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Carving Project • Pattern provided in Pullout Section
Native American in Bark
by Marty Dolphens • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Please refer to all manufacturers’ label instructions for proper product usage.
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14 • CARVING MAGAZINE ISSUE #38
(Editor’s note: Carver Marty Dolphens has quietly been making
a name for himself over the past thirty years with his
highly detailed carvings and his entertaining workshops.
We are proud to have him included in this issue of Carving
Magazine, and we know you’ll enjoy this challenging Native
Amercian project.)
This project is fun to carve because the bark adds a great
rustic quality, and it is also much easier to carve than basswood
or butternut. Follow along as I share my tips and
techniques for creating this fun project.
1. My original piece of cottonwood bark measured 14" tall,
6" wide, and 5" thick.
2. Clean the bark off using a #3-1" gouge. This piece of
bark tends to lean toward my right, so I will carve the face
looking in that direction as I set the facial wedge.
3. I draw the shape of the head, isolate the headdress,
and set in the turn of the head. Draw the head proportions
on the bark.
4 & 5. I will isolate the cuts of the head and headdress with
the #7-1" deep gouge. The profile shows how the head is
set back.
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6 & 7. I isolate the headdress, the eye notches, and the
base of the nose with a #9-1/2" gouge.
8 & 9. Using a #5-1/2" medium gouge, establish the nose
mass by sweeping up onto the nose to create two side
planes. Sweep away from the nose, onto the cheek area,
so that the nose mass protrudes. Below the nose, form the
denture curve by starting in the middle (about the width
of the nose) and carve down onto the chin area. Then
create side planes showing how the teeth will curve inside
his mouth.
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10. Using a #5-1" gouge, undercut the cheekbone. Then
set the profile of the nose—carving the upper half of the
nose back to the bridge. (We will finish the nose later.)
Isolate the groups of feathers using a V-gouge. Set the
jawline by using a #7 gouge, pushing back to the
headdress at the 4 o’clock and 8 o’clock positions. Using a
#7 gouge, push the neck back. Start in the middle of the
neck area, below the chin, and round back to the
headdress.
11 & 12. Carve the eye mounds using a #9-1/4" deep
gouge. Deepen the inside and outside corners of the eye
mounds to the same depth. Lightly round each mound
from corner to corner. Carve the features on the nose
using a #7-3/8" gouge. Start with the ball of the nose, then
carve the nostrils on the side planes of the nose, and then
finish up with the wings of the nose. Make sure that you
can see the wings of the nose in the profile. If not, push the
cheek area back.
13. Using a #9-1/4" gouge, separate the upper eyelid and
the eyeball by creating a slight arch over the eye mound.
Set the expression line of his face using a #11-1/8" gouge,
and then blend the curve of the mouth into the gouge cut.
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14 & 15. Draw two lines, making three equal spaces to
create the mouth and the chin area. Starting on the
upper lip, use a #9-1/4" gouge to set the outside muscle.
Then, using a 90° V-tool, start from the center and cut to
the outside corners. Cut the furrow below the nose with a
#9-1/2" gouge.
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16 & 17. Isolate the chin, cutting with a #9-1/2" gouge.
Lightly raise the lower lip up. Taper the side planes on the
lower lip with a #7-1/2" gouge; tuck the lower lip under the
top lip. Shape the chin and rubber band muscles of the
mouth with a #9-1/2" gouge. Lightly scuff the entire face
with an abrasive pad.
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18 & 19. Finish the eyes. Use a knife to cut straight in
around the top and bottom of the eyeball. Cutting down
from the top of the eyeball, deepen the corners; release
chips on the outside and inside corners. Use a #9-1/8"
gouge to create a negative iris by stabbing straight into
the eyeball. Release the chip with a small detail knife.
Deepen corners again. Cut in the lower lid with a #11-1/8".
20. Using a knife, push the forehead underneath the
bonnet’s headband to deepen the shadow. Push the
neck back and down under the buffalo hide, and
structure the neck muscles using a #7-1/2" gouge.
21. Detail the bonnet, beadwork, and quill wraps using
various #11 veiners.
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22 & 23. Detail the feathers, the straps, the down, and the
medallions using various veiners.
24. Texture the buffalo hide using various #9 gouges.
To finish the bark carving, spray two light coats of Rust-
Oleum Painter’s Touch (Matte Clear). Then spray two light
coats of Krylon 1311 (Matte Finish). To build up color, use
Watco Liquid Satin Wax (Dark and Clear).
Marty Dolphens discovered woodcarving over thirty years
ago. He has been teaching his art form for twenty-five
years through weekly classes in the Omaha area,
where he lives with his wife and family. He has taught
workshops in the Midwest and Canada. Marty enjoys
judging woodcarving competitions and promoting
the art of carving. For more information, go to his
website at www.martydolphenscarving.com
or contact him at cutman1@yahoo.com.
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