Prepping wood from trees

This is a log from a cottonwood cut several years ago.  I did nothing to it except let it sit, and you can see the cracks that resulted.  For some pieces it may be desirable to let it crack deliberately and use this pattern, but structurally it is compromised and would have to have a supporting base or framework so it doesn't fall apart.

Until recently I've used wood that's been milled (or more commonly, already used) before I got to it.  I've been waiting for a chance to try starting with the tree rather than the pre-cut planks at a wood supply house.  When a neighbor told me he was going to remove a giant apricot tree from his property, I jumped at the chance to try it.

Two of the greatest woodworkers of all time, George Nakashima's and Sam Maloof were experts at this.  Take a look at Nakashima's use of the live edge and butterfly insets in his work.

The original tree, marked with sections that I have sculpture ideas for.  I was inspired partly by a visit to James Surles'  studio in Carbondale (www.jamessurles.com)

Newly cut wood ('green' wood) is heavy because of all the water weight.  Slow, consistent drying is key to reducing the number of cracks and structural abnormalities.  Many sculptors either use a large kiln to dry wood or keep a rotating stock ready for use.  For air-drying, a good rule of thumb is 1 year per inch of thickness . . . so for large pieces the planning process can start a decade or more before the sculpting even starts.

Cookies chainsawed and ready for sealant

Drying cookies prepped with different sealants as an experiment

Cracks that showed up on an untreated log a day after cutting

Sealant added to the ends of cuts to slow the moisture loss.  Eventually I'll cut strips out of the bark to allow for more even drying (and fewer cracks).