Carving Facial Expressions by Ian Norbury
By Ian Norbury
Probably the most tough stuff you can choose to carve are facial expressions.
Wood is unforgiving yet many carving errors should be simply hidden. regrettably, the best way our brains are programmed make us very delicate to any discrepancy in what we think and what we see while a human face. Than implies that any error can be instantly made evident.
This ebook may also help you triumph over those problems and assist you step-by-step to arrive that aim of turning into knowledgeable aid carver.
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Additional info for Carving Facial Expressions
Look at a lot o i the type of character you require and analyse what are the features that make them so and concentrate on those in your carving, emphasising a slight quirk of the mouth or hooding of the eye. The actual carving of heavily lined faces such as these requires considerable technical expertise. The folds can be very deep and acute. If you clench your fist and study the fold around your forefinger you will see the effect I mean. Deep, clean cutting is needed which you may find i s best done with a very sharp knife which will cut deeply without much side pressure.
You mustconstantly lookup the face and down it, or you will never achieve perfect symmetry in it. Fig. 126 shows the cawing roughed out with the gouges. More detail of the main masses of the face are then worked using a 3mrn hall ended burr, Fig. 127. A smaller burr is used on the lips, nostrils and in the corners of the eyes. Notice that the modelling around the lips, the hollowing of the cheeks, the eyebrows and naso-labial furrows are well established. Using a couple of ball-ended diamond burrs the shapes are refined.
96 and Ozymandias, the Egyptian king, Fig. 97, have similarexpressions. The model in Figs 98 and 99 gives an indication of the slightly raised head mentioned earlier. The Alchemist, Fig. 100, is intended to show his 1: 1i *, belief in his own superiority by reason of his magical skills. Study of antique Greek, Egyptian, Roman and Renaissance art would be well repaid in the search for nobility. I I ~ I I Fig. 96 Masai warrior ! ,; I1 Fig. 97 Ozymandias Range of Expressions Fig. 100 The Alchemist 50 Range of Expressions .