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- Pumpkin Carving w/Patterns -

Below you'll find some patterns I have generated for pumpkin carving

These are not what Pumpkin Masters would classify as "easy" patterns. They require time, patience & a steady hand to transfer effectively to a pumpkin - yet I think that's all it takes, not artistic talent particularly. Take a shot at one or more and let me know what you think.

How do I generate patterns?

Patterns are EASY to generate: Adobe Photoshop and a little creative flair is all it takes. Here are the steps I take (please note that this protocol is ever evolving as I learn new tricks - most recent modifications to the protocol are given in red):

1. Pick an image you find compelling for whatever reason (best if the image is high quality - large number of dpi, or at least large in size if a 72 dpi web image)

I like classic horror film images (I've found that studio promotion stills from 40s and 50s are PERFECT images to start with) and as you'll see as you progress through this page, pictures of my kids. The only key to image choice is to chose one with good contrast. It's best I think if the lighting is directional - e.g., natural light coming from over the person's right shoulder. This will make it easiest o generate a 3 gray-tone image (see below)

2. Next, convert the image to a grayscale image (in Photoshop go to Image menu, Mode, Grayscale)

This conversion is critical to generate the proper template pattern!

3. The next major adjustment you will make is to "posterize" the image (in Photoshop go to Image menu, Adjustments, Posterize, in levels box type 3)

The posterize command lets you specify the number of tonal levels for each channel in an image and then maps pixels to the closest matching level. Ultimately we want to be able to generate a "living" image on a pumpkin using a 2D image and by creating three tones of gray (black, gray and white) with the Posterize function we can achieve this. Black regions of the image will remain untouched on the pumpkin, gray regions will be "shaved" (the rind and a little flesh is removed), and white regions will be removed completely (as one would with traditional eyes, nose and mouth carvings).

Once you Posterize the image you'll need to decide whether it looks "good" or not. This is an aesthetic choice, one only the carver can make. I try to get a good balance of the three tones. I don't want white (removed) regions to dominate, nor do I want black (untouched regions to dominate). Some of this is trial and error unfortunately. One piece of advice I can give is to look at the image and make sure removed regions are not too large that the whole image will collapse once carved. Also untouched regions (black portions on the image) are of no use if embedded in the center of a white portion since the white portion is removed. Black regions have to be within gray regions. This can be particularly problematic with eye and nose regions.

So how do you fix a Posterized image that doesn't look quite right?

4. When the image generate in step 3 doesn't look just right to you (doesn't appeal to you aesthetic sense), you'll need to make some fine adjustments. These adjustment processes take me the longest time since I want the "perfect" image. What I do is:

Step backwards to the grayscale image generated in step 2 (In Photoshop go to the Edit menu, click Step Back until you get to the image desired)
Then adjust the brightness and contrast of the image (In Photoshop go to the Enhance menu, Adjust Brightness/Contrast, make adjustments)
And then repeat step 3

Two additional tricks I've recently used to improve image quality follow. I have used one or the other and both in combination or in substitute of the normal Step 4 above:

4a. Adjust the image by adjusting the gray tones (again starting with the image generated in Step 2, In Photoshop go to the Enhance menu, Adjust Color, Color Variations, make adjustments).

4b. You can also Posterize the image (Step 3) in more than 3 tones of gray and they use Replace Color (In Photoshop go to Enhance menu, Adjust Color, Replace Color) to reduce the number of gray tones by 'combining' adjacent grays yourself. Sometime this helps to reduce/increase unbalanced ares that might be problematic when carving.

This "adjustment" process is reiterative, you'll likely need to do it several times to achieve the effect you want.

5. Once you get the 3-tone gray image you want you'll want to size it for the pumpkin you have.

In Photoshop you can preview the printable image by going to the File menu, Print Preview. You may need to change the orientation of the printed image (File menu, Page Setup). If sizing changes need to be made you can simply go to the Image menu, open Resize, Image Size and make changes in Document Size. One trick is to reduce the resolution at this stage if you've been working with a high resolution image since the Posterization process effectively reduces the resolution anyhow. This will allow you to make a greater range of size changes in Width and Height.

How do I Transfer my awesome pattern to my pumpkin for carving?

I have found that the simplest way to get the pattern on the pumpkin is to lay the pattern over a piece of carbon paper on the spot you want the carving to occur on the pumpkin and trace the image to the pumpkin. Be forewarned that this is not a perfect process and the waxy pumpkin skin doesn't hold the carbon well. Yet, you'll get a good enough image that you can then use a ball-point pen to trace over the stenciled image (OK, maybe at this point some artistic talent is helpful, but hey "You're just a tracer" [quote adapted from Chasing Amy]).

17 Oct 007, got this suggestion from Lee Driver for an additional way to get your pattern transferred to the pumpkin of choice: "Here's a great tip ....I use paper used to make stickers for my patterns. You can print them out and stick them straight onto the pumpkin and trace them or use them to carve out certain areas. I use a dremmel so all i do is go over the sticker where I want material removed, peel, and what's left is a great pumpkin."

Great, I have a traced image on a pumpkin, now how do I carve the damn thing?

This is where no new inventions are needed. You can get everything you need at Wally-world, Target, or you're local hobby store. Pick up a Pumpkin Masters carving kit that has a scoop and small saws (not the ones for little kids but the adult ones) - in doing this you'll also have some cool patterns if the process of making your own doesn't work out! I also have a nice sharp thin blade knife for cutting the top off and less precision work. Lastly, I shave off rind with a narrow wood chisel but there are specific pumpkin carving tools you can get to do this as well. While I have such tools I've found that the chisel works better since it's nice and sharp - BE CAREFUL!

I start by gutting the pumpkin and "thinning" the wall where the image will go. I have found that the best images are achieved when the wall is no more than 1.5" thick. But take care not to make it too thin.

Next, I start removing the Gray Areas (rind, partial flesh removal only). If you start with the White Areas (complete removal) you can get into trouble because the image can collapse with the added shaving pressure. Again this is one of those trial and error things. Also, I've found it helpful to keep the image I traced from close by to aid me when I'm not sure "is this a gray area or white area". I've recently found that it is helpful to 'light' the pumpkin after you've removed the rind (generated Gray Areas) and before carving the White Areas - this helps to judge whether you have shaved enough flesh to see clearly the Gray Areas from Black Areas. If you feel that there is not enough contrast you can shave more flesh from the inside of the pumpkin at this stage without fear of destroying the whole image because the overall integrity has been reduced in removing the White Areas. Do take care not to remove too much flesh (don't make the contrast between Gray and Black Areas too great) or the White Areas will blend with the Gray ones once you carve the White Areas. remember the key is to have clear tonal differences between White, Gray and Black Areas. Don't try to get things too perfect - the variation in the carving process often enhances the realism of the final product.

New NOTE (7 Nov 2007): I've had a few questions over the past couple years about how much rind and flesh to remove for the gray portions and if I try to vary the depth of removal to add more tone. The short answer to the latter query is NO; I've tried doing a multi-tonal carving on purpose once but found i was too hard to really control using chisels (however, it might be possible with a variable or controllable depth Dremel tool!). On the other hand natural variation in how much one peel away lends itself very well to the creative process, so in the end I've found that it's best not to worry to much about making the depth of removal of gray portions uniform but rather let it flow naturally. As always the best approach is to remove the gray sections first. lit the candle and go from there. You can then remove more either from outside or inside. Either way you get more realistic shading and nice portrait depth but not sweating the process too much!

Have fun and take your time! Don't be surprised when you finish if the unlit pumpkin in your lap looks like S@*T...go outside, put the candle (sometimes a couple work better) and stand back. You'll be truly amazed at how good they come out.

OK, Here are some of the images I've created.

Feel free to use any of them. I've linked each to large template jpg's so you can simply download them. All I ask is that you tell your friends where you got them and let them check out my site! Thanks and enjoy.

The image on the left shows the original photograph/rendition from which the pattern was generated; the image in the middle is the template for carving (click on it to get large printable pattern); and the image on the right is the final lit pumpkin.

2007 Patterns

Here's a collage of the 'class of 2007' - ALL the completed pumpkins up to 31 Oct (12 total)!! Each individual pumpkin and its corresponding pattern (with original image is given below) - ENJOY! [the collage is clickable to get a larger hgi-res pic]

First of the 2007 carving season. While the pattern isn't particularly complicated this one was tough because of the size of things. Came out OK (not great but OK) - my homage to the the classic 1976 'devil' movie "The Omen" [Gregory Peck and Lee Remick with little Damien in shadow]

Classic Karloff character, "Gray" from "The Body Snatcher" [1945; dir, Robert Wise; prod Val Lewton]

One of the greatest natural faces in movie history - Peter Lorre. This one is his character Dr. Gogol from Karl Freund's 1935 "Mad Love", a horror-thiller take on Pygmalion's obsession with the statue Galatea from Greek mythology. This is a classic movie about human decent into madness and Lorre's first lead American movie role.

Bela Lugosi's iconic Dracula. The original image is derived from the USPS stamp from the "Classic Universal Monster Collection" that was released in 1997.

I just really liked this creepy 'nosferatu' prop image and thought it would work nicely as a pumpkin - I think my initial thought was justified, but you be the judge.

My homage to 'Blacksploitation' horror classic - "Blacula". I think this one could have came out better but I had a hell of a time getting the pattern transferred to the pumpkin and in the end had to freehand nearly the whole thing.

Like Peter Lorre, I believe Vincent Price has one of those classic and iconic faces that beckons to be put on a pumpkin. This one came out pretty decent, although I like the one I did last year better.

One for Dancearts of Columbia - came out pretty good I think!

First 'school picture' of the season...started with Kas-Mo as she's always the most difficult the original which I seem to have misplaced - despite the fact that I took the pic this past week!)

'School picture' #2 - Tay-lo. Different kind of shot, more artistic 'photo' but effective I think!

My socially-conscience oldest daughter came up with the idea of doing a peace sign...it just took dad a while to find a suitable original pic (it was a bonus to be a Beatle!)

'School picture' #3 - Bubba-licious. Isn't he a cute kid? Even when a pumpkin portrait - hell ALL my kids are cute!!

The kiddo's all together.

2006 Patterns

Here's a collage of the 'class of 2006' - ALL the completed pumpkins up to 31 Oct (a whopping 17)!! Each individual pumpkin and its corresponding pattern (with original image is given below) - ENJOY!


Peter Lorre from Fritz Lang's classic chiller "M" (my first of the 2006 carving year)

Pretty decent VinCent Price if I do say so!

Just found this one of Lon Chaney (Sr) on the web and thought it was CREEPY - the pumpkin came out nicely too - the teeth are especially satisfying

Hammer Horror great - Peter Cushing (forth pumpkin of the season and still going strong)

The late great Donald Pleasence in John Carpenter's "Prince of Darkness"

Evil Ed after meeting with Roddy McDowell's 'Van Helsing' character in "Fright Night"

Dwight Frye's 'Renfield' in Tod Browning's 1931 version of "Dracula" (this is the scene when Renfield exhibits his first true signs of nuttiness!)

Simon Pegg as 'Shaun' in "Shaun of the Dead" - I'm doing a SoD triology set (Shaun, Ed & Liz)

My tribute to one of, if not the first African-American heroes in horror - Duane Jones, from George Romero's classic "Night of the Living Dead" - I think the pattern must have been traced onto the pumpkin oddly as Duane's forehead is a bit disproportionate. See my review of NOLD here

Nick Frost as 'Ed' from "Shaun of the Dead" - this is part 2 of my SoD trilogy set - I will compile the set as one image once I have 'Liz' done!

Kate Ashfield as 'Liz' in "Shaun of the Dead" - this is part 3 of the triology (see below)

"Shaun of the Dead"

I just thought this vamp was cool...came out OK, although it's challenging with my current tools to achieve details of complex patterns on relatively small pumpkins (like this one was)
I can't locate the original
Another nod to the 'classics', this time to James Whale's iconic figure "The Bride of Frankenstein" (played by Elsa Manchester)

By far the most complex pattern I attempted this year - yet I think it came out quite effective. This one is certainly not for the faint of heart or shaky of hand - it took me almost 4 hrs!

The kids 2006 'school pictures, pumpkin style' (below each is given with original)

Taylor (growing up too fast)

Kasey (the glasses always pose a carving challenge, but also character to the end result!)

Mannie IV (Bubba - looking the ham he is)

2005 Patterns


It's the monster from the 1931 Universal classic "Frankenstein". Not bad if I do say so!
I can't locate the original
Another Karloff classic - Ardeth Bey (the Mummy) - Need a drink dude? You look dehydrated!

Wasn't at all sure this homage to Romero's Land of the Dead would work - I mean trying to replicate a reflection of a zombie's face as he walks out of the Hudson River onto a pumpkin??? But you be the judge - I think it worked.

This one was done near the end of the carving season - certainly rushed. I think this pattern can yield a better pumpkin.
I can't locate the original	I also seem to have misplaced the pattern - I'll try to find it
This Halloween homage of "Mikey" was done earlier in the carving season (unlike the Nosferatu above) when I still had my 'chops'. I like this one! (I'll try to find the pattern)

This was my favorite of the year - I am pretty proud of this one. It wasn't at all easy and the Shape is a little 'off' (dimension wise), but I think it has the feel I look for in my Halloween (I'm using Halloween here to denote the holiday not the movie) stuff. Of course this is from H2O (the return of Laurie!)

2004 Patterns


"It's ALIVE, It's ALIVE..." Famous scene from the 1931 Universal classic "Frankenstein" when the Monster comes to life. Not super pleased with this one (Henry's a little long between the nose and lips) but it was a difficult one and my first of the 2004 carving year.

Pre- or post-pea soup? Does it really matter? This was not only a creepy scene in the movie but I think it makes an effectively creepy pumpkin!
I can't locate the original
Hammer-time '04 - Christopher Lee's classic Hammer Horror dracula. Lee was a much more effective count than Lugosi in my humble opinion. I think my previous Lee Dracula pumpkin was better though!

The creepiest scene in The Exorcist, and it shows up only for a fraction of a second a couple times in the whole movie. I think it makes a nice pumpkin. This was my 6th carving of the season so I was getting a bit less careful, but still I think it works nicely.

Well having done it the previous year (2003) it's kind of like getting yearly school pictures, I felt I needed to carve my kids into pumpkins again.

Here is a collage of the three pumpkins aglow. Below are the montages of original photo, 3 gray template image and final pumpkin. Yes these are the real pumpkins - in Mannie's image you can discern the separations on the rind.

2003 Patterns


"Here's Jack!" This one came out really good...the creepiness shines through (Jack Nicholson in The Shining).

Hammer-time (Christopher Lee as Dracula).

Showers were never the same after this scream! (Janet Leigh in the famous Psycho scene - my middle child got her middle name - Leigh - as an homage to this movie).