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C A R V I N G A N ANIMAL IN T H F. R O U N 1)

maquetces to make them come alive.

A fairly difTicult subject such as a quadruped illustrates the problems not only of composition but of timber selection and holding the work.

USING A PATTERN BOOK AND YOUR OWN KNOWLEDGE

The deer shown in this chapter, carved by Howard Spicrs, is bascd on designs in Mary Duke Guldans excellent A Woodcarver’s Workbook, published by Fox Chapel and now available from GMC Publications. One thing she does which is missing from many pattern books is to give top views. These provide essential Information as well as helping to make a carving read well when viewed all round. Having obscrved fallow deer in the wild, Howard was well placed to adapt the drawings in the book to this species. He firsr madę careful drawings to fix the shapes in his mind. then selected the wood. You may choose to design the carving to fit a particular piece of wood.

DO NOT BE TOO AMBITIOUS

Some beginners have ambitions ahead of their immediate capability. This is not to say that they will not be able to finish their camng cvcntuallv, but gaining expericncc (and tools) while making rwo or thrcc simpler carvings is a morę sensible preliminary. Something which the beginner may take several years to complete could, with experience, bc donc in a matter of a month or so. You should consider the best use of your time and the risk of frustration at slow progress.

TOO SlMPLE AN APPROACH

Other beginners copy pattcrns from books and are sometimes contcnt with bandsawing a profile to shape and rounding the forms with rasps. While this is a simple form of sculpture it hardly qualifies as carving, and if done closely to instructions teaches liitle. The only virtue here is that the rapid result can stimulate the carver on to better things. It is far morę rewarding and constructive to carve to your own design some easily seen animal such as a fish, snail or frog, for then you have the thrill of knowing you have done it all yourself.

Putting Life into a Pose

While carving is far easier if the animals pose is pcrfectly symmetrical, you could lose on two counts. First, unless the grain is markedly different from one side to the other, a potential for interest is lost as botli sides are identical and the back, front and top views are too evenly balanced. Second, such a static pose may contradict your efforts to make the crcaturc seem alive. A turn of the body, head or taił and arrangement of the legs in different positions provides variety and movement. Carving teachers regularly rwisr their students’ clay

Fic 11.1 Side view of walnut błock showing positioning of deer and first roughing out.

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