If you have questions regarding the online instruction program, you may refer to the F.A.Q. section, the Introduction or send me an email - Vic Kirkman.
1. Only Tupelo wood is used for the best wildfowl carving. Sources for the finest Tupelo wood are provided in the program.
2. The Tupelo Knife, an indispensable tool in sculpting Tupelo wood.
You will learn how and when to use it.
3. Some of the measuring instruments that will be used in the instruction.
4. More than a dozen different bits will be used. A master list with source for those bits will be provided.
5. You will need some bit cleaning and stone shaping tools.
6. A flex shaft Dremel Tool will get you by with the detail work using the 3/32" bits,.
a micromotor system is much better.
7. It is very important to collect all of the references material you can find of your subject. (videos, photos, books, taxidermy mounts, study casts, etc.)
8. You will learn how to create your own pattern. by using accurate published pattern reference..
9. Selecting and preparing the wood for the cut out...
10. Transferring the pattern to your stock for the cut out..
11. Two heads are better than one.
I am sure you know why.
12. Using a good study bill with minimum shrinkage for an accurately carved bill.
13. Access to a 13" plus horizontal and vertical clearance bandsaw is required to cut out most decoy patterns.?
14. A Foredom SR Series or similar heavy duty grinder with a 1/4" Typhoon bit is what I recommend for fast bulk wood removal.
15. A unique methodology of shaping a bird's body is something I have developed from 0ver 12 years of teaching the art of wildfowl carving to folks of all ages and skill levels.?
16. Where to see and place high and low point lines is the key to understanding form. You will develop your eye and perception with the program.
17. Clear illustrations of techniques are
plentiful and in sequence with the methodology. All images in the instruction pages enlarge for better viewing.
18. Hundreds of images show the result of the applied techniques and in proper sequence.
19. Shaping and symmetry is stressed and techniques for keeping it all together as you go
20. Illustration of proper form on a side pocket. Notice the red high point line, a very important principle of creating shapes.
21. Rear view of a good Lesser Scaup form. Can you see where the high points of all the different shapes are?
22. Using accurate reference material for a realistic carving is vital. I use the most antomically correct material I can find.
23. Groups are laid out first before the feathers are drawn in.
24. The bill length is a starting point for getting the head right. Measurement like this is why a set of dial calipers is very useful.
25. Proper bill width is drawn on the cut out..
26. Excess is trimmed out as much as possible with the band saw..
27. Bill detail is sketched in from the study bill.
28. Drills on scrap wood are suggested for practice before trying it on your bird.
29. Setting in the eyes properly is an important aspect for creating a realistic carving. See Sample VIDEO
30. Detail around the eye and texture of the head adds personality to the bird. The head is the most important part of the carving
32. Correct burning technique on the head is well illustrated..
33. Cutting splits into individual feathers adds flow and softness to the finish.
31. Ripples and splits in preparation for the burning. Important for the best paint job. .
34. Some feathers are burned dark and some are burned light depending on the effect you are looking for. Learn which and where in the program.
35 Here a student has his palette and paint ready for a painting session. A list of the paints and painting supplies you will need will come in the program.
36. Vermiculation is not so bad, its just a big scary word..
37. This Lesser Scaup was done in one of my classes and is finished and ready for the show. Nice going Ron!.
38. The same Lesser Scaup went to the East Carolina Wildlife Festival and won Best-of-Show in decorative life-size floating, Novice Class.
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