Art carvings play an important role in Lithuanian visual folk art. Carvings on wood, copper, paintings using pen, usually form a completely separate independent branch of art – the art of graphics. Besides the elements of graphics our folk pictorial perception, rather broad plot and genre approach have also manifested themselves in carvings.
    Lithuania folk carving have been generally made on soft wood: poplar, lime. The plank, intended for the carving, has primarily been well smoothed so it would be easy to draw a painting on it. For that purpose it has been coated with a thin layer of chalk or wax, so the painting of black drawing line would lie on it more clearly. The carver would carve the wood so that all parts of the carving, which press on the paper as white lines and spaces, were cut in depth, and those, which would press as the black line and form the drawing itself, were left in the relief. However there is a different, reverse method of carving: to transfer the drawing by light lines on the dark background. Here the lines, which constitute the forms of the drawing and the fretwork, are carved in depth, and their spaces remain as the relief.
    In order to print the carving on paper the ordinary printing-ink had been used. Only in the 15th century, on the appearance of the carving art, ink with bronze shade was used rather often; however our carvers had not used such ink.
    Carving on paper had been printed using the printing-house press, by pressing paper on the plank, or all of this performed manually. Our folk carvings had been printed using the latter way.
    Originally, wide lines, monumental outline and parallel lines (lines) have been used jointly, and the colours had been used only for achieving decorative effects, which is obvious in decorative painting of our chests.
    By knowing that Lithuanian folk carving technique is rather perfect in its various stages, it is deemed evident that it came to Lithuania from somewhere else. Our people became acquainted with the first woodcarvings from the first printed Lithuanian books. However these carvings shall not be considered the prototypes of our folk carvings: they had been made using other carving technique and were of different nature than our carvings, which appeared thereinafter. 
    The beginning of woodcarving may be carried back to the first decade of the 18th century. The oldest carving, known to us to date, is “St. George “.
    Samogitia had been the center of Lithuanian folk carvings. The prototypes of the plots of the first carvings were various paintings of saints, present in churches, and the copies of works of more famous European artists.
Carvers had been taking the decorative motives from fabrics and canonical clothes. There is plant pastiche found in original carvings. The style of the carvings is also distinctive. Firstly, the type-design of the carved paintings catches one’s eye. The depicted saints are not individualized. Therefore it is often difficult to guess, the saint of which century is portrayed.
    On of the most significant elements of Lithuanian folk art is colour, which evidences itself in folk graphics too. Colour techniques have almost been not used in the first carvings; graphic works have only been tinted by hand. Colour had been an important decorative element in Lithuania folk wood carvings. It had not been used for creating perspective or shaping the view. Carvers painted planes and intuitionally rhythmically composed the colours. The stencils had been made for colouring – these were the sheets of cartridge paper with the cut holes in places where colour areas were intended to be. The stencil was put on the imprinted woodcarving and the colouring had been performed through it. In order for the stencils to be more lasting, they had been greased with oil. An individual stencil had been made for each colour of the woodcarving. Woodcarvings had been coloured using watercolour or glue colour, tempera. Bright local colours had been used on Lithuanian folk woodcarvings. The mostly favored colours were red, yellow, blue, green and purple. Generally the background of woodcarving remained white. Since composition of forms had been predominant in Lithuanian folk woodcarvings, the ornamentation of the clothing of the portrayed people is of great significance. The same as the forms, other elements – landscape, architecture, symbols, etc. - of folk woodcarvings are coloured decoratively. The plant motives usually have moderate colours, and the clouds in the upper part have bright red, orange, blue and green tones. The landscape in folk carvings is very fragmentary, outlined, without perspective; it has been painted with wide strokes using contrast colours – red, green and brown. The symbols, found in the carvings, had also been coloured, for example a heart was painted using red colour.
    Our folk art carvings are distinguished by their monumentality. The forms are mostly primitively arranged, the empty spaces filled with plant motives or minor action scenes. Sometimes flowers or action scenes are composed at the edges of the carving and plastically frame the main form. Sometimes the space, which emerges behind the form is filled with lines, crosses or stars. Strands of thin lines usually soften the outline of forms, things and plants. This way the shape and volume are enhanced. Carving smaller people or things and placing them o n top of each other in one plane convey the space and perspective.
    Today there are little wood carving found in Lithuanian folk creative work
R. Krasninkevičius, O. Pusvaškytė,  M. Rutkauskaitė, V. Gudonis and several others only have liking for wood and lino print. The carvings of preceding times had greater demand and a clear addressee; they were intended for hanging in peasant cottages.