David Western's Lovespoon Eisteddfod Blog, 25 August 2009, "We have a winner!"

Reprinted with permission from David Western's blog, all material © 2009, David Western --

It gives me great pleasure to announce the winner of the first Left Coast Eisteddfod lovespoon is Howard Evans! Howard was very generous in his support of the Eisteddfod and is a more than worthy winner of this traditional, handcrafted, one-of-a-kind Welsh lovespoon!

As the designer and carver of this spoon, it has been very heartening for me to see people support the inaugural Left Coast Eisteddfod through their kind donations and to personally have been the recipient of so many kind words of praise from many of you. I would, therefore, like to take this occasion to announce that I will be back with a new spoon design to support next year's edition of the Left Coast Eisteddfod!! Lots of lessons have been learned from the whole process of trying to initiate a great Welsh cultural event here in North America and although it has not been without its challenges, I believe next year's version will be bigger, better and even more widely supported than this years!

I look forward to designing next year's spoon and to showing its progress on this blog and I hope you will continue visit me and support the Left Coast Eisteddfod as well!!

So congratulations, Howard!!

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Sexy Spoon!

With all the carving done and the eyes inlayed, its time to make our spoon nice and sexy! A needle file gets into all the tight spots and cleans up any rough areas without leaving behind a bunch of sanding grit. This is important if I discover I need to go back to carve some more as I won't have to worry about sanding residue dulling my knife blades.

When I am absolutely certain that all the carving and filing is done, I break out the sandpaper to finish smooth areas such as the bowls. This is actually a difficult and time-consuming time in the whole spoon carving process as any scratches or bumps and lumps which get missed will show up like nobody's business when I apply the finishing oils. Thankfully, the Tour de France is raging on tv at the moment and I can take out my nervous energy doing a bit of sanding while the Schleck brothers hammer their opponents on the Alps.

And here he is!! The Left Coast Eisteddfod lovespoon is completed and is ready for the really exciting bit...the finishing finish!

I'm going to go with Deft brand clear Danish Oil as my oil finish and will give it 3 or 4 coats before following up with a nice application of beeswax polish.

Here we go! I use a cheap little pig-hair brush to really ladle out the first coat of oil. I want good coverage and for the spoon to really soak it up, so I'm not afraid to really splash it on. This is the time when any sanding errors will leap to the forefront, so I've got my fingers crossed that I found everything before now!

WOW! Get a load of this! This is what 150-plus-year-old walnut looks like when the finish treatment is applied! This spoon is going to be a stunner! Man, what I wouldn't give to get my hands on a few more pieces of this magnificent timber. Sadly, this is almost the last of my supply so there won't be too many more spoons like this! So if you want to see how this spoon looks fully 'dressed' in its new coat of oil, stay tuned for the next blog!



And please, if you enjoy quality craft, art, music and written word, please help support the Left Coast Eisteddfod with a donation today or buy your tickets to attend the events! Any and every amount is gratefully received and you can be there to participate in the drawing to win this spoon!

Eye, Eye, Captain!

I'm getting really close to finishing the dragon. I've only got the eye left to inlay and some touch up work on the head and neck and the spoon will be ready for a final 'once over'. To do an abalone inlay, I glue the piece in place with a dab of white glue and let it set for a couple of hours.

When the abalone dot feels good and firm, I run around the edge of it with a very fine razor knife to scribe the line I will use as my grounding boundary. When the scribing is done, I use a small chisel to pop the dot off the wood.

Next up is the grounding. In this phase of things, I level the surface for my dot to sit on and try to get it so that with the dot in place, a little less than a 1/16th of an inch of abalone remains proud of the surface. I do a careful dry fitting to make sure everything is in order before I commit to glueing it down. Nothing says disaster like having your abalone sticking up!

Although it gets a bit messy when the excess glue seeps out, I don't worry about it as long as everything still fits properly! While the glue is wet, I wipe off the excess so that life is a bit easier later when the glue hardens up. Having big lumps of hardened glue on the wood surface is hard on the tools and my patience.

When the glue has set, the dot gets filed down and softly domed to more resemble an eye. As I mentioned in an earlier post, abalone and mother of pearl both make very, very noxious dust when they are sanded and filed. If you are inclined to try your own abalone inlay at home, please wear a good dust mask or respirator and try to work outside where the dust stands a better chance of vacating your personal space!!

The dragon's head is now pretty much done and all that remains is to give him a good final sanding and touch up any little areas I'm not completely satisfied with. If you've slogged it through these months of blogs, then you won't want to miss the next installment when I start applying finish to the spoon and this beautiful piece of 150 year old walnut flashes into spectacular life! Ok, so it's not a nail-biting final round of American Idol or a scintillating episode of Big Brother, but I guarantee it will be exciting in its own peculiar way!!

And please remember, time is a tickin' on the August 21 kick-off of the Left Coast Eisteddfod...the reason for this spoon's existance. Get yourself to the Left Coast Eisteddfod in Portland, Oregon and get tickets to win it at the event!

Wooden spoons? What's with that?

Reprinted with permission from David Western's blog, all material © 2009, David Western --

The other day, while she examined some lovespoons I had on display, I overheard a young girl saying to her friend, "Wooden spoons? What's with that?" Sadly, the romance and the whole love message idea of them went right over her head. Even after I valiantly tried to explain the history and meaning of them in a snappy Coles Notes version, I could tell she really didn't get it. Although the rest of the day went much better than that and the majority of visitors to my booth were effusive in their appreciation of the lovespoon tradition, that little girl weighed heavily on my mind. I'm no luddite, but I find it a little bit sad when I encounter people who would rather an Ipod or a bog-standard diamond ring to a wooden gift which has been hand made and is loaded with subtle meaning. I even understand them. Day in and day out we are bombarded with ads and propaganda telling us what to buy and what is in fashion (and let's be honest, handmade wood stuff is not particularly fashionable)...the commercial gift industry is both slick and persuasive...and after all, who wouldn't want an Ipod?

But I'm going to use the spoon shown here today to show you why some 'dime a dozen' mass produced diamond ring which may even have blood on it can NEVER compete with the power of these delicate pieces of wood.

What really makes this spoon special is something that you can't see. Rather than putting together a series of symbols or meaningful images, this spoon was designed to capture a feeling. For the couple who commissioned it, the spoon is a remembrance of a single significant event in a lifetime of memories. For you and I, it is a nice walnut spoon with a cheerful yellow cedar inlay and some nice Celtic knotwork. For them, it is the memory of a long-ago walk on a wintery moonlit night when the promises of a life-long love were made.

The spoon begins with an obvious and easily understood symbol. The heart shaped bowl signifies the unity and strength of their love joined as one. Even to those of us unaware of the true meaning hidden in the spoon, the heart lets us know this spoon is about love. The little diamond above the bowl is another traditonal theme. It is a wish for prosperity, but it indicates the kind of prosperity which doesn't come with money alone. It symbolizes the richness of a full and happy life shared with someone who has won your heart and who has given their heart in return.

Celtic knotwork is a modern addition to the lovespoon vocabulary which is often used to symbolize eternal love. While that is completely relevant on this spoon, the knots here create a valley which the couple gazed down into on that distant night. The valley came to be a significant symbol of separation for the couple when they were parted, but as they are now reunited, so the valley walls are now linked by the knotwork.

The yellow cedar inlay moon is the most significant feature of the design. Inlayed into the centre of the walnut, it is visible behind walnut knotwork from both sides of the spoon. The moon itself is carved with an 'eternal' Celtic knot to symbolize the never-ending nature of their love; its brightness against the dark grain of the walnut a reminder of the brightness and promise of that night. As the light travels down into the valley, the walnut knotwork surrounds it and acts to symbolically carry the moon's light into that winter night.

Could an Ipod or a diamond bring the magic of that night and all the feelings and emotions it holds back to our couple like this wooden spoon has? I seriously doubt it and for that I am thankful that there is wood in the world and the tradition of working it this way.

"Wooden spoons? What's with that?" Sorry kid, you're missing out.

David Western's Lovespoon Blog: "Staying Inside the Vines"

Reprinted with permission from http://davidwestern.blogspot.com, © 2009 David Western, all rights reserved.

This week I'll climb down off the soapbox for a while and will get some carving done on the vine section of the Eisteddfod spoon.

I'm going to carve the back of this spoon quite extensively so that it is pretty much the equal of the front. I think that especially with vine and Celtic knot patterns, the look of the spoon is vastly improved when both sides are done. Now because there is an over and under pattern to the vine, I am going over it carefully with a pencil to mark out the pattern before I commit to the knife. It's REALLY easy to get things out of order on the back, especially since you have to think about what is happening on the front and then do the exact opposite. It's always a lot easier to erase a pencil line than to have to repair a errant cut, so the couple of minutes I spend with the graphite is time well spent!

With the lines marked and double-checked, I go at it with the straight knife and with the small chisel. My cuts are shallow at first but get progressively deeper once I know the pattern is all cut correctly.

With the over under pattern cut away and the sharp edges of the vines eased with some chamfer cuts, it is time to round the edges more vigourously. I use cloth backed abrasive paper for this job, BUT I never touch sandpaper to the project until I am fully confident that I won't need to do any more knife carving. All abrasive papers leave behind microscopic bits of abrasive grit which gets lodged in the wood being sanded. When the knife blade passes through this buried grit, its razor sharp edge is quickly dulled and ruined.

With the rounding completed, I use progressively finer grades of abrasive paper to take out any scratches and leave the surface almost finished. Because the cloth backed abrasive has been largely used across the wood's grain, often times lots of scratches will remain which have to be taken out for the piece to look attractive. Never use a coarser grade than 150 cloth backed abrasive on your project or you will be left with deep scratches that are murder to remove. With paper abrasives, follow the direction of the grain and work up to 220 grade for a nice silky, smooth finish.

The vines and back of the bowls are now nearly completed. I will do a final shaping and sanding immediately prior to finishing, but for now this will be good.

Speaking of being good...please be good by donating a couple of dollars to the Left Coast Eisteddfod and helping the idea of a fabulous Welsh cultural event become a reality. All donations, big or small are gratefully received and all enter you in the running to win this lovespoon when it is finished and presented on August 22 in Portland Oregon.

David Western's Lovespoon Blog

This week you'd have to be living under a rock not to have heard about the sensation caused by Scottish spinster and remarkable songstress Susan Boyle. Her magical turn in front of noted misery-guts and all-round sourpuss Simon Cowell has been the hit of the internet and the subject of world-wide water cooler chit chat.

As terrific as that was though, it's worth considering that at this very moment, the greatest tenor of all time could be tending a flock in the Bolivian highlands while the sweetest soprano to have ever sung a note could be spreading asphalt in Tibet. The next Picasso could be plowing a field in the Ukraine while a novelist of rare insight is building I.E.D's for the Taliban. How many millions of glorious musicians, artists and visionary thinkers has mankind lost over the centuries to anonymity, lack of opportunity or disinterest? That Susan Boyle existed out there with her beautiful voice going unnoticed is not in the least unusual...that millions of us were able to share in and enjoy her moment in the sun was.

So where in the hell am I going with this? As a carver and artist, I know that many times success is not so much a matter of talent and ingenuity as it is a matter of good fortune. In the case of Susan Boyle, the once-in-a-lifetime opportunity to appear on television in front of millions of strangers has been the difference between fame and obscurity. For the Bolivian shepherd and his ilk, there will likely be no such chance. Without the chance to perform for an audience, talent is never noticed, which finally brings me to the point of this rather long-winded preamble.

In August, the Left Coast Eisteddfod will make its inaugural appearance as a cultural event. Without support, events of this kind do not succeed and the opportunity to present a platform for talent both known and undiscovered is lost. Somewhere out there could be the next great author, poet, photographer, swashbuckling pirate, or leather-lunged Tom Jones...this is your opportunity to help find them!

I have donated the Left Coast Eisteddfod lovespoon as a way to help make donating to this worthy event a bit more enjoyable. For every dollar you donate, you get a chance to win the spoon when it is completed and presented at the Eisteddfod. As a Welshman working a traditional (and somewhat obscure) craft thousands of miles from 'home', I have enjoyed wonderful good fortune bringing my work to a larger audience. I hope that the small part I play in helping to raise funds for the Left Coast Eisteddfod will make it possible for others to display their talents too.

Finally, even if you can't donate financially at this time, consider supporting the Eisteddfod by mentioning it to people you know, by trying your hand at some of the online competitions and by attending the event on August 21 and 22 in Portland, Oregon.

Americymru Member, master carver David Western on Lee Valley Catalog

David Western is a master lovespoon carver in Vancouver, BC. He has generously offered to carve a custom lovespoon to be raffled off in support of the Left Coast Eisteddfod.

Two of David's beautiful spoons are on the cover of the January 2009 Lee Valley Catalog. Lee Valley is "a family-owned business that has been serving users of woodworking and gardening tools since 1978," is the largest catalog of home and garden items in David's native Canada and is avialable in the USA, also. David's Fine Art of Lovespoons is available in the catalog. David is very happy to be on their cover, he said that this was a goal of his and that he is, "very, very thrilled to be on there!"

To see the design of the spoon David is creating for the Left Coast Eisteddfod and follow his process as he creates it, go to his blog here. To enter for a chance to win David's spoon and support the Left Coast Eisteddfod click here.

Image © 2009 by Lee Valley Tools Ltd. and Veritas®Tools Inc. All rights reserved.

Guest Blogger - Bob Tinsley

Reproduced from David Western's Portland Eisteddfod Lovespoon Blog

Bob Tinsley is a reader of this blog who was inspired to try his own lovespoon and has graciously allowed us to post pictures of his work, below, and to be our guest blogger:

HOW I GOT HOOKED ON LOVESPOONS

Hi, I'm Bob Tinsley, and I'm honored to be David's guest blogger. I'm from Colorado Springs, CO, and I've been carving off and on, mostly off, for close to 40 years. However if you put all my carving time together in one string, it would probably amount to about two years of experience.

During the last four months I've gotten serious about carving, doing some carving every day, mostly small figures in the flat-plane style and a lot of Santa Claus Christmas ornaments.

I got into selling my Santas with a push from my wife. After I had about 10 pieces finished and painted (8 Santa ornaments of various types, one Santa Bear full figure about 6' tall and an Old World Santa I called "Watching the Weather" because he was looking up), my wife said, "What are you going to do with these? They're starting to clutter the place up." My wife is big on reducing clutter. :)

My daughter, on one of her jaunts through one of the more touristy parts of town, saw a store called "Handmade Santas & More". So I figured, what the heck. I wrapped the pieces in brown paper, put them in a box and headed for "Handmade Santas & More". The first time I went there, the owner was out. The lady at the counter said to come back tomorrow. I went there the next day, a different lady was there, but she wasn't the owner either. Third time's the charm. The next time I went there the owner was in. She looked at my work and bought all of them on the spot. This was about mid-November. By mid-December she had sold all of them and wanted me to do a commission for a gift to a man who played Santa for a charitable organization, which I did over the next weekend. She wanted a fat, jolly Santa, so I did a fat, jolly, dancing Santa.

She liked that one as well and put in an order for next year. She said just start bringing them in around the end of March and keep them coming.

I first ran across David in the pages of Woodcarving Illustrated (WCI). I liked his enthusiasm, and checked out his website. I was floored by the intricacy and delicacy of his art. I wanted to do that, so I copied the pattern in WCI, bought a couple of 1 x 3 x 12 poplar boards, ordered his book from Amazon [Fine Art of Carving Lovespoons]and got started.

I received David's book when I was about halfway through carving my first spoon. It was like getting an early Christmas present! The book is laid out in a supremely logical manner. Without asking David about this, I can be pretty sure that this book wasn't intended to be just about how to carve a lovespoon (though that information is there). David apparently wanted a book that would introduce new people to the art and romance of lovespoon carving. In this he succeeded. Beginning with the history and lore illustrated by examples of lovespoons done by him and several other artists, the book covers the materials and tools, step-by-step instructions for three patterns, then finally patterns and something that is sorely needed in all carving books but seldom included: a chapter on doing your own designs. This, in my view, elevates Fine Art of Carving Lovespoons above 99% of the carving books on the market. And I have to say that the photography is outstanding.

My tools consist of two Pinewood Forge knives, a small sloyd and a hook knife, a coping saw, a small Japanese hand saw and a battery-powered drill. I roughed out the profile with the Japanese saw and finished it with the sloyd. Surprisingly it didn't take nearly as long as I thought. Poplar is pretty easy to carve with a SHARP knife. I emphasize the word "sharp" because, even though I can put a shaving-sharp edge on a pocket knife, until I got my first Pinewood Forge knife, I didn't realize that pocketknife sharp and carving knife sharp are two different things.

I drilled holes in the pierced areas, not just one as David shows, but as many as I could fit in. I was going to have to do the piercings by hand, so I wanted to remove as much wood as I could with the drill. I started to clean out the piercings with the knife, but realized that it would be easier if the handle weren't so thick.

I took out my handy-dandy two-sided Japanese hand saw and ripped a half-inch off the thickness of the handle. Once I had done that, I could start rounding off the bottom of the spoon's bowl. I decided to do that before I tackled the piercings again, because it looked, and was, easier.

Once that was done, I started back on the piercings. The larger ones I did only with my knife. Some of the smaller ones I did with the coping saw, but discovered that clamping and unclamping that blade after taking only five or six strokes was a major pain. So I continued with the knife.

I found that getting a clean corner where two curves came together, such as at the bottom of the heart cut-out, was not easy. Cutting down into the corner was almost always against the grain, so I had to develop a technique to get the point of my sloyd into the corner and cut up out of it (with the grain) a little at a time until I had cut all the way from the front of the handle to the back. It took a while to get the joint as clean as I wanted it.

Once I had the cut-outs finished, but before starting the rounding, I used the hook knife to hollow out the bowl. I thought that the ridge going down into the bowl from the top was going to be difficult, but it wasn't. I also didn't have much trouble with the grain at the bottom of the bowl. I don't know whether this was because of the wood or the sharpness of my hook knife. I suspect it was the wood.

I began the rounding process on the handle and quickly discovered where the grain changed direction. A very light touch with a very sharp knife was the key to making these areas smooth.

I like tool marks on my carvings, so I didn't sand at all. Any place I thought was too rough, I smoothed out with numerous shallow cuts with my knife. I did use a cabinet scraper on the inside of the bowl.

I finished the spoon with a hot application of neutral shoe polish applied with a toothbrush to get in all the nooks and crannies. I wiped off the excess with a rag, then buffed with a soft brush.

I enjoyed the process as well as the result. It's really not as hard as it looks. I've already started my second spoon, so I guess you could say I'm hooked!

Thanks, David, for the opportunity to do this.

Details, details - and tools

Reproduced from David Western's Portland Eisteddfod Lovespoon Blog

Now that the spoon bowls are nicely shaped, I am going to move on to the vines. These need to work over and under each other, but don't need the formality and regularity of Celtic knotwork. The idea is that they appear organic and natural, so I will round them over much more than a Celtic knot and try to get a more 'random' feel to their movement up the spoon handle.

To achieve this look, I begin by gently ramping down the wood on either side of an 'over', thus creating the 'under'. I don't take too much off initially; I just take enough so that I can see the over under pattern clearly. By taking a shallow cut, I can rectify mistakes in the 'over/undering' or can change the pattern if I prefer a different order. If I commit to a deep cut and make an error, I can easily find myself in hot water. I use a simple straight knife for this process. The straight knives I use tend to have very short and pointy blades. These give me access to tight areas and keep me from getting carried away and cutting too much material at a pass. I am a great believer in taking multiple shallow cuts rather than getting all excited and pulling off great heaving strips with big deep passes. Its easier on the hands, the spoon and the state of my mental health to take my time and not push things. When the over and unders are completed, I round over the edges quite heavily with the knife and with some small files. With the rounding over looking good, I finish the vines with some cloth backed abrasive paper which I tear into thin 6 inch strips and draw back and forth over the edges for a final rounding.

In response to questions I have received about the knives I use, I have included this slightly blurry shot of my straight knife collection. These knives are the ones I use for all my spoon carving. They are all inexpensive tools but they are the workhorses of my art. As long as the steel is of good quality and will hold a sharp edge, any one of these little knives is capable of helping me to carve a beautiful spoon. Nothing fancier or more technical is necessary!

I began my spoon carving career with the chip carving knife at the bottom of the photo. This economical knife will do everything a beginning carver requires and it won't break the bank when you visit the tool dealer!The pointy Flex Cut brand knife above it was my second knife and has an ergonomically designed handle which makes long carving sessions a much more comfortable proposition. The skew bladed Japanese knife second from top is one that I use for getting into tight corners and for shaping edges. Its a lovely knife, but its skew shape has taken some getting used to and it might not be a good knife for a beginner.

But it is the top knife which currently has my heart! A Flex Cut brand knife endearingly known as a 'pelican', it is an absolutely sweet little knife. With a tiny blade and comfy handle, pelican and I spend many hours together and I would recommend this style of knife above all others for serious lovespoon carving.