There’s no better way to understand the working properties of a wood species than to carve a chunk of it. Its character is revealed through experience with it, including subtle nuances that are difficult to communicate. Different trees within the same species also have their individual personalities.
A couple months ago, I was offered a log from a slippery elm tree (Ulmus rubra), also known as red elm. A little research explains a few things about the tree, its lumber, and its medicinal qualities, but I had to give carving it a whirl to really know the wood.
I carved two bowls from it. The fact that it is ring-porous makes it a less than ideal choice for liquid-holding bowls, but isn’t an issue for most uses. It can be a challenge to get good finishing cuts due to the strong contrast between the dense latewood and the porous earlywood. I like the rich, reddish-brown color.
Designing with the character of the wood in mind, the first bowl I carved from it highlights the prominent growth ring pattern that was very even and concentric in this log. I carved a bowl that brings a double bird to mind, with sweeping undercut wing forms. 14 inches long, 9 3/4 inches wide and 5 inches high.
I carved a large round bowl as well. The elm moved quite a bit as it dried, leaving a flowing roller-coaster rim with the high portions at the end grain.
The open grain of this wood was also a golden opportunity to try the shou sugi ban technique of charring wood. My friend Eric Goodson had written an intriguing and instructive blog post (that’s a link) about it early this year. I followed Eric’s recommended procedure and it worked great.
Not only did the outside become a rich black, but the grain patterns were enhanced as the earlywood burned away easily, leaving the latewood raised. The outside had been left subtly faceted by the drawknife before torching. You can still feel them a bit, but without exact edges between the broad facets.
I decided to carve a vigorous loose texture on the inside of this one.
Now back to cherry…