essentÊrving±20

Essen tial Woodcarving T e c h n i q u e s

Choosing the Best

DlRECTION OF THE GRAIN

This carving is in a piece of fast-grown, and thcreFore fairly tough, walnut. Care has to be taken when positioning the work in the wood. The thin lcgs dcmand that the grain run up them rathcr than across (Fig 11.1). On sonie animals this may put the nose or taiÅ‚ at risk. Ears generally have to takc their chance unless you can insert them without showing a join. Elephants and the few other animals with very short or fat legs are the only ones where the grain can safely run across them. Although wood can be madÄ™ to be literally as thin as wirc or feathcrs, for instance, ifa carving is very fragile its only value is to show the carvers patience and, nowadays, probably his possession of somc mcchanical detailing tool. The great skill of Grinling Gibbonss style of work was in creating the illusion of fragility while retaining strength. The pose should take account of the wood s limitations.

SELECT1NG THE FlGURE OF the Wood

The partem of the grain, too, must be considered. Placed with the grain as in FigurÄ™ 11.2, the convex surfaces on side B will show as concentric rings. On side A thcre will be vertical stripes. Quarter-sawn wood as in FigurÄ™ 11.3 will havc stripes on both sidcs. ‘Plain sawn timber, with verv much flatter annual rings as in FigurÄ™ 11.4, will give a good figurÄ™ on both sides but the wood may cup’ - not a bad thing if it makes the carving less symmetrical. The fallow deer was carvcd from tcchnically quarter-sawn wood.

Holding the Wood

A large square piece is left below the carving to allow it to be held firmly in vicc or clamp. This may be convertcd at the end into the base. The temptation to carve the feet right to the bottom of the bÅ‚ock should be avoided. If you want to make

FlC 11.4 Very fiat annual rings.

Fic \ \ .2 Deeply curved annual rings. Fic 11.3 Quarter-sawn.

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