carvingúce
The Basic Face
Fig. 25
The lips are now shaped. First measure caretully from the bottom lid ot each eye to the corresponding corner of the mouth, to ensure that they are parał lei. The corners of the mouth will usually have to be brought back round the face because the mouth area will not be curved enough. This means that you must judge the distance 'G-G' Fig. 6, and round the mouth back to this point, at the same time maintaining the
Fig. 24
correct width. Check this against the cross section Fig. 7 and Fig. 26. The joint of the lips must bedeeply cut, curvaceous, and the lips well rounded and fuli. At the corner there is a slight depression and all the surfaces roli into the corner — there should be no sharp lines. The area above the top lip is slightly hollowed so that the lips curl outward.
Very subtle shaping beneath the eyes, the cheek-bones at the sides of the nose and round the chin are now necessary. On the boxwood carving shown I used a scraper for this but on a softer wood a riffler fi le or coarse abrasive could be used, Figs 25-29.
The iris can be cut in after the eyeball has been satisfactorily sanded to a perfectly smooth curve. Draw the iris on the eyeball, then, using a ball-ended burr, hol Iow the circle into a saucer shape, smoothing
Fig. 26
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carving?ce 2THE BASIC FACE n s E 5e ore we can progress in the carv-e rz o i expressions it is nececarving?ce Fig. 13 Fig. 14The Basic Face 13 One morę smali area is removed, Fig. 12, and the face icarving?ce 14 The Basic Face fully measured and r :*• circles, Fig. 16. At this scarving?ce The Basic Face 1 7 •lis with a diamond burr (Fig 24). Next, drill a fairly deep hole forcarving?ce 12 The Basic Face wedge shape shown in Fig. 8. On the side of the head draw in thecarving?ce 12 The Basic Face wedge shape shown in Fig. 8. On the side of the head draw in thecarving?ce The Basic Face I1 Measurement becomes less precise v/ith a smali scalę, a cul of the chicarving?ce! The Expressive Face 21 Fig. 39 Fig. 38 In Fig. 38, the nose has been developed, the -ostcarving?ce 22 The Expressive Face In Fig. 41 the forehead corrugations are formed using a knife tocarving?ce( 5RANGĘ OF EXPRESSIONS RELAXED Compare the face in Fig. 54 with the faciaI features diagrcarving?ce8 38 Rangę of Expressions In the carving, Fig. 79, al-though the top half ot the face is ccarving?ceV Rangę of Expressions The traces of concern on the Masa i warrior s face, Fig. 114, indiccarving?ce CONTENTS 1 Introduction 7 2 The Basic Face 9 3 The Expressive Face 18 4 Thewięcej podobnych podstron