The forests of the Pacific Northwest are a cornucopia of materials for the woodworker.The many species that abound here are part of an ecosystem comprised of a myriad of organisms, each interdependent on the other. Among the various species of coniferous and deciduous trees there are numerous shrubs, mosses, lichens, and fungi, and innumerable large and small mammals, birds, reptiles, amphibians, insects, and more that are all part of the big picture.

The Northwest Coast Native people, prior to the arrival of Europeans, knew their forests well, for their existence depended on it. When materials were needed for houses, canoes, weaving, cordage, dyes or food, they knew where and when they could procure them and their collection was done with reverence.They also had the knowledge and skills to process these materials.

The trees serving as the material source for the carver varied as to species and according to the nature of the project. Basically, cedar was used for houses and canoes, alder for spoons and bowls, or maple and yew for canoe paddles. Of course, the selection process was much more involved than this, but these are simple examples.

Today's carver is, for the most part, dependent on saw mills, lumber yards, and firewood suppliers for their raw materials. When possible, I prefer to procure my wood from natural sources. The forested acreage around my home satisfies most of my needs for Alder, Maple, Bitter Cherry, and Dogwood, which I use for masks, bowls, and other smaller projects. These hardwoods are ideal for functional items and impart no flavor to food items which they may contain. It is also easier to carve intricate details because the wood is less fragile. I generally select old-growth Western Red Cedar logs from lumber mills because these mills have a source for them. The mill will also cut planks to my specifications for dimension, as well as allowing me to choose the location in the log from which to cut. This selection process is very important. It affects the carving process and the appearance of the finished art work.

Other materials from the forest consist of roots from cedar, spruce, and hemlock trees. Red cedar bark, which I use for trim on masks, is gathered in the spring. I strip it from trees that are destined to be part of a clear-cut, or from trees that have already been felled, either through a logging operation or a land development. In gathering the bark, a knife cut about three to six inches wide is made across the base of the tree. The desired strip is pulled upward from this point and can reach lengths of over thirty feet with skill. The inner layer of bark is separated from the outer layer, rolled up and secured with a thin strip of the same bark. The outer layer is discarded. When I have gathered enough for my needs, I take the bundles home and hang them from a rope stretched across my workshop, where they become dry after a few days. I then store them in cardboard boxes lined with plastic. A good description of the whole bark scenario is covered thoroughly in the popular book entitled “Cedar” by Hillary Stewart.