Zander Fish Carving Project

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Ruben used Dan Patterson's excellent pattern book for this carving.

After the the body has it's shape, Ruben begins to add some head details.

Ruben used a very old (30+year) piece of basswood for this carving. It is harder than the average, absolutely dry and from a slow grown tree.

Head details are refined further.

Scales are added to the head, glass eyes installed and nares (nostrils)
carved in.

The slots for the pectoral fins have been made and lateral line started.

The carving has been scaled using a burning tool and Ruben now begins
work on the fins.

Here Ruben has roughed out the anal fin. He uses chisels to carve the
fins - no power tools or burs. This saves him time and creates a much
better result.

Details of the soft fin rays and two spiny rays are added.

This photo shows the pelvic and second dorsal fins have been rough fitted, and the fin rays have yet to be carved in.The anal fin has been glued into
position.

The caudal (tail) fin is rough fitted but still requires soft rayes to be carved.

The spiny first dorsal fin has been carved in a relaxed position. The pectoral
fins, not yet detailed, are rough fitted. For the fins Ruben likes to use
just dried basswood. He finds it is much more flexible than well seasoned
(old) basswood, and this way avoids cracks.

Ruben has now installed the eyes vertically and used some of the
epoxy putty to form the sclera above the eyes. Further detail to the
head has been added and with this view, you can see the slight body
curve to the carving.

The carving gets a final check before starting the painting phase.

Ruben found this very old piece of sunken oak wood, which makes for a unique base. It came from the bottom of the pond where he grew up and learned to fish.

Ruben starts the painting process by applying a white base coat with
a brush , after which he will add various colours in layers.

Black bars are painted onto the fish sides.

Using an airbrush, yellow is now painted onto the dorsal area, and
translucent silver on the sides. Some gold is then applied to the head
using the drybrush technique.

Olive green is sprayed onto the upper areas, and a little bit of scale tipping with a gel pen.

The pectoral fins yet to be glued into position. They were left off to
facilitate scale burning and also painting.

These are the materials for Ruben's "transparent black" mix. Still his #1 contrast medium for the darker areas.

Final touch-up of any overspray on fins. Ruben uses a Harder & Steenbeck airbrush to obtain the high quality he demands in his art.

A clear coat has been sprayed over the entire carving.

The Zander carving is now completed, and ready for display.

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Ruben Herrmann's website

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