Tim Major: Small-scale work – bigtime passion

Work, words and photos: Tim Major

What is it about netsuke or carving in miniature that interests you?
I’ve always found items in miniature fascinating, so as I set out on my woodcarving journey I found that I was naturally drawn toward carving smaller objects. Then I discovered netsuke.

What defines a netsuke and where does this artform come from?
Netsuke (pronounced ‘netske’ with a silent u) are a toggle, developed during 1600s in Japan as a functional as well as decorative item. They allowed Japanese men to carry various utility items such as inro, tobacco cases or a purse, as the male kimono had shorter sleeves which were unsuitable for use as pockets. The utility items were attached through string holes, or himotoshi, to the netsuke via a cord, usually silk. 

Two Japanese inros made from NSW scented mahogany with inset Japanese mother of pearl tokens and braided silk cord

The netsuke was then passed up under the obe, which is the wide satin or silk sash which secures the kimono around the waste. The netsuke sits over the top edge of the obe to secure the utility item. As the kimono has no pockets, the inro, usually worn at the rear of the hip, provides carrying facility for smaller items such as currency or medication.

Japanese netsuke carvers would invariably serve an apprenticeship of around seven to eight years followed by four to five years as assistant to the master netsuke carver before attaining the right to carve in their own name.

Can you tell us a little about your background?
I am happily retired having enjoyed working in the construction industry for around 47 years building and renovating client’s homes. My business also carried out the majority of cabinet work for my projects.

I’ve always enjoyed working with wood, particularly beautiful timbers. In retirement as a self-taught luthier, I’ve enjoyed producing some quite nice tenor ukuleles. Boxmaking followed, then the Japanese art of kumiko and now woodcarving, particularly netsuke carving. I’ve enjoyed carving netsuke for a relatively short time now – I’ve a long way to go but I’m thoroughly enjoying the journey.

Hares, Huon pine with agate used for the eyes

Where do you get your ideas from?
The first book I purchased was Carving Japanese Netsuke for Beginners by Robert Jubb which contains a wealth of both information and inspiration. The Art of Netsuke Carving by Masatoshi is a prized possession and an extraordinary read containing further rich inspiration.

When looking for a netsuke subject I’ll search my netsuke books for inspiration, or the internet for photographs of a animal or bird that I feel is workable in wood and within the required parameters of netsuke carving. These are that the finished netsuke must not have substantial protrusions that would catch on clothing, must be tactile and include the himotoshi cord holes or a natural opening, and the finished piece should generally be between 25mm and 50mm in length.

The underside of the Huon pine hares showing the himotoshi (string holes).

Do you have any tips for choosing woods to suit certain subjects?
Not necessarily for specific subjects but I would recommend jelutong or basswood as the first timbers for any carver to start with as they are tight grained, easily carved and relatively inexpensive. Australian white or brown beech, Huon pine, King William pine, tiger myrtle, and iroko (African teak) are my favoured species for netsuke carving. I use agate beads for eyes.

Some of your pieces have been carved ‘two-at-a-time’ – why is this?
Based on advice from the first book purchased on the subject, I have found this method to work well for carving netsuke. As netsuke are traditionally quite small, to have a block long enough to carve two netsuke with some mid-space allows the carver good purchase during the process.

Another example of carving a pair of netsuke initially as one piece

What are your best tips for would-be netsuke carvers? How do you get started on a piece?
Purchase that publication, it’s a worthwhile investment in gaining an understanding of tools and technique. Choose your netsuke subject, either from a publication or imagination. Cut a suitably sized block of your preferred wood bearing in mind the grain direction, the grain should ideally run the length of the piece. Draw your subjects on the block, both in plan and elevation. If you have access to a fine-bladed bandsaw carefully cut away some of the waste to your chosen shape.

For small scale work, Tim Major recommends use a cut-resistant glove for the non-dominant hand. 

After fitting an essential cut resistant glove to your non-dominant hand start to carve into the shape using a sharp sloyd knife. Don’t be discouraged, anything worthwhile takes time and practice. After the sloyd rough-out finer carving tools may be required depending on the required level of detail.

Another tip is to carve a spoon or spoons first. I did and firmly believe it to be the best kick-off to any form of woodcarving.

Showing the initial layout and later stages for Tim Major’s Preening Duck netsuke in Huon pine

Small-scale work doesn’t necessarily mean small inputs of time...how long can it take to carve a miniature?
The time required to carve anything depends primarily on the carver’s skill level along with the anticipated level of detail to the piece. Start with a subject that you feel is easily manageable otherwise despondency with surely follow.

The time invested in a carved piece usually runs from 10 to 30 hours depending on the level of detail and associated sanding difficulty. I come back to my work for an hour or two at a time but a few enjoyable hours can easily slip by. Master netsuke carvers would often spend weeks or months to complete a piece, particularly when working in ivory, antler or bone.

A later stage and finally the completed Preening Duck netsuke in Huon pine by Tim Major

Do you need lots of tools? What would the essential ones be?
Apart from access to a small bandsaw (not essential, but pretty handy), a carver clearly needs a knife. The woodcarver’s knife is called a sloyd knife which is the essential carvers tool. A good sloyd will start at around $60 for a Mora but can run to around $300 for handmade knives. The other carving tools that I find invaluable for netsuke carving are the Pfeil lino/ woodcutting range and Dockyard tools for fine detail work. The use of a cut-resistant glove on the non-dominant hand cannot be underestimated.

What do you love most about carving netsuke?
Finding the initial inspiration either through research on previously carved netsuke or through pure imagination based on the prerequisites pertaining to netsuke. I also enjoy the quiet focus netsuke carving requires along with the sense of achievement experienced when a carving looks right on completion. A netsuke carving does not need to be anatomically accurate but should look correct, balanced to the eye and feel good in the hand.

Tim Major lives in Sydney and is a long-time woodworker and member of the Woodworkers Association of NSW. See more of his work via Instagram @paddo_ukes

First published in Australian Wood Review, issue 124, September 2024