I begin each piece by sketching out a paper pattern and rough-cutting the shape on the bandsaw. From there, the real carving starts. At that stage, everything still has hard, square edges, so I hand-shape the form to give it movement and personality. On this seahorse, I carved in the cheek line, eye detail, mane, and layered scales to give the surface more depth and texture.

One of my favorite techniques to use is shou sugi ban, an ancient Japanese wood-burning method traditionally used to preserve exterior timber. The idea is to intentionally burn the wood much more heavily than most people expect. After torching the surface, I use a wire brush to remove the charred material and expose the grain underneath. The process hardens the surface and makes the wood naturally resistant to rot, insects, and UV damage.

I like to take the technique a step further by adding exterior acrylic paint after the brushing stage. Because the raised grain remains exposed, the paint settles into the texture rather than covering it completely. Once the paint dries, I lightly sand the surface so the carved details and grain patterns come back through. It creates a layered finish that really emphasizes the movement in the carving. I use this technique constantly because I love the texture it produces.

This piece was carved from old sugar pine that I inherited from my grandfather. He stored the lumber for years beneath a crawl space, so by the time I started using it, the wood was already beautifully seasoned. I honestly have no idea how old it is. The grain is incredibly tight, which becomes even more visible after the torching and wire brushing. It’s also one of the nicest woods I’ve ever carved because it has such a sweet smell when you work with it.

Once the outside shape was cut, the rest of the piece was carved entirely by hand. I tend to lose track of time when I’m carving, but getting the piece to this stage probably took around four hours. I usually get into a rhythm where the hours disappear.

What I love most about shou sugi ban is that it combines durability with texture. I’ve hung carved pieces outdoors for years, and they’ve held up remarkably well. Even after weather exposure, the burned and brushed surfaces continue to highlight the natural grain and character of the wood.