Welcome to the home site of Bill Testu Woodcarvings

I was born in Quebec in 1949. In 1973 I moved to Labrador City to start a job with the Iron Ore Company of Canada as a Machinist. After 38 years in that vast and beautiful land my wife and I decided to retire to a place with a better climate. We found our retirement home on stunning PEI. We can't possibly say enough good things about this Island or it's people. Enough to say we like it here very much.

As a boy I was always interested in woodworking as my father was very handy with tools and was often making things. However I had never carved anything until one day in 1984 my wife and I were visiting friends. On the coffee table there sat a fine Duck Decoy. I had always wanted one of these pieces but when I was quoted the price I was surprised at how much it cost. For some unknown reason I turned to my wife and said " I think I could carve one of those". Many "how to" books later and several cut fingers I produced something that vaguely resembled a Duck. I was hooked. Eventually I joined the local Labrador Craft Guild and began to sell some of my creations. Some guild members urged me to carve lots of different things other than Duck Decoys. Presently I produce key racks, lapel pins, ornaments, shorebirds, songbirds, Ducks as well as fish. However, as an amateur birder my main theme throughout is still birds.

Over the years I have often used patterns produced by people such as Harry Shourds, Anthony Hillman, and Gordon Stiller. In using these patterns for inspiration I always tried to change some little thing, such as a head position, to try and make the outcome uniquely my own. Even now I'll use books and carving magazines for reference when I'm producing my own templates. Without books such as "How To Make Working Decoys" by Dr. George Ross Starr, or "Making Wood Decoys" by Patrick Spielman, I wouldn't have known where to start. Books and magazines are not only invaluable for inspiration but are an essential part of any carvers reference library.

Wood, in all it's fascinating variety, is of course the medium for carvers. Most craftsmen will learn through trial and error what works and doesn't. Others will use what is most easily accessible in their area. In all cases one species will stand out for the individual carver depending what it is intended for. For painted pieces I often use Pine as it's readily available. If I want a harder stronger wood that holds burned in detail well I'll use Basswood. Natural finished carvings are my favorite as I find the grain patterns interesting and no two pieces will ever be the same. Butternut is my top choice. It carves easily, holds detail well and to me, is drop dead gorgeous. The sad thing is Butternut has suffered from a blight over the past decade and is getting hard to find. What is available is very expensive. Birch on the other hand is very common and some pieces have a nice grain. It accepts stain well and can turn out a beautiful carving. Walnut is also quite beautiful but like Birch is hard to carve. No matter which wood I choose it' s important to me that it comes from some sustainable source. Many exotic woods are very beautiful and readily available but are harvested at the expense of rain forests for example. I like to get carving blocks from sources that I trust are not exploiting the environment. Dead, damaged, nuisance trees or wood cut from a properly managed woodlot are my preferences.

Hand carved pieces, by their very nature, are individually unique. No two can possibly turn out the same even if the identical pattern is used. I often have had orders for six pins, for instance, and I'm surprised how unalike they can be. Carvers are constantly learning and refining their technique as they go along and often change the way they carve from day to day. What works on one particular piece of wood may not go so well on the next even if the wood species is the same.This aspect, more than anything else, keeps things interesting. I have had commissions in the past for a particular type of Duck and then later the same person ordered another. I always caution the customer that the newer version may not exactly replicate my past work. To that end, whenever I can, I let the client see the carving before committing to purchase.

Tools don't necessarily make the carver but they sure help. As in any hobby, the carver suffers from the idea that the latest gizmo is a must have and once gotten will lead to a perfect wood sculpture. This may not always turn out to be true but what is certain, it's a whole lot of fun shopping for the latest gadget. Many carvers I've met create amazing pieces with a minimum amount of tools. It goes to show you don't need much to get started. My workshop is in my basement and is quite small. Eight feet wide and sixteen feet long. In it I have a carving/sanding area with dust collector, painting area, scrollsaw, bandsaw, drill press and miter saw with second dust collector. At the carving/sanding station, I have two flex shaft grinders, more bits than I need and a heap of knives/gouges of which I only use a few. I don't have a planer/jointer or table saw for squaring up my blanks but a local carpenter does that for me at a nominal fee. I have all I need to turn out my craft....and yet...I want more.

If you wish to purchase an item,please contact me for availability,payment and delivery options.E-mail: greycloudpei@gmail.com Tel: 902-836-3415