Tag: carving process

Experiments in scaling up

As part of my residency at the University of Chester I have been doing a project on scaling my work up. I decided to enlarge reciprocity.

This has involved 3D scanning an existing sculpture and using software to divide the sculpture into slices with pre-set thicknesses that match with the plywood or planks the final sculpture will be made from. Enlarged outlines of each slice can then be transferred onto paper using a CAD machine. These outlines can then be copied onto plywood or planks of wood and cut our using a jigsaw or scroll saw. Each slice needs to be labelled so it can be positioned correctly before sticking and clamping together. This created a rough and unrefined version of the enlarged sculpture which can then be refined using chisels.

I found it was more practical to make the sculpture from vertical slices as there were only about 10 of them and they were easy to fit together. I did try horizontal slices, there were about 50 tiny pieces and it was very hard to identify their correct positions.

My first experiment was a small increase in size from about 30cm heigh to about 45cm high, so a 50% increase in size. for this I hand produced paper templates, drew them onto planks of black walnut and cut them out with a scroll saw. before gluing and clamping the tree pieces together. Once dried I used chisels to refine the shapes and create the inner curves and smoothed the surface. The black walnut took a smooth finish really well and looked great once oiled and waxed.

So next is to use to a CAD machine to increase the scaling and the accuracy…….. more to follow.

Doing a commission

I have done a number of commissions over the years. It is a very different process to carving for an exhibition of carving because I have an idea that I want to develop and explore. It starts when I am approached and asked if I will carve a specific form or a particular piece of wood.

My favourite was a beautiful piece of wood from the branch of a tree that the customers mother had been very fond of. The wood had been found in the attic recently, could I make anything from it. We looked at many pieces of sculpture to help me understand the customers likes and dislikes.

I then made a plastercine maquette of an abstract sculpture based on the shape of the wood and thinking about the relationship between the customer and the mother. I invited the customer to come and view it and discuss the details and some possible options and the limitations and characteristics of the wood. I gave the customer a quote and time to think about the project.

Once all was agreed and a 50% deposit paid I started to carve the form, this was very daunting. It was a unique piece of wood that I could not replace if anything went wrong. When I am doing a commission there is the additional pressure of meeting the customers expectations. I try to manage this carefully by making a maquette and discussing aspects of the sculpture in advance. You cannot be sure of exactly what you will find inside a piece of wood in terms of cracks and imperfections that might alter the course of a carving. I invited the customer in a couple of times to see the carving as it progressed and to discuss details of the finishing process.

Once completed, oiled and waxed the commission was ready for its final viewing, payment and then to go to its new home. So far customers have loved the work I have produced for them, and for me a great sense of relief of completing a commission successfully.

Carving Ocean Wave

My last few posts have been about carving a wave form from the start of an idea, making it in plastercine, carving it in lime and applying oil and wax to finish. I have called the piece Ocean Wave. I guess it will evoke different memories for different people. For me the Mobius strip at the centre reminds me of the welling strength of the sea when we went surfing as children, and sitting listening to the rhythmic sound of the waves on the shore.

Make a maquette
and refine it
Prepare a template
Draw it on and start to block out the shape
and continue roughly forming the shape
Develop the wave
Refine the spiral
Improve the shape and finish
Apply oil and wax

Using oil and wax to seal and finish a carving

Once the Wave Form had been smoothed I used an old T shirt to apply a coat of Danish oil and turps. The turps thins the oil so that it sinks into the surface of the wood, nourishing it and sealing it as it dries. It takes 2-3 days to dry depending on the temperature. Then a second coat was applied. a thin coat that completed sealing the work, but not so thick that it becomes shiny. Again this is left for 2-3 days to dry. Finally I applied a coat of bees wax (not a synthetic wax) and buff it up to give a silky smooth tactile finish.

Only when oil and wax have been applied can you see the depth of colour and the grain which are enhanced by the oil.

Now what to call it?

Finishing the Wave Form

Once the carving is fully formed the process of smoothing starts. This often takes me nearly as long as the actual carving. It starts by using a variety of chisels to gently take off the uneven surface from the whole carving. Whist I do this I check for bumps to remove and sharpen and smooth the edges. This is followed by using a variety of scrapers with different curves to create a really smooth surface. As this happens my eye is drawn to any irregularities that still need correcting. I do this over a few days as each time I look I see a new slight imperfection that needs correcting. I look at pieces from all angles and often use touch to check the smoothness and regularity of the carving.

Seeing the smooth shape is very satisfying the the actual process is really time consuming, but necessary if a smooth shape is desired rather than a chisel finish.

All that is left is the application of Danish oil and bees wax.

Refining the Wave Form

Once the basic form has been established I then continue carving. I improved the wave on the right making it more delicate and carving up under the wave. The left side then had to be balanced making the form swing towards the front and a smaller wave lifting at the left side from underneath. the central double spiral then needed opening up and defining. This is where the plastercine model comes into its own as the edges of the spiral at the front need to match up with the edges at the back correctly to form a Mobius strip (it is really easy to get them wrong and form a figure of eight). I increased the concave curve of the inner surfaces to emphasise the sharpness and clarity of the edges as they pass through the centre.

This process takes me a number of days to allow time for the carving and to take time to stop and think about the form. To bring a fresh eye to it and check the balance and flow, and to check the spirals are even smooth curves. At this point the form is nearly complete but has not been smoothed.

Carving the Waveform

Once the excess wood has been removed form outside the areas marked as the outline it is time to define the actual shape of the carving. I started by drilling a hole to pierce the piece, and then carved the double spiral that will become the inner surface of the Mobius strip. This opens up the hole, although at this stage I do not carve the Mobius Strip edges accurately. I also carved the wave form at the right hand side and the lead into the wave on the right. I try to keep much of the base uncarved and flat, and some areas of the sides so the work can be held in a vice.

At this stage I always think that my work looks heavy and ungainly. The proportions and shape are not right yet. Experience dictates these will improve as the carving progresses.

Roughing out the Wave Form

Today I drew around the templates onto a piece of kiln dried lime so that the outer edge of the sculpture from the top, bottom and both sides were outlined. Then I removed the wood that was outside the outline quickly with a number 5 16mm gouge and my trusty mallet. Getting rid of the surplus wood leaves a rather unattractive shape, but it is ready for refining and the actual sculpture being carved from it.

From Maquette to Carving

Before I start to carve I often make templates from my maquette and scale them to fit the wood that I am going to carve. For this carving I drew around the base of the maquette and drew the outline from the side. The maquette needed scaling up by x1.8 so I used my printer to make a 180% copy the drawing. Then I cut the outlines out to make the templates.

The templates allow me to transfer the outline shape accurately onto the wood. Then I can quickly carve the outline shape and redraw it on if I carve away the outline.

They look a little weird, but allow me to remove surplus wood quickly and efficiently.