Decorative Decoy Carver's Ultimate Painting & Pattern Portfolio, Revised Edition. Bruce Burk
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Fig. 4, 5, and 6: Classical sleeping pose.
The next easiest change is to alter the head position (see Fig. 7–10). The position of the head is most important as it usually establishes the activity of the duck—relaxing, preening, displaying, drinking, feeding, attacking and so on. At least three alternate head positions are included in this book for each sex of the various species. It is a simple matter to develop others. Start out by tracing the profile of the head and bill onto a piece of paper, and then cut it out. Place this cutout on the color pattern, move it to the desired position, and blend in the neck and chest lines. Next, make a new profile pattern by tracing off the original body and the newly positioned head. Photographs of live birds in different positions can be most helpful in developing new head positions and working out new neck and chest lines.
Fig. 7: Ring-necked drake with head turned.
Fig. 8: Drinking position.
Fig. 9: Rear view of a canvasback drake.
Fig. 10: An alert canvasback drake.
Opening or closing the tail is another relatively easy change to make. When on the water, the duck normally has its tail closed. The tail is expanded during some activities such as preening, attacking, stretching and others. Most of the patterns in this book show the tail somewhat expanded so that the shape and size of the individual feathers can be ascertained.
Raising or lowering the tail relative to the water, with a resulting change in angle, is also a simple alteration. Raising the tail can impart a feeling of alertness, and the resulting overall configuration is usually more pleasing (see here). Diving ducks, however, unlike dabbling ducks, generally hold their tails low, often in the water. Exceptions to this generalization can be seen in the photographs accompanying the patterns of the diving ducks in this book.
Fig. 11: Preening female harlequin duck. Note the exposed wing.
Fig. 12: Barrow’s goldeneye drake in an aggressive pose.
Fig. 13: Barrow’s goldeneye male scratching his head.
Changing the angle of the duck’s body relative to the water is another easily achieved modification. Ducks, when swimming or feeding, often submerge more of their breasts and chests, exposing more of the rear part of their bodies. Typically, the bodies of diving ducks are more nearly parallel to the water than those of dabbling ducks.
The feeling of aggression can be simulated by the head position and the open bill (see Fig. 12). Raising the folded primary wing-feather groups can also impart the feeling of alertness and aggressiveness.
When relaxing, ducks often lower their wings, sometimes uncrossing them (see here).
Advanced amateur and intermediate carvers should attempt more complicated alterations. The preening bird offers a variety of very pleasing and artistic poses (see here). Often, the wing is partially exposed, adding new challenges for the carver (see Fig. 11). Floating ducks sometimes roll over on one side while preening and expose one leg and foot, providing still another advanced pose. In a similar position, the duck may use its foot to scratch its head, supplying the ingredients for another interesting, if rather difficult, pose to duplicate (see Fig. 13).
It is strongly recommended that the amateur decoy carver use the books listed in the bibliography, not only for carving and painting instruction but also for making alterations to existing drawings or patterns and for making new drawings.
American Goldeneye Drake
Profile of a floating American goldeneye drake. Note distinctive outer scapular markings.
American goldeneye scratches his head.
Front view shows puffy head and cross-sectional shape.
PAINT PATTERN
© Bruce Burk
HEAD PATTERNS
© Bruce Burk
FULL-BODY PATTERN
© Bruce Burk
AMERICAN GOLDENEYE PAINT-MIXING INSTRUCTIONS