles, glued and screwed together. The vertical triangle has a 6 1/2" (165mm) base and 9" (230mm) sides, and the horizontal one has a 7" (178mm) base and 9" (230mm) sides. Both are made from 19mm stock.

The tip of the bottom triangle is trimmed back so that it is flush with the base of the vertical triangle when joined.

I rubbed three coats of Danish oil onto all three sections of the stand and left them to dry, then rubbed them back to attain a matt finish. These parts are not assembled until after the head is complete and ready for mounting.


Shaping the Wolf Head
For the wolf itself, I settled on Rosewood from New Guinea. It's lightweight, and has a nice deep rich red colour that contrasts well with the background. Once piece of Rosewood 8" (200mm) wide by 8' (200mm) thick by 13" (330mm) long is sufficient.

Each carver has their own preference for holding timber while they work. I fixed a 2" (50mm) by 6' (150mm) block to the back of the blank with two 3" (150mm) batten screws, which could then be held in my vice jaws. You should work with whatever method suits you and your vice set-up.

Trace the side view (profile) on one edge of the blank, and then cut the shape out on the bandsaw. Details of the front view are transferred to the blank using chalk.

Progressively carve away the waste from the sides, until the basic rounded shape of the wolf is attained. This rough waste can be removed using a 9/10 and a 5/35 gouge, or other suitable sizes which you have in your kit. Some carvers use power tools such as an Arbortech carving blade or power chisels, but if you are not experienced with these tools, it's better to use gouges and a mallet.




Throughout the roughing process, I constantly use chalk lines to keep first and foremost my centre lines in constant view. I also use it to remind me to watch out for certain areas, like not cutting of the ears.

In Photo.4, you can see how the side of the head and the under jaw area have been marked. Some work has been done with a 8/18 gouge, to remove waste from the sides and show the start of the muzzle. The width of the head has also been marked, giving a good indication of how much waste can be removed. The side view (Photo.5), clearly shows the bandsawn profile and where the gouge work has been started using a 9/10 gouge.

Continue to remove waste from the sides to define the width and depth of the skull (Photo.6). I used the 9/10 gouge to remove the waste, and a round surform to clarify the outline.

If it helps, use a round surform (or a suitable rasp) on the barrel of the nose and the brows above the eyes. Cut the depression between the eyes and remove timber from the top and back of the head, and between the ears using a 9/10 gouge. I found an 8/7 gouge handy for shaping the depression between the eyes. Once this is done, it will start to give the head a more natural look. Define the eyes and pare back the muzzle with an 5F/14 fishtail gouge (Photo.7).
The 9/10 gouge can be used on the neck and chest to define the curls of the coat, keeping the texture rough. Remove more waste from between the ears using the 5/35 gouge, and start setting in the ear lobes using the 9/10 to remove the bulk. Care must be taken here with the grain - do not try to remove big chunks of timber, only small slices, or you'll risk a break-out (Photo.8).

The lower jaw is defined by shaving small amounts of timber away with the 5F/14 fishtail gouge. Lightly rubbing over the gouge work with a surform will highlight the high spots, helping you gauge the amount removed and making it less likely that you'll carve away too much. The sides should be kept fatter to get that pursed look. The hollow or depression in the skull can also be refined, and the sides of the head rounded with the surform.
Make sure the ears are not too big - they should be in keeping with the rest of the head. Pare them back with the 5F/14 fishtail on the outside, and the 9/10 on the inside, using a scraping motion. Note how in Photo.9, the distance across the brow needs to be shortened, as it is still too wide. Waste also needs to be removed from below the ears, or the wolf will be too square when viewed front on. I used the 9/10 to remove the waste, and the 5/35 to level the area out to remove the large ridges.

At this stage, the lower jaw should be slanted back at an angle towards the chin, and the mouth hollow started (Photo.10). Shaping begins on the chin using the 8/7 gouge on the sides, and paring under (to the part that this is prominent) with the 5F/14 fishtail. A 1/4" (6mm) ball burr used in a hand held Dremel can be used to start enlarging and shaping inside the mouth. Only remove small amounts of timber at a time.
The crease between the eyebrows is deepened using the 9/10, and a bit more gouge work done on the coat using both the 9/10 and an 8/7 gouge. The aim here is to keep a very rough chunky look. It would not appear natural if it was too refined or 'groomed'.

Some of the hump the can be removed from the barrel of the nose using the surform, or alternatively coarse sandpaper will do. All that's required is to make the contour softer.

Once the head shaping is finished, the detailing can begin. Start by sanding the entire head, including the insides of the ears, with 180 grit paper. Any high spots that may need more work will show up clearly at this stage (Photo.11). Notice that a 'collar' of rough hair has been left prominent, almost like a frill, where the smoothness of the head and the roughness of the coat meet up. This should be blended down towards the throat and neck with the 5F/14 fishtail, but left raised elsewhere.

The crease between the eyebrows is deepened using the 9/10, and a bit more gouge work done on the coat using both the 9/10 and an 8/7 gouge. The aim here is to keep a very rough chunky look. It would not appear natural if it was too refined or 'groomed'.

Some of the hump the can be removed from the barrel of the nose using the surform, or alternatively coarse sandpaper will do. All that's required is to make the contour softer.

Once the head shaping is finished, the detailing can begin. Start by sanding the entire head, including the insides of the ears, with 180 grit paper. Any high spots that may need more work will show up clearly at this stage (Photo.11). Notice that a 'collar' of rough hair has been left prominent, almost like a frill, where the smoothness of the head and the roughness of the coat meet up. This should be blended down towards the throat and neck with the 5F/14 fishtail, but left raised elsewhere.

Notice the different textures on the coat (Photo.12). I've gone over the entire rough part of the coat with a textured tungsten carbide wheel burr. A 1 1/2" wheel used in short strokes, in an overlaying pattern, leaves a very natural rough effect on the neck and chest. Avoid the head, because this should be textured with a brass wire brush all over (including the ears), making sure that the natural lay of the hair is followed. The brush will leave very coarse lines in the soft timber.

I decided that the wolf looked better with the eyes half closed, so I only marked very small elongated slits with the pencil. A veiner tool is used (V-tool) to make the first cuts along the grooves at the side of the eyes. Use a 3/5 gouge to stab cut (cut downwards) into the timber to get the desired depth. The hard edge can be removed using the inside of a 5F/14 fishtail gouge. This tool is also good for creating the soft curve above the eyes.

Remove waste from inside the eye area with a 5/3 gouge and clean up carefully with a barrel shaped 1/8" (3mm) diamond burr with a flat tip. Fold sandpaper into a triangle to clean up the corners and the awkward areas.

The nose is first marked in pencil. Cut away the outer timber waste with the 5F/14 fishtail. The nostrils are defined with the a 3/5 gouge, and finished with sandpaper. I actually walked across the road to check out the neighbour's dog to get the nostrils looking right!

The final touch is applied by 'colouring' the timber with a gas torch. This has to be done carefully, and with a light touch. In no way should this operation be carried out in a workshop full of sawdust. I took the wolf outside and - holding the nose away from me - applied the torch so that only the tips of the wood were scorched. The inside of the ears can be burnt quite heavily while the eyes are only singed (Photo.13). The rough texture of the coat will stand out dramatically after being burnt with the gas torch.

Back in the workshop, the inside of the mouth can be cleaned out using some sandpaper rolled into a tight tube, working it until the surface is smooth and clean. The mouth is then burnt, the nose cut in and burnt heavily, and the eye area also burnt a little more for final blending (Photo.1).

Once you've finished the head, it's time to prepare it for mounting on the backing plaque. Use the holes in the backing plaque to accurately locate and mark the centres of the dowel holes on the back of the wolf head. Drill the holes out using the same 7/8" diameter cutter as used for the holes on the plaque.

The only thing left to do before attaching the wolf is to apply the oil or varnish of your choice. I used Danish oil brushes on, and - because of the end grain on the head - it took thirteen coats to get it to look even!

The triangles of the base are joined with glue and countersunk screw heads, driven from underneath. These are covered by a self-adhesive felt pad, cut to suit the underside. This felt also helps protect the furniture.

Two countersunk screws are used to join the oval plaque to the base, but these will be hidden once the head is mounted. Check the alignment of the dowel holes in the plaque and the head before joining with 7/8" dowel and glue. I used a two-part epoxy boat builder's glue for the dowels. Once joined, place a clean towel over the carving and set it with weight on the head (a loose bag of sand works well), for 24 hours to stop movement and keep the fit tight.

Once the commissioned carving was complete, I had to ask myeslf, 'does it measure up to all the specifications and expectations of the client?'. I shall leave it to you to judge this for yourselves.

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