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. 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 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. 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 Wayne and Isaac inserting the plug so Norman can begin drawing. 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 Wayne and Isaac inserting the plug so Norman can begin drawing. 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 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.)
