Casanova Cigar Carvings

2011-11-07T15:31:00.007-05:00

HEI TIKI!

After 6 months of overtime and long road trips for work (secret government hush hush stuff), it was finally time to travel and play. My wife Corina and I planned a over month long road trip from the northern tip to the southern tip. It was amazing. Soaking in secluded hot springs, climbing glaciers, eating huhu grubs at the wild foods festival, picking grapes on a vineyard, fishing for snapper, hiking the Milford Track...it seemed to never end.

Though my job contract didn't leave much time for being creative, I was able to smoke some great Havana products after work. But after 6 months of not having an outlet for my artistic side, I was ready to explode.

Luckily our road trip went through a little town called Hokitika on the West Coast of the South Island. Hokitika is in an area known for its greenstone (Pounamu). This stone is usually carved into intricate native designs that have deep spiritual meanings. Historically, the stone was painstakingly carved by hand using sandstone. The pieces were prized and passed down for generations. We had heard about Bonz 'n Stonz, a shop in Hokitika where they teach you to carve your own pounamu. This was my chance to create.

Corina arrived at the shop at the crack of dawn with our greenstone designs in mind. My design was Hei Tiki, seen as either a memorial to ancestors or the goddess of childbirth. The tiki is used to promote fertility and is much more intricate in design than other Maori (NZ native) designs like the fish hook, twists and spirals. The tikis are meant to be unique, and are adapted to represent your ancestry and local culture. I gave mine a spiked head to represent the mountains of Asheville, my home. My tiki was also holding three cigars. One for me, one for Corina, and one for my friends and family.

The owner of the shop, Steve Gwaliasi, is a master of pounamu carving and was our guide for the day. He's a great teacher, mastering the art of helping without intimidating. I was having trouble picking a piece of greenstone from the pile that was worthy of the design and had the weight and girth needed for such a piece. When he saw the design I had drawn out as my template, he claimed "Oh, you serious!" He then showed me his secret stash of pounamu that he keeps for his own pieces. I took out a great slab of rich green stone that had few inclusions.

Steve cut a chunk off the slab and let me do the rest. Considering the value of such a large quality slab, I was happy for him to make the first cut. The slab had a hefty price written on it, which Steve politely disregarded, as he was happy to give me material suitable for my design (phew!).

The first step was grinding out the basic outline of the piece before creating any depth. The diamond wheels Steve had in the shop cut through the stone like butter. Quite impressive considering the strength of the stone. Pounamu was partially prized for its strength, as the stone is composed of interwoven fibers. The native Maori used the stone for adzes, chisels, used to cut through the native hardwoods. After much of the greenstone had been cultivated, many of these adzes were then reclaimed and cut into tikis, since the adze shape could easily be remade into a tiki.

The main design finally took shape and it was time to create some depth to the piece. Using the same wheels, I cut out some of the negative space to make the detail work a bit easier.

In order to keep the stone from chipping and the diamond bits from wearing out, a constant stream of water needs to be run over the carving. This makes the carving a bit more difficult as the ripple of the water obscures the area being carved.

The main carving took me the good part of a day to finis, but it then required laborious sanding and polishing by hand as well as fitting the paua (a colorful abolone) shell eyes, as is customary.

I added a tattoo converse to the shoulder to give the piece a bit more character. It was also meant to give homage to the native art of moko, the tattooing art of the native. This tattooing is done by hand and consists of carving a design into the skin over days or even weeks. I was hoping to get one while I was there, but decided to stick with my tiki. Maybe when I return someday.

A light application of oil smoothed over some of the imperfections and gave it a nice glow. The piece was finally finished.

Corina and I posed with Steve, our carving mentor, after we finished our pieces. I was shocked at the weight of it. Tikis are usually worn around the neck, but are probably reserved for special occasions as they are quite heavy!

As we drove back to Auckland, I took the opportunity for a little tiki photo shoot with Lake Tekapo. The milky blue water and the surrounding moutains was a great backdrop for tiki. The carver in me was finally let back out!

2011-11-07T15:03:00.004-05:00

AOTEAROA, land of the long white cloud

When it comes to making an epic journey, I couldn't have picked a better place. New Zealand is a natural wonderland. The subtropical climate ensured the natives had a plentiful supply of wood perfect for carving. Even the geology provided materials (Jade and Oamaru) that were destined to be painstakingly carved into intricate forms. The geographic isolation of NZ has kept the native art fairly unadulterated. All of these factors have contributed to NZ's esteemed spot in the carving world. I was in heaven.

Carved totem, Marlborough Sound

Meeting house, Waitangi Treaty Ground

Depiction of a Moko (facial tattoo mask), Gallery in Auckland

2011-11-07T14:50:00.006-05:00

The Jersey Arbor

Before taking off to New Zealand, I did have one small (or large) project that I was a part of. My father had given plans for an arbor to my mom for Christmas. He purchased the lumber and contracted a local carpenter to build it. As skilled laborers go, he proved to be unreliable and the arbor was never built. On my last trip home to NJ before leaving, I promised my dad that we would get it done together. On the hottest day of the year, my dad and I plugged away, redesigning as we went, to create a beautiful addition to an already amazing backyard sanctuary.

2011-11-07T14:16:00.003-05:00

B&B Tobacconists - The Taj Midor Cigar

My very good friends at my local pipe and cigar shop were planning a big move. They were moving up the street to a new spot and needed a big sign that indicated clearly that it was an establishment that sold cigars. After much pondering, I decided a big cigar with bright red letters that spelled CIGARS was the way to go. (You have just been introduced to the creative process).

I created the piece out of pressure treated lumber so that it could be hung outside. I used a 2x12 with layers of pressure treated plywood behind it to beef up the depth. Carving wood with such a strong grain proved to be much more difficult than MDF, but not much of a problem considering the gentle design. More detail and layering in the carving could have proved to be difficult.

Unfortunately, the move never happened. But a new humidor was built and aptly named the Taj Midor. The sign now hangs where it belongs, with all the other cigars in the humidor! This was my last project before leaving packing up and moving to New Zealand. Please visit David and Mike at B&B Tobacconists, located at 377 Merrimon Avenue in Asheville, North Carolina.

2011-11-07T13:59:00.002-05:00

The Epic Return

I have now returned from quite some time away. Just over two years as it stands. I have been busy travelling the world, learning new skills, and doing my damnedest to determine the meaning of the words vocation, profession, job and most of all happiness.

Let me rewind a bit.......

I was 5 years into my stable government job when life threw a curveball. I attracted a certain opportunity, one that would make me leave my job and take me to the other side of the world. I was offered a life changing 6 month contract with a New Zealand government agency. Anyone that knows anything about New Zealand, knows 3 basic facts: It's hard to get there, even harder to stay(legally), and it's paradise!

My wife and I packed up and finally took off in the end of summer 2010. We returned this past summer with a lifetime of memories and stories (and photos to boot). Now here I sit in a cigar bar in Ybor City, the once mecca of the cigar industry pondering my life.

With much thought being given, and very few excuses left, it is now time to bring my artwork to the forefront. I have always wanted to give my work more time and effort, not just nights and weekends. Now is that time. The next few posts are a look back at the last two years of my life, travels and work.

2009-07-27T08:09:00.004-05:00

THE RETURN OF OPUS X

This has been a project that has been in the works for several years now. It started as just a front piece. Then I decided to give it a carved back as well so the carving could be displayed in such a way that it was visible from both sides. But I still wasn't sure exactly how it should be presented...until now.

*Photo of carving dated 2004

Though I'll leave my vision a surprise for now, I wanted to show everyone the current state of the carving. I might actually be donating this piece for auction as a fundraiser for the Cigar Family Charitable Foundation and their school in the Dominican Republic. (www.cf-cf.org)

2009-03-25T11:40:00.005-05:00

CASANOVA CIGAR CARVING MILESTONE!

Hard work eventually pays off. After 6 years of carving cigar labels, I have amassed a collection of ten cigar label carvings for my personal cigar label collection. I am quite proud of it all and I hope something comes of the work I have produced.

Join me in celebrating. I might just have to pull out one of my special aged cigars and relish in this milestone.

2009-03-09T12:20:00.008-05:00

AVO & PERDOMO READY FOR HANGING!

Matt recently asked, and quite prudently I may add, how my two new carvings were coming along. As it turns out, I finished the mountings this past weekend and they are now ready for hanging.

The Avo came out nicely, though I have to admit I expected more from this carving. As it turns out, the label has very little depth in the center AVO design. It works on the label, but when I tried to paint the carving in the same manner, it just didn't seems right. I try not to stray too far from the original design, so I left it as it appears on the label.

Looking back, I probably should have chosen one of the AVO labels with a more colorful scheme on the center design so that more depth was given to the relief. All in all, I was happy with the finished product. I also used incuse carving for "Domaine AVO" where the subject is carved into the wood as opposed to the negative being carved away (relief). I first tried this on the scrollwork of the Camacho 10th anniversary label and then on the Montecristo label. Using this type of carving on two different pieces, I've seen the handiness in being able to plane a flat area and then coming back in later to carve out detail as opposed to painstakingly carving out the negative areas.

The Perdomo came out just as I had hoped. I knew that the wreath of tobacco leaves was going to be quite a project. And it was! It took quite a while to complete that portion of the carving, but it was well worth it. Perdomo really nailed their design when they put a wreath of gold tobacco leaves on their label. It is so eye catching, and I think the label carries the same quality. I am very happy with this carving, and have to say it is one of my best.

2009-01-19T18:22:00.002-05:00

TIMES LIKE THESE...

Scary are times like these. Well, that's at least what "they" say. You know...the infamous "they" that seem to have a response for anything. Take any situation and I guarantee that "they" will have something to say. Well, I like to think life is not as scare as they say it is. Take one day and do the following: turn off the news, put down the editorial, put away your 401K statement, don't pick up the call from your negative friend and I assure you, life will seem quite indistinguishable from life a year ago.

We all know things go through periods of growth and periods of atrophy. It's part of all healthy systems. We can't get caught in the thought that this is NOT natural. I came across an email from XIKAR that had a note from XIKAR CEO Kurt Van Keppel. His words couldn't have been more poignant, and I thought it too good not to pass on to others. Enjoy!

Dear XIKAR Friends,

As I write this, the market continues its roller coaster ride. The pundits say the sky is falling. The politicians say they are here to save the day.

To add to the pressure, we have to keep roofs over our heads and food in our families mouths. Between trying to get ready for the holiday rush and attending events like Cigar Aficionado's Big Smoke, there is little time to decompress.

Today I found solace in good, old-fashioned yard work - watching my kids play in the leaves.
Everywhere, we are taking stock of our standing in the world while trying to keep up. But before we get lost in the confusion, let us agree: we are victorious each time we stop and enjoy in what truly matters. Often, those most important reflections happen with a cigar in hand and friends or family near. These truly valuable moments - and the cigar aroma-filled memories that go along with them - will always be remembered over the daily panics. Why? Because they have no numerical or monetary measure. They are what truly matters.

So, should you find yourself overwhelmed, remember: there is no better time to take a step back, dig out those special sticks you've been aging for years and enjoy life.

Sincerely, Kurt Van Keppel

2008-12-01T23:15:00.006-05:00

SNEAK PEAK: PERDOMO & AVO

I used to be good at surprises. Somewhere along the way I've lost that patience. I just get too excited to share things (good things anyways). So here's a sneak peak of the next two carvings in their final stages.

2008-11-20T11:57:00.003-05:00

PERDOMO: SNEAK PREVIEW

I've been trying to get better at documenting work as it happens. I am usually too excited about getting some paint on the bare carving that I forget to take a few photos. Luckily, I've been focusing a lot more on marketing my work, so I am more conscious of opportunities as the work proceeds.

Here's a little sneak preview of my Perdomo Estate Seleccion carving. I've had the piece cut out for a year and am just now getting around to carving it. This is a great design with the ring of tobacco leaves and with the gold paint scheme it is really going to be a great label. I'll try to get a few more as progress continues. I am also finishing a label of Ave Uvezian's DOMAINE AVO (The purple label). They both should be done in the coming weeks.

Enjoy!

2008-10-15T08:45:00.010-05:00

A QUICK MONTECRISTO

I won't deny that I occasionally take on challenges when I am already swamped and really push myself. Whether it it's a smart choice or not is a different conversation altogether. I was down in Greenville visiting Halfway to Habana, the downtown cigar shop I frequent. Paolo, the owner, invited me to the VIP party for the opening of his new shop in Anderson, SC. He mentioned that the cigar of the evening would be Montecristo White and that Jim Colucci, VP of Altadis (owner of Montecristo and a slew of other well-known brands) would be in attendance. Blood started to rush through my head...my pulse was racing. The party was two weeks out, but I told Paolo that he would have a carved Montecristo White label for his party by then. Oh yeah, here goes the "dumb" part. Did I mention that I was also in the midst of planning my wedding which just so happened to be the same weekend of the party? Did I also forget to mention that one of the two weeks I had to complete the projects, I was going to be away at training in Louisiana for my "real job."

Luckily for me, I don't mind late nights working, though it takes a severe toll on my back. I also have a fiance (now wife) that supports me in my "second job." So off I went on the carving. Fortunately the Monecristo label is quite simple and with all of the recent work I've done, the time required to carve it would not make the deadline too impossible.

I really like how the Fleur de Lis turned out. The gold paint really makes it pop. I do have one question though...who's signature is that? And what does it stand for? Please let me know if you have any idea.

Not to ruin the story, but Jim cancelled his appearance last minute. All was not lost though. Apparently it got some attention at the event, so I was able to help out a friend AND I have a new label to hang on my wall. That bring my collection to 8 labels.

2008-10-13T15:42:00.007-05:00

ARIZONA STATE UNIVERSITY

Robb, my brother-in-law, was nice enough to send me some non-cigar related work. A coworker of his is a big Arizona State fan and wanted a carving of the logo. I am very much used to copying something, whether it be a cigar label or company logo. When people ask if I can create something for them, but they aren't quite sure what they want, things get a little complicated as my vision may not be the same as theirs. Luckily he knew what exactly what he wanted which makes a job easier.

The design and size was based mostly off of the carving I did for my niece. Although things got tricky when I tried to match the yellow/gold color to the logo. Turns out yellow is one of the most difficult colors when it comes to paint. Not only did I go through about 5 yellows before I found one that was right, but then it took me about 5 coats to get the color thick enough for it to look solid.

Anyways, another job completed. I am going to begin some work on expanding my personal cigar label collection. What's coming next? I am thinking Avo Uvezian and Perdomo.

2008-07-29T09:16:00.003-05:00

VISITING THE HOMELAND

I recently took a trip with my fiance down to Florida for an engagement party her parents had thrown for us. While we were down there I decided to pencil in some time for "cigar related activities." Part of the trip entailed a visit to Ybor City, the great cigar town of America. After the obligatory meal at Columbia restaurant, we each found ourselves a cigar and vanished in a cloud of smoke as we walked.

As we walked, we happened upon a Caribbean style open-air bar. The bar seemed to be closed, but we could see a man stocking liquor through the wrought iron fence. Strangely enough, the man let us in and said "I'm not open, but you can come in and have a few beers." We hit it off with Robert, who turned out to be the owner. Nice man, and hard-working for sure. He took on a second job just to support some children the and his wife were fostering.

Robert actually left the bar, with us in it, to go run a few errands. He left us to pour our drinks ourselves. Talk about a good man. It is very seldom you happen upon someone like this.

Since we were heading down to the Tampa area, I decided to bring my Opus X carving to see if any of the Fuente's would be available to sign it. We visited the old Cuesta-Rey Factory which is now the location of the Fuente-Newman offices.

Unfortunately the Fuente's were out of town, but we still got to see the factory and have a great day in Ybor. Hopefully the next trip will be more fruitful.

2008-07-23T14:21:00.009-05:00

CAMACHO COROJO TENTH ANNIVERSARY: THE FINAL RESTING PLACE

I arrived in downtown Orlando near midnight to check out the Corona Cigar Bar. I don't remember how, but all of the sudden, hanging the carving that night seemed to be the plan. There was a Camacho event the next day, so hang

So there it is. Hopefully the carving will remain there for many years to come. I have to say that parting with the carving was pretty hard. It wasn't as bad as I thought it would since I knew from the start it wasn't meant for my wall. I think when I get home I might have to start some new labels for my personal collection.

2008-07-23T14:11:00.005-05:00

CAMACHO COROJO TENTH ANNIVERSARY

Late at night, the day before I was scheduled to bring the carving down to Florida, I find myself in the garage doing final touch ups on the piece. To have a completed piece still wasn't enough for me. With the drive to Florida ahead and the ensuing installation was enough to keep me from feeling mentally "finished" with the project.

Final thoughts: I was very happy with the finished product. Then again, after working nearly round the clock on it for 2 months, I really don't think I had comprehended what I had done, what I had created. It being my first commission, I think I was more nervous that anything. I had created pieces for other people in the past, but the money was never there to hold me to a level of quality. Not that I think I ever failed that level, but the stress of knowing I was dictating my own reputation with this piece was unnerving. I guess I should say, Mission Accomplished!

2008-07-23T13:52:00.004-05:00

CAMACHO COROJO TENTH ANNIVERSARY

It's always a good feeling when you've reached a stage of completion or when you have something to show for your hard work. While I am incredibly far from being complete with the project, I have managed to finish the top portion of the design, which consists of the label that is on the head of the cigar. This portion of the final piece contains the majority of the detail, so reaching this stage is very rewarding.

2008-07-18T12:21:00.004-05:00

CAMACHO COROJO TENTH ANNIVERSARY

I'm neck deep in it (the carving, that is). It's a challenge to complete a carving on a rushed time scale, all while you have a full time job. It's even harder when you are trying to maximize the detail and the area that is carved while battling an ever advancing deadline.

Above is my favorite part of the carving. This is a very small detail that I originally wasn't going to carve. After some debate I decided it would be worth the extra time, and think it was. It really came out brilliantly. The six holes that can be seen in the photo were actually made using a cigar punch. I wound up breaking the punch in the process, but I thought it added something unique to the carving. I doubt anyone would have noticed had I not said anything, but it was a fun moment amidst the late night slaving.

Here I am at one of my finest moments. While most of you might want to imagine me working in these conditions all the time, I'm sad to report that this is rare. The majority time, I find myself in a windowless upstairs room that is typically 5 degrees hotter than the rest of the house. Here I was caught working outside with a cigar as my reward. The final plan for the carving was to combine three separate layers of 3/4" MDF. This was done partly to maximize the depth of the carving, as well as for the ease of the carving. A one piece construction would have been difficult since it's overall size would be way to cumbersome.

2008-07-18T11:41:00.009-05:00

IT BEGINS!

So this, my friends, is the beginning of something. Hopefully something big that shall be henceforth referred to as Casanova Cigar Carvings. I was contacted by Dylan Austin over at Camacho cigars to explore the possibility of creating a commissioned piece. What did he want, you ask? He wanted it large, incredibly intricate, and he wanted it fast.

So hears the skinny: Camacho was given a piece of wall space at the new Corona Cigar Bar in downtown Orlando. They put whatever they wanted in the spot. With the hopes of filling the space with something unique that would catch peoples eyes and bring the consumer to their brand, they went on the search for something handcrafted and found Casanova Cigar Carvings!

Luckily for me, I was just in the right place. I wasn't working on any carvings since I was on a hiatus of sorts. On top of that I had just successfully proposed in a manner that made me want to retire from the romancing business altogether. A big new project was just what I needed to get back into the swing of things.

Dylan and I quickly worked out details for the project. The carving would be just under 4' wide, would be as intricate as possible, and would need to be done as quickly as possible (we established an ambitious goal of 2 months). The subject of the carving would be the label of the recently debuted Camacho Corojo Tenth Anniversary line. This line is dedicated to the 10th anniversary of making their authentic corojo cigar, which has really been a great line for them. It turns out that I had actually carved the original Camacho Corojo label for myself a few years ago, partly the reason Camacho new about my work.

The above photo shows the label they requested. This is actually the label that appears inside the boxes on the lid, and is a combination of the labels from both the head and the foot of the cigars, along with some extra detail. Note that the colors here are not as they appear on the actual labels. I believe this photo was meant to detail the intricate embossing for the labels.

2008-05-01T11:44:00.007-05:00

HIATUS: THE PUB SIGN RAISING

A couple of months worth of hard work later and the pub sign was ready to go up! When all was said and done, the 6' by 8' sign easily weighed over 300 lbs. It didn't help that the location of the brackets on the side of the building are a good 8' off the ground. A scruffy bunch of us met early on a Saturday in the hopes that we could all figure out a way to raise this monster.

Though is seemed nearly impossible at the time, five men, four ladders, and a rope was all it took. A few curse words later and the signs was up.

The lifting crew: Tom, John (Corina's dad), Chuck, Rich, and myself.

An exciting moment for me. Partially because of the finished product and partially because the product was finished. I was ready to get back to may cigar work. I had been ready. I couldn't of thought of a better way to spend and finish off my hiatus.

2008-05-01T11:15:00.008-05:00

HIATUS: PUB ARCHWAY

One more little project came up at the pub that I signed up for. Tom had built a wooden facade to soften the metal window frames and make it more old style. It consisted of pillars on either side with an archway above. It looked great, but was missing something on the arch. Many (and I mean many) brainstorming sessions later, I finally got a feel for what they wanted and told them I'd take care of it.

After thinking long and hard I came up with a design that pulled in the interior materials (dark wood and copper), as well as the overall idea of the pub (one that open to both those of Northern Ireland and those of the Republic of Ireland).

The design is a Celtic style knot containing the flag of Ireland as well as the Ulster Banner, representing Northern Ireland. The two flags were centered with a shamrock, which amazingly to this point had not yes appeared in any of the pub's designs or decorations.

I am hoping that the copper will eventually give the arch a little more green as it ages so it will contrast the wood more than it does now.

2008-05-01T10:45:00.005-05:00

HIATUS: MORE PUB WORK

Things can easily get stressful in life, and it's too easy to forget about the great things inside us, around us and ahead of us. Helping out with the pub was an interesting experience. Working long hours at my job and then working at the pub on nights and weekends created some stress in itself. I wasn't getting paid for my work there, but all the while I was working hard and making sacrifices. It was hard to get past that in my mind, so it was a great lesson in learning to fully enjoy what you do simply because you have chosen to do it.

Myself, Chuck and Tom in yet another brainstorming session.

I was just flipping through a magazine and came across a quote that hit me: WHATEVER YOUR 100% LOOKS LIKE, GIVE IT. Great words of wisdom. I'll admit I got caught up in the stress at times, but all the same, I gave it my 100% and now get to enjoy seeing the end result every time I visit the pub for a pint.

I love this one...Corina, the woman behind the men.

2008-04-29T18:04:00.005-05:00

HIATUS: TAP CABINET

A few projects in the bar lent themselves to a little bit of artistic creativity. The vision for the bar, long term, was to be a true pub. By saying that I mean a place that you'd look around as you sipped on your beer and without fail each visit you'd see something you never saw before.

The tap cabinet just one of the many little touches we tried to add as it was all being put together. Chick decided to put the taps along the bar instead of along the wall. It broke up the open space above the bar and was definitely a good call. Tom (a master in his own right) built an insulated cabinet around the taps to house all of the pipes and tubing. The front of the cabinet was bare at first so we all started brainstorming. After many good and bad ideas, we decided on a plywood (red oak) cutout of Tolliver's Crossing, using plexi-glass, and backlit with the flag of Ireland.

In the end, it all came together. A lot of cutting and sanding on my part along with Tom's master finishing skills made for a very creative tap cabinet.

2008-04-17T20:41:00.010-05:00

HIATUS: THE PUB SIGN

Six feet wide and eight feet tall...a grand undertaking for me....a sign with 30 times the size (in terms of area) of my normal carvings. Of course this wouldn't be a carving like I had done before, but the sheer size of it was definitely a challenge for my mind. I never had to build something structural before. The sign I agreed to create was supposed to fit the metal supports where the old sign remained. A sign of this proportion had to be substantial in weight just to support itself. I finally decided to construct the sign like a deck. I used pressure treated lumber to build my platform and went from there. The design was taken directly from the logo I created for Tolliver's. It seemed an appropriate design and reminiscent of "ye olde pub signs of yore."

Surprisingly, the work was easier than I had imagined. Aside from working with different materials, the skills seemed to transfer from small to large. In my opinion it was easier, because small mistakes and imperfections are a lot less noticable on a sign this large.
A couple of months worth of late nights in the pub, humoring myself all the way, I finally completed this monster. Getting it on the side of a building was a whole different story altogether.

2008-03-08T22:09:00.002-05:00

HIATUS: BUILDING A BAR

The previous establishment was the Ideal Market and Cafe. It was shut down after a fire destroyed the kitchen and set the business back. The bar/counter that was there was well designed, but it wasn't complete and needed a bit of work to make it suitable for sipping a pint of Guinness!
I got to help with a little bit of this. Even Corina's father, John, pitched in. We both attempted to recreate the original facade to give the bar a clean look. Talk about working on a big scale and finally feeling like you are creating something substantial. Chuck and I have been talking about the main sign for the side of the building... looks like this might be a big project heading my way.

2008-03-08T20:51:00.008-05:00

HIATUS: EVOLUTION OF AN IRISH PUB

Last year my friend and Sig brother Chuck Brown told we he was opening up a pub called Tolliver's Crissing. I thought he was kidding at first, but I soon realized he wasn't. He had already managed to lease an open spot in West Asheville. While the details were sparse (he had the building and the name), his dream was real. Luckily for me, the details hadn't been decided upon yet. Both Corina and I have always wanted to help design a pub, and here was a friend with just that need. Of course I offered my help and he was happy to accept. Chuck is a people person and the perfect person to run a bar, but and interior designer or artist he is not (He'll be the first to tell you).
Corina was eployed as the marketing guru, while I took on the challenge of some smaller, more artistic project. The first project I offered to take on was to create the pub's logo. I am a huge fan of intertwined letters so it is no surprise what the design wound up being. The colors were a pretty obvious choice, and I thought the layout was very reminiscent of olde time pubs in Ireland and England.

2008-03-08T20:18:00.006-05:00

HIATUS: KEB FINAL PRODUCT

Here's the final product of the gift I made for my neice. She is now over a year old and already making her mark in the modelling world (crazy I tell you...at one I was sitting in a wet diaper trying not to drool and she is on magazine covers).

2007-11-20T20:53:00.000-05:00

HIATUS: THE WEDDING GIFT

Leo, a friend of mine from college and fraternity brother, somewhat commissioned me for this piece. He was getting married in the summer of 2007 to his fiance Adelaide. He requested that I make a gift for his soon-to-be bride that he could present to her at the wedding. I was pretty honored at such a request. It is a great experience to create something that signifies a transition in life, such as a gift for a birth or a wedding. The subject of Leo's idea is a really neat story in itself.

As the story goes (let's hope I get all the details right), Adelaide spent many of her summers at a girls camp called Camp Sequoya, first just attending and eventually as a counselor. Many of the bridesmaids as well as some of her relatives also attended the camp. Unfortunately, within the past few years the camp was sold and closed down. Leo and Adelaide tried to visit the camp when they were dating but weren't let in by the new owners. The closest they got to it was the sign that was still standing at the entrance. This was truly unfortunate, especially since Leo had the engagement ring in his pocket and was planning on proposing at the camp. Luckily Leo just rolled with the changes, and asked her anyways. She said YES. And the rest as they say is history. (LEO: Tell me if I screwed any of that up)

Leo's idea was for me to make a replica of the sign so that she could forever remember the camp. Leo sent me a few photos to go by for the design. I'm very surprised at how close I came to the original. In fact, the former camp director was at the wedding and she thought that I had stolen the original sign.

The original
My version

The presentation of the sign was the best part of it all. All of the ladies at the wedding that had ever attended or worked at the camp gathered for a group picture. At this point Leo presented Adelaide with the sign in front of all of them. Normally I'd say making the bride cry is a bad thing, but in this case it was perfect. Everyone loved it, especially Adelaide. Another successful project, and even more rewarding since it was a gift for two good friends. I have kept all of my cigar work, so sharing my passion for carving through a gift is such a great experience.

2007-11-20T20:32:00.000-05:00

HIATUS: A GIFT FOR THE NIECE

This work is the beginning of a slightly long term hiatus I have taken from cigar related work. Don't worry...I'll be returning to it shortly.

My sister Jamie was due to have a baby in January of 2007, so as a Christmas gift for her and her husband Brian, I created a carving for her soon-to-be-born daughter. Luckily Jamie and Bri picked her name beforehand, which gave me a chance to use it for the gift. Her initials were going to be KEB (I think the spelling of Kaelyn was still up for debate, but I knew the initials thank the lord).

The design didn't take too long to come up with, but the sizing and placement of the letters did take a while. I usually forget to take pictures in the midst of drawing and carving, this is a rarity.

The carving wasn't too difficult, however the beading on the "B" did take a while. All in all I was very happy with the outcome of this piece.

Check out the next post on this piece to see it painted.

2007-03-14T20:50:00.000-05:00

Cohiba Extra Vigoroso

Another troubled carving in the making! This carving was definitely a tough one. I started off the carving as the regular Cohiba line (below in off-white, black and red).

After completing the carving I decided to scratch the idea and go for the XV line (or Extra Vigoroso). The off-white background showed all imperfections and it just didn't look right. The only problem was that I had already carved the "O" on the right side of the label. I wound up removing the "O" completely and creating an "X" and a "V" to attach to the carving. This was a first, but the outcome was a lot better than the first attempt.

2007-03-14T20:03:00.000-05:00

Nat Sherman

After resolving my color issues, I was finally able to finish this beauty. This is probably the most ambitious label I've taken on since the Opus X label (a well needed break since then).

Not that other carvings haven't been difficult or painstaking. They definitely were! However, this label contained some more intricate parts, mainly the center portion with the "cigar store Indians" as well as the vine-like portions on the arms of the label. I've never been good with the human body and proportions, but I was very happy with how the Indians turned out. The vine-like parts above and below the "New York" and "Fifth Avenue" placards were difficult to carve and paint due to the tightness of the design. There were a few parts that had to be carved deeper than they were wide. Anyone who has done carvings know that this is difficult. You lose the dexterity of your carving tools once you carve that deep.

Overall, I was very happy with the way this turned out. Just like the Opus X carving, I was afraid I was not going to do the Nat Sherman label justice. Luckily I was wrong, and maybe the Sherman's will agree when I get the carving up to their headquarters.

2007-03-14T19:43:00.000-05:00

Camacho!

While it is a simple label, it is also a great one. It echoes of the classic brown and white labels known round the world that have been around for many generations (most notable of which is Montecristo). Camacho is a fantastic line produced by the Eiroa's, a quality driven father/son team who are steadily making their mark in the cigar industry.

This label turned out well with very few hiccups. The dots were a little tricky. Either they were too small or too big or not round enough (I accept the anal-retentive nature of my artistic side...it comes with the territory). My favorite parts of this carving are the double hooks on either side of the label. I tried something new in this carving by transitioning from carved to uncarved portions in a single part of the design. The hooks are just painted on, but as it joins the white stripes it goes from 2D to 3D. It might not seem like a big deal, but it was a little touch that I thought made it unique. It's ideas like these that you find exciting when you work on a piece for months.

2007-03-14T18:57:00.000-05:00

Picking a Nat Sherman

As with any piece of art, things can change once you really get into the work. I started off carving the basic Nat Sherman label. For a long while, the labels for the different Nat Sherman blends used the same basic designs but with different color schemes. Pictured here are four of the different blends available and their color schemes. It should be noted that there have since been a few different label designs to come out of this New York City based cigar company for new lines (Omerta and Suave), but the original lines have not changed.

My original plan for the Nat Sherman carving was to paint it like the Metropolitan Maduro Selection (Orange and Red on Gold). This is probably my favorite blend by Nat. It is medium to full-bodied but still light enough for a casual smoke. The color scheme is also very eye-catching. I love using orange when I can. It is such a vibrant color and it seemed to work well in the Opus X label.

After partially painting the Nat label, I realized I just wasn't pleased. Unfortunately, the red and orange seemed to compete instead of pop and wound up overwhelming the carving itself. I decided to scratch the Metropolitan Maduro label and decided to give the regular Metropolitan line a shot (Blue and Red on Gold). The Metropolitan color scheme popped like I hoped the Maduro would. The blue and red really played off of the gold, as well as against each other.

This post is really just an example of how life takes on a form of its own sometimes. What may look great on a 1" x 3" strip of paper may not look quite the same on a 30" wood carving.

2007-01-04T12:10:00.000-05:00

A NASHVILLE CAO ADVENTURE:

I happened to be going to Nashville for a wedding so I decided to take my CAO carving along with me and hit up CAO headquarters while I was out there. I had spoken to some folks at CAO for some time to see if they would be interesting in seeing my carving. I called their offices on my drive from Asheville a luckily I got an appointment for a tour (with the hopes that maybe Cano, Tim, or Ayleen Ozgener would be willing to sign the carving).

When I showed up for the tour I was greeted by a family who was also on the road travelling. CAO scheduled a group tour for the family and myself. We were met at the door by a lovely lady who whisked my carving away and led us down a long hallway that had displays in a virtual time line of the company history. This was the tour which, given their use of space. was very well laid out. At the end of the hallway was a large circular cigar vault and side room. The side room contained the regular CAO lines. The main room was a large circular glass enclosure containing 12 vertical "bins" (Each bin contained thousands of cigars from concept lines that CAO has yet to release). We each picked a cigar of our choosing from the side room which we smoked we watched the "Seed to Soul" DVD in the lounge next to the cigar vault.

After the DVD ended, we were told that the told that the tour was over. Okay folks, at this point I was a little disappointed. I was there to get my carving signed but was also hoping to meet the Ozgeners in the process. I hadn't seen my carving since the beginning of the tour and now it was over and we were about to be led out the door.

A ray of hope: I was told to wait around in the lounge while they rustled up my carving from behind the frosted doors leading to the "corporate offices" (don't you just love the allure of executive secrecy). The family I took the tour with left and I was left by my lonesome finishing my cigar in the lounge. All of the sudden the frosted doors opened and out came Tim Ozgener...then Ayleen....then Cano....each greeting me as if a guest in their home. They brought out my carving, signed perfectly by the patriarch in the center with his son and daughter on the left and right.

I was in heaven. I was rubbing elbows with Cigar Stars in an intimate setting. Just when I thought it was over, Tim asked me to stick around a brainstorm on a project he had. After the "work" had been done, Tim, Micky Pegg (sales manager, AKA The Man!) and I just hung around smoking cigars. A couple of bottles of wine were cracked and a good time was had by all. This was the life.

They sent me off with a few goodies (like I needed any after that!). Laying across the bottom are the fabric bands that will eventually wrap the concept line bundles (of fifty) which will eventually be sold exclusively from their headquarters. The bundle shown above is a bundle of Ecuadorian "tasters" that will be used as taste test samples before the buyer decides to buy 50 full size cigars.

Though a conclusion might be overstating things, I feel as though it needs to be said. This is what dreams and long shots are all about. I took one of my works with me on a wedding trip and look what happened. I am not throwing this up to luck at all. I attribute it all to the hospitality and passion of the Ozgeners. They are a true "family business" and I can fully comprehend their unrivalled success! The word content is not nearly sufficient!

2007-01-03T22:45:00.000-05:00

SBI Special Agent Academy:

Though it may shock you people, I actually have a real job. I know you'd all like to picture me in a workshop whittling all day long, so I am sorry to disappoint. I am employed as a forensic chemist by the state of North Carolina (CSI: Asheville if you prefer). I recently attended the 35th Special Agent Academy for the North Carolina State Bureau of Investigation. The whole training period took 31 weeks of nearly round the clock training in the less than exciting town known as Salemburg, NC. Traditionally a plaque is given to the training staff from the graduating class. Since I was a part of the graduating class, I felt obliged to share my hobby instead of paying a ridiculous amount for a plastic plaque! We did wind up paying for an engraved plaque, while I provided the insignia: the SBI logo with a 35 carved into it to designate our class number.

2006-12-16T12:08:00.000-05:00

OPUS X #2

The (nearly) finished product. There are still a few small spots that need painting, but the carving is complete. I have a feeling I am going to revisit this piece later and create a sister carving that I could put on the backside to allow the carving to be hung and seen from both sides. Easier said than done, but I think it would make this piece a lot more interesting. We'll see if I can find the time to get back to it.

If you look closely you can see my next three carvings in the background. If you can't tell what they are, I've got a Camacho, Cohiba(DR), and a Nat Sherman. (Yes I've been multi-tasking and VERY busy!)

2006-12-16T12:06:00.000-05:00

OPUS X #2

It's about time I showed how I actually make my carvings. I use 3'x5' sheets of MDF (medium density fiberboard) instead of wood. Once the basic outline is drawn, the first step is cutting the outline of the piece with a handsaw, skillsaw or a drill (and in once case, using only hand tools). Once the outline is cut out, I finish drawing how I want to carve the piece. Sometimes I get nearsighted in the carving process and forget which layer goes where so it helps to have pencil markings reminding me of what to do.

The carving process is actually quite simple in nature. The idea of a relief carving is creating depth between two layers side-by-side such that one appears to be closer and one farther away. In this instance, the "X" is supposed to be on top of the "O", except for the scrolling which goes underneath the "O". By alternating over and under, one can create the appearance of once letter wrapping around the other from a solid piece of "wood".

The top of the design is not carved in the photo, it is simply drawn on. As you look toward the bottom of the piece, more of the carving process is complete. People often ask if the carvings are one piece or if I carved the letters out separately. This is part of the beauty of relief carving. Utilizing this type of carving allows one to take a single 3/4" piece of solid material and create the illusion of letters actually curving and wrapping around each other.

In the photo you can catch a glimpse of my tool arsenal. People also always ask how many carving knives I use to get all of those curves and shapes. What's your guess? I'll give you a hint: They are all in the photo. Sorry to disappoint, but I only use a square blade and an exacto knife (99.9% of the time). This tends to disturb people because neither of them have curved blades while much of my work does. I find it easier to stick with one knife instead of constantly switching back and forth between seven knives of various shapes and sizes. Not to mention, I have a hard enough problem keeping track of these two knives. Using solely straight blades, you are forced to be deliberate in your carving as your hand learns to move as if it were a curved blade.

Here's a side shot of the bare carving. Still a little rough in some spots but nearly complete. With this side shot you get a feel for how thin the carving actually is. Time for a little more fine work and then the painting begins.

2006-12-16T11:11:00.000-05:00

OPUS X: SOMETHING DIFFERENT

I think it's obvious by now that I am drawn to the Opus X label design. Among the thousands of labels out there, it is hands down one of the best designs. I decided to try my hand at a second peice of Opus X work just focusing on the intertwined letters in the center of the label.

This artwork was taken from the back cover of the Prometheus DVD collector set. The whole Opus X label is so ornate, the center letters almost seem to get lost. Pulling the letters out of the design and allowing them to be free-standing really lets you see the beauty of that design.

I decided to try something different and carve the letters free-standing instead of in label form. The Celtic heart I carved for my good friend's marriage was very similar and was probably the inspiration for this piece.

2006-10-05T12:51:00.000-05:00

COHIBA (Cuban)

In case you were wondering, there are 156 white squares carved out of this piece. Not that I was counting, right? Luckily, one of my carvings knives had the perfect shape and size to cut out the boxes.

2006-10-05T09:20:00.000-05:00

PADRON

2006-10-05T09:14:00.000-05:00

CAO GOLD

My choice to actually carve the diamonds made the painting very difficult, but it was worth it in the end.

2006-10-05T09:06:00.000-05:00

SET IN MOTION

Now that I had seen the process in whole and gone from concept to finished product, I really felt that there was something here. The work, though painstaking and frustrating at times, was well worth the finished product.

I immediately started work on three new carvings: Padron, CAO Gold, and Cohiba (Cuban). Each were less daunting than the Opus X project, but still intricate and beautiful designs.

2006-10-05T08:47:00.000-05:00

OPUS X: THE FINISHED PRODUCT

Although it took over a year, the finished product was worth all the work. One of the things I wanted to do with the carving was have it signed by the Fuente's (Carlos, Carlito, and the rest of the gang). There was no room on the carving itself for signing and no way to attach hardware for hanging without risking the integrity of the already thin releif carving. After much thought of how to make it hangable and signable, I mounted the carving on a piece of red oak. I couldn't find a board big enough for the carving, so I used red oak plywood and veneer edging. Once stained, I sealed it with a satin polyurethane.

The next step: tracking down the Fuente's with Sharpie in hand!

2006-09-05T19:01:00.000-05:00

OPUS X: ALMOST THERE

By freehand, I drew out the Fuente Fuente Opus X label on a sheet of MDF enlarged to 30" across. My first attempt at a cigar label had gone quite well in the carving process. My only downfall was that I decided to carve almost EVERYTHING. While it made for a beautiful carving, it took forever to complete.

Once completed, I began the process of painting it. As if the carving wasn't difficult enough, the painting was just as painstaking of a process. Getting the colors right was quite a task, but it was obvious that Carlito Fuente put a lot of effort into them by the result.

I had only finished painting the carved portions (as seen above), when I decided to bring the carving by Enrico's Cigar Hideaway. Since they are primarily a Fuente shop, I figured they would enjoy seeing it. Within ten seconds of walking in the door with the carving under one of my arms, the man behind the counter said "I'll give you $1200 for it!" While selling it was the last thing that was on my mind, I was quite shocked and flattered by the offer.

Up until this point, the carving had been a typical piece of art for me. I knew all of its flaws and wasn't completely happy with the piece. Maybe I was missing the forest for the trees. After the offer for the piece was floated, it was then that I knew I was onto something.

2006-09-05T18:36:00.000-05:00

THE FIRST CIGAR CARVING

I wanted my first personal carving to be aesthetically pleasing and have meaning to it. I had been smoking cigars fairly regularly since high school. My first really memorable cigars was a Romeo y Julieta Cedros De Luxe No. 1 that I smoked freshman year at Furman. I was hooked! My local cigar shop back home in NJ was primarily a Fuente store. The shop was called Enrico's Cigar Hideaway, and yes, they spoiled me rotten. While I couldn't get my hands on the Cubans that had gotten me hooked, the Fuente smokes that I bought at Enrico's were phenomenal. On occasion, I would treat myself to an Opus X, Fuente's super-premium line. The cigar label that was ever so carefully wrapped around these cigars is an absolute masterpiece...intertwined letters, gold beading, rich reds and oranges, all printed on thick embossed paper.

Not only were the cigars fantactic and the label amazing, the family behind the cigars was a story in itself. The Fuente family has been spotlighted several times by Cigar Aficionado and other magazines. Their journey of building the Fuente legacy is quite an awe-inspiring tale. A perfect subject in all respects!

2006-09-05T18:26:00.000-05:00

Five carvings in 3 years is not exactly what we'd call worthy of a profession, but it was still a very rewarding albeit time-consuming hobby. With the exception of the fraternity badge, each was a gift that I had painstakingly made and then gave away (I find this is an awfully painful thing to do as an artist).

I had graduated college and the time had come that I really wanted to make something for myself that was wall-worthy. It took me a while to find a suitable subject, but when I found it, I just knew it would be perfect (and gutsy as you'll see when you read above).

2006-09-05T18:14:00.000-05:00

A SLOW START

Being that I was in college studying my life away (big white lie?), I didn't have much time to spend sitting alone in my dorm room carving for hours on end. After all, I was having too much fun and would've hated to gain a reputation as a loner.

I did however find time when special occasions arose. My next piece was a carving of a cross for my father. Big Gordon has worn a very unique cross ever since I can remember. It is a beautifully intricate silver cross filled with intertwining religious symbols. Years ago, he had a replica of the cross made which I now wear (infrequently for fear of losing it). I liked the texture and color of bare carving so I decided not to paint it.

After my gift for my father, I carved two smaller crosses, one for Nancy, my mother, and another for Lindsay, one of my sisters. These were Christmas gifts that I made, both uniquely geared towards their styles.

CROSS FOR MOM:

CROSS FOR LINDSAY:

By senior year I had only done pieces for myself and my family (sans one sister, but hers is in the works). My roommate Hank was getting married after graduation, and I wanted to make him and his fiance something special. I decided to carve them a Celtic heart. It came out just as I had hoped.

2006-09-05T17:52:00.000-05:00

MY BEGINNING!

As the story goes, way back in 2000 I was a Freshman at Furman University pledging the Sigma Chi Fraternity. As a part of our pledge program we were each required to make a replica of our badge. During the last week of our pledge period, we would carry the badge we made everywhere we went...a creative lesson in accountability demonstrating that we would always be seen not just as a student but a representative of the fraternity.

Generally the pledges would get a sheet of plywood, and, using a stencil, would outline and cut out however many badges were needed for the class and the paint them. Some spent the extra money to buy pre-cut letters and designs from the local Greek shop to make things easier.

Being me and often feeling the need to be different or go the extra, often unnecessary step, I took a little trip to my toy store...HOME DEPOT. There I found medium density fiberboard or MDF. This extremely dense material seemed to be exactly what I was looking for. I took home a piece and carved for days using only an exacto knife. The finished product was fairly imperfect, but it was a creation and I carried it proudly knowing the sweat and blood (literally) that I had poured into it.

A seed had been planted. Although it was years before I really focused on carving, I had seen what I was capable of, and took kindly to my new hobby.