Give a GiftUsing published materials to create original carvings.
TEXT BY LAURIE J. McNEIL
A biologist measures a long-billed dowitcher from the back of the head to the tip of the bill.
Image credit: USFWSALASKA/WIKIMEDIA COMMONS
To rely solely upon any one pattern other than your own is dangerous. Remember, all published wildfowl patterns are artists’ renditions and, as such, are subject to discrepancies.
Even published patterns offered by champions are not always accurate. These patterns are not really made to be copied exactly; the true intention is for them to be used as a guide or reference in the creation of your own original patterns. If you want to establish your own style of carving, taking the risk of creating your own patterns is where this endeavor will truly begin. Why would anyone not want to have their own style in wildfowl carving?
It is not unusual for judges to see several birds carved from the same pattern—which was offered in a class—at the novice level of competition. Though slightly different in appearance, these birds cut from the same pattern have an overall similar look.
At the intermediate level, it is common to see birds that have obviously been carved using published patterns from champion carvers. The judges can spot them in a heartbeat and will give more consideration to a carving that is uniquely different than to those carved from well-known patterns.
We even see these patterns being used at the open/advanced level, where it is against the rules! By the time you are competing in open or advanced, you should be designing your own patterns and carvings.
A researcher measures the wing of a warbling vireo in Glacier National Park.
Image credit: GLACIERNPS/WIKIMEDIA COMMONS
All my life, I have been a “reference girl,” taking the time to do the research for whatever I was into at the time. This has always been the key to my success. For the debate club in high school, I did the research to find the facts that would arm me with the information necessary to prove my point and to win the debate. It’s the same for wildfowl carving; do the research, find the facts necessary to carve an accurate bird, use the facts to create your pattern, and prevail by creating an accurate carving.
How to Make Your Own Pattern
Here’s my approach to developing an original pattern. I gather as much reference as possible. This includes photos, videos, patterns, books, study bills, castings, study skins, and measurements—both published and self-gathered.
For waterfowl decoys, I will start with the measurements in the back of Bruce Burke’s Game Bird Carving, including chest to tail, width, etc. For other species, such as songbirds, raptors, and shorebirds, I use Pamyla Krausman’s “Images of Nature: Bird Measurements,” which offers key measurements such as the distance between eyes, the distance from the front corner of eye to the tip of the bill, the length of bill, the distance from flange to flange, the closed wing length, the wingspan, the body length, the body circumference, and the length of the tail. The new 2025 “Bird Measurements” book has more than 40 pages of birds of prey (26), waterfowl (22), upland gamebirds (8), and perching songbirds (55), with average size and weight measurements for both sexes of more than 80 North American birds. This is a must-have reference book. It can be purchased at referencephotos.com.
I compare existing published patterns to calculate an average length and width. Often, I will acquire access to a frozen specimen; however, for many species, this is not possible due to availability or because it is a protected species. Utilizing the closest collection of bird skins is a possibility, especially for local species. For me, the Bell Museum at the University of Minnesota is where I can study and measure skins. Another resource can be taxidermists and breeders who will allow you to photograph live specimens or measure some of their frozen specimens.
An illustration from the 1911 work Our Canaries. BIODIVERSITY HERITAGE
Image credit: LIBRARY/WIKIMEDIA COMMONS
Figures from the 1902 Handbook of Birds of the Western United States by Florence Merriam Bailey.
Image credit: BIODIVERSITY HERITAGE LIBRARY/WIKIMEDIA COMMONS
Beware of taxidermy mounts, however; remember they are just as much an artist’s rendition as a carving or a painting and are subject to inaccuracies. They can be very wrong. Mounts are best used as references for feather shape and detail, basic feather layout, and feather coloration. Again, never use a mount as your only reference. Plumage can vary greatly, depending on the time of year or the age of the specimen. For each specimen examines, it is necessary to determine the season of its plumage, the age of the bird, and whether the bird is a hybrid species. This can be done by reviewing photos and videos; discussing with other birders, hunters, and carvers; and making firsthand observations.
Check with your state department of natural resources to see if it has any frozen specimens in its inventory. Explain the reason you need access—to measure and photograph—and you may be surprised by what is available to you. This can be an excellent resource for protected birds such as loons, songbirds, shorebirds, and birds of prey, as they are turned in by citizens and even confiscated from poachers. This can lead you to some very unusual species that aren’t necessarily in your region. In 1986, I was offered access to an Atlantic puffin that had been confiscated here in Minnesota; that was a real treat for me!
Armed with all this reference material, I’ll have an idea in mind of the pose I want, and I’ll attempt to find a photograph depicting that exact pose and attitude. I’ll make a clay model using sulphur-free, oil-based clay, because it is reusable. I have approximately 60 pounds on hand—enough for my large, one-piece sculptures. Today, you can find great deals on Amazon and Blick Art Materials (online ordering with a coupon is always cheaper). These retailers also offer less-expensive brands of oil-based clay, which will work just fine.
If you are lucky, you might find published pattern that is close to what you want. However, it is very important that you use it only as a reference and not canon. If you are interested in making your own patterns, refer to my Loon and Chicks Workbench Project book, which shows in great detail how I develop original patterns from my clay models. And remember, it is those carvers who have taken the risk of creating their own original patterns—and making their own mistakes—who will dominate not only the competition, but also the sales market. This is because their work is unique among wildfowl carvings.