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CHAPTER 1 1

CARYING AN ANIMAL IN THE ROUND

The twcntieth-ccntury carver is at a great disadvantage when carving animals. He has seen too many example$ in various media donc by sophisticated sculptors to be able ro see with a nai’ve or primitive eye. Being largely a town-dweller he docs not spend his life surrounded by animals of the farmyard or countryside. Most expcrience of animals comcs from photographs, films and visits to the zoo.

Early carvers either knew their subjects, but for complex reasons simplified or stylized them, or were trained in a tradition which told them exactly what effects to create and how to make them. Formula carving is the product of workshops all competing for the same work. Ii has to be done quickly and efFicicntly. Animals produced this way are stereotyped. Part of the problem for the carver wishing to break away from a set style is the expectation of the clients. Thesc may conservatively dcmand stricr adherence to a style or they may insist on literał accuracy. Try carving a dog breeders favourite dog!

One of the main themes of this book is that a carver should be morę than a model-maker. If carving is to be raised to a level where the carver can express himself freely, honestly and strongly he must go through the process that was achicved by his predcccssors over centuries. Unlcss you are one of the rare carvers with the gift of a strong visual memon^- you will need to know what it is you are taking liberties with when you stylize or otherwise simplify it.

Why Some Beginners Fail

Some modern amateurs have a poor understanding of animal anatomy and proportion, and their carvings havc neither the charm of the primitive nor the conviction of the expert. One view - the one the carvcr had the photograph of - looks well, but is ler down by other views for which he had no information. Meticulous attention may be paid to the surface -fcathers, fur, scales - but, although this is often

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