essentÊrving°71

F O L I A G E : COPYING A NATURAL L E A F IN W O O D

ignore. The carver of this oak leaf kcpt his options open so chat when he realized chat che edges oFthe leaf were still rather heavy hc couid make them morÄ™ undulating and thcir turnovers morÄ™ subtle. When this was satisfaccory he undercut the rolled edges. To finish the top surface hc carvcd the stalk and was surpriscd to find that an oak leaf stem is hollow on top, flaring slightly towards the end. This goes to show that, howcver much you may think you have observcd somcthing, thcrc is still morÄ™ to learn (Fig 5.11).

Before undercutting the outside it is essentia! to remember that what is being madÄ™ is a carving of a leaf, not an actual leaf. To make it leaf-ihin is merely to demonstrate patience, sharp tools and a stcady hand; to make it look thin while kccping strength demands a sympathy wirh wood, consideration of futurÄ™ owners, judgemcnt and skill. As this carving is most likely to be seen straight on it is only necessary to cut down at about 70° to the ground using chisels which fil the outline (Fig 5.12). Most of the work here was done with a large No. 3 (Swiss) or No. 5 which was used at the same time to elear the ground (Fig 5.13). Finally, the whole ground was cleaned by regular cuts with the large No. 3 cutting in the direction producing the best finish. A large No. 2 (Swiss), No. 3 (English), would give a smoother surface (Fig 5.14).

Surface Texture

If you see a perfectly formed and smooth carving in a medieval style it has most probably been done siÅ„ce the industrial revolution. Close cxamination of a real Gothic carving will show chisel cuts, irregularities in the modelled forms and uneven groundwork. Medieval work is morÄ™ vigorous and the slight facets left by the chisels hoÅ‚d or reflcct the light in a morÄ™ lively way than a smooth regular carving.

The medieval carvcr had two advantagcs: hc didnt know about things madc by machinÄ™ - the idea of idcntical items being repcated out of moulds or from jigs was unfamiliar - and he was excited because he was continually striving to perfect technique and learn new forms. The nineteenth- and twentieth-ccntury carvers had very sophisticatcd tcchniqucs and, when niaking medieval forms, were not experimenting with anything new. They were merely dcmonstrating their technical superiority. Conscquently,

Fig 5.13 The ground cut in to meet the undercut using the same No. 3 gouge.

FlG 5.14 The finaÅ‚ cuts are madÄ™ aÅ‚ong the ground, with the grain, to get the cleanest finish and to remove dirt.

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