By Ian Norbury
ISBN-10: 0941936260
ISBN-13: 9780941936262
Strategies for carving certain anatomical constructions of the human shape.
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Extra resources for Fundamentals of Figure Carving
Example text
Figure 46 Fignre 48 Obsem the roundness of the corner at the back edge of the nostril - not a sharp cut as is so often seen on carvings. Also, compare the lips on this picture with 49, 50 & 51. Notice the excessively curvaceous line of the lips and the distinct division of the tap lip into three sections - a bulbous central one and two sharply undercut side sections. Note also that the central goove above the lip runs up towards the nose, then splits into two with only a narrow central section connecting with the middle ofthe nose, while the outside ridges run back and fade out.
As can be seen from the finished carving, Fig 101, and the drawings, Fig 77, the hair has been arranged into a series of hanging loops, pulled back from the hairline all around the face. Finally, the lips are softened and rounded by sanding, the top lip thickened a little, and the lower lip undercut to give slightly more pour, and the chin tapered and smoothed. Almost all of this can be done by careful sanding (Figs 94 & 101a). We now come to the hair. The method is the same as on page 62, but far more complex.
1, cut a smooth curve around the back of the nostrils. This is frequently cut in with a larger gouge as a sharp cut, but it is rarely a sharp corner in reality. 5, scoop out the depression between the nostrils and the tip of the nose. Next, use a rotary burr to excavate the actual hole of the nostrils. Study the photos of the nose carefully, Fig 48,49 & 50, and observe the subtle curling shape around this area. Carry on below the nose and cut the groove between the nose and the top lip, using the burr again if you prefer Now we come to the mouth, in my opinion the most expressive and most difficult feature of the face.