Wood Carving Part 4

[Ill.u.s.tration: FIG. 23.]

In this exercise (Fig. 23) you will repeat all you have already done with the others, until you come to the shaping of the leaves, in which an undulating or up and down motion has been attempted. This involves a kind of double drawing in the curves, one for the flat and one for the projections; so that they may appear to glide evenly from one point to the other, sweeping up and down, right and left, without losing their true contours. Carvers call this process "throwing about," i.e., making the leaves, etc., appear to rise from the background and again fall toward it in all directions. The phrase is a very meager one, and but poorly expresses the necessity for intimate sympathy between each surface so "thrown about." It is precisely in the observance of this last quality that effects of richness are produced. You can hardly have too much monotony of surface, but may easily err by having too much variety. Therefore, whatever system of light and shade you may adopt, be careful to repeat its motive in some sort of rhythmic order all over your work; by no other means can you make it rich and effective at a distance.

It is well every now and then to put your work up on a shelf or ledge at a distance and view it as a whole; you will thus see which parts tell and which do not, and so gain experience on this point. Work should also be turned about frequently, sidewise and upside down, in order to find how the light affects it in different directions. Of course, you must not think that because your work may happen to look well when seen from a little way off that it does not matter about the details, whether they be well or poorly carved. On the contrary, unless you satisfy the eye at both points of view, your work is a partial failure. The one thing is as important as the other, only, as the first glance at carved work is generally taken at some little distance, it is the more immediately necessary to think of that, before we begin to work for a closer inspection. First impressions are generally lasting with regard to carved work, and, as I have said before, beauty of detail seldom quite atones for failure in the arrangement of ma.s.ses.

The rounded forms in this design may give you a little trouble, but practise, and that alone, will enable you to overcome this. Absolute smoothness is not desirable. Gla.s.s-papered surfaces are extremely ugly, because they obtrude themselves on account of their extreme smoothness, having lost all signs of handiwork in the tool marks. We shall have something to say presently about these tool marks in finis.h.i.+ng, as it is a very important subject which may make all the difference between success or failure in finis.h.i.+ng a piece of work.

CHAPTER XII

ORIGINALITY

Dangers of Imposing Words--Novelty more Common than Originality--An Unwholesome Kind of "Originality."

I told you that I should have something to say about originality. Almost every beginner has some vague impression that his first duty should be to aim at originality. He hears eulogiums pa.s.sed upon the individuality of some one or other, and tries hard to invent new forms of expression or peculiarities of style, only resulting, in most cases, in new forms of ugliness, which it seems is the only possibility under such conscious efforts after novelty. The fact is that it takes many generations of ardent minds to accomplish what at first each thinks himself capable of doing alone. True originality has somewhat the quality of good wine, which becomes more delightful as time mellows its flavor and imparts to it the aroma which comes of long repose; like the new wine, too, originality should shyly hide itself in dark places until maturity warrants its appearance in the light of day. That kind of originality which is strikingly new does not always stand the test of time, and should be regarded with cautious skepticism until it has proved itself to be more than the pa.s.sing fas.h.i.+on or novelty of a season. There is a kind of sham art very conspicuous at the present time, which was at quite a recent date popularly believed to be very original. It seems to have arisen out of some such impatient craving for novelty, and it has been encouraged by an easy-going kind of suburban _refinement_, which neither knows nor cares very much what really goes to the making of a work of art. This new art has filled our shops and exhibitions with an invertebrate kind of ornament, which certainly has the doubtful merit of "never having been seen before." It has evidently taken its inspiration from the trailing and supine forms of floating seaweed, and revels in the expression of such boneless structure. By way of variety it presents us with a kind of symbolic tree, remarkable for more than archaic flatness and rigidity. Now, this kind of "originality" is not only absolutely valueless, but exceedingly harmful; its only merit is that, like its ideal seaweed, it has no backbone of its own, and we may hope that it will soon betake itself to its natural home, the slimy bottom of the ocean of oblivion.

Meantime, the only thing we are absolutely sure of in connection with that much-abused word "originality" is this, that no gift, original or otherwise, can be developed without steady and continuous practise with the tools of your craft.

CHAPTER XIII

PIERCED PATTERNS

Exercise in Background Pattern--Care as to Stability--Drilling and Sawing out the s.p.a.ces--Some Uses for Pierced Patterns.

The present exercises may be described as a kind of carved open fretwork--that is to say, the ground is entirely cut away, leaving the pattern standing free. This will form an excellent piece of discipline with regard to the design of background forms, because in such work as this, those forms a.s.sert themselves in a very marked manner; if they are in any way found to be conspicuously unequal in size or are awkwardly designed as to shape, the whole effect of the work is spoiled.

[Ill.u.s.tration: FIG. 24.]

For your first effort make a design based upon No. 24, and please to observe these rules in its construction. The main or leading lines of the pattern are to run as much as possible without crossing each other.

The holes are to be fairly equal in size, or rather in area, as they need not be at all like each other in shape. The amount of wood left standing to be of a width averaging never less than half the length of the average-sized hole. This is necessary for securing sufficient strength of material in the cross-grained pieces, which would be liable to split if made too long and narrow. The pattern should be formal in character, not necessarily symmetrical, but it should be well balanced.

You may have one part of your design composed of large holes and another of small ones, provided the change is part of a definite design, as in Fig. 25. You may even leave the wood in some parts forming a solid background, or you may treat it as a separate piece of simple carving on the solid, as in Fig. 26, being careful to execute it in a consistently simple manner, as in this kind of work much change of manner in execution is inadvisable, although, at the same time, it is open to any amount of variety in design of outline and combination of contrasts.

[Ill.u.s.tration: FIG. 25.]

[Ill.u.s.tration: FIG. 26.]

Take a piece of pine about 3 or 4 ft. long and 7 or 9 ins. wide by 3/4 in. thick. Trace on your pattern and drill circular holes in the middle of each s.p.a.ce to be cut through. Then take a keyhole saw, and remove the wood by sawing round the s.p.a.ce close to the blue line, taking care not to cut through it in any place. The saw must be held very truly upright in order to cut the sides of the s.p.a.ces at right angles to the face of the wood. Now carve the pattern on the surface in whatever manner you have designed--in grooves suggesting the articulation of the leaves, in short grooves which may pa.s.s for additional leaves, or in a dozen ways which practise may help you to invent.

The wood should be held tightly down to the bench in all its parts, or, at least, in those being operated upon, as it may, if unsupported, crack across some of the narrow parts. The sides of all the holes must be carved out clean to remove the rough saw marks. This can be done partly by gouges, or still better, the wood may be held up on its edge and the holes cut round with a sharp penknife where the grain allows it. Now turn the work over on its face and carve bevels round each of the holes.

This reduces the apparent thickness of wood, and adds to the effect of delicacy in the pattern.

This work may be used for the cresting of some large piece of furniture, or may be adapted to fill screens or part.i.tions, stair newels, and bal.u.s.ters, or it may be used as a cornice decoration in the manner suggested by No. 26, where the pierced work can be backed by a hollow cornice which it fills and enriches.

In our next exercise we shall try our hands upon a piece of hardwood for a change--meantime do one or two of these fret patterns by way of disciplinary exercise in outline forms.

CHAPTER XIV

HARDWOOD CARVING

Carvings can not be Independent Ornaments--Carving Impossible on Commercial Productions--The Amateur Joiner--Corner Cupboards--Introduction of Foliage Definite in Form, and Simple in Character--Methods of Carving Grapes.

We now come to the question, what are we going to do with all the pieces of carving which we propose to undertake.

There is no more inexorable law relating to the use of wood-carving than the one which insists upon some kind of pa.s.sport for its introduction, wherever it appears. It must come in good company, and be properly introduced. The slightest and most distant connection with a recognized sponsor is often sufficient, but it will not be received alone. We do not make carvings to hang on a wall and be admired altogether on their own account. They must decorate some object. A church screen, a font, a piece of furniture, or even the handle of a knife. It is not always an easy matter to find suitable objects upon which to exercise our wood-carving talents. Our furniture is all made now in a wholesale manner which permits of no interference with its construction, while at the same time, if we wish to put any carving upon it, it is absolutely essential that both construction and decoration should be considered together.

[Ill.u.s.tration: FIG. 27.]

A very modest beginning may be made in adapting ornament to a useful article, by carving the surface of a bread plate. These are usually made of some hard wood, such as sycamore. They may be made of oak, but sycamore has the advantage in its lighter color, which is more likely to be kept clean. Two suggestions are given in Figs. 27 and 28 for carving appropriate to this purpose. The essentials are, that there should be a well-defined _pattern_ simple in construction, and as effective as possible with little labor; that there should be little or no rounding of surface, the design consisting of gouge cuts and incisions arranged to express the pattern. The incisions may form a regular sunk ground, but it should not be deep, or it will not be easily kept clean. Then, as in cutting bread the knife comes in contact with the surface, no delicate work is advisable; a large treatment with broad surfaces, and some plain s.p.a.ces left to protect the carved work, is likely to prove satisfactory in every way. A piece of sycamore should be procured, ready for carving; this may be got from a wood-turner, but it will be as well to give him a drawing, on which is shown the section of edge and the position of all turned lines required for confining the carving. If the plate is to be of any shape other than circular, then it must be neatly made by a joiner, unless you can shape it yourself.

[Ill.u.s.tration: FIG. 28.]

Many of you are, I have no doubt, handy joiners, and may with a little help put together some slight pieces of furniture to serve at least as an excuse for the introduction of your carving. Here are some suggestions for corner cupboards, chosen as giving the largest area for carved surface with the minimum of expense in construction. The material should be oak--English if possible, or it may be Italian walnut. The doors of Figs. 40 and 41 are in three narrow boards with shallow beads at the joints, those of the others are each made of a single board, and should be 1/2 in. to 5/8 in. thick, the doors may be about 2 ft. 6 ins.

high, each having two ledges about 3 ins. wide, screwed on behind top and bottom to keep them from twisting. All moldings, beads, etc., are to be carved by hand, no planes being used. Having traced the lines of your design upon the board, you may begin, if there are moldings as in Fig.

32, by using a joiner's marking gage to groove out the deepest parts of the parallel lines in the moldings along the edges, doing the same to the curved ones with a V tool or Veiner. Then form the moldings with your chisels or gouges. Keep them very flat in section as in Fig. 29.

The fret patterns on Figs. 32, 35, and 36, where not pierced, should also be done in low relief, not more than 1/8 in. deep, and the sides of the bands beveled as in section _a_, Fig 30. The widths of these bands ought not to be less than 1/2 in., and look better if they are wider.

Very narrow bands have a better appearance, if, instead of being cut straight down, they are hollowed at sides like _b_ in Fig. 30.

[Ill.u.s.tration: FIG. 29.]

[Ill.u.s.tration: FIG. 30.]

[Ill.u.s.tration: FIG. 31.]

Fig. 31 is a detail of a kind of gouge work which you must all know very well. One perpendicular cut of a gouge driven in with the mallet, and one side cut, should form one of these crescent or thimble-shaped holes.

They should not be too deep in proportion to their size. Their combinations may be varied to a great extent. Two or three common ones are shown in the ill.u.s.tration. This form of ornament was in all likelihood invented by some ingenious carpenter with a turn for art and a limited stock of carving tools. His humble contribution to the resources of the carver's art has received its due share of the flattery which is implied by imitation. In all these patterns it is well to remember that the flat surface of the board left between the cuts is really the important thing to consider, as all variety is obtained by disposing the holes in such a way as to produce the pattern required by means of their outlines on the plain surface. Thus waved lines are produced as in Fig. 31, and little niches like mimic architecture as in Fig. 34, by the addition of the triangular-shaped holes at the top, and the splayed sills at the bottom. (It is obvious that an arrangement like the latter should never be turned upside down.) If this attention to the surface pattern is neglected the holes are apt to become mere confused and meaningless spots.

In small pieces of furniture like these, which are made of comparatively thin wood, the carving need not have much depth, say the ground is sunk 1/4 in. at the deepest. As oak is more tenacious than pine, you will find greater freedom in working it, although it is so much harder to cut. You may find it necessary to use the mallet for the greater part of the blocking out, but it need not be much used in finis.h.i.+ng. A series of short strokes driven by gentle taps of the mallet will often make a better curve than if the same is attempted without its aid.

It will be well now to procure the remainder of the set of twenty-four tools if you have not already got them, as they will be required for the foliage we are about to attempt. The deep gouges are especially useful: having two different sweeps on each tool, they adapt themselves to hollows which change in section as they advance.

Fig. 32 contains very little foliage, such as there is being disposed in small diamond-shaped s.p.a.ces, sunk in the face of the doors, and a small piece on the bracket below. All this work should be of a very simple character, definite in form and broad in treatment.

[Ill.u.s.tration: FIG. 31. _Half_]