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S T Y L I 7. i N G THE F I G l R t

WORKINC IXTO THE FORM

It is intercsting to noce that at the roughing-out stagc you may have a good sculpture which conveys most of what you wish (Fig 13.16). Notice how the forms are shaped by working around them with a deep gouge, occasionally running along a form to develop the linÄ™ (Fig 13.17). Littlc undcrcutting is allowcd at first, partly to keep options open to change the sculpture and partly for strength (Fig 13.18). If you carve around the forms hollows between them gradually appear. The space between the body and the arms gains a hole only after the shapes of the body and the arms are well defined. Notice how a column is left between the rim of the mothers skirt and the childs arms, at first so that pressurc can be applied to the childs body and skirt; later so that shock waves caused by vigorous mallct work on the rest of the sculpture do not travel along the arms and shatter them (Fig 13.19).

Ancillary Tooi.s and Finishing

As the shapes are mostly long curves it is helpful to usc rifflcrs, rasps or Surforms. On a softer wood they may be dispensed with but they can reducc the amount of banging with a mallct, particularly on end grain of hard woods. I still recommend the use of chisels to parÄ™ down to the finaÅ‚ surface. In this case, where possible, cuts follow the flow of the design. This teachcs good chiscl control, emphasizes the forms and shows the colour and grain of the wood morÄ™ crisply and with less effort than sandpaper.

There is no rulc that dictatcs or bans the use of any tool or any finish on complctely original work such as this. Taste may reject a smooth and shiny surface as making the wood resemble plastic. On the other hand, rough texturing

Fl(J 13.15 BÅ‚ock cham sawn, with main offeuts.

FlC 13.16 The main outline is already there after roughing out with the angle grinder. NotÄ™ the dark dead knot helów the arms.

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