Item is a b&w negative of a photograph of the continuation of the work on the pole. The photograph shows this second stage of doing rough cuts on the totem pole: getting the design on, plugging any damaged areas, making the first cuts, cutting all the figures, designing and cutting any add-on pieces, making the background uniform. This stage is hard manual labour, with the carvers using bigger adzes just to clear away a lot of wood. It should be noted that there’s no really easy delineation between these stages (Stage One = Rounding the pole; Stage Two = Roughing the pole) because some figures are worked ahead of others. But the change is signaled by switching from heavier tools (2-handed adzes and mallets) to smaller ones (single-handed adzes and curved knives. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING).
Item is a b&w negative of a photograph of the continuation of the work on the pole. The photograph shows this second stage of doing rough cuts on the totem pole: getting the design on, plugging any damaged areas, making the first cuts, cutting all the figures, designing and cutting any add-on pieces, making the background uniform. This stage is hard manual labour, with the carvers using bigger adzes just to clear away a lot of wood. It should be noted that there’s no really easy delineation between these stages (Stage One = Rounding the pole; Stage Two = Roughing the pole) because some figures are worked ahead of others. But the change is signaled by switching from heavier tools (2-handed adzes and mallets) to smaller ones (single-handed adzes and curved knives. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING).
Item is a b&w negative of a photograph of the continuation of the work on the pole. The photograph shows this second stage of doing rough cuts on the totem pole: getting the design on, plugging any damaged areas, making the first cuts, cutting all the figures, designing and cutting any add-on pieces, making the background uniform. This stage is hard manual labour, with the carvers using bigger adzes just to clear away a lot of wood. It should be noted that there’s no really easy delineation between these stages (Stage One = Rounding the pole; Stage Two = Roughing the pole) because some figures are worked ahead of others. But the change is signaled by switching from heavier tools (2-handed adzes and mallets) to smaller ones (single-handed adzes and curved knives. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING).
Item is a b&w negative of a photograph of the continuation of the work on the pole. The photograph shows this second stage of doing rough cuts on the totem pole: getting the design on, plugging any damaged areas, making the first cuts, cutting all the figures, designing and cutting any add-on pieces, making the background uniform. This stage is hard manual labour, with the carvers using bigger adzes just to clear away a lot of wood. It should be noted that there’s no really easy delineation between these stages (Stage One = Rounding the pole; Stage Two = Roughing the pole) because some figures are worked ahead of others. But the change is signaled by switching from heavier tools (2-handed adzes and mallets) to smaller ones (single-handed adzes and curved knives. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING).
Item is a b&w negative of a photograph of the continuation of the work on the pole. The photograph shows this second stage of doing rough cuts on the totem pole: getting the design on, plugging any damaged areas, making the first cuts, cutting all the figures, designing and cutting any add-on pieces, making the background uniform. This stage is hard manual labour, with the carvers using bigger adzes just to clear away a lot of wood. It should be noted that there’s no really easy delineation between these stages (Stage One = Rounding the pole; Stage Two = Roughing the pole) because some figures are worked ahead of others. But the change is signaled by switching from heavier tools (2-handed adzes and mallets) to smaller ones (single-handed adzes and curved knives. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING).
Item is a b&w negative of a photograph of the continuation of the work on the pole. The photograph shows this second stage of doing rough cuts on the totem pole: getting the design on, plugging any damaged areas, making the first cuts, cutting all the figures, designing and cutting any add-on pieces, making the background uniform. This stage is hard manual labour, with the carvers using bigger adzes just to clear away a lot of wood. It should be noted that there’s no really easy delineation between these stages (Stage One = Rounding the pole; Stage Two = Roughing the pole) because some figures are worked ahead of others. But the change is signaled by switching from heavier tools (2-handed adzes and mallets) to smaller ones (single-handed adzes and curved knives. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING).
Item is a b&w negative of a photograph of the continuation of the work on the pole. Norman making initial sketches on the log more definite, then doing first cuts. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING p. 50-51.) Notes: Norman makes his initial rough sketches more definite and has crew members doing some tracing onto pole. The work shows this second stage of doing rough cuts on the totem pole: getting the design on, plugging any damaged areas, making the first cuts, cutting all the figures, designing and cutting any add-on pieces, making the background uniform. This stage is hard manual labour, with the carvers using bigger adzes just to clear away a lot of wood. It should be noted that there’s no really easy delineation between these stages because some figures are worked ahead of others. But the change is signaled by switching from heavier tools (2-handed adzes and mallets) to smaller ones (single-handed adzes and curved knives). There’s an immense change as cuts are started on other figures—it’s the end of “rounding the log” and the start of “roughing the pole” (meaning rough-cutting the pole).
Item is a b&w negative of a photograph of the continuation of the work on the pole. Norman making initial sketches on the log more definite, then doing first cuts. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING p. 50-51.) Notes: Norman makes his initial rough sketches more definite and has crew members doing some tracing onto pole. The work shows this second stage of doing rough cuts on the totem pole: getting the design on, plugging any damaged areas, making the first cuts, cutting all the figures, designing and cutting any add-on pieces, making the background uniform. This stage is hard manual labour, with the carvers using bigger adzes just to clear away a lot of wood. It should be noted that there’s no really easy delineation between these stages because some figures are worked ahead of others. But the change is signaled by switching from heavier tools (2-handed adzes and mallets) to smaller ones (single-handed adzes and curved knives). There’s an immense change as cuts are started on other figures—it’s the end of “rounding the log” and the start of “roughing the pole” (meaning rough-cutting the pole).
Item is a b&w negative of a photograph of crew looking at Norman’s button blanket. Info in text from WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING pp. 34-37.)
Item is a b&w negative of a photograph of people after log has been moved into the old UBC carving shed. Three photos of button blanket are possibly one that Dorothy Grant was making—three images that follow may be her and Doreen Jensen (Gitxsan carver) on the right. I don’t remember who they are talking to.
Geographic Location: all photos at area around the old UBC Carving Shed
File consists of photographs documenting the final stage of log preparation for the creation of the Native Education Centre pole by Norman Tait and crew. At the beginning of the file images depict the carvers making their finishing tools, including small single handed adzes and curved knives. This stage involves the carvers adding all the finishing details, such as teeth and eyelids, to the figures. It also includes the raising of the pole during a ceremony given by the Native Education Centre. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING.
File consists of photographs documenting the final stage of log preparation for the creation of the Native Education Centre pole by Norman Tait and crew. At the beginning of the file images depict the carvers making their finishing tools, including small single handed adzes and curved knives. This stage involves the carvers adding all the finishing details, such as teeth and eyelids, to the figures. It also includes the raising of the pole during a ceremony given by the Native Education Centre. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING.
Raising of the pole during a ceremony given by the Native Education Centre. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING.
Raising of the pole during a ceremony given by the Native Education Centre. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING.
Raising of the pole during a ceremony given by the Native Education Centre. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING.
Raising of the pole during a ceremony given by the Native Education Centre. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING.
Raising of the pole during a ceremony given by the Native Education Centre. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING.
Raising of the pole during a ceremony given by the Native Education Centre. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING.
