Item is a b&w negative of a photograph of people after log has been moved into the old UBC carving shed. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING p. 40-41.) Notes: • Norman told me that “they” had to pay for moving the log to UBC’s carving shed (i.e. it came out of his contract monies). After the log was moved into the shed, the wolf clan chieftainess Mercy Robinson Thomas makes a public call for donations. As people come up and put money into a cedarbark hat, she calls out their name and amount. Andy Morrison (in army beret) helps collect and count the money. A total of $126.05 is collected. Then Chip jumps on the log and thanks everybody for their help.
Geographic Location: all photos at area around the old UBC Carving Shed
Item is a b&w negative of a photograph of people after log has been moved into the old UBC carving shed. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING p. 40-41.) Notes: • Norman told me that “they” had to pay for moving the log to UBC’s carving shed (i.e. it came out of his contract monies). After the log was moved into the shed, the wolf clan chieftainess Mercy Robinson Thomas makes a public call for donations. As people come up and put money into a cedarbark hat, she calls out their name and amount. Andy Morrison (in army beret) helps collect and count the money. A total of $126.05 is collected. Then Chip jumps on the log and thanks everybody for their help.
Geographic Location: all photos at area around the old UBC Carving Shed
Item is a b&w negative of a photograph of people after log has been moved into the old UBC carving shed. 1st 3 rows of photos shows people after log has been moved into the old UBC carving shed. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING p. 40-41.) Text info for last 9 images is from pp. 42-45.
Notes: • Norman told me that “they” had to pay for moving the log to UBC’s carving shed (i.e. it came out of his contract monies). After the log was moved into the shed, the wolf clan chieftainess Mercy Robinson Thomas makes a public call for donations. As people come up and put money into a cedarbark hat, she calls out their name and amount. Andy Morrison (in army beret) helps collect and count the money. A total of $126.05 is collected. Then Chip jumps on the log and thanks everybody for their help. • 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. • Last 9 images are the next day. The first 4 show Harry Martin cleaning out a damaged section at the top of the pole that will have to be plugged. Last strip shows Wayne and Isaac working to finish up rounding the log so Norman can begin drawing. Small child watching is my son Luke Powell. Last two images are the guys inserting the plug.
Geographic Location: all photos at area around the old UBC Carving Shed
Item is a b&w negative of a photograph of people after log has been moved into the old UBC carving shed. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING p. 40-41.) Notes: • Norman told me that “they” had to pay for moving the log to UBC’s carving shed (i.e. it came out of his contract monies). After the log was moved into the shed, the wolf clan chieftainess Mercy Robinson Thomas makes a public call for donations. As people come up and put money into a cedarbark hat, she calls out their name and amount. Andy Morrison (in army beret) helps collect and count the money. A total of $126.05 is collected. Then Chip jumps on the log and thanks everybody for their help.
Geographic Location: all photos at area around the old UBC Carving Shed
Item is a b&w negative of a photograph of people after log has been moved into the old UBC carving shed. Item shows a female toddler standing next to a man holding a drum. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING p. 40-41.)
Geographic Location: all photos at area around the old UBC Carving Shed
Item is a b&w negative of Harry Martin cleaning out a damaged section at the top of the pole that will have to be plugged. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING pp. 42-45.)
Geographic Location: all photos at area around the old UBC Carving Shed
Item is a b&w negative of a photograph of the continuation of the work on the pole. Norman starts to sketch on the log. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING p. 45-47).
Notes: Once the log is suitably rounded, Norman is eager to get the drawings on the pole. He brings in the tissue sketches he did for the bid submission, roughly sketching them onto the log. (Note the 5th image [a020808] shows my darkroom printing notations--often my photo choices are indicated with a wax pencil on the contact sheet—sometimes with an X, sometimes a triangle, sometimes a dot—depending on the job.)
Item is a b&w negative of a photograph of the continuation of the work on the pole. Norman starts to sketch on the log. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING p. 45-47).
Notes: Once the log is suitably rounded, Norman is eager to get the drawings on the pole. He brings in the tissue sketches he did for the bid submission, roughly sketching them onto the log. (Note the 5th image [a020808] shows my darkroom printing notations--often my photo choices are indicated with a wax pencil on the contact sheet—sometimes with an X, sometimes a triangle, sometimes a dot—depending on the job.)
Item is a b&w negative of a photograph of the continuation of the work on the pole. Norman starts to sketch on the log. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING p. 45-47).
Notes: Once the log is suitably rounded, Norman is eager to get the drawings on the pole. He brings in the tissue sketches he did for the bid submission, roughly sketching them onto the log. (Note the 5th image [a020808] shows my darkroom printing notations--often my photo choices are indicated with a wax pencil on the contact sheet—sometimes with an X, sometimes a triangle, sometimes a dot—depending on the job.)
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 the continuation of the work on the pole. Norman begins his first chain saw cuts into the pole (top figure). Chip immediately calls the rest of the crew to come watch and imitate everything Norman is doing. 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 begins his first chain saw cuts into the pole (top figure). Chip immediately calls the rest of the crew to come watch and imitate everything Norman is doing. 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 has given ax and then chain saw to brother Chip and told him to “match it”—in other words, do what I just did. This matching process is a very common teaching technique on the Northwest Coast. 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 has given ax and then chain saw to brother Chip and told him to “match it”—in other words, do what I just did. This matching process is a very common teaching technique on the Northwest Coast. 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. 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).
