ABOUT THE COVER: 4 i" = In observing the cover, you will notice the man ° NOTICE into, the leather tones. Leather tones ALL PHOTO, RePRoBUCTIONS i THs BOOK aie "neTUAL SeFIGURE CARVING Fiigesse FOREWORD Successful figure carvi servation. Anyone is based on desire, practice, do OBSERVATION. ‘ou actually see? One should observe the thinking about how these can be conv good figure carving if he has the desire and is wil ing to consistantly try and improve his work, and accept constructive critici to that end. Constant practice is absolutely ‘mandatory to acquire mastery and control of the swivel knife. Complete control of your cutting is necessary to finesse your figure carving. This can only be achieved by continued cutting practice. .is of great importance. When looking at a ts and shadows, the roundness of form, and ‘to leather. If you are looking at a leather carv- persistence, and ob- ure or scene, what do ed reproduction you will probably identify some of the tools used and feel more comfortable about reproducing it. With the ook or magazine picture, you wil have to visualize. which of the stamping tools wil create the various texture, should In viewing the leather carving at left, we see a rodeo ‘cowboy taking a high spin off the brahma bull ts and shadows that add to the . This is created by the lighting ‘on the subjects, as well as the dyeing and matting. Color-shading with the dyes adds greatly to the illusion of roundness and depth. Darker shadi ‘away from the hi-lighted areas creates roundness. I you removed all of the dye, you would lose most Of this roundness, Proper’ background matting, ‘continued away from the figures, also adds to the illusion of greater actual depth. OBSERVE the small details. Beginnir with the cowboy, note the spurs, spur buttons {which the e straps fit over), and the tiny strap bucl chaps are fringed, with silver conchos in the decorative patch. Notice the silver buckle and belt in the trouser loops, shirt-pocket snap, and wrinkles in all of the clothing. Fingernail (page 38) show on the right hand. The left hand has a glove which most all riders use for their bucking rigging, The hat has a feather and silver concho band, The bull's eyes are rolled, showing a bit of the white. For dyeing and hi-lighting eyes, see page 36, Note the texture on the double rope around the bull’s middle, A cow bell is always fastened to the “bull ropes’? at the bottom. The flank (bucking) strap shows simulated stitching at the sides. The metal quick- release buckle has a short rope attached, The bull hip (see page 90). Pay partic ‘the “hairing”. Here, the dry- brush technique shows to advant bring ing out the hi ines. Saliva from the bull's mout is created with white glue (see pages 50, 132, for how to use). Last, but not least, the ground area is mottled with multiple animal’ track imprints as ‘would be in a rodeo arena. where and how the muscle beveling and shading ‘be employed. Page 20 shows how to convert pictures into tracing patterns. OBSERVE the light source used to photograph the scene at left. It comes from the upper left hand corner. It may be useful to place a lamp (or have your working light source) in the same position to Your project and compare yours with the repro- duction as you work, OBSERVE the comparisons. See if your work requires alteration to show the same beveled shadows and light-bounce from the ‘edges of the raised portions. Figure carving differs from the traditional floral carving only in the conformation and muscled ‘areas, where the lines are not cut. And, as the re is turned in different positions, these areas are altered (see. pages 18, 19, 33, 44). You will have to OBSE these differences. Books, magazines, and real life examples will aid. The anatomy of animale, (pages 16,,17)_ should be of great help. OBSERVE where depressions must be in relation to the raised portions to give the figures proper conformation and appearance. ‘These are the things you must observe before you begin your carving. You must also be thinking about them when you are making the tracing pat tem. . thinking about where the cuts should be made to bring portions of the figure into romtestreliet. thinking about the beveling to form the muscies. . thinking about what to do with the background. . .thinking about the light- source, which determines where to have the hi-lights and shadows when using the leather dyes. It is my sincere hope that | can, within these pages, comprehensively transfer my many years of leather carving knowledge to you. . so you, too can experience the pleasure and satisfaction that | have known. . .with Figure Carving Finesse, Al Stohiman © Copyright 1982 by Tandy Leather Company Fort Worth, Toxas 76107 Printed in TawarOver thirty-seven years ago, during World War Il, 1 became interested in tooling designs jn leather. In the old days, leather carving was a closely guarded secret and it was some yei had started before I discovered there were tools to stam the leather, My first attempts began by cutting the design outlines with a pocket knife, then pressing the design down with model: ing spoons hammered from nails, Knowing absolutely nothing about “casing” the leather, it was a very wrist-and-arm tiring, ‘operation, Through the ensuing years | gradually developed what we now call “Figure Carving Tools”. The originals were made from nails and bolts. Their basic shape has not been changed. Twenty: nine years ago (1952) | completed my first instruction book, “HOW TO CARVE LEATHER”. This book left a lot to be dlsired. but i was a start at bringing figure carving to ligt so others could share in what | had been teaching myself. “FIGURE CARVING” was published in 1953 (it has since been modified to up-date newer tools). This book gave better and more detailed instructions on how to carve and stamp the figures. We went into smaller figures where the importance of the smaller bevelers and pointed tools were brought to attention. Before | had thought about a “hair” blade, | used a lined beveler to “hair” the animals. This book (and How to Carve Leather) featured dye-charts. . my first attempt at trying to show how | dye-shaded the figures in monotones of brown. It is difficult to instruct, as is more a “feel” than simply applying dye to fixed areas. 1 also introduced the “Figure so. Carving Rule (that sil applies today): "ALWAYS CUT AND BEVEL FOREMOST OBJECTS FIRST! “HOW TO COLOR LEATHER" (1961) was published to add color-dyeing and embellish on dyeing instructions. This book explains the “dry-brush technique that is so important in figure and pictorial carving, as well as numerous other dyeing techniques, mixing color hues, etc. This book should be a permanent addition to your collection of leathercraft knowledge. “PICTORIAL CARVING” (1963) was published to introduce new tools and techniques for figure and pictorial carving advancement. Up to this time | had been hammering in trees with veiners and camouflage tools, with unsatisfactory results. My fir trees were made with the tip of V707 very close together. tedious operation. | developed new tools for fir, pine, other trees and bushes that speeded up the stamping with more realistic results. The “hair” blades were introduced in this book, “CRAFTOOL TECH-TIPS” (1969) features the step-by-step uses of a wide variety of tools, with detailed illustrations. Included are’ many, of she figure carving too! See, blades, etc. Detailed figure jctorial carving rawings are contained in this Book to show how the tools are held and used, Much valuable information is accumulated in the above books. You should not be without them. Therefore, to avoid an over- abundance of duplication, | will touch ‘on techniques already amply covered (giving reference ‘and concentrate on the new. . .within the pages of this book, “FIGURE CARVING FINESSE”,Thirty-seven years of experience later, my leather carving has vastly improved. er INESSE” (1980) on my latest techniques. Fourteen new tools were created to produce still better effects and faster stamping. This book, along with “FIGURE CARVING FINESSE” will enable and stamp figures and pictorial scenes easier and with more realism than éver before. Twenty additional pages of color show how to dye “life” into your scenes, “PICTORIAL CARVING you to cari Additional information for Pi ‘ther torial Carving Fines FINISHES FOR PICTORIAL SCENES. In Pictorial Carving Finesse, | failed to mention that | do not favor applying ‘any leather finish to a pictorial scene, @ this leaves a sheen that reflects light ‘over the stamped surfaces giving an lun-natural appearance. There are exceptions, as with the rain scenes on paves 48 and 49 (Pictorial Carving inesse). There, Tandy Coat was applied (with ) over the entire scene. The heen’ actually enhances. the scones ing them a “wet” look and adding Sparkle to the rain lines My latest technique is to now apply Tandy Goat finish (with a brash ie, Control) over all of the water areas of @ scene. This gives the water a more natural look, even if light is reflected from it, as shown in the example at Fight. GoL08 REPRODUCTION OF SPARKLING WATER 1S SHOWN OW PAGE Pa torial Carving Finesse: As with any book that is produced, ve always a few “grey” areas in the instructional material mitted, or not fully covered. One such thing is the ” ibs, after stamping the foliage masses, The examples bel ns SSSSS'''S!C“ == as introduced to bring you up to date things accidentally ing” of tree trunks and low refer to page 22 of TRACING PATTERNS Tracing Patterns were not given in Pictorial Finesse, as no two trees, mountains, etc,, are alike. Page 25 explains making patterns for trees. Additional information is given with the patterns (right). Finesse » © TRACING Tracing Patterns for figures were PATTERNS not given in Pictorial Finesse as aa Pee ae sows explained in the foreword, Now, cage these figure patterns, along with a — of the figures in this book, will be in the publication shown “FINESSE TRACING RNS”. This allows more room for instructional materi within the pages of this book NEW TECHNIQUES The new “wet” look for pictorial Carving Finesse. However, it was. have also added a new dimensi illustrated in the river scene above, These new techniques are fully explained on pages 50 to 53 in this boo! FIGURE CARVING FINESSE =INTRODUCTION TO FIGURE CARVING Figesse This book is devoted to the instruction of Figure Carving only. Although some scenes will have pictorial backgrounds, no instructions for making trees, shrubs, etc., will be given. This information is fully covered ‘in “Pictorial Carving Finesse” with step-by-step procedures, tools used, etc. Within the pages of this book | will bring you up to date on all of my latest techniques for carving and stamping figures, from insects to man. Physical limitations have to be put on the number of pages in any book, as there are. only a given number of working hours in the span of a year. . .stretch them as you may try. Obviously. . all species of animals, birds, fishes, reptiles, etc. cannot be included within the pages of a single volume. This would best be served if a single volume were devoted to each. However, my own have ‘as much material within these pages, as possible, in an attempt to satisfy the varied needs of those urgently desiring this knowledge, KNOW YOUR TOOLS: Pages 6 through 12 are intended to point out special aspects of using the tools to achieve specific results. Identical techniques may apply to a variety of animals or species. Examples: double beveling is birds, the chameleon’s eye, etc. Beveling around the teeth SKIN & HAIR TEXTURES: Th are many different textures for skin, scales, and hair used throughout the book. Page 13 shows 24 examples, and age on which the instructions will be found for making them, | have tried to select a variety of animals, reptiles, etc., where the widest range of skin textures and hairing differences would be rom the spines of a horned lizard to the fur of the koala, Some species require a combination of textures. I be able to apply these to animals (though not shown in this book) by the instructions for stamping each specific Texture No., and by observing its application. EYES: Many people seem to have difficulty with the eyes. They are actually very simple to make once you under- stand the proper procedures. | have devoted nine pages to this subject in an effort to end everyone’s troubles. Step:by step, eye instructions are given for: birds, reptiles, amphibians, mammals, and humans, Page 36 shows how to add “life” to the eyes. ANATOMY: Many pages are devoted to the anatomy of man and animals. Eight pages deal with body structure, hands, feet, teeth, hair, etc. which eventually leads to step-by-step portrait carving. Along with the anatomy of animals. . feet, claws, hooves, teeth, horns, etc., are thoroughly covered to give you a better understanding of them, COLOR-DYEING: Twenty pages (plus covers) are devoted to color. Many color examples are shown along with step-by-step dyeing procedures to aid you in shading the many figures. NEW TRACING PATTERNS: The new tracing patterns are shown on the opposite page. All of the tracing patterns (not shown in this book) will be presented in the publication (opposite) "FINESSE TRAGING PATTERNS" MAKE YOUR OWN TRACING PATTERNS: Beginning on page 20, | have made an attempt to teach you how to make your own Tracing Patterns. | feel this is very important for you to learn. Those of us (who are fortunate @nough to be able to make new patterns) cannot possibly make all of the patterns, or series of patterns, to fit everyone's needs. You can make your own patterns if you will strive diligently and persist in this endeavor. This will pen up a whole new world for you, and free you from constantly searching for a printed pattern that may never ‘be available. Once you have a Tracing Pattern, it is not difficult to enlarge or reduce it (see pages 26 and 27), READ. every page in this book before attempting a project. Often times information on one page may not appear complete, or be fully understood until the whole of the subject has been digested, Example: If interested in eyes. . read all about eyes for birds, fishes, reptiles, amphibians. mammals, and humans. . as some information is inter elated. Be cognizant of what you are viewing! KNOWLEDGE js gained through READING and OBSERVING. PRACTICE, BING, BY converting knowledge into PRACTICE and PERSISTANCE. READ. . OBSERVE. . . PRACTICE. . PERSIST. . .and your Figure Carving will acquire FINESSE! Al Stohiman, 4Us The New TRACING PATTERNS Fines The NEW PATTERNS are shown 10550 TRACING solid black lines and shaded, “> TRACING | PATTERN areas of light and dark. Shaded — PATTERNS areas replace dotted lines used in the past. Darkest shading indi- =| Pez cates. the heaviest beveling or - depressions. Light shading should be’ lightly beveled or modeled ingly. Only the solid tines should becut. =" The! “A.B,” ins on the tracings e “point of Reverse ry, Beveling” (see page 9). Follow compise ican (hat the steps below for cutting and ‘stamping the lion. @ mten casine sya senvien, Sante Sa Sor mee oeoler ie Snow aeuow. CoP oxy The Sou Lines SHOWN ON Th SaacineAporet "cee Paz a Be ears pM a daa! WHERE MANE TN Ses Pace SEE Page 8 TN, *lonctenine \ “cous te: ‘BEVELING DOUBLE BEVEL PATTERNS an animal has intricate or markings, such as the @ separate pattern ‘with the markings only. reason is to lessen confu- of all of the striped lines the cutting lines, and and shading areas. . . they all to be put on pattern. ESSE TRACING PAT- IS” (publication shown ives complete instruc- for transferring the from the pattern to see CARVED. ZEBRA OW PAGE 89 coLoR REPRODUCTION On PAGE G2wees Biabe ANOW YOUR TOOLS ...- The SWIVEL KNIFE The SWIVEL KNIFE consists of the cutting blade, barrel, and yoke, Enough has been previ- ‘ously published on using the swivel knife that it does not require here (see Tandy’s cigatnerwork Manual, pages 23 through 31, for detailed illustrations on holding andl cuttin with the Swivel Knife). The ¢wo things for proper cutting are. ..a sharp blade. . .and plenty 0} seaae, cutting practice! sore Figure Carving demands the most precise cutting of all. Control of the cuts is necessary for good figure carving results. Keep the blade sharp! If you have trouble sharpening your blades at the proper angle, use the Craftool Sharpener shown below. You can feel when the blade is not cut- ting properly. Sharpen it however often it may be necessary. Strop the blade often (see page 2, | Pictorial Carving Finesse, for making a rouge board), { recommend the 1/4” angle blade for figure cutting. The FILIGREE blade is excallent for cutting very small details. The angle blades allow you more visibility and permit greater flex- pility when cutting curves and erratic lines: Properly cased leather {page 3, Pictorial Carving Finesse) is important. After tracing your design, check all lines with the pattern before cutting, Make any corrections required by altering lines with the stylus end of your modeler, currme 70 corre SSOKEN ‘neeons inotcare Diaee ray or curs av er When cutting figures, one has less Practice cutting in_all directions. You must learn to control chance of distortion if all cutting is cutting in any direction to do a good job of figure carving. done with the figure viewed in the turn the figure upside down to cut a certain line, you may: upright position, as you can keep the slightly off and may not be aware of a) in the | i \ figure viewed in the proper perspective. _until the leather is turned and viewed upri ae rise cer, very user oprizettsete Suro sue 5 —> — When making cuts for BARALLEL (NTER- Tine 6 z= beal claws, teeth, Seeone, Sines: Pee ik) pinecriow the base to the point, cae Ss, as shown at left. Dé smo? se ot quite join cuts at ig beer Py, the point. Learn’ to Staite py) deh finesse your cuts! Berweey at curs Ones Cut circh she Sona ut circles as shown Soneat 6690 Se Agar ane meshes) o0TLives or risunes ame conn Ree vsumaty ‘and correct Ci (oolen matics) Meavney CUT Gi 3 ge tHe fe FIGURE - SF tek Deen TP oF Rune BLAbE small details (above) the tip of blade can be used as shown, “Use caution, space the impressions evenly. 4 outside. Compare crarroot Keen EDGE Suanvenen SA #818 “PRACTICE: If you have not had sufficient: Ese tents tocsoms of he aoa tome GON Mie ee naetn for some of he Desserdepth. t realy for some lod pat ‘wv -- [ie FIGURE BEVELERS | FIGURE BEVELERS |\_ KNOW YOUR roots « F D897 F296 Fe25 rex reac The FIGURE BEVELERS are the most versatile of all stamping tools.” They are actually four tools in one: beveler, shader, matter, and beveler, The books: Craftool Tech-Tips, Pictorial Carving, and Pictorial Carving Finesse, show plenty ions on how these tools are used. To get ‘the most out of these tools you must put in plenty of praction, “Far leather. Use them to bevel, tip them back and practice shading and matting with varying blows of the | While “walking” the tool. Learn to use the corners by tipping into confined areas. Once you learn to use these Properly, you'll be amazed how fast your work will progress, as you are not constantly changing tools. shade in one operation. ‘igure Carving is actually a form of sculpturing. The cased leather, /. Aside from the cut lines, the Figure Bevelers form the muscle ihe larpest tool (that will fit the area) over the entire figure before changing and shaded within the outlines, If you bevel the outlines first, you de the interior. Beveling and shading can be quickly roughed in {while morsture ‘tool will smooth it up later. The horse below is shown rough beveled using only two tools. Alter cut: ting, it was stamped in just over 4 minutes! The toot, mpi are shown at the angle used. The varying hues (on photo) indicate if the is were used with light, medium, or heavy force from the mallet. Learn to stamp with your tools held in any position, and to stamp in any direction, FRACHIGE con see é . ar. + gies (ie sarein laws, ; The smaller baveler r See pages 34 through 47 for gruvy Jind, eon Se ‘stamping all parts of the human — Fhe Toon ances anatomy.q ANOW YOUR TOOLS.... DOUBLE BEVELING |.......- There are many places in figure carving where DOUBLE BEVELING is required, Double Beveling is emp! ‘one plane (or surface) meets another so that one surface does not appear or raised above the other. Beveling is simply beveling one side of a line, then oveting Carving Finesse, for other valuable instructions on Doubl The arrows andi areas marked (0.8.) involved. icate Double Bevel WHEN FEET ARE SranbinG ON THE GROUND» DOUBLE BEVEL LIGHTLY, 98 MDICATED. = + WHERE CHOWN a9 Doms Beit » BEANS $1usT BE pousee severed = paared * Almost all figures will require Double \¥ Beveling in one place or another: et ae ater aeons neck, eck joins ete. There is most ota ie always, Double ‘Beveling ‘around. the 2a Be Seto Pmes Ue face. Observe the examples here. Se imebts en Soo acai KNOW YOUR TOOLS-..{ The POINTED BEVELERS coma The POINTED BEVELERS are designed to create relief and sharpdetail © "2° = cHECKAD _kweD in pointed areas, inaccessible to the regular bevelers. They have smooth y y 7 ane textured surigces. The smooth tool are usally used in conjunction 1 1 a with tl ‘igure Bevelers on s checked tools are usually us n a * with the checked Matting Tools (page 10) to maintain the checked "°°* "**) A9® 7976 sai nade texture for contrasting effect (observe the many examples throughout DoveLe BEVEL Lips Wim MODELER (See pace 1) 198 exaupee this book). The lined tools are especially useful in accenting the feathers swows sore of birds and reptile scales. Study the applications on this page. ae PomreD USE THE LINED ToOLE ON F910 ue Benies ave wives 45 Sram BELOW AND AT RIGHT | eerie scaes | Faae ree How to create Yariations in hair Tengths is shown at right. Proce- ath stops (A (8), (Cc). 3‘re times when the beveling on one side of a line REVERSE, or change to the opposite side of the } to correctly portray a subject. This is e: {of the design) where one por n begins to recede behind the other. “Fade” one Of the beveling (at point of reverse) into the other. Sennen Jan over tions. On face views of as mi Beveling, The av of the page. 7 WOTE ANGLE Bew= == a-------.) REVERSE BEVELING Do. not end beveling abruptly, Where a tracing pattem is arrowed with the change sides on the’ ine. sented below, Sf Sip) Bene mind when you are executing any design. . - Patterns will not indicate any Reverse z The importance of reverse beveling here should be obvious with the right and wrong illustra- figures (rodent & bird above) the Reverse Beveling around the eyes is portrayed. Always keep Reverse Beveling in lable space here, is used to show you how to make ropes. Follow the instructions below, Note the Reverse Beveling on the square knot at the bottom -- KNOW YOUR TOOLS letters (R.B.), this is to indicate the t of Reverse Beveling’ re the beveling must ibserve the examples pre. roreep WR ONG NX PRESS Dawe why Foner. a avore F310... SrAMP aw PomT ey sate ores. H x . "Root WE By @ 3 B z s HAND AS Tyas, use, cur cur. gevgk same staRP sant sawn cur’ bie. me nar Born ae” omen boty Paes Ie BN incre Si eal MR vneme Fie «sizes use He, Soe, apne, Lie cues far Share ey wn lee. ee em ecreer 1s bat A7 SE BEVEL Oe BEVEL nor SS hove serene s Serre Te e "3 CURVES.proper Matting, your figures will not relief. To best ‘illustrate my point, are deali from the Plane away igure, would be the same. ted away from the fig We have the identical interpretation with leather, only we are dealing with more thickness that permits greater depth, if properly executed. | have carved two examples represent: ing the image on a coin. The one at left shows the subject beveled only. The one at right has been beveled and properly shaded and Matted to gain the maximum illusion of depth. The comparasions should make the importance of matting quite obvious. \ Beveling around foremost objects (A) leaves a beveled ridge. This is undesireable must be matted down (B) before continuing with the beveling and shading of the figure, Here the figure bevelers have been employed to do the smooth-matting. On human faces the eye sockets 4 must be matted down to be in pro- per perspective. ‘The examples here show only the tools used before any of the other beveling, After beveling chin line (right), mat the neck smooth Pace 131 E15, NOT STAMPED nara. BX f Feat teeny pa a De Exterior matting will generally show better definition if the figure’s outline is first beveled, before employing the matting tools, 10 | cannot over-stress the importance of MATTING! Without with millimeters of thickness, but still the figure aives the illusion of depth, Why? Because of smooth, even i ranslated into leather terms: “MATTING”! Whether textured or smooth, the effect the background must be eventy mat- Cowan F295 Saw See page 4 of Pictorial Carving Fin matting with the small figure bevelers, have three dimer look at smoore et .,+8@ FO9S F906 ASD Fase Fe99 F900 FSOL How to use these tools is clearly illustrated in the books: Craftool Tech-Tips, Pictorial Carvir Pictorial Carving Finesse. The checked tool are usually used with checked bevelers tor creating contrast. 36 33: queckes Saeiees checnen Seen seu ae Ar beveve> Snes, THe Gearoaicy score fk FR FIGURE (C) figure is now rough-beveled. For contr checked bevelers were used around outline, ne ‘bern figure’ Into gh “rebel pnt i ' ‘Opposed to beveled side only (eft) se me suas CnecneD Tees AROUND THE eerH, AS Shown Use Fess, Fos1, 050 70 mar iwsioe Be---- KNOW YOUR TOOLS a oa aa=aae-==| Zhe MODELING TOOLS |. The MODELING tools are especially important in Figure Carving. The large rounded spoon is used to smooth out any rough beveling and shading in open areas, etc, The smaller pointed spoons are used in confined areas. The spoons are also used to round the beveled edges of figures, such as legs, neck, face, etc. The point of the spoon is used to round the eyeballs (page 32) and to add details of facial expressions, tendons, muscles, etc, They are also used to actually bevel and mat around very fine details. Detailed illustrations for using the modelers are clearly shown in the books: Tech: Tips and Pictorial Carving. Observe the additional suggestions shown here. ey / a Aitncs AeveceD BY Poss: MODELING THE LIPS] | @BPOON ALONG CUP, By Eo FEES Bb NE z,modeling spoon is used (A) begin modeling ¥ of upper lip. (B) model elie wel sroun idle nd half, (C) modal lower lip. (0), press. | The: Modeling it with spoon (B). lightly, top and bottom, to. shape lips, role in forming the is ready to form. Model corners of mouth. Lightly round end Note Row. the bolNt stylus to make of nose with modeling spoon. Add cleft is used in formit jn bit (arrows). under nose. wrinkles, and expression, Sewers 222s The HAIR BLADES \________. KNOW YOUR Ti The HAIR BLADES were especially designed for “hai . figures, and for other special lined effects. For hairing ‘ et niques, the swivel knife is held at an angle (right) so the point “erm of the blade can make distinct outs. The Hair Lines should a conform to the natural hair growth of the figure, Long strokes of the blade are used for flowing hair, short strokes for short, isece —_ hair. Overlapping strokes, each with slightly different angles, foco. should be used (see below) or the proper effect may not be achieved. Combinations of both blades can be used as shown below on spaniel and flowing hair. Study the suggestions and ‘examples below. yin evaes Bevel Five Devas asus me ran roocs fect ‘Aobwe Pmesse en re. a $4 store war Sean INTERMEDIATE HAIR ; Siem ara tioass Soted Sr ie a riee ET Oe i) ee ey ee ANOW YOUR TOOLS FINESSING TIPS This poge is more oF oss a review of payes 6 through 11, with added suggestions where 1 was not, presented. Very fine details require added concentration, Often a prin of style) will be of great aid in executing these tiny details. When carving and stamping & st that particular page does not seem to present all of the information you feel is 48 the instructions for one subject generally apply to many others that you may not be Miare o fuctions cannot be given for each figure, but the basic instructions throughout the Blete any of them successfully: Read all of the cony and the hundreds of notations on detailing one subject may be interrelated with dozens of others, Observe the details. The enlarged hackamore is to clearly show proper cutting & beveled details. Bkalome fe FoR Texunme O) srnie noves Pl subject first, then mat away. from it (A). Replace tracing ae, trace and cut nel figure directly behind it (B) Continue in. this. manner with each receding figure or object, into. the If you'eut the total pattern fst, the cut ins of receding figures would be lost in the = = Do: not cut the 2nd figure until the fore- beveling; matting. mostoneiscampleted. When “hairing’* with te sing "any atm, XA stamp hairs on fe i WI agveces gE To insure hair lines close to a beveled line, make the cuts away from the beveled edge (above). , “f ¢ reach the foremost I complete with sit ‘cuts as shown at (B). wz (A), nite Me oe 2 tools down, as above, Pilih cab ot Fess F876 ABBa A100 For very detailed work grind existing ncn i eet 7 ee Vaite saves, wanseD Wawa err ss awen 70 POINT. OUT Te ‘PROPER BEVELNG. NOTE THE Fomrs oF ReveRse Bevewnis. my THe UP OF FaOM PAGE 123 MObELING SPOON. US USED 79 PRESS Se vecs In cianrey. Complete the 2nd fi Enecuting fine dete quires exactness ae Relocate tracing Trace and cut pater, (MAIR BLADE BoRI-M For texturing fing nose’a muzzle hair on smal ductions, make. the: cross cuts as illustrated: a ‘the steps above, ° » a) 38 8070 STIPPLER NEWTEXTURES Por SKIN.....SCALES..... HAIR This page illustrates many of the in, scale, and hair textures used in this book, Each is given a Texture No. pag which instructions are given for mak- ing them. ‘re additional combinations of tex- tures used on specific animal that are given with ‘that specific species. These are on the individual pages. Example: Alpaca, page 97. Some of these textures are also used on birds and fishes, and are shown with the species involved. Feathers are included with the birds, pages 114 through 119, TEXTURE 7AGE 129 TEXTURE Pace 129. TEXTURE TEXTURE PASE 15 TEXTURE TEXTURE PAGE 15 TEXTURE = GE 15 TEXTURE AGE 112 TEXTURE 1 TEXTURE = PAGE 18 + TEXTURE TEXTURE page 1¢ = TEXTUREI Grexrones HAIRING TECHNIQUES... nesr areiien wirn sow MersTURE ComrenT. || The special techniques shown on these two pages illustrate a wide variety of hairing examples. Some of the tools are | seeines, © crests, editions effects, Each example Je giana Texte No. Throughout te book: vou nats | Texture No. referred to on many animals. Return to these pages to see how that} Texture No. is accomplished. This eliminates constant repetition, allowing more space for additional animals, Study the instructions ca i SHORT HAIR vt Gira oe ete aknsa soni sonic GEE z ease Fine COARSE Haim Bcae Bo20-t =e Page 11 shows how to make For coarse hair, use short, irregular, overlapping large blade. Follow cuts.’ Conform ‘cuts to hair the same’ proce- growth of animal. dures, TEXTURE No. 14 INTERMEDIATE HAIR Sen Born HAIR BLADES |) comamaron or som g HAIR BeAbes * 02)-8 = , Now make added cuts with : Boto-e Begin by hairing fargo tslade, according to the ; the j ce with growth of ‘the hair of animal | small blade, You're portraying. TEXTURE No. 15 i in: si ici srRain? wavy THis CAN BE A conte vee oe Ye. eo2s-m - Make tong cuts For wavy hair, Then add hair foeo-1 conforming tothe first bevel as blades, follow- hair growth, shown above, ing contours. ‘TEXTURE No. 16 smmp£b- Brisrey STAMPED HAIR -BA/STLY ‘Sef VAVELINA Die : | f | « Ve | | = z > vate (A) begin by stamping impressions very close together. (B) aie Continue. as shown. (C) cover area. (O) areas can be accented baoocry —» with more force, tipping on point. Also used in combination TEXTURE No. 17 with other tools; see wolf, page 82. STAMPED HAIR - MEDIUM j f annem SEE BEARS Eb net as ro F A ar & Begin stamping as above. These tools can be used in combina- tion and are used for hairing a large variety of animals, as you will note in the book. TEXTURE No. 18 DIRECTION OF HAIR GROWTH — STAMPED HAIR - COARSE SEE BEARS - PAGE SG STAMPED - COARSE Fie eae re 36 ‘These tools are used exactly as instructed above. They can be combined. F916 is good for making large, bushy tails, See ‘opposite page. a+ 5 = “TEXTURE No, 19Sree This actually pulls ade ort! of a z jabs very close eee TEXTURE Na. se hall blades cot paotors ion ome sen FOX ‘on serap. oslo) ae pmishne 0220-1. SE-KNIT FUR oj ek 80705 al © srpcen For fine fur, F or” similar. tool ble, as ‘it nie the 't wp, keeping it raised, £ sat ple thn ‘blade over all nail fap over. with Then “TRncKs IN SNOW ‘age worcor.. ‘moves ony WAKE LiGHT CUTS, WERE LEGS DISAPPEAR. (SNOW. LIGNTLY BEVEL £6 DOWN SEB CARVING ‘On OPPOSITE PAGE. ittern, to critical, icture of full deer show ing legs and related dis- tances from stifle to hock from hock to bottom of On the illustration above you'll notice the distance from elbow to knee, and knee to bottom of foot are almost’ equal; lower distance slightly longer. However, from hock to bottom of foot is a much greater distance than from the hock to the stifle. You must relate these distances to complete your legs as shown at left.MAKING A TRACING PATTERN Another method of making tracing patterns from photos, magazine_reproducti etc., is by using the graph method, The graph is taped over the picture, To reproduce the tracing pattern to the same size as the original, you must have your tracing paper lined with the same sized squares as graph. The reason for using the graph here, instead of tracing directly from the picture, would be to Prevent damage to the picture or photo by excessive Pressure from the tracing pencil ‘The graph material must be of a clear substance (acetate, plastic, vinyl, etc.) so you can see through it. The fines ‘on thé graph should be very fine, Such graphs should be available in art or drafting supply stores. If unavail- able, make your own, We made our graph on a piece of clear acetate. Use an X-acto blade to “score” the fine lines on one side of t film only. Measure and cut the lines very accurately. TI , the more accurate will be tl GRAPH TAPED TO PHOTO For faster identification of individual squares, number and letter them vertically and horizontally as shown. Place the graph over the picture and tape it in place, so that it will not move, The side of the graph on which the lines have been scored (or printed) should be placed down. . .in direct contact with the picture. This will eliminate any distortion due to the thickness of the acetate, were the scored lines to be placed up, 24 tracing reproduction. | recommend having the squan no larger than %”". If you are reproducing very detailé subjects, 1/8” squares would serve even better. ‘wore The sade TRIANGLES FORMED WiTWN, ~~ Gna Saunnes, WHERE INES J Rast ‘Lik CAD SSS ae Line crosses SenréR OF SQUARE F, an NE 878 16 7 Wie ID YOUR TRACING. Bekce Dorg ow Les wens Guiting Cuoss THEM. “Tment COMPLETE Lines BETWEEN DOTS. “Notice the angle and curve of the tines within sauare, Draw them as accurately as posible, dup cating the lines within the squares of the photo. nthe photo, crodses ‘raph ines: Copy them as accu PHVPOZTZFrKewrHArmMmgn wy TRACING PAPER WITH GRAPH LINES Lay out your tracig paper with identical araph lines, number and letter them in the same manner. The lines should be drawn fine, with a hard lead pencil. Beginning is shown at heavy arrow (you can begin anywhere). The idea is to simply follow the lines within each square. Observe where the outline of the figure crosses each graph line. Draw the lines within each square first. By concentrating on individual squares, you are not confused with the over-all pattern.23456789 10 af 12 13 1455 A | 8 If your first outline | does not appear cor- c tect, alter the lines, Check yourself to be > / sure you are drawing i; inthe proper squares. F G 4 ) J / K] It some graph lines cover some tiny. de- Uy) fois, carefully | lift graph trom 7 photo on ONE j N| SIDE ONLY! / Be sure one kf © | side is securely ~ hinged. Re P| place graph in oh exactly the |] same position! ‘the outlines of the figure should first be established. If some outlines of the picture are not too distinct to draw them in as you think they should be. Studying other pictures of the species may help in deter- some lines should be in relation to others. COMPLETED | PATTERN pa ae [Baton sneer] Se pa [enon ser] = SHOULD BE DRAWN IN FiRMey. SKETCH IN, THE SHADED AREAS FORA GUIDE 10 BEVELING AND ‘SHADING. REPRODUCTION IN COLOR, PAGE 58 wont curs ar ain EnDs corre ano fopening THE EvES OF Mamoracs ‘Brews On Page 3B LIGHT MAIR. END cure ar Wooves ifficult areas to properly ascertain, are those within the outlines. The picture may give you some guidelines ‘cases the details may not be clearly defined, even in photographs. Therefore, it is a matter of individual ‘and your knowledge of animal anatomy and conformation that must be applied. Sketch in these features ‘your ability, or have knowledgeable friends assist. Pages 16 and 17 should be of some help. ‘iBENLARGING the PATTERN You can enlarge a picture or pattern to any size desired by us ‘the rap if you wish your pat- tern double size, simp ‘draw the squares on your tracing paper double the size of the squares gn. your graph Ifthe squares are 1s times larger ‘than the graph, then your new a will ‘Vé times larger: Study the example below, The photo of the bighorn sheep (right) is covered with a 4” square graph, The iets below has 3/8” squares, which enlarges the picture 1% times. Any picture, photo, or pattern can be enlarged in this manner. Tracing patterns are generally easier to enlarge, as all of the lines have already been established leaving no areas in doubt or to guesswork. AccunaTeLy ORIGINAL PICTURE When making enlargements pictures, greater concentrati must be applied when dug cating the lines within squares, Although the lines be duplicated, th in the larger squares will hi be relatively longer since an enlargement. Observe how a12345 6 7 8 9 10 5) 12 13 14 55 16 17 18 PATTERN REDUCED Va = Ya 7e SaUARES REDUCING the PATTERN The design above was reduced % by simph making the squares '% the size of the original. With such a large reduction, you must be especially careful with the lines within the squares. However, it should be no problem {++ -take one square at a time, FITTING A SPECIFIED AREA You' can make your pattern (large or small) to fit within any area you wish. You must first decide on the size of the area that is to contain the full pattern, or the animal by itself. Reduced example at let fe have measured out an area that the elephant must fit within. Tape your graph to the original pattern (upper left) and count the number of squares that will accomodate the animal. In this instance, it requires 17 ‘squares. Now, the distance you have measured off will have to contain 17 equal squares. This may require some mathe matics, if your measurement converts tO. fractions. It ly possible to adjust your measurement to make it easier to equalize into the required number of squares. If you wish the pattern larger. . .again determine the bound- aries. . .this area must also be converted into 17 equal squares (for the elephant) as below. SPHANT MUST FIT IN THIS AREA —> sje 13 |4 15 lel lels |wolu jsz iss [14 [as [36 [17 ENLARGED PATTERN....... ELEPHANT MUST FIT IN THIS AREA (1? SQUARES ). THE PANTOGRAPH C = The pantograph can be a useful tool for entarg- NN — x ing or reducing pate met. unless you s ave a precision and finely crafted pantograph, >. ae it may not be satisfactory for interpreting the ine details into accurate reproductions. = 2The eyes of birds, being round, leaves one with the desire to simply stamp the eye in with a seeder. This should not be done, force of stamping the tool (for a clear impression) will push tl down into the leather and it will appear sunken (see example at right) The eye should first be cut with the knife, The eye openings of most birds appear perfectly round, slightly elongated, though the eye ball itself is round, eye ics that cover the eye when sleeping, as well as tiny eye birds, such as the ostrich and hornbills, have ve long eyelashes. birds you will be carving, will not be of sufficiont size to warrant portraying the eyelashes” Study’ she instructions on these two pages, but many are is called an “eye-ring”, savrounding the eye opening (see page 114). vex emoory eran is generally lightly cut with the knife. The eyesring varies SSE-Steerw often of different colors which aid in bird Coeeecr size ¥ RounD Eve by Pressing Bown wir fii, AT came Tate Rovmt- we T00L mens ie i EVE 15 NOT OF SEE PAGE 6 FOR PRomERcy curring cincLES / ComPATIaLE ‘Size Te SreD- VeaY ciguT cor YE Line eee, FOR EVE RING. 7 e 7 5 at \ tw \ ¢ irene 8 Cut design (A). Cut eye opening first, Use seeder to round eyeball (C). Now, very caReFuiLy deeper than eye;ring. (B) bevel & model lightly touch seeder to form garg Wve wir THe ¥ around beak and eye line. is only for a guide to dy Wie i; ELonGaveD. OPENING. fete m ConneRsee Re 1en\ TEN povsce neves Cut the pattern (A). Note the yering Now, model outside ine (arrows) to set ends behind eye because of frontal eyes’in perspective (C), Draw. pupils in view. Bevel as in (B). The arrows show oval shape, lightly (G), See TIP on modeling age 11. Make cuts for eye asin step A. Step B, Model around eyelids as in model around eyelid, inside eye-ring. step B. Make a cut at upper Use F902 inside corners of lids. Make edge where lids would meet. YOU may. a light marks for pupils, between lids. Lower, lids. are. tonger oc | Ssro3e sted ble most birds, j j * De. | DYEING THE EVES ADD LS After all carving and “ LIFE” J, stamping, dye your ed birds in their natural To THE EYES colors. The pupils are generally black, but the surrounding iris must be dyed the color of each species, Observe the coloring eyes, showing long. ee ce my and modeling be- ‘See page 36 for special instruc. tions on how to add the lifelike fue "end ae the eyelashes. in books or in nature lustre end Be Dro vanes | to best duplicate the eyes! WARS | colors, Use care when applying dyes, Mane swonrcuTs | minishes will the detail, Here theeyeiscompleted +“ EXECUTING THE EVE AS SIZE DIMINISHES ~The EYES of FISHES Although the eyes of fishes are round, the eye openings and the pupils are not always round. You should be aware of this when carving your subjects in leather. Examine the picture you are duplicating to see how the eyes are portrayed. Most fishes do not have eyelids. Some sharks, however, do. and some fishes have a form of eye-shade to control the admit: tence of light. The eyes can act independently of each other, one looking forward, the other to the side, etc. The iris of some species is camouflaged (right) to blend with their body colors. It should also be noted that some fishes have raised or depressed areas around the eyes. The eye-ring (on birds) is not portrayed on fishes. Study your subject, There is more to making the eyes of a fish than just “whomping” them in with a seeder! $982 PUrIL 2 The trunkfish (belo Carve fish eyes using the same procedures as with birds, on page 28. Model any protuber- fused scales form ‘ances around eyes and head (B). Round eyeball (C) with modeler or seed Light. press solid shell around in seeder for pupil, by hand, step (D). oun evepale wire, MODELER | The eyes of some < ——~4._ | fishes are very pro; ~ truding, as illustrated inthe’ examples at fo right, The protrusions should be beveled = before completing the FUFFER ) eye itself (also see A Seen t Cut the design as shown above. ress in pupil. Wegeeterey (arent) of fish species that = AUS SONG donothaveround = SPIRACLES eye upils, as aa waesss + “@ ene @ J (PME 36) -WET"LOOK- PAGE 50 DYEING THE EYES The pupils ' erally ‘black. The's are as varied among the animals. Members of the lizard family Liye eyelids, whereas snakes, vipers, etc, de may Note also the variations of the pupils of various species Some are round, Ton t horizontal. Slitted pupils are narrowest i bright light. They open more in darkness, to allow wes light into the eye. It has been my observation that most re Srakes have round pupils, whereas most vipecy bor have aN pe aUPIIS. This is not a rule. . there are encenrion ey all species Storm IG SNAKES 16 To avoid constant repetition, as with birds and fishes. Alw: head before modeling ples presented here. . Most of the eyes are executed ays bevel and shape around the 9 the eye and pupil. Observe REPTILES-AMPHiBiaNS, PAGE 128, the exam. CHEK lbous eye protuberances, These are stam ped is page). Round the eyeballs with seeders, able, pi Ce * cinents SPIO Ohl gle. The eye is set down into » Ape j a {aes, a with most. mammale 7 Deon, Quarter. and side views of 9 bullfrog above, p the cutting and beveling pf Double bevel at arrows (D.8.). After ‘rounding eyeballs, The pupils ly mark the oval pu FRONT Views + , : DP pel penings of most lizards and y7_— Bal species are generally a round. (= 5 CAMOUFLAGED EVES | * cutting f pe of the (Gi s Pen Secon Seinen, tae i Cut a small -hole wish ‘the animal tobe circle. Add i Both naveThe EYES of MAMMALS xyes of most mammals will be executed in the same manner. Some species (as with rodents) have bulging eyes and may require rounding with seeders or modeler, similar to those of birds. All mam- mals have eyelids, Though the eye openings are usually not round, the eyeball {within the opening) must be rounded, ‘The cutting of the eyes is very important, Certain pro- cedures should be carefully followed when cutting, as ‘outlines below. | suggest the angle blade for all figure cutting. The filigree blade is best for cutting eyes and Senter ense or Very fine details. Observe the instructions presented on these two pages. Rarecore Sauinner we THE PUPILS CUTTING THE EYES } when cutting the eyes (large or small) the cutting pr cedures should be the same. Make the cuts in sequence, as illustrated belo When carving the larger animals, the eyes become a predominatin: Ecencte fer horse is Note: if animal is facing in opposite directi poe som ed facing to the left. reverse cutting accordingly. coe examples below, notice the varia- 7s fms * Bell tions in the pupils. This will add yy yt 75 authenticity to your work. Ob: Je ~ serve the eyes ofthe animal you 3a are. portraying. On very smal presentations, the pupils “may a 6 i) not be that evident to be con: Trace design to Make cuts in direction of arrows. Follow the st cerned with. the leather. above. Lightly cut eyelid (step D). © Pye ® Hold modeling tool perpendicular and press point deeply in corner Next, press in opposite corner (F). With point of spoon, press inside the Many members of the feline (G) & (H). Now with spoon, round the eyeball as shown in (1) world have vertical pupils. In larger eyes, bevelers can be used inside the eye opening; use bright light they will modeler to round the eyeball. f slits, but in darkened areas will COMPLETING THE EVE - ADDING EXPRESSION become tar ind rounder to ‘allow more light into the eyes. dear nis Core FEL TASE Hoy MO 5; ; ES \ oe fer og Make very fine cuts in corners, to indicate outer ecige of iis, These cuts alo act to stop the dye Members Of IS teeny {iris color) from bleeding into the corners of eye. Carefully place pupil with stylus (K). Model Boge woe, coveceees many src oye fa, pi expronion pes, eee‘SIE WEW; CATS EVE | TURNING THE HEAD: Below, t with heads various nitions to illustrate Pew the eyes utd evo and be sat of canines, cats and Predatory animals are set more to the face. The same cutti es should be applied to other animal species of fF cating the examples below. : Lum Lum PAN A Sdeview — BE SEee ew Sorte = (DISSEUER Er 25 in (Al: Spread eye oper ‘modeler (B). Round eye- illustrations on this page to execute the eyes the various poses. Study them Horizontal column (1) proper cutting forall eyes heads. Horizontal column aishows the subjects completed With all beveling and modeling, “hairing” (see Use care in columns (B) & (C) cutting offside eyes. In {B) the eye of dog and does not show, but small should be made to simu- ‘the eyelashes (arrows E). Part of eye is visible, in m(C), cut ‘these. very cutting of horse's eyes Hows F in column D). Bevel | Sea fide eyes at outline, as eyes Seah ee: fice eves commered— Human eyes are executed in almost the same manner as with mammals, althou the cutting may vary in small ways. Greater degrees of expression are possi with human eyes with the aid of eyebrows and forehead and facial muscle The larger the eyes (carving size) the more expression can be achieved. On sm figures, detailed expression is limited. Very accurate cutting is necessary for best portrayals. Correct beveling, shadin matting, and modeling around the eyes and nose is of paramount importanc This also becomes a matter of self expression. Observe a face and its configur tions. Try to think of it in terms of cutting, beveling, shading, etc. Follow t instructions below for cutting, stamping, and modeling the eyes PORTRAIT CARVING - PAGE 45 =a ah i Cut the eyes in the direction and > sequence of the numbered arrows below. You must trace and cut as accurately as possible. Follow steps A-BC-D-E-F (at right) to carve, stamp, and model “the eyes and adjacent areas. Be a ¢ gue 5. LAS : iene Be aS a ‘ ae gorrone 7 O., “ ++ ae B —_—_~ Wi <> THE SIDE VIEWbelow show it indicate ethnic origins. The examples are offered with one image cut and rough-bevel 0 shape the face. See at is effectiveness. Follow how the eyes, combined with the eyebrows and facial muscles create various moods, char- {racing pattarns for lines 29 out. The other image is complet te Follow carving and stamping instructions as outlined on the opposit The raised c upper lids, and_saggi beneath the Sera he Hosen The if should Be it upper part of the eyeball, Added wrinkles suggest tiredness; age. eyebrows and round upper lids. The lower lid i her down, slightly closing with relative wrinkles underneath, i close to the ‘upper lid. Deep lower area. Rounded cheeks aid the appeai the brows. Add Raised and wide eye openings. Wrinkle the forehand on shown, The iter should be free ofthe eye ‘openings, showing the whites of the eyes all around. ‘opening, should notex- Eye o} are more el and pointed in the cart neerest ‘the nose. The Sortiors ee eyelids: isl eeotnean ‘Model heavily ; under the eyes. Flatter nose; heavier eyebrows. NOSES: Pay particular attention to the cutting, beveling, and modeling the noses. Also see page 44, 35tention should be given them, when coloring with the usually only one coat of lacquer is required. T dyes. Nothing but the best quality brushes should be the eyes with high gloss, and gives them th used, with well defined points. | use the red sable brushes _hi-lights, if the eyeballs hi in sizes No. 0 to No. 000. You can dye in very confined —_with the modeler. areas with these brushes. been properly rou | feel this is an improvement, as no matter from whic In the earlier years, | used to leave an undyed area on direction the light source. . “the hi: the eyeball (or add’ a spot of white) for a hi-ligh roper place. With the old’ meth to the eyes. My latest technique thi nate this white spot entirely, and dye the eyeballs com- ty their natural colors. Then, coat the eyeballs lighted ight side. ..when on display. A 5 lacquer to give them a high gloss. If the lac- detail, perhaps, but one of importance if you wish uer is too thin, you may have to. coat the eyeballs finesse your leather carving. ish. | often first Since the eyes of your figures are so important, . special coat the eye with Tandy Coat, as a sealer. When di several times to ‘give them a hard HI-LIGHTING the EYES ADDING THE “LIFE”! The pupil should be dyed first. Pupils are black. 1 outline should be precise, therefore use great care. On small figures, the spirit dyes re unsatisfactory as they tend to “bleed” (run) into surrounding ar with ill- defined boundaries, Use Cova dye (black), or black water- proof India ink. If you do not have a fine enough brush, or steady hand, dip 3 fine-pointed pen into the dye (or ink) and apply it te the pupil. On very small eyes, it will only take a touch of the pen to make the pupil. } scenp DYEING THE IRIS etaer Spirit, dyes are usually ( ¢ used for coloring the iris. Keep a scrap of leather handy for removingexcess dye from the brush, be: fore touching your carv- ing. Be sure to use the color for the iris, of spe- cies you are portraying, Ciean BRUSH wiacauer THINNER AT once” The lines of the iris should be lightly cut (step J-page 32, step F-page 34) to prevent dye fr “bleeding” into _surrout areas, Dye with care and caution, | | (aopive Tae ware] On most eyes (large portrayals), a portion of the eyeball shows that must be dyed white. For small figures, or tiny areas, pa use the pen to transfer the wl When, all dyeing has thoroughly. dried, coat a brush will not work. complete eyeball with Tandy Coat to seal leather pores. Allow this to dry. With small br carefully coat eyes again with clear lacquer. 8 Use Cova dye white, or a white sure to keep lacquer within the eye o waterproof ink. Very fine details a second coating, if required, to obt can be implemented with the pen. . . on the eyeball. On small where even a small brush woui usually do. Observe t! prove difficult! 36The ANATOMY of MAN UIish to touch briefly on the human anatomy in the hope that it Wil be of benefit to your figure carving. A whole volume could be oted to this subject. Since our space is limited, you could re- ch your library or books and magazines if the need arises. general, the male has broader shoulders and more pronounced les. The reason for this would doubtless be due to more ical activity. A woman's waist is generally smaller, and the wider, There are, of course, vast differences from the norm due each individual's activities and their genetic inheritance. | am generalizing. doing nude or semi-nude figures, the positions and distribution muscles becomes important. The examples on this page are mted for your awareness. The length of arms and legs should in relative proportion to the body. Muscles and tendons will be ire pronounced under stress, than when relaxed. ioks, magazines, and catalogs are good sources for obtaining that you thay require in certain positions. The figures on page were taken from books and modified to fit the space, st any book or magazine is full of subject matter. . make your terns from these. Page 20 shows how to make patterns from tures. How to enlarge and reduce patterns is shown on pages 26 '27. Study the examples here. hy BEVEL aD = <2 Notice the lack of cutting within the outlines of the figures above. Most of the muscles and body conformations are modeled in. Cuts are made under woman’s breasts, and beveled. bevel ‘around the nipples | wc) Same A ae Qh mess \ ane the same on { 1 fa Pt = y gl hamone weer Sievert will vary in large. A. degree with individuals) y 1 a be double pevel- es and mouth lin are not be ‘lightly where ourmpeen formed NEE poe ee ‘the Double be fare SiN" A head. A were joins ad. Complete the ees, and allt ing, plereing, and modeling iid the wrinkles with the ade ur modeling SPO IWWN aeTEETH ES PORTRAIT SPECIAL FEATURES Se Teeth and lips can be troublesome at times. Women’s lips are usually and more pronounced than man. However, lips and teeth are not as to carve as imagined. Follow the instructions below, carefully following step. | s/t E peer on a4 Trace pattern, make First step is to rough Smooth-mat under cuts as above: Trace bevel and shape facial Model cleft and I ‘teeth lightly! features, ‘over top lip. 3 SS Bere, the figure is completed. Use pointed beveler in corner | Model teeth smooth and Mark teeth Carving eyes on page 34. Hair of mouth. Bevel inside lips, underside of top modeler, add the styles, page 42. . portrait carving conta a reverse bevel at R.B. spoon. wrinkles, es fs" = a" Trace and cut pattern. Rough-bevel_in facial Smooth bevel under Here, light cuts can be features, asbefore.Bevel nose; above |i | made between teeth, to heavier outside mouth lightly over top lip; add indicatgseparations. (at lef). cleft nose. [ > ph = i F “ { a ee ( La (li , f — —— Smooth teeth and flatten Point-bevel_ in corner of Bevel under teeth mouth. Bevel down teeth and mat inside the unilerside of top lip. Cut i corner teeth and complete under the top fip mouth, with F890. corm teeth F902 ower aUITE " Plein cars Where Lies meer teery | WERE oo — Jy as es ZF Cut carefully; heavier at Bevel and shape face, Model lightly over teeth edges and mouth —- Smooth mat under ‘top lip. Model in. ‘opening. nose. the cleft. > | ane ln), ri Ee 5 Fass ol aa i Dive Fonave Poi — Bevel —, teeth ‘Smooth teeth with revs. Bevelinside and mat down in- modeler, and mark mouth opening: side mouth. Bevel individual teeth, Fl heavier inthe cor- and mat outside ten underside of ners, tongue, fip. Model tongue. NOTE: SEE "WET"LOOK, PAGE 53... CONCERNING TEETH AND LIPS /BOK ERS ~ MUSTACHES > BEARDS }--PORTRAIT SPECIAL ‘45 y . a, {A) here, the whiskered outline of face and bevel and shape face as described above. ear. Use F941 under jaw to define whi Complete all modeling of face, Accent os fut whiskers, same as above, only wi (right), Le Sy made with short cuts. (B) vel mouth line: complete {(C) mat neck smooth. iskers around face with F976. ih longer cuts. Completed figure jaw is uble a yy 1g - ye a Wiyup the cut pattern. Note the angle of cuts around mustache, and small c bevelshape face as previously described. Bevel carefully ‘ander suit mustache, Bevel around ends of mustache, and mat Gown iges on beard, pr rascnaneevel Outline of beard and accent hair ends in front of ear, (C) acenet aie ends mustache with F902, lightly, Model out any marks, and double bever lips. Double bevel, h modeler, where beard joins side of face. Complete éar, and srrocth tray neck. Complete Her nace. Draw hair blades over mustache and beard, as shown Ts complete he and beard, add random knife cuts as shown on completed figure at right, tuts at side ofHAIR STYLES ———— (A) cut pattern, observe direction of cuts. (B) point-bevel at brow. Bevel around hair a shown. Complete matting and shaping face. Bevel around hair, round edges with modeler and complete hair using both blades with long, overlapping strokes (page 11). Make eyebrows with single cut. pousee sever coumes wh WITH aso. ¥ (A) cut the pattern. (B) bevel individual clumps of hair as shown. Mat and shape face: (C) (cuncy) bevel around hair. Use hair blade in curfing action shown, on hair clumps. Tip blade into beveled cut, pull outward. Cut from opposite direction to insure ir” coverage of each lun Study the photo. Complete with a few added knife cuts as suggested on completed igure, — © As fs {A) cut the pattern, (B) bevel as above. Mat and shape the face. Lightly bevel waves in hair. (C) use hair blade and cut in directions 4 shown. Now, complete cutting with swivel knife as shown On completed figure. Since we are short of space, combined. (A) after cutting, bevel and shape hair face. (B) point bevel flipped hat hair blade as shown Single cuts (completed gil st let "ADDING BRAIDS Cut the braids as shown above; right. Double bevel all interior cuts of braid with modeler, Line with hair blade. Note direction of cuts. 42 2 ie v(A) cut pattern as shown. (8) fel ‘area shown. Now, b with 807 in around i. Ure the heir blede onty in 190) with irregular impressions, turning fame fairly sn o lightly bevel hair line; shade face, Tap all over hair. Outline with F976, as shown. Study the sore air, around face; id lind it. (C) complete hair, ies as described above. Add cuts to complete wourey Sousce hs Been uf {A) cut pattern. (B) bevel ear. Bevel and mat around outside of ear, Lightly double areas indicated, Shade face. (C) bevel around figure. Add the combining both blades in directions shown. Note cross-cutting ubove small cuts to complete (see right). 8020-L (A) cut the pattern, Observe the cutting above face. (B) bével under ends of hair {on face), Complets shading fara and ‘bevel ear as shown. (C) complete hair with = long strokes, combi hhair blades. This is exactly the same operation as ; with the women’s ha 1 on the top of the opposite page, Complete with ade! cuts :| [PRELUDE & PORTRAIT CARVING) “i'iits*|: 105 94. re2rn 40 - mim a2 sans 39 ‘ is Before we begit first want to point out the different changes in cutting the face, as the head turned from profile to full face view. The nose and eyes require special attention. The designs above are shown a -feady for beveling and shading. Eye cut (A) is executed as on page 34. In (B) only a portion of the right eye lid is visible. Note the progressively longer cut at the jaw line (arrow X) as the head ¥s turned, In (C) tl about ready to change, as the face turns to step (D). Here the cut is withdrawn bolers ie nenar tee end of the nos opposite nostril is cut lightly. If the nose cut were continuous, the nose would appear twisted, Nose cuts in (6 spear only at nostrils and end of nose. No cuts are made at the sides (see how long noses are cut on pages 35 & 39} he jaw ling (E) and sides of face are a continuous cut to side-burn hair, at ear. The mouth line only (in all views) Eu, top and bottom of lips are not. When making jaw line and nose cuts, “fade” cut where beveling is to contra Fade nose cut in (D) at top and botiom. Outlines and prominent features are cut deepest. Carefully study the pit above. eye cur wee wave 1 Be Here the figures have been rough was done with F895 (see page to set them back into the face. Bevel firmly under nose (B-C. sion at lower lip and chin. Firmly bevel at jaw cut, and mat {see page 8 on double beveling). Study the examples above. Note the heavy and light shading areas, Now open cuts, to complete the eyes (below). Figures above are completed. Complete beveling in ears. Smooth rough beveling on faces with the modeler, and: round all edges. Model lips, facial lines, and the cleft above upper lip. Model nose and around & eyeballs. Cut iris and mark’ position of pupils (see page 34). If a little more beveling and shadi Some of the leather, around cut lines, can be forced one way or the other with the m times correct (or improve) an improperly cut or beveled line, Be critical, . .take your ti hair (see page 42). Now bevel and mat all around the figures. Round edges with model {B) to see if the lines need additional modeling. Make any other final clean-ups witlhave thoroughly reviewed and practiced the from pages 34 through 44, you should be ‘carving portraits. On the next two pages we the portrait (at right) step-by-step. method of making a leather portrait is to have of the subject made to the actual size ‘A tracing pattern can be made by using the Inethod (pages 24 to 27) but the actual size is best. studio can do this from a negative or can copy photo provided it is of good quality. If the is too dark in the shadowed areas you may have some quess work as to certain line details. A photo from a negative) over-expose the subject to lighter print, giving some of the shadowed little more detail. beginning your tracing pattern, study the |. Use logic in determining ‘which lines ‘be cut. Example: the chin line is weak in the Obviously the chin sticks out from the neck, so of the chin will require a cut! the shadows of the teeth on the tongue. You be concerned with this during the stamping, as the bottom of the teeth and the top of the lip line will be matted down (see page 40). The coming from the right, casts a heavy at the cheek. This line should not be cut, but beveled, as the opposite cheek line does not ‘cut should be made. eye openings and eyelids require the most exact ‘One has a tendency to always cut these too actice on scrap leather first, # you are unsure can be tidied up when doing your carving, wi jing any of the character of the person. See page ‘women’s hair styles, any of the facial features appear “soft”, they not be cut. Use different beveling and modeling 8 to portray these. After studying the photo, jare ready to make the Tracing Pattern, can then be drawn in heavier, as a final step. ‘and shading lines can be dotted or sketched in shaded in varying strengths with the pencil to sug: ‘or lighter beveling or modeling, as wit shown at right. : In comparing the completed carving (step H, 47) with the portrait above, you'll notice the ., and chin lines may be more prominent thesé lines are cut and beveled to acquire the depth of the subject. This in no way takes away the character of the person. The deep shadows of icheek, though only beveled, still re with the as ‘the leather was lighted from the same side. ‘the tooth shadows on tongue is actually not THE TRACING PATTERN Pattern completed, case your leather. When the moisture content is just right for carving (see page 3 of “Pictorial Carving Finesse”) carefully trace the pattern to the leather. Turn the page, and let's begin carving this portrait step-by-stey 45Cut the pattern. | recommend using the filigree angle Begin beveling. Here the figure is roughly beveled to blade for cutting portraits. Use care at the eyes and begin forming the face. Bevel down eyesockets and. mouth. Cut only the bottoms of the teeth, with heavily around nose (see pages 34, 35, 44), Bevel slight indentations at their separation, as shown inside the lips, around them, and the facialexpression! Continue beveling. Add more beveling to hair, Continue beveling. Use F890 & F902 to bevel and Smooth-mat teeth (page 40), neck, and around mat the mouth, under the teeth. You may have to necklace. Note matting above flipped hair ends, le some thickness off these tools to work in tiny on head. Now, open the eye cuts with point of the as. Bevel the outline, Note choppy beveling at modeling spoon, the hair ends.MODELING. Now smooth all beveling with the TEXTURING, Texture clothing (see page 85); Use modeler. Smooth around nose, eyes, face, and neck. both hair blades on the hair (page 42). Pull the blades ll cut edges. Round eyes (page 34). Complete to conform to the curl and sweep of the hair. Use ir and wrinkles single knife cuts where the blades will not fit CCENTING. Use extra knife cuts on the hair at DYEING. When dyeing, place your leather next to ends, hair parting, and to stress flow opie the photo to aid with the light and dark areas of with step F above, Lightly cut iris ( shading. Dyeing eyes: page 36, Compare this photo the necklace cheln‘es shown on page 6. with portrait on page ‘additional shading, if required. 47EYEGLASSES } | have been experimenting for years, trying to find a simple solution for adding eyegias to a leather portrait. There seems to be no easy solution. | have developed four d ferent methods of adding eyeglasses to your figures. Methods No. 1 and No. 2 are adaptable for leather articles t will stand a lot of abuse (handbags, etc.). The other two are suitable for pictures that should have a lot of flexing handling. | will leave it up to you to select the method you feel best suited to your talents, or requirements. | instructions for methods No. T and No. 2 begin at bottom cf page, working upwards. Add white to eyeballs. light eyes, eyes with lacquer (p. ice they are not modeled Rounded eye will mal below, By ting pati lenses ight own hi-tight. ons are picked up just av with Teal Glasser; adding | FOUN oa gm-to your work. NOTE: A’ similor effect’ can, 6 ved. with: mathod, No. 1 by costing lens area with Coat. Then apply several foats of lear lacquer. It "however, give lenses a tinted look, Eyeglasses for small figures are executed in the ‘same manner as methods shown, on these pages. Both of these fi Dye the shading; wrinkles Dye the figure, and the around eyes. Dye’ the eyes. Dye eyebrows and. shadd Dye fine line around irises. _ inside frames on both carvir have facet Compare with figure (right) How to dye eyes on page lenses; method No.3. See top both should 1ook aie. photo for reflections, METHOD No. 2 a smaller, eyeglasses become | Outline eyes; lids with dk. Continue beveling & mode raerarecey eexamplesabove. | brown & black to simulate wrinkles, ete., inless you used magnifyi : fh : re wi Li y city it Nopeten ‘of trame | te cuts. Compare with ex- Lightly ‘cut ample at right. uupils with seede is cut. A single cut is made'for ear piece and over | 2™Ple at right. Die eS ee ‘of nose. In method No. 2, the lens area is 5 ly beveled down with F890 and eyes are modeled a5 shown. Don’t forget to cut fi Outline eyes with It. brown. Spread matted lines of Dye light shade inside frames open and round the eyet to match beveling; right. (see page 34). SKI Carve and stamp the figure around the glasses. Cut inside glass frames lightly. model inside frames. eyes very lightly. 4 scam-merno met} Carve & stamp the fi Bevel inside frames, mat da Aizen mero ma)OD No. 3 is actually a continuation of method No. 2. lenses are cut out of clear acetate, fitted and glued inside ss. Complete your carving as instructed in method Be sure you have lacquered the eyes! Follow instruc below. Use a lightweight clear acetate, as used in bill indows, or even a bit heavier weight. macro BLADE mee \ eur wane BS Dow iw manen ap oveniay PAPER ‘Tape acetate, to paper, over the window. “Now, very" crefully “score” a line (with knife) inside the frames, following your cut and beveled line. Do not cut through the acetate! “Scored” Lines Down / acerare : To prevent from marking Place the acetate in a glass of ver hot water (from tap) for about ‘minutes, to soften, dry it. Place over the depression in leather. (scored lines down), and “dome” lens area with modeler. Press firmly near scored lines with point of modeling spoon, Punk, Pn ‘aoe a he ane. Place lens in position with tweezers. Put a blob of white glue on a scrap of leather. Dip an ordinary pin in the cement and pull along edge of tens and inside frames (in crack). Hold in place with modeler. Do not have excess glue. If glue gets ‘on lens, wipe off immediately with damp cloth, toward frames. BIFOCALS: y adie ts if required. Handle with tweezers. METHOD No. 4. The figure ig carved, without glasses or frames (above left). Glasses should be drawn on your tracing patter ver nm, OF on an overlay piece of tracing film, ry accurate with your ‘lasses tracing, orm Yr arom Ae ( eee (eae so > | gets eee tee A-Place acetate over Draw. bifocals on pat- tracing and “scors all lines; frames, ear sce and lenses, same as step 1 (left). tern, flop over toreverse e glasses (above). Tape B—Add bifocals now, | Scetate to pattern, align. all scored lines, Now tly score bifocal if desired. C—"Dome" lenses tes. "Bifocal puts mast exactly, \as step 3, 1 be on the inside of the lenses. D—Carefully cut out the glasses. A knife will be required to cut out the area between frame and nose piece. To aid while cutting, place acetate ‘on firm cardboard; hold firmly when cutting. E-Dye the frame and gar piece only. Use Zoes (Tandy) gold or silver, or any other color’ desired. A tor- toise shell effect can be had with brown spirit dyes. Hold with tweezers to aid in the dyeing. ty of white 2YE EDGES AND UrSibE OMEY 3 owe @ touch t0 in rames only ( arrows) and carefully fi on carving with tweeze Hold down light! Fingers until glue sets. Too much glue will force ‘out at ‘edges. ‘This ‘can be removed with modeling spoon. See completed | Photo at the top of the page. DARK GLASSES? "#7H005 No.3 on No. If tinted acetate is unavailable, use the clear, and score lens lines as in step 1, Turn acetate over and dye inside with dk. brown spirit dye «wipe off ly. Complete glasses as instruc- . This method was used sto of the girl, above. ted in steps on the ‘pat ‘on the completed Carefully study all examples presented on these pages. SEE INSTRUCTIONS UNDER METHOD No. #This shows the figure completed, Notice the many water drops on the face, and water running from the chin, jaw, and ‘ends of the hair. Reflected light’ also ‘shows the shiny wet look of the face and hair. The hair has also been “wetted” See instructions below for “wetting” the subjects; adding the high gloss. The “WET” LOOK On these pages, some examples are shown to illustrate how you can add the “wot” le to portray glassware, oF highly polished items, as well as wetness to your figures. The effect is amplified when the subject is properly drawn to suggest a figure having just emerged from the water, as with the examples on these pages. Before beginning the instructions, it is necessary for you to study the page ictorial Carving Finesse” for maki in” and “snow flakes”. The procedures for applying water drops here are exactly a described in the above book. By avoiding continuous repetition, this allows us more space for fresh ideas and patterns within the pages of this book. Water drops are made with the whi ‘glue, and applied as with snow flakes on Page 52 of “Pictorial Carving Finesse". On large figures (portrait above) the Here the figure has be mopleted, for dyeing and “wetting”. Observe itt ‘the jaw and chin line has been ‘can be omitted, but should be “wetted” ‘as instructed below. All dysing should bbe completed before adding the water drops and “wetting” the scene, ‘After applying the water drops with glue, allow to dry it will be transparent. Now, . .to get the water areas and all driblets and splashes (made with glue) must be coated wi indy Coat finish. Use a fine brush, do not apply any finish to background of arom that have not been water. f the gil end bal ‘were supposed to have been totally sul | then coat all with Tandy Coat finish, including hair. When Tandy st is dry, re-coat only the figure and ball with clear Yecquer. This’ gives them the gloss required to sug. gest wetness. The water areas and water drops (glue) do not require the addition of clear lacquer. The reasor coating the figures with Tandy Coat is to seal leather pores, preparing it for the lacquer. Also, Tandy Coat will not darken the leather, as would lacquer, if applied first. If you do not desire to gloss the figures, the Tandy Coat only can be randy Coat in itself is sufficient to add the sparki the water splashes, water drops, and water areas, ‘this same technique on all of your water Remember. . apply no finish to areas, other ‘water or those that are to appear “wet”.‘on this page are presented to illustrate some aspects of figure carving suitable for the . Most subjects, just having emerged from the ould appear wet. With furred or haired animals, of their natural coats (when dry) will wet. Examples: beaver and bear. ‘and water snake (right) are shown completed. and snake have been coated with Tandy drying, the frog and snake were lacquered to wet” look. Do not lacquer the water! 3 “SAILot the foiphinr atid ocean were coated: with Tandy Coat. The dolphin only, was. lacquered to give it the extra gloss for a wet, smooth skin. jaciae Fa0e ourLwe curring ON MEAD IS: yh Foamed wim THe wer /a wet beaver is just emerging from the pool. The one behind — 3/07 5 496 — vee with dry fur. Compare the difference in the hairing stion and techniques. This, and the wetting technique aids nvewa ae) alike lusion of wet fur. Lacquer the “wet” beaver. wan wéasee ace, fino Down’ ¥ and salmon (below) have been wetted, as previously a . Water splashes, from the flopping’ salmon, were with glue, coated with Tandy Coat. Notice how the po.cy- sever {reflects from the hair, water, etc., to suggest wetness. 5, FoarSahbow the bear and the fish, Sevens f Hanne. WATER DROPS AND Wer SPLASHES ADDED HAIR WITH WHITE GLUE wate J pont or ; #508 (ron “Suagey ‘tain see TESTURE N23 ‘on Page 15Here we show how to por- tray a wet and cold appear- ing bottle, with water drop- lets running down the sides. No label is shown on the bottle to better illustrate this technique. Carefully follow the steps below for dyeing and adding the “frosted” look. The white glue is applied to make the raised droplets and beads of water, Study the photos and notations, Completed. Notice the light reflections on all “water” and “wet” areas. FADE DYEING Use the colors from See ei the dye chart, pac Bebe Bikitls Sane Focal ce CARVING FINESSE”. eten CLOTH SSE nee Begin dyeing with lightest shades. Color beer, in gla: with C-2, C-3. Leave foam (inside glass) natural leather with F-2, F-1. Dye entire bottle with D-1 “fade” ali dyeing shown on photo above. ‘Shade sides, bottom, and handle of glass with M-2, M Add L-1 sparingly at bottom and on handle, also at st Of glass nearest bottle. Complete dark shading of bo NOTICE DIFFERENT Szep Searens IMPRINTED 00 FOAM, on eve OF GLags. Stamp Foam wir A100 yr re, iy rexruning CLOTH PAGE 5S. Design carved, ready for dyeing a “wetting”. See ‘notations. Day- BRUSH FOAM wiry wire! 2-3 with L-1, L-2. Highlight bottle and glass with white Z. 8 “Frost” the bottle (A) by brushing on the fog-mix, Z-5, as above. Use several applications if necessary, but liquid level must still be visible within bottle. (B) now dye in the path of the water drops. Dye right over the fog-mix, as shown. (C) add water drops with glue. Place along sides of water paths, and add a heavy blob at their termination. See pattern (right) for all suggested water ar 52 AFTER GLUNG, ADD TAN-KOTE To BOTTLE, GLASS. Pom DROPS On “TABLE, WHEN DRY, COAT 2 BOTTLE AND GLASS WiTh LACQUER...NOT THE FORMS — p— Jrvys 0p Guus 70 Sibes or gore Black areas above suggest gluing posit for the water. Large areas st concentration of glue (highly r ions of glue, if dCIAL EFFECTS using the “WET” LOOK TECHNIQUES | ‘ive “hues fompletion of my book: "Pictorial age {Finesse”, | have developed some new ito enhiance your water scenes. father picture, especially if the light-bounce will be distrac: unless it is properly lighted for Ido, however, use the Tandy Coat at scenes, as tis conducive to look. d using the Tandy Coat finish ter areas of your scene, Even with it adds to the sheen of th | failed to, men- in "Pictorial Carving Finesse”. water drops with the glue, and h the glue (pages ive sparkle can be added to your The river scene above has been carved and dyed in the regular manner. suggesting back lighting) with To BACKLIGHT. white dye (2-1) is applied to all areas where on of white dye and glue. See sunlight would be bouncing off the water into your eyes (sun would be in front of you). Apply the white glue over all white dye. Extra spots of glue can be placed randomly in between and to the side are When dry, brush Tandy Coat liberally over all water areas only. This adds the sparkle to your water when properly lighted. The pattern below shows all areas (solid black) where white and glue has been applied (see page 3). position oF Sun —S = 2 ane Ros aniTe TOTOP OF TREES 's lips should be given the wet th should also appear moist. og perspire through his, mouth, ‘be wet. Also, ahealthy dog’s ially moist, Treat all of the above ting of Tandy Coat. DEWDROPS. | Feet standing in water can show legs wetted with drops | A sweating figure can be por. oe soc conte ft Unreal set contr eae ty, Cost, Apply Tandy | wit coche Toioc pact ak soe hone 3 to the water. 53TEXTURES |~- SPECIAL EFFECTS These pages are presented to make you aware Faas aial stretched of the folds in clothing, with the body in rer objects, as, where Various positions, and to illustrate different Blouse” pulle over” the Methods of texturing materials when special eile aan, effects are desired. Tracing patterns are not ‘ given, since these are only examples without the figures. Books, magazines, and mail-order catalogs are excellent sources for clothing patterns and additional examples showing the proper folds in clothing. WAR BEAD RF ® aioe 8070 pull of the mater- fal wih arms and legs in various po- sitions, Make cuts at heavy folds (arrows). The ANGORA effect is cut as The two sweaters shown (left). Bevel wrinkles in PLEATED MATERIAL: above are textured choppy. Main beveling: F895. Make cuts (left), stamp with tools shown, Use hair blade with short, vary: as shown. In effect, this Bevelwrinklesbefore ing strokes. Cut deeply with is double beveling. texturing. edge of blade. TEXTURING SWEATERS: All interior beveling All texturing must be done before beveling outlines. | Cutthe KNITTEDCABLE effect as on arm. Light TEXTURE wiTH oR 10ty effect is two im Row: tightly tex 5, lightly. ture ‘between ca Soo aa SOOO mn, ~~¥ Tandy Super Dyes (black & dk. brown) do not penetrate well over other dyes. Th Alblnos hava 4/2 tirana eres qa ciara ts er create eae black will intensify and strengthen the hu fens one ever DDT) iris. 61ADDITIONAL FIGURE DYEING SUGGESTIONS tgain, the basic body color of an animal should be dyed first. The zobra’s basic body color is white. The shadowed areas, however, gray. - dye first with spirit dyes. The white is then blended into the shadowed areas with dry-brushing, controling ZF lighter in he, as you may desire. In some cases where an off white shadow is desired, the leather lar bear, shown below. Wp 9 tio ane sHbune tt ones, nyo. The illustrations below show how the same figure can be dyed into three different animals. Tracing pattern is on page 16, CAUTION: This can only apply when conformations are very similar. For a jaguar (opposite page), the head should be & bit larger. canerucer BASIC BoDy coLon: z- Sorcha gay ‘SHaDing: i erate & iN meee OE! md \ a \ ‘cousaR - Been WaniTe ro eRAay with a | Dev-arusy la \ AND/ OR pene ‘Basic BODY coLaR: M-1 MI-LIGHTS: M-2. SAME AS HORSE, PAGE 62 ASIC BODY COLOR: I-1 SHADING : K-3, L~3 DYE INSIDE SPOTS K-2 PATTERN FoR SPors “Finesse Tracing Patterns” shows how to transfer the i Pnegse stripe patterns to your leather carving. Dye eyes, L-1. TRACING PATTERNS. oeith spotted markings, first complete all illustrated on the example below. SHADE: M3 7 (AnD t= Spore. APPLY SHADOWS! Mf-3. QVER “he MATADOR. and MEXICAN FIGHTING BULL ‘add to your knowledge and bull's The bull-fighting scene is presented = ‘carving skills. The darts it called ‘banderillas”. Mucus N's created ‘mouth 63saree FEATHER HITCH... USED IN NARROW PLACES OF TIMBERED AREAS. Cetin s made of exou nd polar bw hides and sealskins, The hood fined wolf or wolverine fur, asi wil ot ie up irom brnhing. not dating made of sort fur or sometimes birding, wi fur or feathers on the inide. This makes ide packed with ory gress whieh thei pack ry grass changed often. FAM HITCH... USED IW FLAT, OPEN COUNTRY. SLED -OR- sierae C1mane nee ae Trees) SIBERIAN HUSKY ‘The Siberian husky, Alaskan malamute, and Eskimo breeds are all used in the arctic as working dogs, and are not too. different in appearance. Color markings can vary wildly. They have a double coat of hair and can withstand temper atures of minus 60 to 70 degrees without discomfort. See ‘dry brushing techniques; page 59.con this page illustrate the effectiveness of dysing for snow. After carving all snow areas that have depressions (such as tracks) or shadowed ‘color mix A-6 as In very cold climates, animals that winter ut grow heavier coats of hair or fur, Your animals should be carved a ingly, as with the horse at right. Hs wil Be void ofa highlighted sheen, as eit ‘might appear in summer. 20a TEAM SHOWN wit THe FEATHER HITCH, Peckhone are ot, sayt tid ‘times they are tur Foose, to follow, with lead rope tied teh peck refund the eck, a et ccomture sraaling shou the snow wil lave track, Theee must be beveled or modeled n,n dep ‘not required. Study the examples above. See the back cover for many different animalare tmnt, ae a colors on the water are used last. els ni Kino see_ "Finesse Tracing [ror gitar onde loan of the omy, ater, FinesseNOTE THE EXTENSIVE USE OF MATTING Around “Wwese pauRes, Foleo gure reerbing hockey, only payed on horebeck, The oii o eau it ‘known, but was first played by the ‘about 1863, Little has changed except the modernization of equipment. There are two teams, each with four players. A ‘ball is struck with the broad side of a long handled mallet, |s divided into timed periods called “chukkers". Due to the fast action, horses ‘changed st the end of each chukker. The horses legs are usualy wrapped to prevent ‘rom a swinging maliet Also, tais are folded and wrapped to avoid interference ‘he mailet There are other methods of wrapping than those shown here, The manes 'oretops, also are usually rosched (clipped) close to the horse's neck. riding equipment is usually associated with polo. Many types of bits are used to ‘control the horse. A Pelham bit (page 120) is shown above, Modern players may also fear knee pads and light gloves. The horse above is called a dappled gray. Gray tones: M4, M3, are dyed first. Logs, mane and tail, are usually black, Dry-brush the white spots over the gray. 10 illustrate the difference between a "gray" and horses are erroneously called white, simply because their . The difference is in the pigment of the skin. The skin of the ‘skin of the “white” horse is pink. This shows where hair is =. The white horse could be an albinoCOLORING BIRDS Carving and stamping birds is an enjoyable experience, complete satisfaction will not be realized until you have lear how’ to dye with color, You'll be looking for the brig colored birds you can find to put them on leaths The yrebird (left) was a challenge to me to see ifthe lacy feath affect could be created while still Page 118 gives instructions for carving and dyeing this bird. As with all dyeing, begin the lightest shades dyes. The bright accents of wing bars, color pa usually dyed with the Cova colors as they will not bled surrounding areas ‘Study the suggestions presented on these pages. They will ap to most any bird you wish to color. Iridescent coloring i introduced on page 70. DaFinal step: aud white iene triow. C—Use LS to further ‘en_ head, back, SUPERB LYREBIRD. eprom wre | ou baat LS Se ° ee: z=, < “< a < 2: ® ee Dye baron wing with ‘A~Dye belly 1-1. Use L4 as shown, also on eye ring. aasle Fes7uess Notice all of the areas left in natural leather. COMMON LOON, dient and wide onough band, hey wide ano be dyed" invdualy without fist @ "bane color. Small white spots on of the miler tentiaes will have to be: over basic black. Dye. the lack t feathers over bs runt shoulder color.SEE wore AT sorrow oF pase. BaLTimoRE Dye memnes ran Bio Mme Pextnees moe Bonemian SWacwing Mens On ahcK ISA microns oF cova wire With A Touen oF covn Rep, Lyanrey cur BREAST BELLY, aD BacK FEATHERS OF SCALED QUAIL; BeiLy FEATHERS OF CALIFORNIA CALIFORNIA, emuKa RN UKAR, NOTE! QUETEALS, MACAWS, PARROTS, WOODPECKERS, WAVE TWO TOES FORWARD; TWO BACKWARD.IRIDESCENT COLORS To obtain these metallic powders, contact any ceramic dealers/suppliers in your ares. Colors will vary from one 1 2 3 4 8S 6 7 2 10 1 Tanufacturer to another, yi ‘These colors can be intermixed to create « multitude of thus. Example: No. 9 was made by mixing equal amounts nding 3 & 14. No. 8 by adding 4 to ih by adding silver: adding gold ith mixing the metalic powders, COLOR CODE: tailer. 2bronee. 3-copper. gold. S-green/gold. Git. green.” 7 aqua, 9 bive/green, YOlt- blue, 11-biue, T20d. 1S-orchid. V-amethyst- leather carving. A few examples are shown on these two page stimulate your imagination to further usefulness. These are dry powders, have found they mix well with Tandy Coat leather finish, and are easily applied with a brush. They can be painted on heavily or dry-brushed, depending on the effects desired, Instructions below. (A) Carve and completely dye project in natural colors. Pour a small, clean lid full of Tandy Cost. Have a scrap of leather handy. (B) Die point of brush in Tandy Coat (C) immediatly dip brush in metalic and withdraw, the powders wil wdhere tothe Tandy Coat (D) Mix powders and Tandy Coat on scrap of leather. Repeated applications will be necessary to have the proper mix. You wi when you have too much powder, or too much Tandy Coat, when mixing. Mix thoroughly to dissolve all ofthe powders, Twist brush, to form a point and apply directly to your carving. Always practice on scrap leather first when trying new techniques. A larger mix wil ‘brush more evenly to cover large areas. Clean your brushes in ws ome eters Ane THE IRIDESCENT Asmznt color on he bist below ae nixed |ETAET epnrob puberty aa ona PHEASANT Many birds have some /) He Ne Teidescent feathers, / Toney we Dye birds first with #7 } BROWNISH: TIPPED their natural coloring. yg hai, nots Fan tanrnens: ‘dd ‘videscents lst. fe Colors can bland into Sf eel’ te a J BEER antes M13 Me, 10 7 The god, iver, and copper colors can ecentro siphea representing figurines, ‘trophies, sculptures, ete! Here, the color shade No. 2 was used for the bronze effect. NOTE? DO NOT APPLY LEATER FINISH OVER METALLICS IT Wike BULL THEIR BRILLIANCE / Surrenried 70ADDING SHEEN TO THE HORSE The sorrel horse is an excellent example of how these ‘colors can simulate the sheen of summer hair. z Sonnet ij WORSE * YS ae va Ay OH Wyse! hye Mi, ; a / Dye Ww Te Curs AND CUTTING OF THE FEATHERS. Rm! A weak mix of No. 9 is brushed over highli it into the hi SEE "FINESSE TRACING PRYTEANS” FOR FULL PATTERN, THE HUMMINGBIRD (A) Dye with spirit dyes, (@) Dye body ith No. with No, 12. (C) Shove’ ith'Nov6 and gig with No. 4. Note: Throat can be Al by mixing 4 with 12. , SUMMER SHEEN ( yep NATUARE COLORS. IRIDES CENTS: Ne Note J Aniy ie work Tines. Use Use care, ¢ Rusy-THRoRTED HUMMINGBIRD COLORING THE PEACOCK FEATHERS ‘The metallic powders are ideally suited for the peacock feathers. Some intermixing or Blending of colors wil be req some hues. Follow the instructions below for dyeing the "eye" of the tal covers, Some ‘tal wil be saeriiced Gm the tale festhart (left), but procedures are the same, Bevel and mat around the bird before cutting the feathers. wait ila = \ o NA oN gilt la Use. spirit dyes as Begin adding the ii Shove Eye is purple descents: No. 10 wih black at Top, around the eye, No. Orange and brown 5 encircles the ra :‘See pages 50 through 53 for complete instructions ‘on the “wet” look Peek es eke et s, highlights and cut glass effect (E) wit SPARKLING WATER This color reproduction is from Sand 63: Page 3 shown this scene inThis page offers some suggestions for underwater scenes. The left side of the page (separated by the meandering broken line) shows the subjects dyed their natural colors, Basic shark color: M-4, shaded with M2 & L-3. The area to right of broken line is completed with a wash of A-7. Note how it changed the hues of the shark, and also the man. This is the same technique as used on the moonlight ene, page 40 of “Pictorial Carving Finesse”. Dye all figures and background Cova dye, where required. Wash the whole scene with A-7, quickly. UNDERWATER SCENES | <—— 4-7 wass ——_> | ; 9, with spirit dyes. Then add any Bright colors with e*. «< SELLYFISH \\ \\ ® 9 Dye. colors of — Apply=altie “of outlines jellyfish with and tentaclos, Cove dyes. \ 1X v> CLS one eer cated ee ee Pena eey read Pe eee ne Ere peared ee ed Pea au as eerted to create the specific coloring oth ifn fac below. Beri color hues of sot harp atop an tht wos Ms the dyed lathe hues due . but they should be close. Sor ff the color shades may fequire more or lst solvent than emcee ersten retoes a an as es cee | ALWAYS experiment on scrap leathers first. He A Mews COLOR mix. is pesenren MRE? ABOUT ‘Go Pants oF . conbovaw. most of Nene nee Fs feet anes = ADD MORE = Sear 5 CE, ete eer eons oats eee canta poi hn oe Beane wc dion el seer Seen ates, Seeger i somite Seer cae olen sii BASIC SKIN TONE, / pas \ y | eae Basic skin tone: L.7. Shading: L6, L3, 2. Use L-2 sparingly. Benes Bis i) AMAZON INDIAN (28Az/Z ) Basic skin tone: K-3, and hair. ‘Shading: L6,L3, U2. AMERICAN INDIAN (COMANCHE ) Use L-2.0n hair, sparingly on face, Basic skin tone: F-3. ‘Shading: L-4,L3,L-2. Use 2 sparingly: MOTE! COLOR MIKES INDICATED, ARE FROM PAGE 91 OF PICTORIAL CARVING FINESSE 4leather is the perfect medium for skin tones of the Caucasian figure. After your DYEING A PORTRAIT” has been completed, only a few shades of dye are required to add the roundness . Below, the steps are shown for dyeing our cover girl, Eyes and hair, of course, can be shaded with any colors desired. Hore we ly concerned with the skin tones. This requires quick application of the dyes, with the brush, to achieve the proper “fading” of ‘Special attention should also be given to dyeing the teeth. Teeth are generally not pure white, especially in the shadowed corners RMX? FRB .... PART CORDOVAN COLOR MIK: L-7 EYEBROWS- LASHES LIPS? E-2 Go Pants SOLVENT Gotan min: ‘Lao! = SO BR MIKE We )) fl GF sii farker hue is added to the Carefully dye the eyebrows and the to bring out more of the shadowed eyelashes. When dyeing the lashes, the Note how it is used around the dye will usually run the eyelash cuts, A neck and sides of face... very fine brush should be used hore. f Inside of mouth (F-1%4) is a mix of 1 part cordovan, 1 part solvent. above are cut only,tobetter The ‘application of the dyes (carving face bbe completed before dyeing). Note ‘of the dye to blend it into the leather areas. You should put in ractice on ‘scrap to master this women's MAGAZINES ABOUND wire war Strtes. and TEETH EARRINGS 2085 SILVERes : COLORS ARE FROM DYE-CHART, PAGE SI OF “PICTORIAL CARVING FINESSE” rca, and areas to be white, a shown shore. Fade dye into the in this caze, use black India ink. . or. . dye the black ‘shes (21) on face, and = bt on boty and feide of le, See back cover of “Pictorial ‘white in single cuts of whiskers. Study the cats below. ‘Cova Carving Finesse” for this tiger completely dyed. Use FOR STRIPE PATTERNS OF THESE SEE “FINESSE TRACING PATTERNS” TIGERS, AND HOW TO APPLY THEM.STAMPING the TIGER HEAD as at right, by cutting the design. Right hawn rough-beveled. Notice the double ling below the nose and at center of head. Face hed (between eyes) by double beveling with i7, The muzzle line, from eye to whiskers, is heavily double beveled. Bevel around, and mat n whiskers. Bevel and mat under chin. Note hheveling around the side of face, in the ear, and light bevels at brow (above the eye). Below: Pointed beveler, F902, is used in ears, at cuts, and hair ends of cheek. The eyes have beveled and rounded with the modeler. Now, pletely hair tiger with 8020-L (left side of cat): sure over hair blade with F928 (Texture No, 18) jown on right side, Notice how this tool is cuts around the nose. F928 is alo used onthe nec under shi shown-on right side the pointed bevel of the exar Sthairende re Bevel around, the dest 8 for various eaMany members of the feline group, jaguars, cougars, etc., are very similar in conforma: general appearance although thé jaguar has a noticeably larger head, in proportion, than the leopard. Some of the big cats can be inter changed by simply dyeing their color markings, Example: The head right could be a cougar, leopard, or black panther (which is actually a black leopard). Cats do not roll their eyes (as a dog) but turn the head to look directly at a subject. Most big cats have round pupils. Th ace (see page 19) when walking. The common house cats 3 good representative for motions, positions, and actions of all cats. By studying Your pet, you can properly depict any of the big cats. Carving, stamping, and hairing the cats (with some exceptions) are generally ‘the same. Study these examples. fion The 5th toe (dewelaw) is loca: ted on inside of front legs only, between toes and heel. Note its indication on the carvings OF FEETY 7 presented. Cats can extend or * r _ Citndrs iil, Stamping the . See "Finesse Tr ithdraw their claws at will. Stamping the tines to cut Alt paidede ee fem ing in step (A) is done with F895, sons ruers on aaa “ste hnesse. SoarLEOPARD |) 42 Peer: the BIG CATS in ACTION and INACTION Z “ i. ion THE DIDTED CATS CAN BE a COUSIR. PANTHER: LEOPARD. SEE eres ee tit SOS After dyeing the body hues. fir black, as explained | on page 76. Dye the small animal's spots with black only, using dry-brush oF On each side of back- On each side of back- Elongated . spots of pen. No two ani” bone, rosettes are form- bone, irregular rosettes irregular shape angle mals are marked ed by four or fivespots appear with a spot in away from the: back. alike, joined together. No center. Solid spots ap- bone. Tail has broken a pear on legs, head, and stripes. Lower legs; tail. solid spots,stic CATS This page shows some typical poses of cats, The big cats can be depicted in these same positions. Hairing techniques for the Persian (right) require special procedures. Cut the hairs as on the lower example. Rough-bevel nose and shape of face as shown on right side. Hair ends are accented with F902. If checked back- ground is desired, use A98 on out- side hair ends as shown. When all Tough beveling is completed, bevel around ears and mat background, Now “hair” the face with long strokes and pull over all of the lon hairs. Add knife cuts to the face an cut the whiskers. Study the com- pleted example. As figures become smaller (left & below), outlines can be cut solid. After beveling, cuts can be made in edges of jowl, neck, tail, etc., to indicate coarse hairs where required Extra knife cuts are usually required to complete the hairing. The whiskers and brow hairs are always cut last use Bore HAIR aiaves. SuiseRs curs ane hep finiteCANINES }-inciupes 206s Members of the canine family have general characteristics though si a dewela However, the hyer When depicting an ar as possible to examples here, sorrom : yf oF PES. with cats, JAF mer ane ears have long hai side, and a fold of : sheecrs oF DRY. BRUSHING saree Fennec RED Fox GRAY Fox AReTIC FOX The foxes’ ears play a part in contioliog body ‘temperature. Much Heat bash dissipated through the ears. As a result, living in colder climates: shorter ears, os with eguytie fox (ebove ns eo il A Rough-bevel your fires & Jnown above, The wolf's face and legs are a combinat hair blades. When coarse. body quired with stamping tools, the be stamped before the outlines are beveled i and matted. Turn tools to conform with the hair growth. Always add additional cuts to ascent the hairin, a2CovOTe cfc 4 4 noe id . “AFRICAN, ry, wit DOG: 4 ¢ cavemen EARS MUST BE SHORTENED) Forme AN ARCTIC FOX i (ADD ABUT OF ee eee Ae 20 ro FOKES TAILS:et yea ae at aie are @s many or is and en ee in hair whole volume ad dogs would nae ets the examples shown ee ar applied to ss oceur. Study the examples bree ‘nd eae ir effects applied to other br peweeany O58 Fe)POLAR BEARS Be to heavy, close-knit hair, polar bears require 9 techniques different from other bears, in the top example. Step (C) shows comple- with combination of hair blades and added cuts. Use finer texturing on more distant Is. commer THe Pret uit Boda After all stamping and, dyeing, make icicles with white glue. After first application dries, make repeated appli- cations to build up thickness of icicles, Coat with lacquer for a high glossThe brown, k ee appear itt are cee eg they Jena aatha ieee They can ata tn oben eater The carving, stamping, and hairing of most bear intical. Dit hiring tools are requifed on larger or smaller animals. my t on these two pages, BROW Protile of three bear species is shown above. Note the of the brown’s face; receeding chin of the polar. Brown BEARS walk flat on use iansenls nonce fy their feet, Claws are longer on the front than on the back and remain in tl fixed position. Bottom of & and fest are deg Hind Foor is almos a Fite thet of iene human. When haiting with the blades, the figure should be beveled at head, When ha ‘amping tools, hiring sha completed be eatin Festamp tool to take out Films love asaya): Stomp Ranvier ipreslons in depfases antice SEAS ON Be es ©! Bears shown here are in proportionate sizes, Weights are approximate for adult males. -— POLAK ~ 1309 16 GRIzzLy ~ 900.4, The bears below were not dyed i BEING MORE DISTANT. to give you a better chance to se Wain Bienes observe the hairing techniq Note how hair blades on fa and feet blend with tool. F928, Wore THE ‘ADDITIONAL KNIFE COPS GRIZZLY, BROWN, AND BLACK Benes WERE HAIRED WITH 4 TEXTURE No.[HORSES | There are many breeds of horses, each with its own charac HORSES J VNisics though all may appear the seme to the casual ob server. The examples at right show the variances of four common breeds. The Quarter Horse generally has a small muzzle, shorter ears, wide head, and deep janis. Arabians characteristically have a dshid fac, large ayes and noni The jorgan, other than the heavy neck, closely resembles the Saddlebred, Standard bred, and others. Some good and’ bad examples of horses’ legs (affecting all breeds) are shown at the bottom of the page. Hairing techniques for the horse \ and similar type animals, are shown below, Refer to page 7 for beveling and shading techniques. ine ion OF rexripe pune ; 0 poem oe area tints mee / : 2 a Sieste ow av a ~ Reve ea, Begin airing on face, Note direc: tion of lines away from center line of face. ras te Continue hairin “lines” last. For carving complex details, see ff 42, , hy, or Ser eo Wy hrs povece weve 7M COLOR PAGE 59 Fisune Ar xan 5 mowen- Bevered. Conmcere: SAT SETMOUNTAIN GORTI FIGS and other MAMMALS ] Here a wide variety of textures and hairing techniques are employed. Where coarse hair is desired, as with the wild boar sloth, extra cutting with the swivel knife Study the! Spomestic PIG vboma nas ancy. fwieines On Hin, Aware sever COUraRMATION OAll of the animals on this page have one thing in ex mon: All are haired with blade 8021-M, with add knife cuts, These figures are undyed to show conform tion and hairing details, Colors can be interchanged 0 squirels to change species, the kaibab and flying squirm Being the exceptions, Sduirrels ‘can. be. chang chipmunks {and vice-versa) by altering the tails. D figures from book illustrations, ete, ze EEATIERY wows ans. A40 tae, naseirs oF Suwa coupannurrion Gan ae [Fxawzin GROUND SQUIRRELunusual animals on this page are shown to increase Jeathercraft skills, and knowledge. The platypus lays: in @ burrow. The beg ig ae from the mother's that is secreted through glands. The spiny anteater fone eng that immediately pouch for inéubation, and raising of the young, koala and kangaroo are marsupials. The wallaby ly a smaller version of the kangaroo, though = becies of wallabies are quite different in appe wing kangaroos have pouch privileges up to 8 mo. ‘still nurse for almost @ year. Young kangaroos Females are does’ males, bucks, fama © Weaaes oe reget cami 6 oe BE iar: lwoercu Pie patess ar wend Hib 5 jk 4 bet?BABY AN/MALS On these two pages, we present as many young animals as space permits. As with human babies, you'll notice many animal babies also have larger heads and a greater distance from eyes to top of head. With most animals, the young do not have the same color: markings as adults. You should be aware of this when coloring your animals. Research as many pictures and books as possible to authenticate your work, AFaicas) LION) cuss | ‘The young cougar cub at right could also be dyed to repre: sent a leopard, panther, tiger, or fion, as at Jeft. Other baby ay, species, deer species, etc, i CovOyE PUP, cnocopiLes Senrey CARRY TELE Young 70. TRE WATER BLACK BEAR CUB. THESE ANTEATERS WALK ON THE KNUCKLES OF THEIR FRONT FEET, WHICH HAVE ONLY THO CLAWS. sop: curema BRBCONB Creenons) |) er | [Prarie og PUP"Blin" ARE VARIATIONS OF TEXTURE te #.. PAGE 129 There are five species of rhinoceroses: White, B Sumatran. The Indian, Javan and Sumatran ps Sumaicon hes. 2nd horn that is a linos are mi Seadestapes aia i The oa are Halos wth h i ithough eyesight is relatively poor, Tom rhino can run 30 mph se Aue be an worst reputation for Unpredita we na a toantes ;The HIPPOPOTAMUS , adult hippopotamus can be 15 ft. long and weigh as much as ‘tons. Most of their foraging is done at night and they must con t hundreds of pounds of grasses. During the heat of the day they and loll around in the water holes. The canine tusks Hierce weapons in battl it for hours concedes or is killed. ir the “wet” look. mH cLOR PaGe es ipeny MOLAR oe Teer bata Pour SF MODELING SPOON | ii SLEEPING ye Stippie HE i im uzZbe wrk THE —n/hAFRICAN ELEPHANT The African elephant differs in conformation from the Indian (Asian) elephant, He is much larger, can attain a height of 13, ft. and weigh almost 12 tons. The African’s ears are larger, his head more sloping, and is sway-backed. Despite his bulk he can run 20/25 m.p.h. 500 Ibs. of food is required along with 30 gallons of water per day. The trunk must bring food and / Water to his mouth, He can suck in 1 gallons of water at ind often sprays his ears to stay cool, Both males (bulls wiles (cows) have tusks; females’ are usually smalle sL0PINS _= SWAY-BACK ones x THREAT posTURE ‘The trunk performs lil hand and fingers. If is sensitive to ; Elephant society is matriarchal. Wi temperature and. texture. The ae youn bulls each about on the end of the trunk, can pi i be as single berry or leaf at a time. 106 este rie BuIreeahy sibility is continuation of the spfA Manour exeaning INDIAN ELEPHANT ELEPHANTS Ane USED FOR A muerrrupe ae WORK CHORES, TEETH WITH COCONUT HUSK fer ly has tus the differer file and face the Africawel on the ground the knuckles of the e also at home in the swinging under the ther than traveling on top. with the monkeys. The) gibbon, however, can walk on top off the limbs much like a) tightrope walker, in perfect balance. As it the human’ face, the eye sockets must Ba recessed (heavily) with mattingalig Review page 34. The gibbon is a natural acro= an arbor alist supreme, the ground, on two Jegs, with “orms ‘hela nigh fof halance. 20 E evel £173 The orangutan is very slow ind but dextevous int older orangutans can ‘and bulging cheeks,; - aa, GENERALLY LONGER Tuan THOSE OF APES THUMBS ane ser ‘wi Primates are essentially t dwellers, including mammals other monkeys and ba- | boons. This page is inted | ies to increase your kno’ and, better authenticate your ings of hese, and senile ani mals. Observe the many nota ons and baiting techniques, Complete the. figures adding the hair. Prone a A cana) PROBOSCIS MONKEYS. vase fan He BukBous WALES One pemiut ose occRs ow OVER "THE CHM, t i Baboons are a close knit society, fierce to attack left ity” cape (hamadryas), stamp tool eet rT antics oe ther. Then pull t far blades ver there Use smaller tools on OST ManKeTs AND APES HAVE A BARE, "distant figures. HAMADRYAS BABOON tse CHAcMA BABOONwien wal wien pe Oro DEWCIAWS ; 2s A, jerome ‘ = )\ cee (NOTE! s ; | ae | ELS PAI Nv / ea cecanme((t oyAQUATIC MAMMALS This page is presunted for your awareness as to the differences in many the aquatic mammals. Though similar in appearance, many are of adi Many seals do not have external ears, whereas annot move their hind flippers forward, but sea! ‘0 “walk” on land. These are the animals you . Also, seal enabling ‘them, acts, etc, SEE "PICTORIAL CARVING Eiesse” FoR DYEING 5 WATER SCENES” Tay on their chest for cking shellfish (above). otters oises and whales have hori- tal type tail fins. Since they mammals, no’ scales are BAcEEN (F000 StRAMERS) rey cur TH Knee MOTE menviby. EDGES OF WHA SEAL ETC. Ro) THe MopELng:FISHES ] The differences in fish species are as varied as those of mammals, etc, They do not all have the same number or placement of fins. The later ind is usually evident on most species. . this connects to sensory nerves, aiding the fish to jetect vibrations in the water. Scales vary in size and shape and some fishes have no scales, is with the paddlefish and swordfish, Teeth are just as |. . as with the fierce canines Of the wolf eel and barracuda, Observe the species you wish to carve to famifiarize yourself with its characteristics. Fishes, generally, are not difficult to carve and stamp. Study the ages. Vilustrations below identify parts of a fish. Note agprctions ‘presented on these ii positions and shapes of fins. ast Donsan Fin Follow stamping procedures below. When scales are prominant, appl Rout a Bad DORSAL Fi ly pograns xs \ as suggested, using appropriate sized at eZ tools, mn! i Tstmpey ant curs ss , 5 P SrRcer Le TANCE LATERAL eweER vee lif ee oi oni cover! 7 me v f ‘ ee aoa OE ore synene cure s ‘END MERE #3 ~ s seis Bin 25 ; Ss SMR LZ J ES) a <= - + vase You can begin stamping from cither head or tail, which ever Imchense. 700. gives you the bert view oF 201 SEE TORge offers a wide variety of species to vid your carving when specific effects red. A whole volume could be devoted to atl of the fishes. It js hoped the famples here will be helpful. You should obtain all of the pictures possible on yen species to acquaint you wii of the Features of that fish. As with the (ight) all sharks do not have'the same shape or placement of teeth. me A acu in inde Me 1 ee Seales re ran care ee ee PP tine bees eee SME Por 7 ~ Sat ces ceo entibe pebbinig areNOTE A specific bird is shown here, as 1 coger reoueaey, [BIRDS = Before we begin carving birds, there are a few areas of importance that should first be established in your mind. The major parts of irds are shown on this page. ponensar, aren samba The feathers of different bird species vary to the extremes. However, the basic composition and ny structure of most flying birds is very much the S&VS‘i,<° same, One of the main things | wish you to observe is the way the feathers overlap each other, especially on the wings (top & bottom views). This becomes important it beveling is required of individual feathers on large portrayals. And, it becomes BACK important in the coloring, especially on “wing bars”. ZSEAPULARS. ‘rare covenrs Fann Tae ~ reer OBSERVE: The feathers of the primaries, second. aries, and secondary coverts, all overlap each other from the body. . outwards! The covert feathers (front part of wing) overlap each other from the wri toward the body! This is im fant when Ayeing the upper wing Bar (example: lower right of page). Notice the direction of the cuts (indicating ‘overlapping of feathers) on the UPPER wing bar, and the LOWER wing bar. Study the illustrations below and notice the overlapping of the wing feathers on the underside. . and outside views. The sequence at left below is to illustr where the colors of wing bars, etc, from spread, to fo wing. “This " may. aid your interpretation your pattern has bird with spread wit & you wish them folded. fowwnrsr Fotos noniwsy Showden. UNDER ie sea Fonriieag ® SHouLpER wats” ee ome (ites) With wing folded, note how the secondary and primary feathers are stacked. Only the ‘edges of primary and secondary feathers show, revealing a bit of the white and dark markings.“Other than wings and tail feathers, most small birds do not have distinctive body feathers to represent them individually. As a rule, the individual tail and wing feathers are lightly cut. The wing feather groups . secondaries, coverts) are then lightly beveled or modeled around ‘Then, after beveling and matting argund the outside, the bird is id= to its species, The coloring will suggest some of the © sever aroun wine. i Fésmien akours 48 oor cowronstaron ® cur re pesion ‘see PAGE £8. FOR 2orrme THe eves. (aes) \ sone: anges oenearHen Se a5 eae Hee a Some birds will show more pro- 26¥A4 72257 nounced individual head and Secerve > body feathers, as_with the owl 77 & eagle below. These can be lightly cut and/or _ lightly stamped with the appropriate shaped tool. When birds are presented larger, most all of these feathers can be cut with the knife. For birds not shown in this book, make patterns from books _ sey stars ‘or magazines. To duplicate the ear bse MuLEFooT Tot READY FOR COLORING colors, match hues with the imanon ta nop Pare ke color che page 31, of Pic- sever Frarny WITH LOWER FEATHERS. torial Carving Finesse, Brighter T2S27e%An= Ta ae a tea ihe bower mee ee (acrylic) dyes. rouew re Gewenae rene as swoory. mar rae paves: hae eT aa Wate Si patna” DIRECTION OF When larger feathers are displayed, the rachis can be stam with F121 (below). sitbeATE: acs Ov. FEATHERS. 15Tes ty mopelen Umbrella bird. Use the same procedure FA rexrure — other birds of like adornment. Always bevel & ‘shape conformation of birds before adding feathers. Lf MANY SemaLe BIRDS i 4. itso nave. Wain j = “ey Tine APPEARING - FEATHERS, AS [ROOSTE: wor HE pec-eaven [A SHOWN ene. Fn pee ie SWoRT BLADE eee ‘STAOKES, = ore DIRECTION OF HAIR” FROM CENTER OF BACK soro-1 AFTER “HAIRING? MAKE — wind EMU AND ABOITIONAL CUTS WEAR ENDS OF FEATHERS ‘mover THe Leas AnD ISIE WING FERTHERS MANDIBLEBIRDS and their ASSOCIATION with WATER Sone TRROSH Many birds spend all of their lives on or e near the water. Many are adapted to , swimming and walking underwater. When as using pictures from books, etc,, for your 3 patterns, research the bird (if possible) to learn all you can of its habits and characteristics, as well as coloring. The flank feathers of most water birds (as gular baths prilap tn Micoronsly Nutting thar |!" and, teal below) will overlap the leading edge of wings, when sitting in ,. dunking and shaking Water, Water drops, splashes, made | Most (not all) land birds d ere, Gunning | and shaking the water. Water drops, splashes, made with glue. “Wet” the water aréas wooatiti) | OC ate puld be portrayed: loosely, 8 S22 page 50. in their heads to allow the water awn above, 2 to run down the throat, FeATnens Loon pisina, wiTa EVES VUST UNDER THE SURFACE OF THE WATER | Bere mace ap | Feet pen : ) the veana” > § Weodr 38 J } NOTICE LEGS AND HERD FORWARD, i i OND BREAKING ~ antl acean> butiE. rane= —— the. wings, are. Tolded LARD sucks A ned FeeDine” ee stow’ Towing C EAP peach i aerasenliet posEXOTIC PLUMAGE | The crested heads below are si position, See how to color birds on pages It would take a whole book to illustrate the many types of | and 69. r plumage. 1 inave chosen some of the more difficult hoping it will aid you when carving similar types, The “lacy’” feathers {lyrebird) are cut individually, one at a time, Notice how the side cuts overlap each other. By cutting one feather at a time, it will be less confusing. Coloring these feathers requires patience, a steady hand, and a very fine brush, Remove all of the hairs, but a few from an old brush if you do nat have one small enough Practice on scrap leather first. Cova (acrylic) dyes are recom: mended for these individual “hairs” of the lacy feathers, as they will not “bleed” into surrounding areas. Study this page VErY Ha oe side is cut, right is beveled; matted. [surEaB\J@ Trace and cut design as shown, | WCTORAIgRGNNED PiDgED EEO. tite eat ee, aie. } the body of the bird! Alc, Fame BELOW: Bevel and mat around tail feathers. Bevel ti of wing, 00 NOT SL bevel bird! } Star. macowa | Lf ide show cut. [exam Or vam) Bight side. bevel sare ors aaa OS 7 fod ey POSITION OF RACH/S. OF THe Lacy PeATHE! TRACE Onky. Ee x Cockatoo shown in normal a display position. Use hair blade ‘on top feathers. 4 mane sitnee © ihipe curs AS shown NOTE: cur aie aacnis DYE BRUSH umar (4). COT Tae Vanes (2) Next, BEGINNING ON Te FAR SIDE OF BIRD. Compiz re cor- TING OVE. BEFORE : Yin / sh is Wetur ines co cars, ©. 1150 >42 suhvows Pam Races - FL COVERT SIDES Ne 2 5 ae Ano Aasino we ExBs, Now dye the tal feathers, bird, bad imencover?s. wore — ground, and the shadows. Dye bird “SPecin Dikecticn. prominently, especially around out- of . Bi ‘Coven rors. todye shadows slatted above,” © 010k wePRDBUCTION OF LYREBIAD OF PAGE Co ®}Cut, bevel heavy folds. Ho] on Head and neck. Modet wrinkl Cut, bevel heavy folds of head & neck. Cut & model caruncle. Cut neck ruffle. KG and After modeling head, Us wrinkles of head. hair blade as shown, Cut Cut neck ruffle as neck ruffle similar to Calif, ‘with animal hai ‘After beveling, model Pull hair blade over individual feathers of feathers. Accent ends as above. with knife cut: UNDERCUTTING FEATHERS. Undercutting eatry (sane at of) hated grocty as Texture No '20) on age 128.1 low steps at left. yin lercuttin Now ‘how taetharg, gaa pleted head (D), HAIK BADE Bon:ENGLISH RIDING ‘On these pages we offer examples of English riding equipment, and its ‘the positi Corte hands onde of is attachments of the headstall and reins. stirrup leathers are a single, buckled strap that loops over a safety ar on the tree (saddle form). pul lls from his horse, "When not stirrups are slid up the shown on the saddle [PELHAM BIT 1 SWAPFLE BIT 15 NOT Use wrrw Pecwan BITS: Attach headstalls and reins as See position of curb chain on horse above. The lip strap is used to prevent horse from playing with the bit, with his mouth, ‘sreap cone ioe SootWESTERN RIDING There are so many variances in western saddles and gear that impossible to show them all. We offer some of the most important aspects, mainly to ‘acquaint you with the proper useage of ‘equipment and its functions. The west- em show ring has stipulated. rules, though they ‘are often in conflict with the practices of the working cowboy. If you are uncertain saddle or gear con- struction and require details, photos in magazines and saddle catalogs are good sources for pattems. Do not always Jan Be rely on artist’s conceptions, as some pa may not be properly portrayed. You eet Sms may then, unknowingly, be copying another's mistakes, Observe the many r TURNING TRE HORSE The western horse has been taught to “neck” rein. The hand holding the ‘reins, simply moves in. the direction the rider wishes the horse to turn, Pressure against the neck {of rein) signals the move, This permits the right hand freedom for roping, mane reno | erie — LBTST 4 few styles of bits are shown below. Curbs can be of penioeD (rani onuertae ) Because oF MORE LEVERAGE, SWORT CHEEK — WITH Mian PORT” “PADI pieces FLONG CHEEKS, SUVER DECORATED. "HACKAMORE” BIT. = CAN BE SEVERE ‘NO MOUTH PIECEDE HEADSTALLS common headstalls are shown above. The throatlatch is always used with brow band. Hackamore is used in training young horses for reining, etc.PACKING SCENE IN COLOR: PAGE 65 Almost anything can be packed on horses or mul by the veteran packer. This would take volumes in itself to illustrate the many facets. Space permits only a few examples of equipment, hitches, and the hand- ling of animals in wilderness ‘areas. Pack saddles are made in many forms. The most common in use today: the Decker, and the Saw Buck. Both serve the same function. Study the suggestions presented on this age. (SAW BUCK PACK SADDLE] chose pieces mae or SAW BUCK: Pee OAK, BOLTED TO BARS Panncens mane oF Pavio0d Rawnbe Caren oe LEATHER 5 aces ‘ Berween tHe fb or aie uo SecineD it seof team harness, all with modified assembly, straps, ete, [ TEAM HARNE. a me end purpose. . .pulling a designated load or vehicle. The ! to acquaint you with some of the basic hook-ups and namies 6f vi wir leather carving, Study the ex.SNAKES . The scales and skin textures of reptiles vary greatly among the species, P ‘The belly scales of snakes are large and tie into the body scales, as e. shown with the rattlesnake (left) and the cobra on opposite page. Some by — are eae ase on soe Tele esse on wey Ron overlap one another. The rattler shown here has overlapping keel OSS tend scales. Each of the scale textures is numbered, as some of these same \ textures are used on other reptiles, and the Texture No. will be referred to for stamping instructions. Carving and stamping snakes is relatively simple. On large portrayals, the head scales are individually cut until they can be “fused” into the body scale cuts. All interior beveling and shading is completed before adding the scales. The edges of the body should be rounded before making the scale cuts. Beveling and matting around the outside of the snake is usually done last, Study the examples on these pages. PARTIAL PRE SSIONS whe OE ROUNDISH SMOOTH ABUTTED SCALES yesh yes << (Bl Cross-cut the lines for the scales ss [5] Tap smooth mule- Ni shown above, conforming to the curve foot tools on junction. Ngtige now body body. ‘Observe the smaller exam: grees oumetion Si ‘on small scales. ‘head scales of the different ‘species. These scales should Cate alee « ‘the exar es below. Notice how the of t ples at bottom of page. W ABUTTED ScMLES au REELED OVERLAPPING SCALES Follow procedures as “~ Same as No. 1 (left) but above, only make cuts at more v7l0 F909 stamp point of F909 in cor- angle’ to point scales. Use ner of diamonds, as shown pointed mulefoot tools. above. SMALLER AND SMALLER, STUDY THE EXAMPLES BELOW. TECTURE NA As snakes become smaller, cut the scales with swivel knife or use hair blades as shown. This is Tex- ture No, 3. . .pageThis pape illustrates some fundamental s mping procedures. scali hare ap: The Texture No. is shown by each reptil plicable, See opposite page for scaling instru 3 photos and pictures of whichever species you eve Feat = Coloring is after all carving and stamping is comy i. ‘SCALES OF Betsy. cuz SHARES nave Foanes roncces curs bo'nor conroRm TD cURVE OF BODY amet oF SPESER ot 575, 90 APPLY SCALE "Toot. (este) IN DIRECTION Teouruereh oy Sopnsie ba pe natices Sm90TH -mar ALC Beveres axens ke Complete beveling . Cut inside mouth; ly heavily in throat. dfangs. Cut the scales. Cut and bevel design, Mat as shown to Make scale cuts as shown. form body. Round body with modeler — Complete scales with Tex- before scaling the snake. ture No. 2. sMoo7y-Mar away pROm Ace BEVELING ROUND EDGES *FEFORE Seaune Rounp povies br suanes wi7h fropeteR BEFORE ADD- NG SCALES Woe ros Mrangue Snow ‘snake's bodies are not round. Observe the gs YoU wish to carve, Bevel and mat the trian- with tools above. Observe the angle of tools. Assist with modeler in smaller areas. Ex- ple (8) is partly scaled, note angle of cuts, When carving snakes with coils overlapping themselves, oF Other objects, always bevel and mat sway from foremost | sections first. Bevel numbered sections above in sequence s shown. Round edges, and snake is ready for scaling, 122 fF irs “pdm conten AN REPTILES = AMPHIBIANS Skin protuberances vary wildly, from round to thorn-like spiny growths on reptiles and_shyphiblons. Some species re Guire a combination of textures. The opposite page shows « wide variety of skin and scale textures for reptiles and am- phibians. Some of these techniques are also used on birds and other animals. The Texture No. will be referred to where ‘these situations occur in the book. ‘Observe the instructions and note the textures (by number) used on the subjects. No dye has been applied, to better illustrate the techniques. USE ©2902 ON CENTER _SPme curs "ur $aevet WS Hie SY Design (top) is cut and beveled, -Allisingle spines on body have been completed, Note sinale spines on both upper legs: Very fine cut ting is required with a sharp knife, Accent be. - tween them with point of F902. carefully Bot. tom is completed. Body wrinklés and head are modeled and stippled with the sty. Tiny scaly cuts are made on body. Legs are scaled a Design, (top) is cut and with very fine Texture No. 1 gp, (to fs cut and beading ines cut, ready for bending, Follow instructions on opposite page. Preset let? Bottom's complet When seeders cannot be used on smaller reproductions, cut the beaded areas as above. Use the hair blades on very small figures. = qexquee the solid 40.7 seeders in bevel the frog as in step (A), Apply with the seeders, as shown in (B). Crest notuse a mallet! Nuset'faeuy Iano's As the subjects become smaller, techniques must alter to maintain general impression of skin tex: tures. As the subject becomes too small to use Cut and bevel frog and “warts” as shown in step (A). Follow. with ‘seeders, the stylus is used to stipple the wrinkio with n oho ext “wats areas. Study the photos above. seeders, by hand. 12Q NOTE! WHEN VISIBLE, FAOGS Mave Fil T00S ON BAEK FEET... OMREPTILES § AMPHIBIANS SKIN & SCALE TEXTURES [texture nos JL Texture no 4 JD Textone no 8] TEXTURE Ne 6} GROSS “CUTTING Tien, SOLID BEADING PRONOUNCED, saiD Woho Raise a Beanie noone oa wig © oe esi ie ‘cuts conforming (A) Stam i in body. Lines eon figure, (2) can be unevenly spaced. (8) mat around the Press appropriate size seeder 3 modeler 10 if squares firmly, by hand, Reshape seeds by Hold at an angle to bead with tool in along the edues of the fig- examples on ure. monster, 128, F mo conform to the curva- ture of the creat Several texture com: (7; : oe TS on one subject ae SINGLE-CUT SCALES 130). eS fin eae am Beige <4 Suan mEpum tare oy With odd shaped scales that cannot be formed by These tools, regular tools, simply make them with single knife point, are effecti ot cuts (top examples above). Small scales are cut ing some reptiles lightly, more depth on medium, greater depth on row of impressions large. (t desired, these cuts can be softly rounded by angling scross body) going over them with the end of modeling 130, scaling a li stylus (lower examples above). Use Ballpoint Stylus 2nd, 3rd, & continu ‘on the larger scales, There aremany examples a shown above, in this book using Texture No. 8; almost all reptiles, spacing of the MAMIE: culos come ey EXCEPTIONS TO THE RULE 7 =e ‘Besr furen'wolstome You have always been taught not to undercut with the swivel knife! As with Pane fe ‘ules. . there are exceptions. Study the examples here | TEXTURE No. 10 SEES. TEXTURE No. 11 TEXTURE No. 12 ee r UNDERCUT SCALES. BEVELED, UNDERCUT DD Hin, © gy Z WE ES he fs jj 2 ‘crower seceas ecmonrey A \ Bevel and mat under spines. (F) Press Some reptiles have ‘at base of See horned hard, raised. scales, on the ‘page. Bevel ends lightly. (C) keeled, mark with modler, Undercutting is also used 0 bird's feathers. See examp page 119,ee eee REPTILES § AMPHIBIANS }-- CONTINUED Barone venronmd tm oan Oe Parriag vexrune o. ON MRD Ter Tune 60.3 x oe Tay. me too small, the raised oe G small, The skin texture of iguanas is similar to that f e Peeps a nee win sty ae with of chuckwallas, monitors, and lizards with non- ‘7 fogs on pag ith most reptiles, com- will be required to por- stamp the edge of lower tail in The salamandler should be portrayed with the “wet” look, page 50. The ex- ample below has been dyed ted". Salamanders have @ eases? = etie’ | [seeel 7 fare acciacr ren, nage Pe F509 ® (A) The lizard at right is cut and conformation beveled. ‘The scaling is started at the head and down body as shown. The body. and tail show seg: ments of stamping, only illustrate the angles of ina oni actuality, age ng < should be continuous from tt = head, See instructions for Texture === No. 9 on page 129. (B) Is completed. Autre cors : \ MpiBe Be — = TEXTURE 403 in grate iieanos YEA KeEcengy tS uwpencur SEE pace 129 lotice the angles of th instructions on 130CONTINUED jing crocodilians and turtles, ‘the turtle is aquatic. The legs of a With scales. Alligators wry much alike "The main difference i the head Hee, ‘ ‘ ‘are generally more “gator ars more in Une, and not a visible yo sre crocodiles teeth point more outward, his ithe large teeth are plainly visible when the mouth is closed (see . Two distinct rows of r ridged scales run lengthwise down the ‘Species, 3rd and 4th rows are at the sides where the body starts ‘over. Crocodilians are excellent swimmers and walk and run the ground, mostly on their toes, with bodies well raised. Study examples on this page. Bevel save oe bent and cor Seetes as Rsove; Below Bin enna m= ALLIGATOR sits with sabbLek nse Om cach SCA Wnt anepoly alu to all web ines. See page 48 Carving Finesse” for how todo. Ont "Pictorial inst, ops et, ca nines beveled (let). 'As’ ube become smaller, less doval eat be exccuted. | Genorally, legs, antennas, and after all beveling; matting. Study ‘the suggestions at right. “hair” affects are cut If desired, dye web awesk grey, before glue, to make it show up better, BEVEL AND MAT 8. Brin. comments cor Tn LEGS! ANTENNA ye seneraL INDEX ANATOMY of ANIMALS... .16, 17, 18 ANATOMY of MAN 37 the 44 BIRDS: §8 species - cover. 1, 28, 58, 68, 70, 114 thru 119 CLOTHING. * = 54, 55, COLOR DYEING | °° 87 thru 76, 138 DEWDROPS. ss ENLARGING PATTERNS <<< “36 ESKIMOS... 64,74 EYES FOR: BIRDS .. FISHES, REPTILES/ANPHISIANS MaMMa\ HUMAN DYEING “LIFE™ to eyes | EVEGLASSES .. . FISHES: "Includes ‘OCTOPUS, JELLY- FSH CRUSTACEANS, SEAHORSE, 30,73, 112, 113 natn stvies” - 42,43 HAIRING TECHNIGUES. ©! 111,14. 15 HARNESS, for horses . 121, 125 NCICLES es Be eect 96,57,74 ing -170 PACKING, with horses. <2) 65; 124 PEOPLE, of the world. 222... .74 PORTRAIT CARVING | ° 2!" ! a5 RACING, horse, harness | <2!) 1421 REDUCING PATTERNS °°)! .27 REPTILES and AMPHIBIANS: ROCODILIANS ..... 102,131 ROG... 2-221) 34,15 128 GECKO : 130 GILA MONSTER rer 5 221130 Uizanos “128; 130 SALAMANDER 30/83, 126, 127 5 31,131 RIDING, English. | 420) 121 RIDING: Western 122, 123, - 94,88 chem... . B'tivu 12 TRACING PATTERNS (making) ..-20 TRACKS, animal BACK COVER UNDERWATER, | wowtodye...... 73 "WET" LOOK .”.. .... .50 thru 83, 72 ye MAmeIAL: AARDVARK (anteater) - 98 ALPACA... - 97 132 ye MAMMALS ANTEATERS..... 98, 101, 102 ANTELOPE, PRONGHORN ..\... °.95 APES 5 ‘103; 108 ARMADILLO. 98 BABY and YOUNG animals 107, 102, 103, 106, 108, 109 BABOONS, 102; 109 BADGER, +98 BaTs risa 100 2, 85, 86, 102 -. BT, 102 87,91, 103 BOBCAT. ...,.... rare CARACAL. : 3 CHEETAH, - COUGAR DOMESTIC Jaguar. LEOPARDS: LIONS: LYNX OCELOT: SERVAL. TIGERS CATTLE. CHIPMUNK COYOTE...) DEER. é 16,61, 62) is ‘a 83 “61,83, 102 24,23) 95, 103 DINGO | a 83 DOGS: 13 Breeds ira "7+ 92-96-63, 64, 84, 192 DOLPHIN . + 32,31 DONKEY ELEPHANTS | £0517, 27,88, 108, ior ELK.

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