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Competitions 

Judging Criteria

The following definitions of judging criteria have been adopted by the Ward Foundation. Each criteria is given equal weight in the judging process. The higher the level the more critically accessed. These criteria will be used for all of the following levels of competition-World, Masters, Advanced, Intermediate, and Novice-in all divisions except Interpretive:

• Technique/Craftsmanship refers to the technical skills involved in bird carving: sculpting, painting and finishing techniques and their execution. It covers the bird or birds, any habitat or accessories that may be involved and the base itself if there is one. Craftsmanship should be consistent throughout the entire piece. Good craftsmanship is basic to bird carving. Without it, a piece will go no further.
• Accuracy involves the correctness of a piece from a scientific perspective. Is the bird the right size? Are the feathers the right shape? Is the coloration and pattern correct? Are the eyes properly placed? Do the toes have the right number of joints and are they in the right places? All these are questions of accuracy. Anything accompanying the bird must be given the same scrutiny. Accuracy involves the natural history of the whole piece, all of its components and the appropriateness of these components together.
• Essence of the Species involves taking accuracy one step further. It involves a thorough knowledge of one's subject and the ability to capture an attitude in wood. You see a bird on your lawn at dusk. You can't see any details in the failing light, just a silhouette, and yet the hop and cock of the head immediately identify it as a robin. The essence of the bird is there without a feather count, a measurement of length or a check on color. You may have flawlessly crafted your bird with faultless accuracy, but unless you have captured the essence of your subject and given it the spark that brings it alive, your bird will not achieve its fullest potential.
• Artistry of a piece involves its design and composition. This is where presentation, innovation and creativity all come into play. There should be a beauty in the concept apart from the beauty of the bird itself. Line, form, content, color, mass and movement should all be working together to create an integrated whole. Of all the concerns in carving, artistry is the most elusive, the most difficult to explain, to teach, to analyze in the work of others, and to instill in one's own work. But the difficulty is an indication of the importance.
• Overall Presentation. What is rare is often what is valuable. Bird carving requires a multitude of technical skills brought together in the overall presentation. Additionally, it requires a thorough knowledge and understanding of birds scientifically as well as emotionally. But most importantly, it involves the ability to bring all these elements together artistically. If bird carving is to move beyond craft to art, our goals and expectations must do the same. No artificial lighting will be used during judging, artificial lights (handheld or tabletop) are not permitted and will not be on the display.
• All criteria are important. They all overlap and build on each other. In order for a piece to reach its fullest potential it must succeed in all five areas simultaneously. For the sake of clarity we have dealt with them individually, but in reality the distinctions are not so clear cut.
• As the competitor moves through the different levels of competition and eventually to the Masters and Advanced levels, technique/craftsmanship and accuracy as criteria are taken almost for granted, as these are the tools expected to have been mastered, allowing the artist to concentrate on the essence of the species and artistry of the competition piece entered. Please refrain from posting images of your work in progress to finished carving of your entry pieces on social media.
• Some rules are open to individual interpretation, giving an artist as much artistic license as possible; some are very specific. It is up to the judges to interpret the rules with guidance from the Ward Foundation. The judges' decisions are final.
• DECORATIVE MINIATURE MEASURING CRITERIA Entries must be one half lifesize or less. The Ward Foundation reserves the right to move entries deemed too large for miniature to the bench class.
• WATERFOWL PAIR Unless otherwise stated, a waterfowl pair is a drake and a hen of the same species.

RULES FOR BEST IN CATEGORY AND DIVISION AWARDS

• First, Second and Third in Category winners (Division E, CD, GP, SW and YG) will be determined with First in Category being selected from the First in Species winners. Second in Category will be chosen from the remaining First in Species winners along with the Second in Species of the previously selected species. Third in Category will be chosen from the remaining First in Species winners plus the next runner-up at the species level in the species previously selected for First and Second in Category. In other words, it is possible to select First, Second, and Third in Category from the same species.
• Best in Division (All Divisions except World's, MH & H) will be selected from the winner of each of the Categories. Second in Division will be selected from the remaining First in Category winners plus the Second in Category winner from the previously chosen Category. Third in Division will be chosen from the remaining First in category winner(s) and the next runner-up at the Category level in the category(ies) previously selected for First and Second Division. In other words, it is possible for judges to select First, Second, and Third in Division from one species.
• Division MH & H will be judged for Best in Division with second and third awarded as well.
• Competitors must submit documented reference materials at the time of registration for those birds not listed in the National Audubon Society's The Sibley Guide to Birds. These reference materials are necessary for the accurate judging of your bird. The Ward Foundation is not responsible for lost reference materials.