ilERAMIC STUDIO 
93 
finish with flatter gouges — always, and in every case, using 
the largest tool possible, so as to make clean, comprehensive 
cuts and avoid niggling and teasing the wood. The outline 
can now be trued, if necessary, with a chisel run along like a 
knife. It is possible to get freer and more beautiful 
curves and lines in this way, if of any length. 
There will be no trouble with ragged edges and corners 
if the cutting down has been sufficiently deep, and clear 
into the angles ; but if these occur they must not be dragged 
and scrapped out, but removed by a clean, light cut down, 
and one across to meet it. Wood should be treated crisply 
and in a free, large way — which does not prevent delicacy 
of touch and perfect accuracy. 
The background being finished the plain surface of the 
design can .be made interesting by decorative and sugges- 
tive lines and markings with the V tool and gouges. Stip- 
pling the background is sometimes resorted to to bring out 
the design or give variety of surface, but my opinion is 
that the effect left by the tools is better, as a rule. 
Illus. 2 shows two treatments of the same design. 
No., I is effective and easy in very conventional designs 
that practically fill the panel. The outline is taken out 
quite deep with the V tool and the spaces cut deeper still 
with the corner chisel, or a carver's knife, which is a very 
useful tool. To give the over and under effect a longer 
bevel is cut with a flat chisel on the side to be lowered. 
The clock, bookrack, bookcase and breadboard in the 
CORNER CUPBOARD 
article in the May number, and the breadboard and borders 
in this, can all be carved in this way. Even the interlaced 
panel might be. It would be very effective as the front 
of a chest with the angular incisions cut quite deep with a 
large V tool. Almost endless possibilities will suggest 
themselves to the inventive person through these very 
simple means. 
No. II shows the design nearly filling the panel but 
with the background taken out as in illus. 2. As a rule the 
flat carving, in which I include the interlaced, because the 
general surface is flat, is much richer in eft'ect when there 
LILY FRET WORK 
is little background — and there is less work, as well. These 
small spaces should be used to give force and accent. 
There are a number of ways in which pierced carving 
can be used with good effect. Grilles are useful in lowering 
the effect of too high doors or windows, or where it is 
desirable to hang curtains across a hallway. It is attractive, 
too, in cupboard doors or the upper panels of doors that are 
glazed to give light in hallways. It can be held against 
the glass with light mouldings around the edge. 
In designing for pierced carving it must be remembered 
that the spaces are as conspicuous as the pattern and so 
must be pleasing in form and proportion. The openness 
of the design will depend on whether the grille is intended 
to partially exclude or let in light, and whether light or 
heavy curtains are to be hung beneath it. The thickness 
TRIAL PASTEL 
