Mule Deer Relief Carving Seminar

Rough Out Steps

A stop cut separates one area of the carving. In this photo the stop cut will prevent the gouge strokes used in the background from moving into the design area.

Step 4 Using the bench knife create a stop cut, by holding the knife at a 90 degree angle to the wood, creating a thin, vertical slice to make the first stroke.

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Two bench knife strokes create the v-trough of the stop cut.

Step 5 The second stroke of the stop cut is made by angling the knife edge away from the boundary lines of the pattern. As the second cut is pulled a narrow v-shape trough is created.

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Allowing a small margin along your pre-routed edges gives an even, neat finished outer edge to the project.

Step 6 Using a pencil and ruler mark a ¼” border line along the outer edge of the top carving surface of your plaque.

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Begin the background rough out using a large round gouge.

Step 7 Using the large round gouge begin roughing out the background wood. Work your cutting strokes with the direction of the wood grain. The background area will be roughed out to a depth of 3/8” or ½ the total thickness of the wood plaque at its deepest point along the outer boundary of the design.

EDIT - To learn more about how to create a stop cut, please see post #33. To learn more about rough out cutting, please see post #34. To see how these two techniques - stop cuts and rough out cuts - work in a small practice pattern, please see post #35.

Cutting along the outer boundary line with the bench knife releases the small left-over chips from the round gouge.

Step 8 Use your bench knife to cut free the small chips left from the round gouge work. Slowly begin to lower the background area near the boundary lines to 3/8” deep, creating an upward slope as your work towards the outer pre-routed edge.

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Depth Gauge Template – shown actual size

Step 9 As a general rule the deepest point of a relief wood carving is at one-half the thickness of the wood blank or plaque. For a ¾” board this places the deepest point at 3/8”. The one-half thickness measurement is then divided by the number of levels in your pattern minus 1, on average between 3 and 5 levels.

For our project this places level #4, the background, at 3/8”; level #3, the arrowhead, at ¼”; the deer, level 2 is at 1/8”, with the feathers lying on the uncarved surface of the wood.

The uncarved half thickness of the wood helps prevent the plaque from warping, cupping, or twisting which can happen over time to any carving.

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A simple cardboard depth gauge lets you check your accuracy easily.

Step 10 A quick depth gauge can be created out of scrap chipboard. Cut small notches from the bottom edge at each finished depth of the carving. The gauge can then be dropped into your working area. Continue carving until that area’s notch touches an un-carved area in the wood

Create sloping walls to your background that start at the original level of the wood along the outside edge.

Step 11 Complete the rough out steps for the background area using your large round gouge. This background slopes from the outer edge at the original level of the wood to the 3/8” depth at the design area.

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The small round gouge is excellent for tight or narrow areas.

Step 12 Use the tool that fits the area that is being worked. In this sample the v-gouge is used in the space between the antlers.

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Working the Levels

Through this section we will establish each of the levels to their depth in the wood.

Step 13 The rough out work on level 3 and 2 are worked in the same manner as the background rough out.

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Step 14 As you develop the different levels of a relief carving you can return to lower levels at any time to adjust their depth or to clean up some of the gouge marks. In this photo the v-gouge is used along the edges of two levels to create a clean break line.

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Level 2, the deer, rises slightly above the arrowhead of level 3.

Step 15 Continue working into level 2, the deer head, for the rough cut steps.

By working the rough cut stage in levels you are grouping areas or elements that all fall at a particular point in the depth of the carving. All of the deer’s features fall behind the feathers, therefore it is easiest to carve the entire deer head as one unit below the level of the feathers.

Smoothing the Levels

In preparation for retracing the pattern some of the rough cut gouge lines need to be smoothed down.

Step 16 Once each level’s rough cut work is complete the high ridges left from the large and small round gouge can be removed with the straight chisel. Drop the straight chisel close to the surface of the wood. The tool’s edge will shave thin slices.

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Step 17 Lightly sand the carving using 220-grit sandpaper to remove any left-over ridges. Dust well with a dusting brush or a lint-free cloth.

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Trace the pattern details to the board using graphite paper.

Step 18 Cut the pattern into small sections along the level’s borders. Using tape secure each pattern section over the wood. Using graphite paper and an ink pen trace along the detail lines of the pattern.

Texturing the Arrowhead

Using the pattern lines as guidelines each level area can be shaped to define the elements within that level.

Step 19 Through this section we will work to create the round-over curves of each element following the pattern guidelines.

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Step 20 Using the large round gouge make small, short cuts into the arrowhead to create a stone chip texture.

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Continue that stone chip texture along the outer edge of the arrowhead.

Step 21 Hold the large round gouge in an upright position and use a push stroke to cut stone chips along the outer edge of the arrowhead. Use minimum pressure to insure that you do not deeply set the edge of the round gouge into the background area.

Shaping the Mule Deer

The mule deer uses a simple rounded over edge to create the shapes and curves of its body.

Step 22 Using a v-gouge cut along the pattern lines in the mule deer’s body. Begin with shallow cuts; they can be deepened as you develop the shaping.

The neck of the deer falls below the level of the deer’s shoulder with the v-point of the breast the lowest part of the entire deer. The left edge of the deer’s neck is tucked under, sloping towards the feathers. The neck area below the deer’s chin also slopes from the mussel towards the feathers.

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Each side along the v-gouge lines is now shaved with the straight chisel.

Step 23 Use the straight chisel to shave along the sides of the v-gouge cuts, tapering each side into that gouge stroke. Re-cut with the straight chisel to widen the sloped sides along the v-trough cuts.

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Tilt the straight chisel, working on one edge
of the tool, to round over the facial features.

Step 24 Use the v-gouge to define the facial feature pattern lines.
Hold the straight chisel so that one edge of the tool leads into the
area to be rounded over to shave the narrow areas in the face.

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Define the antlers using the bench knife.

Step 25 Round over the antlers with the bench knife and straight chisel. In this sample photo the plaque has been turned in the bench hook so that the bench knife cut follows the wood grain.

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Shape the feathers using the straight chisel.

Step 26 The last level in the pattern has been left at the original level of the plaque to this point in the carving. Using your straight chisel shape the feathers, the feather shafts, and the cord knot.

Turn the work upside down to check the carving for areas that need extra attention.

Step 27 During any carving session I will turn my plaque, either to one side or the other or upside down. This changes the light source and lets me see areas that may need extra work.

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Complete the shaping steps by cutting v-shapes into the sides of the feathers.

Step 28 The final step in shaping the design is to cut v-troughs into the edges of the feathers with the bench knife.

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With the shaping steps complete it is time to check your work and dress-out any small areas that need attention.

Step 29 Check the work that you have done to find any areas that need extra attention. Recut or re-shave those areas. Lightly sand the board using 220-grit sandpaper, remove any dust.

Pyrography Safety

Wood burning tools get extremely hot - hot enough to scorch your working surface or to burn any item they touch, as your pattern paper or wood chips.

Take time to first clean your work area of all unnecessary items, especially any wood chips and wood dust. Remove the pattern paper from your work space.

The Versa-Tool comes with an excellent tool tip stand that supports the tip well above your table. Make sure that it is set level and secure.

Do not leave the Versa-Tool unattended. It has an easy to use thermostat that will completely turn off the power if you must be away from the work space.

Make it a habit to unplug any wood burning tool when it is not in immediate use.

Do not handle the tool tip – finger burn as quickly as wood. Keep your hand below the grip guard, using a pencil grip hand position.

Grab a scrap piece of wood of the same species you are carving to do a test burning before you work your project. You can test which heat setting will give you the best burned lines as well as experiment with different texture strokes that add interest to your work.

Do not go directly to the hottest setting. High heat burns can leave a carbon build-up on your wood. Medium temperature burns often make finer, cleaner lines.

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It’s very easy to clean the carving strokes and add fine detailing by using a wood burning tool.

Step 30 For this carving I have chosen to use my Walnut Hollow Versa-Tool variable temperature wood burning tool with its interchangeable tips.

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Using the universal tip and a medium-hot setting work the burner tip along your v-gouge lines.

Step 31 Run the universal tip along the v-gouge and stop cut lines in your design. This tip will leave one fine line down the center of these cuts while burning away any stray wood fiber.

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With the universal tip set on medium create fine fur lines throughout the mule deer’s body.

Step 32 Following the curvature of each body area in the mule deer, pack the deer’s body with fine, short lines to create a fur effect.

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Using the ball tip on a medium-hot setting use a scribble stroke in the background area of the plaque.

Step 33 The ball tip makes a thick, wide line of burn. Set your thermostat to a medium-hot setting and fill the background with a random scribble or doodle-like stroke.

Return to the universal tip to create the thread lines in the cording.

Step 34 On a hot setting and with the universal tip, burn deep lines across the cording to create the look of twined, individual threads.

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The feathers are filled with long, thin lines.

Step 35 To add the individual feather lines, use the universal tip on a medium-hot setting. These lines can be worked in two stages – first from the center shaft towards the edge of the feather, then from the feather edge back to meet the first line.

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Completed wood burning steps.

Step 36 When you have completed the wood burning clean-up and detailing, use a stiff dusting brush to remove any carbon, dust, and left-over wood chips.

Supply List
assorted flat soft bristle brushes
detail or liner brush
water and water pans
palette paper
paper towels
Acrylic craft paints
raw umber
titanium white
smoke blue – blue gray
indian mustard yellow
raw sienna
burnt sienna
carbon black
polyurethane or acrylic spray sealer


Dry brushing is an easy painting method that will accent the fine detail of your wood burned carving. It is most often worked on top of a dark base primer coat with the brighter, lighter colors added through the dry brushing steps.

The technique is done by loading a flat shader brush with color. Remove the excess color on the palette so that only a small amount remains in the bristles. The brush is then dragged across the wood in as low a position to the wood as possible. Multiple coats will intensive the color without filling in the darker primed detail work.

Since the brush is so lightly coated with color only the high ridges of the carving receives paint. Several layers of gradually lighter color tones are added in one area to create variation in that area.

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Give your carving two water-thinned light coats of raw umber mixed in equal parts with titanium white.

Step 37 Mix one part of raw umber with one part of titanium white acrylic craft paints. Thin this mixture with a few drops of water. Using a sift brush work two coats over the entire carving surface. Brush any puddles or thick areas of paint out to retain your fine texture. Allow to dry thoroughly.

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Dry brush the arrowhead with titanium white.

Step 38 Load a large flat soft bristle shader with titanium white. On a clean area of your palette make several light brush strokes to remove any excess paint. Hold the brush low to the carving and drag its bristle tips across the high areas in the arrow.

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Using a blue gray, give the arrow a second coating of dry brushing.

Step 39 Use a blue gray color to dry brush the arrow, working right over the titanium white. Allow a few white areas to remain.


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Add dry brushed colors to the feathers and cording.

Step 40 Using a mustard yellow or Indian yellow, dry brush the cords. Add a small edging of titanium white along the top edges of the cording.

Dry brush raw sienna to the entire areas of both feathers. Highlight the top half of each feather with mustard yellow. Work burnt sienna ¼” wide lines of dry brushing along both feathers.

Titanium white is used to dry brush the v-shape in the bottom 1/3 of the feathers.

Thin raw umber with a small amount of water. Using a detail brush, add random small dots to the feathers, as shown in the photo. Paint the feather shafts with white using a detail brush.

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Dry brush the white marking of the mule deer.


Step 41 Using titanium white, dry brush the white markings to the mule deer. The white is applied to the center ridge of the mussel from the forehead ridge to the top of the nose, the eye lid areas above and below the eyes, and the inside areas of the ears. The lower mouth and chin are white, stopping where the jaw line angles towards the ears. Mule deer have a white bib at the top of the neck.

Add the base coloring to the remaining mule deer’s body.

Step 42 Apply a base coat of mustard yellow to the mule deer’s unpainted body areas by dry brushing. Work a dry brushing of raw sienna to the same areas. Use burnt sienna along the outer edges of each area, as shown in the photo.

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Add the raw umber markings to the forehead, ears, and nose.

Step 43 Dry brush the dark marking to the mule deer’s face. This includes the outer edges of the ears - both top and bottom, the lower edge of the forehead, and around the nose. The mule deer has two offset dark spots along the mouth line.

Add a fine ridge of black along the ears by dry brushing. Using a detail brush apply black to the eyes and nose. Add a small dot of white in each eye.

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Add an illusion of depth by dry brushing raw umber and black into the background area at the outer edge of the design.

Step 44 An illusion of greater depth can be created by working several light coats of dry brushed raw umber and black into the background where the background touches the design. Complete your painting steps by applying black to the pre-routed frame border. Turn your carving to the back and with a permanent marker sign and date your work!

Allow to dry, and then apply two to three light coats of polyurethane or acrylic spray sealer.

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Hope you have fun carving this relief Mule Deer.

Beginner Basics and Techniques used to create the Mule Deer Carving


Over the next few days I will be adding more in-depth descriptions, photos, and samples for the basic techniques that are used in any relief carving for our members that are just starting your hobby into wood carving.

The stop cut is a two-stroke bench knife cut that frees a v-shaped trough along a pattern line. A round, flat, or bull nose chisel is then used to cut the wood in the lower level of the design, sliding the chisel into the stop cut. When the chisel edge meets the stop cut a clean sliver of wood is released without damaging the higher level. Today we are going to look at the steps used to create a stop cut and to do basic rough out work in your relief wood carvings.

Stop Cuts in Relief Wood Carving
Begin by tracing your pattern to the wood blank. Because you will be cutting away background wood and dropping areas of the pattern into different levels or depths in the blank you need only trace the outlines of each area. All detail tracing will be lost during the rough out stage.

Stop Cut

The stop cut is a two-stroke bench knife cut that frees a v-shaped trough along a pattern line. A round, flat, or bull nose chisel is then used to cut the wood in the lower level of the design, sliding the chisel into the stop cut. When the chisel edge meets the stop cut a clean sliver of wood is released without damaging the higher level. Today we are going to look at the steps used to create a stop cut and to do basic rough out work in your relief wood carvings.

Stop Cuts in Relief Wood CarvingBegin by tracing your pattern to the wood blank. Because you will be cutting away bqackground wood and dropping areas of the pattern into different levels or depths in the blank you need only trace the outlines of each area. All detail tracing will be lost during the rough out stage.

1. The stop cut is a two-step stroke. Begin by laying your bench knife vertically along the outside edge of your pattern line. Pull a shallow cut following the pattern line.

2. Move the tip of your bench knife a small amount of space away from your first cut. Angle the knife tip towards the first cut. Pull a shallow cut, maintaining that small space between the knife tip and the first cut.

3. The two cuts will release a thin, shallow v-shaped chip of wood. The chip will leave a straight wall along the pattern line and an angled wall in the background area of the pattern.

4. You can deepen a stop cut by re-cutting, using the same steps, several times. This 'walks' the v-shaped trough deeper into the wood.

5. Stop cuts may also be created using a v-gouge. The v-gouge makes both the straight wall cut and the slanted side cut in one stroke. The g-gouge works exceptionally well when you are creating stop cuts that flow with the grain of the wood. For tight areas in a pattern, as the small openings in the feathers in the pattern shown, you may find that the bench knife will provide more control.

Rough Cutting into a Stop Cut

Wide Sweep Gouge in Rugh Cutting a Wood Carving

1. You can use a round gouge, straight chisel, or bull nose chisel to rough cut a background area that has been stop cut at the pattern line. I prefer a large, wide-sweep round gouge for my first rough-out cuts. The wide-sweep takes a shallow but wide chip of wood with each cut. That allows me to slowly drop the depth of an area while taking a large chip of wood with each cut.

2. Start you cut about 3/8" to 3/4" from the stop cut in the background area. Move the chisel or gouge edge towards the stop cut, slowly deepening the cut as you work. Stop when your gouge reaches the stop cut. I usually cut a series of gouge cuts, that slightly overlap.

Releasing a rough cut gouge stroke with a bench knife.

3. Make a shallow, vertical cut, using your bench knife along the pattern line to release any gouge chips that are still connected to the wood.

4. Alternate your stop cuts with your gouge rough-out cuts to slowly drop the background area to your desired depth in the wood.

5. The background area that has been gouge rough cut will at this stage will slowly taper from the original level of the wood at its most distant point in the cut from the pattern line to the your desired depth at the stop cut. Later in any relief carving you can work the remaining background areas down to the same depth.

Practice Board Exercise

Relief wood carving knife cuts1. Practice boards allow you to try, learn, and experiment with new cuts before you use them in your latest projects. In this sample the reverse side on an older basswood plaque was used as my practice board. I marked the board into 1 1/2" squares, creating small spaces to experiment with different relief carving cuts. For the stop cut and rough out practice I used a medicine jar cap to draw a half-circle as my pattern line. Begin your practice square by making the two-stroke stop cut using a bench knife or a large chip carving knife.

Stop cut made with a bench knife

You can see in the sample photo how this two-stroke cut releases a long v-shaped wood chip.

Freeing a rough cut chip from a stop cut.4. Use your round gouge, straight chisel, or bull nose chisel to begin removing the wood in the background area of the design, working from the outer edges of the wood blank into the stop cut line. With your bench knife cut along the stop cut, holding the knife in a vertical position, to free any rough cut chips.

Alternate making stop cuts and working rough out cuts to slowly drop the depth of the background elements in the design.

Thanks Lora lots to take in. I am waiting for a little relief in our weather to be able to get a piece of basswood cut in my shop then i will get started with what you have posted.
-0.4 farenheight here at present. Dying to get started on this perhaps this weekend it will get warmer.
Will pop in to Michaels tomorrow see if they have suitable boards
Our Michaels is nothing like US ver.

Sent from my SGH-I337M using Tapatalk

Rob Keeble said:

perhaps this weekend it will get warmer.

Click to expand...

Hah! Sunday it's going to be -17ºC for the high. (2ºF)

Hi Lora.
Sorry for the delay, but now I'm all set up, and I will catch up this weekend.


I'using a scrap of tulipier wood which I believe is called poplar in US. Basswood would have been better but this is what I had at hand.

Hey Toni! Glad to see you here!

Poplar works great