DOI Heft:
American section
DOI Artikel:Rydingsvärd, Karl: Practical points on the art of wood-carving
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.28251#0433
Practical Points on IVood-Carving
“PEACE CONFERENCE IN THE VIKING age” CARVED BY KARL VON
DESK LID RYDINGSVARD
certain depth. More force is needed in cutting
across the grain than with it. When the outlines
have been cut to a uniform depth, the wood is re-
moved from the background, using for this purpose
the number three tools, called flat gouges.
If the work has been well done, all the cuts
meeting in the corners, the wood will come away
clean. At this point the beginner is likely to meet
with difficulties. Only practice will overcome
them, so it is best to make the first work rather flat.
The background need not be absolutely smooth.
It is preferable to let the tool marks show, but it
should be clean, and of uniform depth, and from
the margin of plain wood, which should always be
left, it should be cut away in a curve, instead of at
a right angle, like the ornament.
In flat work, it is permissible to stamp the back-
ground, using for this purpose a large iron nail,
whose square end has been filed in parallel grooves
each way, making a series of points. The orna-
ment is now left standing in relief, ready for the
modelling, which is done in successive steps, first
removing the wood from all the lowest planes,
observing that they do not become as deep as the
background, and then working back to them from
the highest points, shaping the contours roughly, as
suggested by the drawing. Not until this process
is completed should the finishing begin. It is a
great temptation to finish each bit as one goes
along to see how it will look, but the work will not
be uniform if this is done. When all is well
roughed out, the tools are sharpened for the fin-
ishing process. The modelling is then gone over
and smoothed up, the outlines trimmed where
necessary, and, lastly, those little touches are given
which accent the lights and shades. Where a
strong shadow will add to the effect the outline
should be undercut somewhat. By smoothing up,
it is not meant that all tool marks should be
obliterated, but that the work should be clean cut.
Neither files nor sandpaper should be used, except
on some small piece which is to be handled; in that
case it is well to remove the sharp edges, but other-
wise the crispness of surface left by the tools is far
more expressive than the smooth finish of sand-
paper.
The carving being completed, the object is put
together, and is now ready for the finishing. If it is
LXXXIII
“PEACE CONFERENCE IN THE VIKING age” CARVED BY KARL VON
DESK LID RYDINGSVARD
certain depth. More force is needed in cutting
across the grain than with it. When the outlines
have been cut to a uniform depth, the wood is re-
moved from the background, using for this purpose
the number three tools, called flat gouges.
If the work has been well done, all the cuts
meeting in the corners, the wood will come away
clean. At this point the beginner is likely to meet
with difficulties. Only practice will overcome
them, so it is best to make the first work rather flat.
The background need not be absolutely smooth.
It is preferable to let the tool marks show, but it
should be clean, and of uniform depth, and from
the margin of plain wood, which should always be
left, it should be cut away in a curve, instead of at
a right angle, like the ornament.
In flat work, it is permissible to stamp the back-
ground, using for this purpose a large iron nail,
whose square end has been filed in parallel grooves
each way, making a series of points. The orna-
ment is now left standing in relief, ready for the
modelling, which is done in successive steps, first
removing the wood from all the lowest planes,
observing that they do not become as deep as the
background, and then working back to them from
the highest points, shaping the contours roughly, as
suggested by the drawing. Not until this process
is completed should the finishing begin. It is a
great temptation to finish each bit as one goes
along to see how it will look, but the work will not
be uniform if this is done. When all is well
roughed out, the tools are sharpened for the fin-
ishing process. The modelling is then gone over
and smoothed up, the outlines trimmed where
necessary, and, lastly, those little touches are given
which accent the lights and shades. Where a
strong shadow will add to the effect the outline
should be undercut somewhat. By smoothing up,
it is not meant that all tool marks should be
obliterated, but that the work should be clean cut.
Neither files nor sandpaper should be used, except
on some small piece which is to be handled; in that
case it is well to remove the sharp edges, but other-
wise the crispness of surface left by the tools is far
more expressive than the smooth finish of sand-
paper.
The carving being completed, the object is put
together, and is now ready for the finishing. If it is
LXXXIII