By Ian Norbury
Some of the most tough stuff you can choose to carve are facial expressions.
Wood is unforgiving yet many carving error should be simply hidden. regrettably, the way in which our brains are programmed make us very delicate to any discrepancy in what we think and what we see while taking a look at a human face. Than signifies that any blunders might be instantly made evident.
This booklet can help you triumph over those problems and assist you step-by-step to arrive that target of changing into knowledgeable aid carver.
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Additional info for Carving Facial Expressions
The teeth are bared ready for fighting and the face contorted to frighten h e enemy. Great care must be taken carving a face like this or it will look ridiculous, particularly the teeth which must be accurately and precisely cut, not left like a row of tombstones. Figs 80-8 1 Range of Expressions Fig. 84 shows a variety of angry faces. They all exhibit the same characteristics, which can be seen in the carvings Figs 82 and 83. Fig. 82 (Detail from Marillionl Fig. 83 (Detail from The Box o f Delights) Range of Expressions Fig.
As I described it in my earlier book, 'Fundamentals of Figure Cawing', the face, particularly that of a young woman, requires considerable fine and careful sanding, almost to the point of obliterating the details so carefully cawed, to produce the desired youthful look. Fig. 129 shows the progression of this stage. Figs 124-126 Working Examples Figs 127-129 Fig. The second example i s the head of a jester who i s supposed to look like a happy, good-natured type. 5cm (13/4'') high. Figs 130 and 131 show the face roughed out with gouges, the main forms in place.
Thefirst carving is of a woman who has just been responsible for the murder of her former lover with a spear. She i s holding the spear and looking up atthe point. 5cm (13/21 high head one must try to show an appropriate expression. There i s no need to be too specific - we do not really know what she thinks, but assuming she is not gloating or congratulating herself, one would expect tenseness, concern, perhaps anxiety at the consequences, regret. To a large extent these subtle emotions are interpreted by the audience in their own way, in the context of the whole carving.