Paterae (circular ornaments) are apopular form of decoration with amultitude of uses. They stem from

classical architecture and were later usedto decorate furniture. Paterae can be usedas decorations set into the tops of table orchair legs, or into the frieze of a fireplace,for example. A patera can be used to dec-orate the lid of a turned bowl or evencarved as a small gift.

I chose Walnut for the paterae I’vemade for the lead pic (Photo.1), but anycarving timber will do.

If you Google ‘Architectural Patera (orPaterae)’, you will find a wide selection ofshapes, sizes and designs. Once you havemastered the pattern in this issue, you canhave a go at others or design your own.

This project will put your skill in theSignificant Six Techniques to the test.These techniqueswere covered inAWW #170 August2013 in the firstarticle in this series.Each of the tech-niques can beviewed online bysearching ‘RecordPower SignificantSix Techniqueswith Mike Davies’,or by scanning in the QR code on yoursmart phone.

The tools used come from the tool setI’ve used throughout this series of articles(Fig.1).

PreparationCut out a carving blank that is 65mm

in diameter and 15mm thick. I would sug-gest cutting four or five blanks so that youhave a few in reserve if you make a mis-take (Photo.2).

You will need to secure the timberblank to a board which can be clamped tothe work surface while you carve.

Ensure that the bottom face of the carv-ing blank is clean and perfectly flat. Keythe surface by scoring it with a markingknife to create a shallow chequered pat-tern. Lightly rub a candle over the surfaceto apply a thin layer of wax before gluingand cramping the blank to a board.

NUMBERSPt.9 — Pateraby Mike Davies

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Fig.1: Tool profiles used in this seriesPhoto.1: Six Walnut paterae in differingdegrees of completion

Significant Six QR Code

Photo.2: Cutting a circular blank on ascrollsaw

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The score marks allow the glue to forma strong bond while the wax provides abarrier between the two surfaces,enabling you to release the carving easilyon completion (Photo.3).

You can use any sort of woodworkingglue. PVA is ideal, but if you wish to startworking on your carving immediately,you could use a quick set glue.

When the adhesive has cured, theblank should be secured enough to allowyou to carve. On completion of the carv-ing, the blank can be removed by workingthe blade of a thin pallet knife underneaththe carving, concentrating on freeing the

outer edges before moving to the centre.After a little persuasion, the carvingshould lift quite easily, leaving a cleansurface to use as the base of the carving.

It is possible to use paper instead of thewax. However, this may result in a weak-er joint and the back may require morecleaning up. If you do choose to usepaper, apply glue to both sides beforeplacing it between the carving blank andthe board.

For this project it will be important toensure that the grain of the blank is hori-zontal when the board is fitted to thebench.

CarvingUse chisel #12 to start to shape the

blank, leaving the edge square andapproximately 4mm deep (Photo.4).

Form the dome with tool #6, holdingit in the Fist position and using the tappingtechnique (Photo.5).

This project is perfect for helping youto understand the cutting directionsrequired when working with timber andto practise holding the carving tool in theleft hand to carve to the left of the benchand vice-versa for the right (Significant SixTechniques).

Remove any imperfections in thedome shape with sandpaper.

As an alternative to carving the blankto this stage, you may wish to use a lathefor the initial shaping, if you have accessto one.

Use tool #4 to set in a circle in the cen-tre of the dome. Use the profile of thecarving tool to shape the circle, whichshould be approx. 13-15mm in diameter.

With tool #12, carve away the sur-rounding timber from around the centralcircle to form a dish shape approx. 25millimetres in diameter. Carve down to adepth of roughly 6mm.

Leave the inner circle untouched atthis stage. Ensure that the sides are verti-cal and that the circle’s perimeter doesnot become smaller as you carve deeper.

To form the petals, mark 8 divisionsaround the circumference of the flowerwith dividers and draw straight linesthrough the centre of the disc to link eachof the marks (Photo.6).

Divide each section equally. This willgive you 16 evenly spaced divisions, 8 ofwhich are linked by lines (Photo.6).

Round over the centre button withtool #4. You may need to deepen the dishshape a little deeper with tool #12. Try thetapping technique and remember to usethe right-hand to carve to the right hand ofthe bench and vice versa for the left(Photo.7).

Drill a series of 2mm dia. holes to formthe eyelets of the flower. Try running thedrill in reverse to prevent the drill bit tear-ing out any timber on the surface.

Alternatively, try filing the end of a nailto form a smooth dome. When used in thedrill as a ‘drill bit’, the resulting hole willbe polished and have a smooth base.

Each hole should be located on your longdividing lines exactly 15mm from thecentre (Photo.7).

Form the petals using tool #12 by set-ting in shallow cuts, linking the shortmarks to the longer lines.

In Photo.8 you can see how tool #12has been used to remove small sections of

Photo.3: Gluing the blank to a boardafter scoring the back and applyingsome candle wax

Photo.5: Refining the dome with tool #6

Photo.8: Forming the petals

Photo.6: Carving the central dish shapeand marking the eight divisions for thepetals

Photo.7: Rounding over the centre buttonand outlining the petals

Photo.4: Thinning the edges withtool #12

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timber from either side of the pencil lineswhich mark out each petal. Note how ahigh central ridge has been formed inbetween each petal, and how the cuts areclean as they define each of the petalshapes.

Extend the drill holes into teardropshapes with tool #1. Point the teardropsdown towards the petals using a punch todefine the shape further.

To make a shaped punch, simply gath-er a collection of nails or metal bar andfile the required shapes into the end.These are especially helpful for occasionswhen you are unable to remove finesplinters of wood from tiny crevices. Thepunch is used to define the shape, com-press the splinters and form a clean areawith a flat base (Photo.9).

Cut a shallow dividing line down themiddle of each petal using tool #1. Makesure this line radiates accurately from thecentre of the flower (Photo.9).

Use tool #12 to cut from the perimeterof each petal down towards the centreline, forming a V-shape with roundedsides. As you work, gradually deepen thecentre cuts with tool #1 (Photo.10).

Use tool #4 to shape the tips of thesmall petals, which are located betweenthe larger ones. Trim the outside edge ofeach small petal, from the central ridgedown towards the larger petals in an arc

shape on both sides, creat-ing a pointed tip. Completethis shaping process with anumber of small cuts toavoid splitting the largerpetals (Photo.11).

With tool #5, round theshoulders over the eyelets,down towards the centre cutlines on the larger petals.Continue to deepen the cen-tral line on each petal withcontrolled cuts. Try toachieve a consistent depthfor each petal (Photo.12).

Use a palette knife togently slide underneath thecompleted flower, freeingthe edges first (Photo.13).

After releasing theflower, scrape the base with a flat chiselto remove any remaining traces of glue orwax.

Remove any tiny splinters of timberfrom the back of carving using tool #1.This process is referred to as ‘backing off’.

Certain relief carvings and in particularthree-dimensional carvings, often requireall surplus timber to be removed. Thisprocess is carried out by placing the carv-ing upside down on an old cushion orsimilar material so as not to damage thesurface details.

Hold the carving securely with onehand and using carving tool #1, carefullyremove any surplus timber that was notpreviously accessible. Remember toalways cut away from the hand holdingthe carving, and only remove tiny sliversof timber at a time with a minimum offorce. If done incorrectly (ie. workingtowards the hand or using force), thisprocess can be hazardous, so make surethat you are in control of the carving toolat all times.

The general idea is to remove excesstimber without making the carving tooweak. In Photo.14 you can see how onlythe very tips of the carving have beenreduced to a fine point. The bulk of theremaining timber is out of sight and doesnot require removal.

Your first patera is now complete.For more information on the Record

Power Carving Tool Set, scan in the QR

Photo.10: Forming the V-shape in eachlarge petal

Photo.12: Refining the surrounds to theeyelets

Photo.13: Removing the patera from thebacking board

Photo.14: Reducing the back of the tips toa fine point with chisel #1

Photo.9: Using a home made punch to refine the teardrop shapeat the base of each petal

Photo.11: Shaping the tips of the small petals

48 Australian Woodworker January/February ’15

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code, or view the promotional video online by typing “Record Power Carving byNumbers” into your internet searchengine.

The Record Power 12 piece CarvingTool Set with bonus WoodcarvingFoundation Skills DVD and booklet (RRP$132.00) is available from The AustralianMail Order Bookshop, pp.82-90, Ph: 02 4759 2844 and from Record Powerstockists.

Photo.15: The completed patera

QR Code CarvingPromo YouTube

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