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.
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