essentÊrving±46

ESSF. NTIAL W O O D C A R v I N G T E C H N 1 Q U E S

Fig 13.17 Top view afer first shaping tuith gouge. NorÄ™ the ctits going across the form. No penetration between the arms yet. The broad, fiat treatment of the childs dress emphasizes the linÄ™.

could reduce the richncss of the grain, make the work look folksy or, if not done carcfully, make it look unfinished.

Something which has long, slcndcr forms like this needs a clean linÄ™, so sandpapering this could make sense. A compromise I suggest, although I have not used abrasivc papcr herc, is to gct as smooth a chiselled finish as possible and then wipc it lightly with flour (00 grade) paper. This will reduce unwanted faccts and remove nibs without dulling the figurÄ™ of the wood.

Because even Danish oil darkens the wood and I like the natural colour of ash, I have protectcd the surfaccs of this piece with Renaissance Wax (Fig 13.20).

The Base

Finally, the base is reduced in size, or it could be removed altogether and a smarter, contrasting materiaÅ‚ be used instcad.

For exhibition purposes I should prefer to screw it on to an oval base of grey or green siatÄ™ or dark marble. The wcight of the stone will give stabilicy. When shaping this wooden base I had to make surÄ™ not only that it would complement the piece but also that che sculpturc would not cip over. If the carving is going into a gallery or anywhere else where it might be knocked the base should also excend a little further out than che sculpture all around. In this case an oval base would protcct it and complement ic as several lines in the sculpture have long curves and the two skirts arc essencially oval.

The moment you venture into consciously interpretative or stylizcd work you arc making your own rulcs and so choices of shape, texture and finish are entirely yours. My commcnts are noc prescriptive but simply the rcsult of making and looking at carvings for many years (Figs 13.21, 13.22).

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