art coaching

simon o'rourke standing next to 2022 sandringham cup winner, 'Ascension'. She is a 9' tall ethereal female form, thinly veiled and looking upwards, ascending yet held back slightly by her veil. There is lots of sawdust and a gazebo in the background as she is freshly carved. Simon is holding his prize cup

2022 Sandringham Cup Winner

2022 Sandringham Cup Winner 600 600 Simon O'Rourke

The May bank holiday weekend marked a return to competitive carving for Simon after a four-year break. And he didn’t just compete! His sculpture ‘Ascension’ was spectacular and he earned the title of 2022 Sandringham Cup winner.

 

Simon O'Rourke being crowned the 2022 Sandringham cup winner. Her stands in the middle of a scaffold platform holding his cup. Two men (second and third) stand either side of him.

Simon receiving the 2022 Sandringham cup winner’s cup.

 

Sandringham Cup

Before talking about the sculpture that made Simon the 2022 Sandringham Cup winner, what is the Sandringham cup?!

The competition is part of The Sandringham Food, Craft & Wood Festival. This year 15 chainsaw carvers from around the UK took part, and each had three days to produce a carving of a design of their choosing. Logs were chosen via a draw, and competitors had the weekend to create their sculptures.

Judging then took place on the final day, with the top placing sculptures going up for auction.

The competition is organised by Mark Earp of Hebsta Chainsaw Art, who did a fantastic job once again in getting it all up and running and keeping the carvers organised!

 

A large piece of timber stands in front of a gazebo in a field. It's the set up for the 2022 sandringham cup, a chainsaw carving event and the timber is that chosen by 2022 sandringham cup winner, simon o'rourke

The timber chosen by Simon for his 2022 Sandringham Cup sculpture.

 

Choosing a Subject for the 2022 Sandringham Cup

Simon chose a piece of Corsican Pine for his sculpture in the draw. That was the timber sorted, but how did he choose his subject?

One of the things he likes about the Sandringham Cup is that carvers are free to create anything they want. Large scale human form sculptures are one of Simon’s favourite things to carve, so that was a natural starting point.

Prior to the event, he’d been experimenting with ‘wind blow’ sculptures, but on a much smaller scale. He wanted to create something similar on a larger scale to challenge himself – and carving drapery and creating a figure under cloth is definitely a big challenge!

And for those curious about the scale, ‘Ascension’ is about 9′ tall!

 

a photo of the 2022 sandringham cup winner in front of the gazebo with lots of sawdust surrounding her. she is a windblown, veiled female carved in corsican pine by simon o'rourke and stands around 9' tall

Understanding ‘Ascension’ (2022 Sandringham Cup Winner)

After just over two day’s carving, Simon finished his piece ‘Ascension’. The ethereal, veiled figure captivated people as soon as she was revealed on social media. And it’s unsurprising given she’s not only beautiful but intriguing…

There is no figure inside the cloth, just the impression. This is a reflection of how temporal we are as humans.

The figure is ascending, but the veil has a slightly restrictive feel. This indicates the things we clothe ourselves in; the masks we wear, and the impression we give others. That other people only see an impression of who we are, with the person inside remaining hidden, known only by themself.
Simon O'Rourke's sculpture 'Ascension' stands in front of a gazebo in a field with LOTS of sawdust around. She is freshly carved into corsican pine and stands around 9' tall.

Simon set himself the challenge of creating a windswept shrouded female sculpture on a large scale in the 2022 Sandringham Cup

Tips for Other Carvers

Of course, followers of Simon’s work will recognise this style of ‘shrouding’ and mystery from another large scale work, The Marbury Lady. He’s known to excel at creating drapery and movement through his sculptures too, as seen in other works like The Angel at the Pool of Bethesda, The Narnia Treehouse Fairy, The Oak Maiden, and these English Open Chainsaw Competition entries from 2019.

So with this being something of a trademark, what tips can other carvers pick up for creating their own sculptures?

In Simon’s words:

Making wood look like flowing cloth is always a challenge, you have to really feel what the cloth would be doing when the force of a wind pushes it against a form. The other major challenge is creating the detail of the face as if it’s behind a veil. Think about the form underneath, and carve the shape with an extra layer on it, then start working into it revealing the shape underneath.

Final thoughts on the 2022 Sandringham Cup

Obviously being the 2022 Sandringham Cup winner was a bit of a highlight of the weekend.

For Simon though, chainsaw carving events are about more than the competition. It was an opportunity to challenge himself, and to create something he wanted to create rather than a specific commission. The chainsaw carving community is a fun one, so Simon also enjoys being able to connect with friends and make new ones within the community. And, as this event was the one that Simon describes as ‘kickstarting his career’, there’s a touch of nostalgia too.

If you’re a chainsaw carver unsure about competing or joining events, there are massive benefits to the community and experience, so definitely go for it and enter!

 

a group photo of 15 people sitting in a field weating matching sage green t shirts. they are the 2022 sandringham cup chainsaw carving competitors

The 2022 Sandringham Cup competitors.

 

Where is ‘Ascension’ Now?

Although there was an auction for the top pieces (shout out to other winners Mike Jones, Jake Swanson and Matt Crabb), Simon’s reserve wasn’t met. This meant he got to take Ascension home with him, and enjoy her for himself.

At the moment The Leader reports that he’s happy to have Ascension for now and it’s nice to have her ‘home’. However, if you are interested in owning Ascension, Simon is potentially open to selling her. You can email him on [email protected] if you’re interested.

 

simon o'rourke standing next to 2022 sandringham cup winner, 'Ascension'. She is a 9' tall ethereal female form, thinly veiled and looking upwards, ascending yet held back slightly by her veil. There is lots of sawdust and a gazebo in the background as she is freshly carved. Simon is holding his prize cup

Simon with his 2022 Sandringham Cup winner, Ascension

And Finally…

Lastly, thanks to Stihl and Titan Chainsaw Carving for their support of Simon in the 2022 Sandringham Cup.

And if you would like to own your own chainsaw carving sculpture by Simon, please contact him via www.treecarving.co.uk/contact.

Using the Stihl MSA 200

Using the Stihl MSA 200 600 600 Simon O'Rourke

Happy New Year!
We’re kicking off 2022 with some tool talk! People often ask about the tools Simon uses, so this week we’re going to share a little more about one of his recommended chainsaws. Keep reading to find out more about using the Stihl MSA 200.

Stihl MSA 200 chainsaw with a plain white background. Part of a blog by Simon O'Rourke about using the Stihl MSA 200 chainsaw.

Stihl MSA 200 (photo from their website)

 

About the Stihl MSA 200

Simon has become a big fan of the Stihl battery chainsaws, and the MSA 200 is one of his most frequently used saws. It’s a cordless/battery-powered saw,  quite small and lightweight (relative to chainsaws!). Its size allows Simon to get close to his pieces which is a bonus for detailing. It’s also a quiet saw – quiet enough that you don’t NEED ear defenders. That said, Simon often still chooses to wear them as it’s more comfortable. Stihl also makes battery backpacks that enable you to carve for longer without changing the battery – very handy!

 

Simon O'rourke using a Stihl MSA 200 chainsaw to create detail in a wood sculpture of Ken Dodd.

Detailing Ken Dodd’s face with the MSA 200

Using the Stihl MSA 200

So, how does Simon use the MSA 200? He mostly uses it as a detail saw. He finds it’s a lovely saw for roughing out precise details in faces or the movement in clothing, fur or anatomy in particular.  One example of this is the drapery on the sculpture below that he’s working on at the moment. He used the MSA 200 to create lines that gave the basic movement – almost like a sketch. That gave movement to the fabric and enhanced the sense of the fabric being pulled in in response to the person stretching.

 

A sculpture in progress in Simon O'Rourke's workshop. Surrounded by chainsaw carving paraphernalia.

 

More About Using the Stihl MSA 2oo

Of course, a chainsaw is nothing without a chainsaw bar! At the moment Simon has his MSA 200 paired with a Canon 8″ .043 gauge carving bar (find out more about Simon’s tips for carving bar maintenance HERE if you’re interested). With the two paired together he finds he can trust his tools and doesn’t have to think about them. Rather, he can focus entirely on the sculpture, which is what every artist wants.
And for those who are interested, Stihl releases a new battery saw later this year; the MSA 300. Unsurprisingly, Simon can’t wait to try it!

 

chainsaw carver simon o'rourke using the stihl MSA 200 chainsaw and battery backpack to carve a series of owls into a tree trunk

Using the MSA 200 with the battery backpack

 

Where to Buy His Recommended Tools?

If you’re looking to buy any of the tools Simon recommends, his Stihl products are from www.stihl.co.uk. He buys his chainsaw bars from www.chainsawbars.co.uk, a company we have talked more about in a previous blog (click HERE to read it). They have a great product range, excellent customer service, quick delivery, and keep their website up to date so if something is out of stock, it will show.

And for those who would like to see Simon using the MSA 2oo, check out the video below. You can see Simon in action, and he adds more detail to the things we’ve shared in this blog.

 

 

If you would like to have Simon use his trusty Stihl MSA 200 to create a sculpture for you (!) please fill out the form at www.treecarving.co.uk/contact/.

 

 

ink and bleach illustration of a border collie face by simon o'rourke

Illustrators that Influence his Work

Illustrators that Influence his Work 418 600 Simon O'Rourke
Have you read Simon’s biography? If you have, you’ll know that before Simon tried chainsaw carving, he did a degree in illustration. He had planned on becoming a freelance illustrator of children’s books and went to work with a local tree surgeon and carpenter while he built his portfolio. While working there, he tried chainsaw carving, and in 2010 became a full-time chainsaw artist. Illustration is still something he is passionate about though, and his training as an illustrator influences and impacts his work as a sculptor. In the past, we have talked about sculptors that influenced him. Today we’re going to look at six of the illustrators that influence his work.
an ink and bleach picture of a cat by simon o'rourke. it mimics the blotchy style of ralph steadman, one of the six main illustrators that influence his work

An ink and bleach painting by Simon, reflecting the ‘blotchy’ style of Ralph Steadman

Influential Illustrators: Victor Ambrus

Victor Ambrus was a Hungarian-born artist known for illustrating history, folk tales, and animal storybooks. In Simon’s words: “I love the inky tones and the textures he was able to achieve. In particular, the book Blackbeard had me studying every picture for ages – there was so much detail!”

a selection of illustrations from the blackbeard books showing seven pirates and a rope ladder.

Ambrus’ Blackbeard illustrations fascinated Simon!

Influential Illustrators: Albert Uderzo

We’ve mentioned before that Albert Uderzo was an illustrator Simon loved. And not just the illustrations! As a child, Simon enjoyed reading Asterix books and escaping to the world of Uderzo’s famous viking. Later, as an artist, he explains that “[Uderzo’s] ability to create so much character from a few strokes was amazing, and I’ll always love the Astérix books.”

 

Asterix and Obelisk, characters by illustrator Albert Uderzo. It appears in Simon O'Rourke's blog as Uderzo is one of the illustrators that have influenced his work

Asterix and Obelisk from the Uderzo books that have influenced Simon.

Influential Illustrators: Arthur Rackham

Our third illustrator that has influenced Simon is Arthur Rackham. Simon says that “[he] will always be a firm favourite, timeless fantasy characters and beautiful silhouette work.”

Arthur Rackham is probably one of the lesser-known names in Simon’s list of illustrators that influence his work. He was an English book illustrator and is recognised as one of the leading figures during the Golden Age of British book illustration. He’s known for his robust pen and ink drawings, which he combined with the use of watercolour.

Rackham’s 51 colour pieces for the early American tale Rip Van Winkle were actually a turning point in the production of books since as it featured the accurate reproduction of colour artwork. His best-known works also include the illustrations for Peter Pan in Kensington Gardens, and Fairy Tales of the Brothers Grimm.

 

An illustration from Peter pan of leaves blowing and a fairy being caught in the wind

An example of Arthur Rackham’s work in Peter Pan

Influential Illustrators: Hergé

Another illustration we have mentioned before as being an influence on Simon, is Herge, the creator of Tin Tin. Simon always admired his clean lines,  although he could never emulate them! As Simon says, “I’ve always been more at home with a sketchy style.”!
This ‘sketchy style’ is carried over into his sculpting which he describes as being more impressionist in style and uses rustic rather than refined textures.
a picture of the character tin tin with his dog. It appears in Simon's blog as Herge is one of the illustrators that have influenced his work

Tin Tin was another childhood favourite of Simon’s that he later came to appreciate as an artist too.

Influential Illustrators: Joseph Wright

And speaking of having a ‘sketchy style’…

What-A-Mess (the dog created by Joseph Wright) has a place in the hearts of many who grew up reading about the loveable, accident-prone Afghan hound. And, as well as liking the character, his creator, Joseph Wright is an illustrator who has influenced Simon:
“The what-a-mess books always fascinated me with the extra characters in the drawings that had their own narrative going on independent of the story.”

Have you ever noticed the background characters in a graphic story?

Cover of a kids book showing a cartoon dog trotting through a garden

The background characters in What-A-Mess with their own narrative fascinate Simon.

Influential Illustrators: Ralph Steadman

The last of the illustrators in Simon’s list of illustrators that influence his work is a bit of a departure from the others: Ralph Steadman.
Steadman isn’t known for his work on children’s books. Rather, he is known for his political and social caricatures, cartoons and picture books, and his partnership with American writer, Hunter S Thompson.
In Simon’s words: “The blotchy splashes of Ralph Steadman are brilliant too. I do try to emulate that with my ink and bleach drawings.”
Breaking Bad's Walter White as illustrated by Ralph Steadman.

Breaking Bad’s Walter White, as drawn by Ralph Steadman.

 

ink and bleach illustration of a border collie face by simon o'rourke

One of Simon’s ink and bleach paintings reminiscent of the blotchy style of Steadman

An Exciting Illustration Project

The timing of this blog about illustrators that have influenced Simon fits nicely with an upcoming project. In our blog about the Picton sculpture trail, we shared that the clients, Simon and his wife Liz shared a dream to publish a book about Fudge, the trail’s canine protagonist. And it’s happening!

Liz authored the sculpture trail story, and has written the book about the adventures of Matt and Rachel’s  Dachshund,  Fudge. Simon is the illustrator, using some of his original sketches for the Lower Farm sculpture trail as the basis for the book.

The book will be released later this year (fingers crossed!) and will help raise funds for Alder Hey Children’s Charity and Dementia UK.  Watch this space for details!

 

wooden sculpture of Fudge the daschund, protagonist of the Lower Farm Sculpture Trail

Fudge the Dachshund, the protagonist of the Lower Farm Sculpture Trail

Who are your Influences?

Who are the people who have influenced you in your field? Drop a comment and let us know!

And, (although it’s a very different topic to the blog!) if you would like to commission a sculpture, contact Simon using the form at www.treecarving.co.uk/contact/.

Simon O'Rourke sculpting with a chainsaw and a strong light to his side.

The Importance of Lighting for Chainsaw Carving Sculpture.

The Importance of Lighting for Chainsaw Carving Sculpture. 1067 600 Simon O'Rourke

This week’s blog has something for both carver and client. Whether creating or viewing work can be transformed completely by light. With that in mind, Simon shares some thoughts on the importance of lighting for chainsaw carving sculpture.

 

Photo at night of an uplit batman sculpture on a rooftop showing the importance of lighting for chainsaw carving sculpture

The uplighting on this batman completely transforms his appearance

 

Light and Dark Art

Before we talk about the importance of lighting for chainsaw carving sculpture, let’s look at lighting and art in general.

Light is something that is important in different ways for all mediums. One art history legend says Rodin invited one reporter to meet him at midnight to view his sculpture, as the correct way to view it was by candlelight! It’s even become its own art form: luminism.

However, in general, light can

  • add depth
  • create a 3d feel
  • create shadow  – this is crucial for chainsaw carving as details like eyes are created through use of shadow rather than colour
  • highlight texture

So what does this mean for chainsaw carving?

 

Simon O'Rourke sculpting with a chainsaw and a strong light to his side.

Simon at work in the workshop with a strong light to the side of his workspace

 

The Importance of Lighting for Chainsaw Carving Sculpture: For Carvers

In the video below (also available on his YouTube Channel), Simon demonstrates how light completely transforms a sculpture. It also gives you a sneak peek of his current work in progress! He uses the LED light from his Milwaukee die grinder and moves it across the face. In doing so, her features and even the shape of her face appear completely different.

Importantly, you’ll notice that direct light completely wipes out her features!

This means that if you carve with light directly on the sculpture, you may not get the result you want. Simon often uses a work light that he moves around, especially when working on faces. This ensures features have the correct depth, proportions and symmetry. Moving the light will help highlight any errors in details that you may not spot until they’re in different lighting too.

It’s also worth thinking about moving a directional light for your product photography too. Simon advises against using a direct flash as it will wipe out the details. Instead, why not play with lighting from an angle and see which shows your sculpture at its best?

 


 Simon O’Rourke talks about the importance of lighting for chainsaw carving sculpture.

The Importance of Lighting for Chainsaw Carving Sculpture: For Clients

The impact of lighting on a chainsaw carving sculpture has implications for clients too. It’s worth thinking about how you want to light the sculpture and playing around with a portable light before committing to buying anything. How does your sculpture look at different times of the day? If you want to see it at night, does uplighting from the side work best, or something next to the sculpture? What features do you want to highlight?

This doesn’t just apply to an outside sculpture either. Play around with a desk lamp or even the torch on your mobile phone and watch the features change!

 

an small wooden fairy carved from wood. the fairy is uplit which makes her features more obvious showing the importance of lighting for chainsaw carving sculpture

The client uplit this oak fairy so she seems radiant and her features can still be seen at night

Share Your Photos!

If you’re a chainsaw carver (or any artist) why not try moving a light around and see how it affects your work? And clients, why not show us some of your photos showing your sculptures lit from different angles?

And, as always, if you’re interested in your own sculpture or have questions about chainsaw carving that you would like answered in his ‘tips and tricks’ blogs, contact Simon using the form at www.treecarving.co.uk/contact/

stihl chainsaw with standard bar in front of a fallen tree carved into a dragon by simon o'rourke

Carving Bar Maintenance for Chainsaw Carvers

Carving Bar Maintenance for Chainsaw Carvers 600 600 Simon O'Rourke

Simon is going to be making a series of videos and blogs to share maintenance tips with other chainsaw carvers. We kick that series off this week with this blog about carving bar maintenance for chainsaw carvers…

chainsaw artist simon o'rourke holds a large chainsaw and licks the blade

Thankfully this isn’t a recommended way of cleaning your chainsaw!

What Is a Chainsaw Bar?

For readers who aren’t regular chainsaw users, the bar has the vital job of guiding the chain – the part that does the cutting! Bars come in different lengths, and there are a few different types serving different purposes. For example, a standard bar with a fixed nose sprocket is good for light gardening. Carving bars are special Stellite bars with a smaller nose radius that minimises the possibility of kickback. Maintaining the bar well preserves the life span of not just the bar, but also the chain. It is also a good health and safety practice, as well maintained equipment equals less opportunity for accidents.

 

chainsaw artist simon o'rourke using a small stihl chainsaw to carve a sculpture of a woman

Simon uses one of his signature bars from Tsumura at a live carving event

Carving Bar Maintenance for Chainsaw Carvers Tip One: Filing

The first tip involves the bar rails. The bar rails enclose the groove along the edge of the guide bar, and that groove is the channel the chain runs along. With time and use, those bar rails can crack, chip, or become sloped. This can particularly happen if the chain is too slack and ‘clacks’ against it.
If the bar is no longer flat, it causes the tie strap on the chain to wear out. This in turn compresses the metal and causes what fellow chainsaw carver Mick Burns calls ‘stiff-slack’ syndrome. The result of this is a snapped chain!
So not only does good carving bar maintenance preserve the life of the bar, it preserves the life of the chain too.

The solution to this is maintaining its shape.

Check the bar each time you use it, and if you notice signs of wear and tear or a shape change, file it flat again. A vice may help you hold it in place while you file, and ensure you keep them parallel. Simon uses a diamond file from ChainsawBars.co.uk who sell a range of bar maintenance tools. They also have a fantastic selection of chainsaw bars and a loyalty scheme. They’re definitely one of Simon’s recommended resources!

 

A diamond file on a wooden table. Tool recommended by simon o'rourke as part of his carving bar maintenance for chainsaw carvers tips

Simon recommends using something similar to this Diamond Dressing knife from ChainsawBars.Co.UK to file carving bars flat

 

Carving Bar Maintenance for Chainsaw Carvers Tip Two: Cleaning

The second tip for effective carving bar maintenance is to make sure you clean it well.
This means regularly cleaning all dirt and debris from the bar and the bar groove. If you have bar groove cleaner and compressed air, this will give you the best results. There are also tools available, although you can still do a good job with a simple rag.
This is important because if a bar isn’t clean, it won’t oil well, and oil is key to cooling it down. In turn, a cool bar is key in the bar keeping its shape.
As with filing, ChainsawBars have a range of products for cleaning, and also have a series of videos with maintenance tutorials. You can find the video about cleaning bars HERE.

close up of a dirty chainsaw bar. cleaning the bar every use is one of simon o'rourke's tips for carving bar maintenance for chainsaw carvers.

 

Carving Bar Maintenance for Chainsaw Carvers Tip Three: Appropriate Use

Simon’s final tip for carving bar maintenance is a preventative one. Use it for its correct purpose!
As was mentioned in the description of chainsaw bars, carving bars are designed for the purpose of creating detail or improving performance in high-precision jobs. If they are used for big cuts and massive pieces of timber, they will soon pick up cracks and lose their shape. If you are making big cuts, Simon suggests it’s best to stick to a standard bar.
And if you are starting out and don’t want to invest in lots of equipment, don’t worry. In our blog about “Basic Kit for Starting Chainsaw Carving“, Simon recommends starting with a standard bar anyway!

stihl chainsaw with standard bar in front of a fallen tree carved into a dragon by simon o'rourke

Using a standard bar like this Stihl Rollomatic ES for bigger cuts will help preserve the life of your carving bar for precision work

More About Carving Bar Maintenance

If you are interested in knowing more, Simon also made a video with more detail about basic carving bar maintenance for chainsaw carvers. It’s about eight minutes long, and well worth the watch if you would like to better understand your equipment and how to preserve it. You can watch it below, or find it on his YouTube Channel, Simon O’Rourke.

If you have questions or suggestions for the maintenance series or would like to commission a sculpture, contact Simon using the form at www.treecarving.co.uk/contact.

 

A small chainsaw is sufficient

Basic Kit for Starting Chainsaw Carving

Basic Kit for Starting Chainsaw Carving 800 600 Simon O'Rourke

Welcome to the second in our series on starting out in chainsaw carving. In the first blog, Simon shared basic pointers. You can find it at www.treecarving.co.uk/tips-for-getting-started-in-chainsaw-carving/ if you missed it.  This week we move on to share a few tips on putting together a basic kit for starting chainsaw carving…

 

Life size wood sculpture of a WWI soldier in progress. There is scaffolding in front of him, and three chainsaws sit around

Simon uses multiple saws (as pictured above) but it isn’t necessary to splash out in the beginning.

 

Basic Kit for Starting Chainsaw Carving: Safety Gear

The first purchase should be safety gear. The minimum that Simon recommends is:

  • chainsaw boots
  • trousers
  • ear defenders
  • eye protection
  • gloves.

Gloves are actually a debated item, as many chainsaw gloves are cumbersome and awful when they’re wet. It would be amiss to skip them though, and it’s good to at least give them a go for maximum safety.

There are many good brands for buying PPE. As a Stihl ambassador though, Simon obviously has a clear preference! You can explore their range by clicking HERE. Simon also highlights a few favourite pieces of chainsaw carving workwear in our blog ‘When Poppy Met Stihl‘.

 

Poppy Stihl with the MS500i

Poppy models some of Simon’s preferred workwear

Basic Kit for Starting Chainsaw Carving: Footwear

There are two aspects of footwear that are important: Safety and comfort. Proper chainsaw boots have protective toe caps and sturdy soles, both of which are essential. Finding a pair that works for you is also important. We can all testify that spending all day in an uncomfortable pair of shoes is pretty horrible. And nobody does their best work when in pain!

This is where Simon can’t really make a recommendation because our feet and their needs are pretty individual! As we can’t try things on in shops at the moment, it’s worth reading reviews to see how people talk about the fit, width, toe space etc. Then there is more likelihood of finding a pair that fits well first time.

If finances are an issue, then there is an alternative that doesn’t compromise on safety. Some companies also make chainsaw wellies. You can wear these with thick socks and still get a good level of protection. Stihl make Chainsaw Wellies with both Class one and Class three ‘cut protection’, and both can be purchased for less than their basic boot.

Simon O'Rourke and Keiji Kidokoro wear stihl safety gear as they carve a CHinese Waterdragon at Huskycup 2019. safety gear is an important part of your Basic Kit for Starting Chainsaw Carving

Simon and Keiji are both wearing a variety of basic safety gear while they work on their dragon from Huskycup 2019

 

Basic Kit for Starting Chainsaw Carving: Chainsaws

And now for the obvious piece of basic chainsaw carving kit. A chainsaw!

It can be tempting to think bigger and more expensive is better. However, there is no need to go all out on expensive saws. That said, if noise is an issue then battery saws are a great solution. The Stihl Ms181 is a great starter saw, and there are other similar packages you can get from chainsawbars.co.uk.

 

Stihl chainsaw in front of a carved apple. A small chainsaw like this is good to include in your Basic Kit for Starting Chainsaw Carving

A small chainsaw is good enough to start out chainsaw carving

 

Basic Kit for Starting Chainsaw Carving: Chainsaw Bar

Our last piece of kit to start out in chainsaw carving is a bar. There are SO many options out there for carving bars! And like other artists’ tools, personnal preference plays a big part. However, first, it’s wise to get used to a standard bar with a sprocket nose. This will teach you about how the saw handles. There’s also a LOT you can do with a standard tip before moving on to a carving bar.

When it comes to brands, this is one area where Stihl haven’t had the reputation among carvers that their saws and PPE have. Simon has discovered though that with good, careful maintenance, they are as good as other brands he has tried. Again, he recommends chatting to the team at Chainsawbars.co.uk and they can set you up with a good package that suits you. And bar maintenance will definitely be a future blog!

For those in doubt about this, the photo below is an early carving of Simon’s from 20 years ago. This was done with a standard bar on a small saw…

 

chainsaw carving of a rabbit jumping over a cat

This was an early piece created with a small saw and a standard bar

 

Building a More Advanced Kit

Once you have worked with a basic kit for a while, you are able to better identify exactly what it is you need to be able to expand. Once you know that, you can explore purchases one at a time. For example, one artist may want to stay small and focus on a wider range of tool for minute detail. Another may want more power and scale and want to buy a larger saw. The best way to expand your kit will become clearer with time and experience. For those who are interested in burrs and angle grinder cutters though, you could check out the Simon’s favourite Manpatools for creating texture blog or this blog about burr bits for carving faces.

 

Tips for carving big cats: SImon O'Rourke uses a saburrtooth flame burr bit to create texture on a lion's face. Burr bits can be part of basic kit for starting chainsaw carving but aren't essential.

Burr bits are one of the tools you can add to your kit at a later date

Questions and Commissions

If you have questions about chainsaw carving kit, Simon will do his best to answer, but please be patient! He will also be making more videos and blogs in future to asnwer some of the most frequently asked questions. Until then, you can contact him with questions (or to ask about a sculpture) using the contact page www.treecarving.co.uk/contact/.

tips for chainsaw carving in the sun: wear a powered air filter mask so it passes air across your face. in the photo simon o'rourke is carving an angel wearing such a mask.

Tips for Chainsaw Carving in the Sun

Tips for Chainsaw Carving in the Sun 800 600 Simon O'Rourke

One of the things Simon loves about his work is that he gets to spend a lot of time outdoors. However, carving in all weather does come with its challenges! So today we want to share some tips for chainsaw carving in the sun…

 

Tips for chainsaw carving in the sun. Photo shows simon o'rourke wearing protective headgear, carving a female sculpture from wood using a stihl chainsaw.

Simon carving in the sun at Woodfest 2017. Photo credit: Andy Grady.

 

#1: Stay Hydrated.

Hydration is always the most important factor when we’re in the sun. And chainsaw carving is no different! With so many great environmentally-friendly water bottle options around at the moment, and even some fun options for hydration backpacks with a straw, there’s no excuse not to drink water throughout the day.

 

Simon O'Rourke carving a wood sculpture of the god Svantevit in Putgarten, Germany

Another sunny carving day creating Svantevit in Putgarten, Germany

 

#2: Invest in Weather-Appropriate Clothing

The next of our tips for chainsaw carving in the sun is clothing. We’ve all heard it said that there is no bad weather, just the wrong clothes. How true that is! Simon is fortunate that he isn’t climbing, so can wear class A trousers, and favours the Stihl Advance X Light. However, many chainsaw trousers have vents in the legs these days, so it should be easy to find a pair that works for you.

 

Tips for chainsaw carving in the sun: wear appropriate trousers like the stihl advance x light. front and rear view pictures. black trousers with logo on side

Simon favours these Advance X-Light trousers made by Stihl. Photos from the Stihl website.

 

#3: Wear Appropriate PPE

Not all PPE is made equally! So the third of our tips for chainsaw carving in the sun is to find appropriate PPE for all weathers. For example, the JSP Powercap (or a similar powered air filter mask) can be good as it constantly passes filtered air across your face.

 

tips for chainsaw carving in the sun: wear a powered air filter mask so it passes air across your face. in the photo simon o'rourke is carving an angel wearing such a mask.

Simon wearing the powercap while he carves in Germany in 2019

 

#4: Create Shelter

The photo of Simon carving in Germany leads nicely to the fourth of our tips for chainsaw carving in the sun: create a place of shelter if you can. Sunstroke is no joke for anyone, at any time. But it’s definitely not a good idea to combine dizziness and nausea with a chainsaw! Using a canopy can help avoid this danger, like the ones used at the Huskycup pictures below. These can be purchased at any outdoor store.

 

chainsaw carver simon o'rourke stands with two men dressed in traditional german mining uniform, and their portraits carved out of oak. Behind them is a Stihl canopy.

The Stihl canopy behind Simon is ideal for avoiding the direct glare of the sun

 

#5: Take Regular Breaks

And the last of our tips is to put down the chainsaw! Taking regular breaks gives you a chance to cool down, but it also allows you to take a look at your sculpture from different angles, which is really important for keeping the proportions looking good.

simon o'rourke carving an old German miner at the Huskycup

Simon at the Huskycup in 2018

More About Health and Safety

If you would like to know more about chainsaw carving safety, make sure you follow this blog (or any of my social media channels) so you receive notifications about future blogs on this topic. As we mentioned in the tips for getting started in chainsaw carving blog, it can also be good to talk to experts. Simon has invested in the services of Acton Health and Safety to advise and help keep him compliant with safety codes and laws, and we wholeheartedly recommend them.

And lastly, while we’re talking about carving in the sun, if you would like to book Simon for live carving or demonstration at an outdoor event, or talk to him about a commission, please email him via the form at www.treecarving.co.uk/contact/. We’re looking forward to hearing from you!

simon o'rourke carving an old German miner at the Huskycup

Tips for Getting Started in Chainsaw Carving

Tips for Getting Started in Chainsaw Carving 900 600 Simon O'Rourke

Simon is often asked about how to start chainsaw carving. The reality is, everyone’s journey will look a little different. However, there are some principles that are pretty much universally true.  And there are definitely things that Simon and his team have learned over the years, that could benefit others. So, these are his top tips for getting started in chainsaw carving…

chainsaw artist simon o'rourke next to one of his early pievces, a fairy on a swing. c 2009.

Simon with one of his competition pieces at the start of his career

No 1: Safety First!

The first of our tips for getting started in chainsaw carving is very simple. Get your chainsaw certificate.
Although you don’t need one for ‘messing round’ at home, you will if you are going to become a business and sell your work.
Safety matters. Confidence matters. And you will build both through getting certified. Occasional users should recertify every two to three years. More frequent users around every five.
You can find out more at www.hse.gov.uk/treework/site-management/training.htm

No. 2: Invest in Good Basic Equipment

The next blog in this series will have more information about what this should include. There are some basics where you could buy budget products, but others, where it’s much better to invest in something reliable that you know, will last. Simon recommends Stihl chainsaws but also enjoys using Milwaukee tools and Saburrtooth burr bits.

 

stihl chainsaw. stihl are one of the brands simon recommends buying as one of his top tips for getting started in chainsaw carving.

Stihl Chainsaw – can be used for creative or practical purposes, but either way, safety is paramount!

 

No 3: Get a Mentor

If you can, find a chainsaw artist to be a mentor. Even better if you can actually apprentice with them. Even if it’s on a very low key level at the beginning, input from someone more experienced is invaluable. And being alongside a paid artist in this way will ensure some variety in your subjects that we sometimes don’t get if there isn’t a customer challenging and stretching us to try new things.

No 4: Watch Other Artists

The fourth of our tips for getting started in chainsaw carving is to watch other artists. If you can do this live, it’s amazing! If not, plenty of us in the community have social media, youtube channels etc where you can watch, slow down the action and pause. Watching others is an inspiration but you can also see how they approach different things, and different techniques they employ. If you’re looking for live events (when things open up!) in the UK, Woodfest and the English Open are good places to start. In Europe, Huskycup, Holz-Flori and Friends and Zandsculpturenfestijn in Garderen are worth checking out.

simon o'rourke carving an old German miner at the Huskycup

Simon O’Rourke at the Huskycup in 2018

No 5: Get to Know a Good Tree Surgeon!

Getting to know good, reliable tree surgeons/arborists is a key part of sourcing quality wood. Being able to recommend each other to clients doesn’t hurt either! Simon has also found it helpful to know reliable tree surgeons for assistance moving timber and finished sculptures.

No 6: Employ Experts

When you build a business as a chainsaw artist, there are a LOT of things that happen behind the scenes. So our sixth tip is to employ experts. This ensures things are being done well, and it also frees you up to focus on the creative side. Accounting, Health and Safety, business strategy, web and marketing, social media, video editing… these are just some of the areas where it’s worth seeing if you can delegate or employ an expert.

tips for getting started in chainsaw carving No 5 - know a good tree surgeon. photo shows a Treetech truck.

Sourcing and transporting the raw materials is one of the expenses underlying the cost of a sculpture

No 7: Just Do It!

Tip seven? Just do it! Give it a go! Find time to experiment and try different things. It’s worth remembering that sometimes we hold ourselves back as artists when we are more worried about the product than the process. To grow in skill and style, especially in the beginning, you will need to just keep trying. Go for it and HAVE FUN!

No 8: Pace Yourself

At the beginning of the blog, we said that every journey is unique. It’s good to have goals and objectives and plans for how to achieve them. But if the pace isn’t working for you, take a step back. Building a thriving business as a chainsaw carving artist (or any art!) is a marathon, not a sprint. Initially, it may look like going to some country shows or fairs and selling some small sculptures you made once or twice a month. And then you may pick up a couple of commissions through social media. And then you get a commission but not much else so you’re back at fairs. Stick with it, don’t be discouraged, and go at the pace that suits your life priorities, finances and health/energy.

It’s OK if it takes time, and it’s OK if it doesn’t look like the same route someone else took.

a pair of lion sculptures: photo features the face of the oak lion mentioned in the accompanying blog

Final Thoughts

We hope you found these tips helpful. Watch out for the next in the ‘How to’ series where Simon will share his recommended basic tool kit to get started.

As always, if you have questions for Simon about a commission, contact him using the form at www.treecarving.co.uk/contact.

Simon O'Rourke uses a chainsaw to carve a lifesize portrait of Ken Dodd

The Impact of Creativity and Art on Mental Health

The Impact of Creativity and Art on Mental Health 1920 1080 Simon O'Rourke

This week was Mental Health Awareness Week. Although the focus was ‘nature’, we’ll be highlighting the benefits art has on mental health…

Simon O'Rourke uses a chainsaw to carve a lifesize portrait of Ken Dodd

The Impact of Creativity and Art on Mental Health: The Benefits

There’s growing agreement in the world of mental health professionals about the way art can benefit people. The Mental Health Foundation website states that it can help with ageing and loneliness. Their research shows being involved with arts helps boost confidence, and leads people to be more engaged/present/mindful as well as more resilient. Creative arts can also help create community, and alleviate anxiety, depression, and stress.

sculptures based on movies: simon o'rourke creating a giant groot marionette for Wales Comic Con 2015

 

The Impact of Creativity and Art on Mental Health: Application

Obviously ‘arts and creativity’ covers a wide range of skills, hobbies, interests and possibilities. So what exactly are we talking about? Well, in terms of ‘arts’ we mean anything creative! Sketching, painting, sculpting, music, dance, baking, writing….the list goes on! Pretty much anything that involves creating!

But what does it look like? There are a few different ways we can go about using the arts to improve our mental health. These are just a few applications…

Art for Art’s Sake

Simply take time to create for the sake of creating something that brings you pleasure – whether that be the process, the product, or both. Whatever your craft, just do it and enjoy it!

Journalling

Creative journalling has grown in popularity a lot in recent years. And it’s no wonder!
Taking time to journal creatively (writing, sketching, vlogging…there’s no limit!) improves mental health in and of itself. But it also leaves us landmarks so we can see growth and progress, helps us tell our story, aids us as we process, and can help reveal patterns so we learn both our stressors and the things that bring us joy.

Therapy

Lastly, formal art therapy. This area is a growing speciality, and there is an increasing number of art therapists available. Always make sure though that you find someone who is accredited and works in association with a supervising body. The British Association of Art Therapists (BAAT) is the best place to start if you are looking to explore this form of counselling.

Chainsaw artist SImon O'Rourke works on a life size oak sculpture of a man

 

The Impact of Creativity and Art on Mental Health: Simon’s Story

The opportunity to create has helped Simon over the years. In his own words…

“I find working with wood very cathartic, although the chainsaw is such a loud and aggressive tool.
I’ve also found that returning to my roots as an illustrator and creating artwork using pen and ink is relaxing and helps me to focus. I have had times though when I’ve really struggled to be creative and it can be pressure when income depends on completing work within a certain timeframe.”

If you can relate to that and sometimes struggle to be creative (whether that’s because it feels forced or something like feeling overwhelmed by the mess or effort), Simon has learned it’s OK in those times to walk away for a little bit. Go off and do something else you love, like gardening or walking or play a computer game and then come back to it. A ‘not now’ doesn’t mean ‘not ever’!

Simon sketching the face of ayrton senna. Impact of Creativity and Art on Mental Health

Simon’s Story Continued…

“Over the last 20 years of sculpting, I’ve had numerous ups and downs and have sometimes felt like giving up entirely. It can be difficult sometimes even with a job I love to see past the need to generate income, and I think that happens for anyone. I’ve found it really important to slow down even if it means a drop in revenue for a time. It’s so important for overall health to take time to recuperate and allow yourself to breathe.
I’m not very public with my emotions and feelings and not great at being open with people, but I’ve found that taking time to create something just because I want to, not because someone is paying me to do so is one of the best things. It allows me some freedom to enjoy the creative process without time constraints.”
Impact of creativity and art on mental health - simon o'rourke pictured using a chainsaw to carve a dragon's mouth egg casket. He finds the process cathartic and beneficial for mental wellbeing.

The Impact of Creativity and Art on Mental Health: Final Thoughts

If this has piqued your interest, we definitely recommend finding out more, or just pulling out a camera, pen, pencils or even playdough and having a go! Or perhaps you have a story to share about how engaging in the arts has positively impacted your own mental health. We’d love to hear it!

And as always, to commission a sculpture, connect with Simon via the form at www.treecarving.co.uk/contact/

 

 

photo of a tree carving sculpture in progress. the sculpture is a wwi soldier in oak. there is a field and scaffolding behind him. the base of the sculpture shows the shape of the original tree trunk. the sculpture in in the front two thirds, and serves as an example of how to best position a sculpture within a log to avoid cracks that appear as it dries

How to Best Position a Sculpture Within a Log

How to Best Position a Sculpture Within a Log 450 600 Simon O'Rourke

People often ask how to prevent cracking in the wood used for sculptures. The simple answer is you can’t! However, Simon has learned a lot over the years about working with and around the natural behaviours of wood. There are ways to minimise the impact of cracking on your sculpture to ensure it lasts as long as possible. The biggest of those is positioning, and so in this blog, we share how to best position a sculpture within a log.

How best to position a sculpture within a log: ensure cracking enhances the sculpture. This photo shows a close up of an oak face sculpture. It has vertical cracks along the cheek.

Cracks are an unavoidable part of wood sculptures

 

Understand We Can’t Eliminate Cracks

Simon’s first tip as to how to best position a sculpture within a log is actually nothing to do with positioning or carving! The first tip is to understand that it’s impossible to eliminate cracking when working with wood. Cracks and changes in the colour are all part of the ageing and drying process, as Simon shares in this blog about how long a sculpture will last. It’s a natural material and therefore can be unpredictable. Understanding that and being OK with ‘imperfections’ are important as it means that rather than worrying about cracking, you can focus your energy on the best ways of working with it.

 

Side by side photo of a woman's face carved in redwood by simon o'rourke to show the aging process of wood. The left is far more yellow and warm. The right has deeper shadows and cracks and grey hues.

Cracks and changing colour give a chainsaw carved sculpture more character

 

Find the Centre of the Timber

Once we understand we can’t control cracking, we can focus on working with and around it. The first step towards that is finding the centre of the timber. This is important because it impacts the direction and amount of cracking, Wood shrinks faster circumferentially than radially. This means cracks start at the centre and move out, so the further from the centre, the more stable the wood. You will sometimes see cracks coming from the centre like wheel spokes. Usually, the centre is the middle of the log, but not always, so spend some time looking at the log and pay attention to where the cracks begin. This is your centre.

 

Photo shows a tractor with a fork lift attachment carrying a large tree trunk. Finding the centre of the trunk is essential in learning how to best position a sculpture within a log.

Finding the centre of a log like this means you can make the most of the solidity and stability of the timber.

 

Identify the Most Important Features of Your Design.

The next key in how to best position a sculpture within the log is to identify the most important features of your design. These are the parts that you most want to preserve. When sculpting human form, Simon finds it is most often the face. An example of this is the fairy sculpture below. Although there is a lot to see, the face is the part Simon wants people drawn to, so he will position the sculpture so her face is the least impacted by the cracks already appearing.
However, if your sculpture is more abstract, this may not be the case.
Where do you want the focus to be?
What details do you want to preserve?
Once you know this, you can work out the positioning.

 

Photo shows a chainsaw carving workshop with a sculpture in progress in the middle. The shape of a female sitting on a swing is blocked out in a large piece of oak, but no features are visible

The face of this fairy sculpture is the part Simon most wants to preserve from cracking

 

chainsaw carving sculpture of a 5' elf sitting on a swing

Simon carved this so the cracks are part of the shoulder. In this way the details of the face will be preserved.

Tactically Position the Sculpture

Now you know which parts are most important, you can work out whereabouts you position the sculpture in the log. If the face or front is most important, start carving so the centre of the log is at the back of the sculpture. That way as the sculpture ages and dries, the cracks will start at the back.

For this WWI soldier, Simon was able to cut the log and create the sculpture using the front part. If he had carved it in the centre of the timber (which is often instinctual), the cracks would be in the middle of the soldier, and potentially split him in half!!!
By moving the sculpture to the front half, it means the centre of the log becomes the soldier’s back. In this way, the cracks will appear in his back. This will not only preserve the facial details but also means the sculpture is much more stable.

 

photo of a tree carving sculpture in progress. the sculpture is a wwi soldier in oak. there is a field and scaffolding behind him. the base of the sculpture shows the shape of the original tree trunk. the sculpture in in the front two thirds, and serves as an example of how to best position a sculpture within a log to avoid cracks that appear as it dries

The base of the sculpture shows hows Simon positioned the sculpture in front of the centre of the log.

 

Have a Positioning Plan B!

Obviously positioning cracks so they are hidden at the back isn’t always going to be possible. Sometimes we just don’t have a log big enough. If that happens, use plan b in how to best position a log within a sculpture… Position it so there are lots of small cracks across a feature.

It’s better to have lots of small cracks that one big central crack. This way as they swell and shrink with the different weather changes, the impact on the sculpture is less.

An example of this from Simon’s work is his recent horse bench. He positioned the sculpture so the centre was to the far side of the horse. The cracks are all across the mane. In this way, they become part of the texture and there’s no risk of the mane looking like it’s been divided in half! More importantly, it also means the sculpture is the most stable and solid that it can be.

 

Tree carving workshop with a sculpture in progress. The sculpture is a bench, and one end is a horse with flame like mane

Simon used one half of the log for the horse head, and position it so the centre is on the far side of the horse.

 

Horse bench by chainsaw carving artist simon o'rourke

The centre of the log is now this side of the horse to ensure minimal cracking and most stability.

 

Know When to Say No!

Simon’s last tip as to how to best position a sculpture within a log is to recognise when a piece of timber simply isn’t suitable. Sometimes there is just too much rot. We actually have a blog about types of rot to help you with that. Sometimes when you cut into the log you find a crack that is already large and would impact the design. If this is the case, there is often little you can do. At this point, you need to either accept that this sculpture will have a short life, or start again.

This happened with the lion Simon made before Christmas. You’ll be able to see in the photo how the crack is already moving up into the lion’s body. In addition, the rot meant the wood was too soft to carve and would have begun rotting away much quicker. As this was for a commission, Simon wasn’t prepared to compromise on quality, and had to start over on a fresh log. This timber can still be used, but for a much smaller sculpture that wouldn’t incorporate the wood or crack.

At the end of the day, wood is a natural material and is unpredictable. It’s part of its beauty, and working with that and allowing it to enhance the sculpture is part of the challenge Simon enjoys. If you are choosing wood sculpture over something like bronze or marble, hopefully it’s something you like too! But occasionally it really does mean starting over!

 

How best to position a sculpture within a log... photo shows the start of a tree carving sculpture. The shape is blocked out but there is a large crack and split at the centre making it an usuitable log for sculpture.

Sometimes you just have to abandon a piece of timber!

 

Over to You!

Learning to work with cracking is something that will come with experience. If you are very concerned about a crack, it is possible to fill them, and Simon will do this very occasionally. However, he does recommend the tips he has shared here.

To the other chainsaw artists out there, what are some of your tips and tricks for working with cracks?

If you enjoyed this article, there is a  10 minute video below where Simon expands on these points. Please excuse the wind in one of the sections – the Welsh weather doesn’t always co-operate with plans for outdoor filming!

And, as always, if you are interested in commissioning a tree carving sculpture from Simon, contact us via the form on www.treecarving.co.uk/contact/