essentÊrving±09

C A R V I N G A Bo W L

FlG 10.2 Boiul in olive ash with beartwood at bottom and oarying tbicknesses of rim (Dick Onians).

are to be used I refer to my advice in prcvious chapters about Icarning the forms by much drawing. The subject may thcn be drawn or modelled from memory and adaptcd to bowl form. This may only involve flattcning the base so that it sits well. It may. howcvcr, involve a degree of simplificarion or even abstraction from the original source (Figs 10.4, 10.5, 10.6). The possibilities are boundless.

If you wish to invent your own abstract shape I would refer you to Chaptcr 14 on Carving an Abstract. As this is a risky arca it is helpful to make a scrics of clay or Plasricinc models and cxperiment umil you are convinced about the design. The rim nced not be all the same width;

Fig 10.3 Kashmiri bowl with surface dccoration in Kasb/nir walnut.

/N

FlG 10.4 Leafdrawings as inspiration for bowl (Howard Spiers).

indeed varving the thickness makes for grcatcr interest and specds the eye around (Fig 10.7). Nor need the rim all face in the same direction. Contrasts of roundcd hollows in angular blocks or vice versa can also be plcasing (Fig 10.8).

Whethcr the bowl is completely abstract or derivcd morÄ™ or less closely from naturÄ™ I recommcnd that the object be considered as a whole, having a deliberate pattern or rhythm (Figs 10.7, 10.9), different views all suggesting the same form.

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