essentÊrving±33

C A R VIN G THE HfMAN FIG1R E

Fic. 12.13 The clay bead witb most of the muscles.

Fig 12.12 Side view ofskuli being compared witb the early stage ofa clay model. The callipen are measuÅ„ng the length of the zygomatic arch.

Fig 12.14 Inka Greene (kbaya) by Dick On i ans. View under chin. NotÄ™ bow narrotu the tempie is in relation to the cheeks.

quitc safe to make the hollows on the outsidc corners too. Although the zygomatic arch (the thin strip of cheekbone at this point) runs back morÄ™ or less horizonrally cowards the ear (see Fig 12.12), when the face is vertical the efÅ‚ect of flesh and muscles means that you can takc a deep gouge and run from the corner of the eye round to the tempie, pushing slightly upwards.

The Mouth

A mouth is not a straight slot in a sphcrical head, but is pushed out by a horseshoc of teeth. Top and bottom lips differ. The red part of the lower lip tends to be narrower than the upper and in its middie the part of the lip bclow the red faces forwards and downwards while the same arca at the corner of the mouth slopes sideways and upwards (Fig 12.18).

Thf. Nose

Noses are not wedges stuck on the front of a sphere. There is usually a sharp junction around the nostrils, but just below and in front of the eyes the cheek slopes morÄ™ or less evenlv on to the side of the nose.

The Jaw, Windpipe and Ear

Jawbones are not sharp. There is usually a rounded hollow between the neck and the jaw, and the windpipc runs up and forwards towards the chin when scen from the side. The ear, too, is not clearly defined all round but grows out of the back of the jawbone. Ears look complicated and intimidate sonie carvers, but are in fact beauriful and not too difficult to carve (Fig 12.19). Fortunatcly for the faint-hearted, hair may be used to conceal them partly or complctely.

_133_