Copyright 2010 Dan Patterson NFCG

Copyright 2010 Dan Patterson NFCG
INTRODUCTION
In part one we talked about and demonstrated how to cut out the fish
blank, cold water fish basic body shape, carving the body, carving the Adipose fin and carving/inserting the fins and tail.
In part two of this Journal we started by shaping a very important part of
the fishes soul, the head. We put emphasis on the head and the eyes as being the focal point of the fish. We stressed anatomical correctness on this
very important part of the carving, and spent allot of time and energy in this
area.
In part three the last part of this three part Journal article, the final head
detail and burning of the scales and will be done. Then we seal the fish and
finish the final clean-up in prep for painting.
I would like to take this opportunity to say it was a fun project for me to write this article and I hope that our members
benefit from it. Articles like this now and in the future will
continue being made available to the NFCG membership
through the members only section of our web site. Don’t forget to renew annually to continue receiving these articles free
of charge as just one of the many benefits our members receive. I am proud to be a part of the National Fish Carvers
Guild who has not lost track of their mission, to promote the
art of Fish Carving.
Dan Patterson, President NFCG
SCALES– GETTING STARTED
As seen in previous NFCG Journals, there are more than one method of reproducing scales on a fish carving. The
overall size of the fish being carved almost dictates which method to use for the most convincing scale rendering. The
size of my Brown Trout strongly suggested to me that burning the scales would give me and the client the best results.
The scale burning tips that I used were some that I had on hand that matched the size of my fish. These burning tips
are all made by me because in this way I can get the most convincing and correct size scale. If interested in making
your own scale burning tips, the late Ed Walicki’s web site (fishcarver.com) sells a CD and materials on making them.
Ed was the Pioneer in this regard and invented many other tools and methods.
Below you will see a hand drawn diagram which explains the simplest method in getting the scaling process started. It
starts by lightly penciling in the lateral line (LL) using your reference as a guide step(1). Then using the correct size
burning tip, start by burning the first scale centered directly on the LL step(2). The second scale is burnt slightly above
with the bottom of the scale touching the first scale close to where the first scale intersects with the LL step(3). The
next scale is burnt the same way, except below the LL step(4). This is continued the full length of the LL. The scales
will end up in rows down the length of the fish as you burn your scales up and down from the LL. Use your reference
during this operation. Be aware that different fish species have different patterns. Also notice that the scales do not
meet in the middle of the previous center scale. There is a space left there which enables the fish to flex sided to side
without the scales binding as they shift. The LL is burnt by using a Skew burning tip or simply using the side of the
scale tip making a slashed depression above and below the LL in the center scales.
SCALES– CONTINUED
Pictured below is the start of the burning process. The first photo shows the LL and the groups of three down the
length of the LL. The second photo shows the added scales and the burning of the LL using the Skew tip as another tool that works well. The third and fourth photos show progress so far.
When burning scales, the number one problem is burning to deep! One way to help yourself from not burning to
deep is try to develop a consistent sense of touch and pressure as you go along. Different types of the same Tupelo or for that matter any other types of wood have different hardness's even if they were cut from the same tree.
For this reason and to your advantage, utilize a piece of practice wood from the same piece you cut the fish from
so that the hardness is close to the same hardness and grain as your carving. Also when burning scales, it is
sometimes difficult to keep the burner the same temperature as they have a tendency to fluctuate and you will immediately see darker burn marks developing. This is a warning sign that you may be starting to get too deep with
your burnt scales. It is almost impossible to keep this from happening due to many reasons, but you can at least
keep a close eye for it as you burn. One of the normal times for the tip getting to hot is when you stop burning for
a minute or two then pick the tool up and start burning again. The tool has set there and has gotten hotter until
you touch the wood again then it’s too late. Always burn a few scales on your practice wood before going to your
carving and you will eliminate the problem.
CLOSEUP OF BURNT LATERAL LINE
SCALES– Size Differences
Scales on trout vary in size at certain areas of the body. Down the center one third of the fish body the scales are
all approximately the same size, however they diminish in size at places. The diagram in figure 1 below shows
boxes which indicate a change in the size of the scales. When burning scale texture on a trout carving, there
should be a minimum of at least three different sized scale burning tips employed, Large, Medium and Small. A
basic statement concerning trout scales in general would be that the scales down the center one third of the body
are the largest, but scales transition, getting smaller and smaller towards the tail, the head, the back and the belly
or bottom of the body. The diagram in figure 2 below shows the definite groupings of the different sized scales
and their approximate locations on the trout's body . It also shows as a general rule for trout, the larger middle
one third scale area diminishing to medium and small scales as they radiate out from the center area.
Continue burning the scales up close to the head, fins and vent then stop. There are certain areas that receive
more attention to detail discussed next.
1.
SHOULDER SCALES
CAUDAL PEDUNCLE
THROAT SCALES
BELLY SCALES
2.
THE FISH HEAD-Final detailing
Final details on the head and a few on the body will be addressed in this section. A trout head is not glass smooth as
you see in most photos of fresh caught fish. This illusion is caused by the slime coat that fish secrete when in flight as
they flee their enemies or an exhausting fight at the end of a line. The slime coat cuts down upon the friction between
water and fish body enhancing it’s performance. Underwater photos are more revealing to the camera because slime
or no slime coat, the camera picks up all deail. The trout’s head does have a texture that is not smooth but somewhat
rough. A good way to emulate this is with your slow speed grinder and a small round diamond or stone ball. On very
slow speed, very, very lightly scrub in small circular motions over the entire head and cleithrum photo 1.
The other tool I use mostly on final detail is a burnishing tool with a flat rounded end and a pointed end. You can also
use your burner with various shaped tips, low heat and soft touch. The burnishing tool will do almost anything you
want when adding detail like wrinkles and getting up really close for final clean up of your cuts when using Tupelo
wood. Clean up all the cuts you made on the head and add detail that you see in your reference. The next group of
photos on the following pages show certain areas that I add detail to, then finish the scale burning in those areas.
Photo 2 shows cleaned up v-notch and some wrinkles added. Photo 3 shows burnishing tool cleaning up the branchiostegal rays. Photo 4 shows the lip line cleaned and more pronounced. Touch up the teeth where needed.
THE FISH HEAD-Final detailing
In photo 1 the burnishing tool was used to impress the small flap of skin that is located at the top of the gill opening.
After it looks good, then burn your scales up to it. Also notice the flap of skin on the trailing edge of the gill that
was ground in with the 1/8 “ diamond ball earlier. This is also cleaned up using the flat burnisher. This flap of skin,
that serves as and is correctly called a “valve” is smoother in texture and the burnisher accomplishes this. Use the
flat end to clean up around the maxillary then the pointed end to press in the wrinkles etc. photo 2 & 3. Photo 4
shows the visible bone behind the eye being established using both flat and pointed ends of the burnisher.
Of course bigger trout are fish with some age to them and these older trout display more detail such as wrinkles,
wounds, missing scales to mention just a few possible deformities developed over life. Look closely at your reference on hand and try to indicate as much of this type of detail on your carving that you can. Always have a practice
piece of wood to try it on first to develop the right use of your tools and get the results you want before going to
your carving with the tool. Never try it on the fish first unless you are fully confident in your skills!
FINAL DETAILS
Photo 1 shows some more head detail that can be added as a minimum. One and sometimes two wrinkles are located
just in front of the Nares or nostrils. Barely visible in this photo are wrinkles where the Maxillary bone joins the snout,
see arrows. Using the burnishing tool cleanup the Nares and any other areas you think need it. Notice how the head
texture looks after working it with the round diamond ball.
Photo 2 shows the Auxiliary Process Fin located just above the Pelvic fin base. Develop this with the burner then
clean up with the burnisher and burn in the rest of the scales at this area. The burnisher can also be used in areas where
the scale burning tip is not able to get right up next to other smooth texture objects such as the auxiliary fin. Simply
burnish the scale in. This fin has a smooth texture.
SEALING THE CARVING
After being satisfied with the look of all your final detail on your carving it is time to seal it. I use a lacquer based sanding sealer that is thinned 100% with lacquer thinner. Apply heavily with a bristle bush. The sealer will soak in and obtain maximum penetration with the thinned sealer. A minimum of three coats will be necessary to get a good seal. The
first coat will soak in fast then immediately apply a second heavy coat. Let dry five minutes then apply the third coat.
You can put more coats on but when you see the sealer starting to build up slightly then stop. Let this dry at least 2
hours or over night then using a fine green synthetic pad, lightly scrub the entire carving to remove any imperfections in
the sealer. Do not use steel wool unless you will be painting with lacquers. Using compressed air, blow off all fine dust
created by the scrubbing. Photos below show the carving sealed and ready to start the painting sequence.
SETTING THE EYES
We discussed and temporarily set and fitted the glass eyes in part 2 of this journal so now it’s time to set them permanently. Whether you buy your glass eyes already painted or paint then yourself, you will need to prep them for installation into the eye sockets.
The glass eyes are painted on the back side so any unfortunate paint problem develops behind the eye and after it is permanently installed it is impossible to repair. For this reason, the prep of the eye is important! Fumes from the lacquer
sealer can affect the paint at times and the epoxy we will use to set them can shrink when it cures and pull the paint
away from the glass on the back of the eye. Take some non-hardening/non-oil based clay and lay some into the back
cavity of the eye. It does not need to be filled just covered all the way out to the edges. This will keep any of the epoxy
that leaks over the edge off the paint on the back of the eye. The epoxy will be against the clay instead. It will also protect the paint better from any fumes. Please take my word on this as over the years with taxidermy and wood carving, I
and others have learned the hard way more than once.
Now that you have the eye prepared, test fit it again into the socket. The sanding sealer applied previously will usually
make it for a tight fit. Don’t force it or you will have an eye stuck in the socket incorrectly that you can’t get out! You
want a loose fit so remove the eye, clean the socket and try again until the fit is loose. If you must, use your rotary tool
to remove enough material to gain access with the glass eye. Once you achieve the right fit, check the eye from the
front for the proper attitude. Normally the eye should be as close to vertical as possible to the ground. If the fish is
mounted so that it is rolled over to the side, the eyes will still be vertical as possible on both sides which will result in
them being rolled up or down on either side. You will also notice that the pupil has a somewhat pointed end and this
will always face forward. Also the pupil will always be level with the ground even if the fish is headed up or down.
Examples can be viewed on the next page. I have explained how a fish normally tries to hold it’s eyes and it is the general rule however, fish are also able to independently rotate their eyes in any direction to look at different objects in it’s
environment. The long and short of the subject and the general guidelines I have laid out for eye attitude is that the eyes
can be looking in any direction within reason and capabilities of the eye in it’s own orbit. You can deviate from the
general rule to show interest though and you have the “artist’s license” to do so.
Once satisfied with the fit and attitude of the eyes, lay a very small amount of epoxy around the outer orbit of the eye
socket you just cleaned out for proper fit. Now with the proper pupil and eye level, install the eye and clean and smooth
any epoxy that squeezes out. Now use more epoxy to sculpt the sclera capsule on the eye. The eye is finished at this
point and let the epoxy set before handling any further.
THE EYES - Examples
Below are further examples of how a fish normally tries to hold it’s eyes. Whether above or below the water, the eyes
respond in the same manner.
Example of fish held upright and
level with eyes vertical with the
ground.
Example of fish laying on it’s
side trying to keep it’s eyes
level with the ground. The
side facing us is rolled down
and the other eye will be
rolled up as the fish tries to
maintain level.
ATTACHING THE FINS
There are two methods shown below you can use to attach your fins, but the choice is yours based upon your personal
choice. By no means am I promoting this method, instead I want to give you another example to perhaps try in the future. Many carvers get excellent results carving fins with tabs on them and test fitting to get the perfect fit as I did in the
past. I find it faster and easier with good strength results to do it this way. Broken fins done either by the customer or
you are easier to fix with this method. Almost every breakage mishap on this type of attachment breaks at the base of
the fin, thus an easier repair. In some cases, especially with clean breaks you can even get away with super-gluing the
fin back on then slight paint touch-up and the repair is done.
See A. below. Start by roughing up the contact points with a pointed rotary bit not only for better bite, but the sanding
sealer is removed during the roughing process for even better adhesion. Good adhesion is important with this method!
Use Bondo or Super Glue (SG) and insert the fin into position until set. SG Kicker works great in this application for
instant set. Another method used to fast set SG is to sprinkle dry Baking Soda over the glue. Use the Thick or Gap Filling SG. You can then use your two part epoxy of choice to finish and hide the seam and at the same time add strength
to the attachment. Use the type of two part epoxy that enables you to smooth it with a wet finger using water such as
Magic-Sculpt or Apoxie-Sculpt sold through taxidermy suppliers. After these attachment areas are dry, normally the
next day go ahead and lightly sand and spray a coat of sanding sealer over them so that it will match the rest of the
sealer applied earlier. Another “stronger” attachment is explained on the next page.
Diagram A.
ATTACHING THE FINS-Finally
This attachment is stronger than the one explained previously but uses the same bal & cup method. It is simply inserting a tab using the same principle as when inserting and gluing Biscuit joints in woodworking.
Cut some shims to size then use your wood burner with the flat spade burning tip or similar tip and burn straight into the
fin base at a 180 degree angle. Of course the wood grain should run parallel with the length of the shim. One point here
is to use a wood that is harder than the wood used in the carving. Trimmed tongue depressors work well. Super glue
the shim into the fin. Place the fin with the glued shim against the wood in the cup location at the position you want the
fin. Now mark your cut at the end of the shim on the body with a pencil. Using the burning tip, now burn a slot into the
fish until the shim will fit into it. You may opt to use your high speed rotary tool with a small bit to do this job. There is
much less smoke and charring than with the burner. Another way to get a good fit before you glue the shim into the fin
is to mark the fin with a soft lead pencil first. Then place the fin into the fin pocket on the body, adjust the angle then
press to get a registration mark transferred to the body. Now cut the shim slots at those marks. Fit all the fins first then
go back and glue them one at a time. Trying to glue them as you go may cause you to break a fin while burning or
grinding the other fin slots. Remember to cover the seams with your epoxy. With this stronger attachment, you will
notice in the diagram that the likely breaking point has moved from the fin base to the fin itself.
Diagram B.
PREP For PAINTING
At this point you should be ready to plan your painting of the fish carving.
I would like to give you a few tips that I
have learned over the years that have helped me.
REFERENCE: There are paint schedules for a commonly carved fish such as Brown Trout and these schedules are
good references for the basic colors used. However they should be used as a starting point in your painting only, if you
use them at all. Catching the actual species and studying/photographing before release is the best! Jotting down color
notes while observing a freshly caught fish helps greatly. Afterwards you can compare your notes with your photos.
You will be surprised though between the color notes and photos because there will be allot missing in the photos that
you see in your notes. Although photos do not capture everything as far as subtle color is concerned, they do allow you
to study the visible and pronounced overall color. Because of light conditions and many other factors affecting photos,
using your notes you can sometimes eliminate some photos entirely if they do not match your color notes. It is understandable why notes are important along with photos. Our good friend the late Ed Walicki has a good reminder on his
web site about color notes. Here is the link if you would like to learn more. http://www.fishcarver.com/
fish_carving_color_notes.htm
*On the last page of this Journal is a free Brown Trout Color Note page for your use.
The age of high-resolution digital photos is here and there are great Internet photos and magazine photos are the next
best source for photos to use as reference in your painting. When you study quality photos of fish try to see the order in
which the colors are laying on the fish. This will help in your painting plan because you will know in what order to apply your paint. Normally on cold water fish, the first colors applied are the lighter colors starting with white and progress to the darker colors. Try to layer your color also to obtain “depth” in the overall paint job. If you can get away
with it, don’t mix two or three colors to achieve another color. Instead, mix them on the fish by layering to achieve
more depth and create more subtleties. See page 15 for a photo study and further explanation.
TOOLS: Employ other tools besides the airbrush in your painting process. Hand painting by dry brushing, stippling,
light washes or whatever it takes to get the results you want. I have seen used and used myself sponges, cloths, Q-tips,
powders and pigments, hobby paints, stencil paints, oils and even make-up to achieve wanted affects in my painting.
You can get results with these types of articles that you cannot with an airbrush.
Try to “work out of the box” whenever you can to make your carving an individual art piece that stands out.
This three part Journal is now complete. We hope you have gotten some benefit from our
NFCG Journals and look forward to providing more of the same in the near future. Any
remarks you may have concerning subject matter of future Journals please feel free to let
us know. You can contact us easiest through our web site and we are always excited to
hear from you, the NFCG Membership!
Wishing you good carving……….Dan Patterson
PREP For PAINTING
Fourteen different colors are present in this photo of a Brown Trout Head, but what is the order
of application of those colors? Ninety percent of the time the lighter colors are the deepest so
they are applied first, then the darker colors. As you can see there are some lighter colors over
the top of some of the darker colors, but they are mostly shading colors that lay on top. The
same is true for the other darker shading colors such as the browns, umbers and even black in
some species. The spotting on this Brown Trout seems to be sandwiched in between the light
green and the brown and green being lighter than the brown it goes on first.
The painting sequence or plan for this trout would be the white first over the entire fish. Then
in this order, light green over the back leaving some white showing through for the halos of the
spots, silver up the sides where it meets the green, umber for the spots in the center of the halos
then slightly more light green and brown over all of that on the back. Then go with the yellow
ochre on the appropriate areas on the sides and pale gold over that. After that there are shading
colors left like the metallic-blue, violet, flesh, gray, and sienna. Scale tipping is silver.
So you see that by just studying a quality photo it can give you enough information to create
your own paint schedule and I’m sure you will be very close with the results.
Light Green
Light Crimson
Raw Umber
Light Gray
Brown
Metallic Blue
Violet
Umber
Yellow Ochre
Flesh
Pale Gold
Sienna
Silver
White