THAI WOODCARVING

   Jim Thorpe, the World’s Greatest Athiete, by R.L. Buyer. Inthe unfinished state. this 39 inch high scuits the harsh life of this American Indian and leaves open the option of other finishes to suit the final site.

What surfact finish should be uscd?

   First, the surface carving techruque used. combined with the finishing material, will determine the reflccrive quality of the piece. A smooth surface reflects light and suggests sophistication or formality. A mottled surface absorbs light and can suggest crudcncss or informality. Variations in surface treatment can be used to indicate hard, cold, smooth materials or soft, warm, mortled materials.

   Next, there is the question of no finish versus natural wood color, or painted or gilded finish.

   A raw wood finish, that is, no finish, gives a tough, crude, no-glow appcarance thatworks well in limited circumstances. The theme must require a coarse effect, the site should be protected so the wood doesn’t deteriorate, and there should be good lighting because of rhe poor reflective quality of raw wood.

   NaturaI wood finishes of oil, wax, varnish, etc., arc., are my personal preference, for they offer the greatest variation in treatment, yet still show the wood grain. The choice is both technical and artisric-technical as to the protection desired,artistic as to the darkning and color desired.

   With painted or gilded finishes, wood loses its character and identity. Nevertheless, paint or gild may be nccessary when it’s an outdoor piece that needs good protection. Gild is of course the strongest finish you cah use outdoors. It’s also good esthetically for contemporary pieces that need its high reflective quality and metallic look.

   Paint is used when you need the multiple color to achieve true realism.

   Finish also is affected by the wood carved. Hardwoods usually take a high polish whereas softwoods are more difficult to polish and ue best used for stained, painted, or gilded carvings.

   The choice of finish could also depend on the construction and holding methods used. The dovetailed or pegged legs of a carousel animal would need to be masked by paint, but the appearance of construction joints cauld erihance other subjects. 

How will the piece be held during carving?

   Ideally, we want to design the piece so that it can be carved with minimum effort and without leaving carving holes or marks rhat must be covered up. Either we design the piece so the holding mechanism is an integral part or so it can be chopped off. An example of the Iatter is a relief carving that can be designed with tabs or other holding devices that can be removed by saw when the carving is completed. This eliminates clamp marks on thc carving. if tabs are impractical, the relief carving can be glued to scrap srock with several intervening layers of newspaper. The scrap block can then be clamped in place during carving and separated easily .from the carving afterwards.

   Carvings in-the-round take special care, especially if. natural finish is to be used. Thc best way is to drill undersize holes where the final mounting wifl go and attach a piece of scrap wood with screws. The scrap wood can then be clamped in place during the carving. Upon completion, rhe scrap wood can be removed and the same holes re-drilled to accommodate the final mounting.

   Commercially available devices such as carver’s screws or work positioners (universal joint devces) can also be used effectively. Carver’s screws can be simulated by gimbal or hanger screws with wirrg nuts. The advantage of these is in the variety of screw lengths available and the added security of more than one screw support..

What sopport is required for the carving?

   The base or mounring design is extremely important.. This should not be left until the end of the project, burshould be considered and designed as an integral portion of the carving itself. The base not only provides the mechanical support and balance for a carving, but also provides the transition from the carving to the surrounding area. A well-designed base will not detract from the carving and sometimes can provide an extension of information about the subject.

   For example, the base for a bird carving can be a formal mahogany stand or can simulate the normal habitat or nesting area of the bird. Sculprurse by Frederic Remingron and Charles Russell integrate the figures into a base that characterize the terrain of the "Old West " Carvings of jumping or swimming subjects can be supported on one or more thin metal support in a way that either simulates the naturl environment or emphasizes the fact that the carving is suspended.

   Development of the base along with the carving can also provide protection during the construction and carving phase. This is especially true of complex carvings such as birds where the legs must fit into precisely drilled holes. The pieces can be removed from the base for carving, then returned to it for protection between work sessions.

   While relief carving can be fitted with hooks or eyes on the back, larger carvings may require mounting-screw holes that should be conceded with carved plugs. Some of the carvings in the round, especially abstract pleces, can make effective use of overhead wlre or chain suspension using ceiling eyebolts or wall-mounted arms.

Questions to answer before taking that first cut

by Robert L Buyer

Light and shadow at the site can affect the altitude and dramatic quality of the carving.

It has beeo said that sculpture is the measure used by archaeologists to determine the cultural level of past civilizations.

This statement always humbles me and makes me want to produce sculpture of the highest possible quality. Not that my woodcarving will ever find a niche in the great museums of the world, bur I sincerely hope my work will be a reasonable statement of some of the concerns of the twentieth century. To this end the design phase of a woodcarving project takes on addedimportance.

From a practical standpoint, effort spcnt in the design phase is made up during thc execution phase by eliminating mistakes and rework.. Having decidcd to embark upon a woodcarving project, there seems to be a lot of emotional pressure to hurry into making chips. If the project is to be successful and fulfilling, however, some of this enthusiasm and energy must be channeled into rhe design effort. Some key decisions need to be made before the project is begun. How well we make those decisions could determine the effectiveness of the resulting piece. We are all familiar with sculpture and carvings that, although beautifully executed in certain respects, arc lacking in design cohesiveness

Where do you begin designing a woodcarving?

If you are a professional woodcarver working with an architect, you receive skctches and specifications which describe rhc environment for the sculpture, rhe theme or message to be conveyed by the sculpture, and possible sketches suggesting the form of rhe sculprure. Unfortunately, most of us who are carving for our own enjoyment.or even for a specific exhibit, do, not begin wirh architectural specificatons. So we must begin by determining our own specifications, and that can sometimes be difficult to decide.

What’s the theme or objective of the woodcarving? Is it to evoke smiles or to inspire some emotion? Where will it be placed? Should the carving hang from a wall or celing, or rest on the floor or on furniture? If we can determine a spirit and setting for the carving, we can then go on to make the first design decision : form.

What form should I use?

Knowing the site planned for a carving should suggest rhe general size and form to be used. If the site is a large wall, the viewing angle is limited to about 120degrees, height is desirable, and the lighting is good, then a relief carving is suggested. High relief produces greater shadow, and so is capable of being more dramatic and realistic than low relicf. Low relief is ideal for simplified or abstract carvings where the ambient light varies.

On the other hand, carvings in the round can bc more dramatic and warmer than relief carvings because they can be proportioned similar to natural objects. Mnrcover. they can be viewed from almost any angle and in almost any light.

In either case, the size and proportions of the carving should be designed to harmonize with its eventual surroundings. Life-size or heroic-size sculptures require large, open display space. Miniature carvings decorate small tables or curio cabinets. Whatever the space available, make sure the sculpture is not crowded and that it stands apart enough to be conremplatcd separately.