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WOOD CARVING
WOOD CARVING A CAREFULLY GRADUATED EDUCATIONAL COURSE FOR SCHOOLS AND ADULT CLASSES
JOSEPH PHILLIPS
(Medallist)
INSTRUCTOR OF WOOD CARVING, MODELLING, AND OTHER ART SUBJECTS IN CONNECTION WITH VARIOUS CLASSES IN THE COUNTIES OF LANCASHIRE, CHESHIRE, CUMBERLAND, AND NOTTS
Committee of the Home A rts and Industries Royal Albert Hall, London; Accepted as their Scheme of Wood Carving by the Educational Handwork Union, and by the Union of Lancashire and Cheshire Institutes
Approved by
the Design
Association^
LONDON: CHAPMAN AND HALL, 1896 s
Ld.
INTRODUCTION \ 1 yOOD-CARVING '
'
influence
as an educational
appears
ignored,
perhaps
apparent
limitations,
in
be
to
entirely
consequence both
as
of
its
material
to
used and manual exercises involved.
That
it
has such a value
but as generally taught to
it
is
simply amounts
keeping students employed, and as
consequence realised,
its
educational value
become
is
a
seldom
because the student too frequently
has no practical object in view. skilful in the
and material the
undoubted,
if
realisation
He may
manipulation of tools
sufficiently persevering, but
of an end and
work may not dawn upon him quiring that technical
skill.
aim
in
his
whilst ac-
;
WOOD CARVING.
The
entirely in
over
does
carving
of
art
not
consist
producing evidence of mastery
and
tools
material
merely constitutes the
dexterity
this
:
means
to
an end
therefore to elucidate the principles under-
lying
good work would appear the most
all
way
rational
What
is
to
approach the subject.
wood -carving
distinguished
as
from the art of wood-cutting? should be, one of the pression. in
In this sense
It
many means it
is
is,
or
of ex-
the expression
material form of ideas, the outcome of
personal observation
done
in ancient
we may
surrender our
which case we unfortunately
own
naturally
fluence
and modern times, or what
see through the eyes of our favourite
sculptor, etc., in
It
of nature and works
affects
individualism.
follows
the
necessarily affect
its
that
whatever
worker's expression
mind ;
in-
must
and thus
;
INTRODUCTION.
we have
the carvings of past ages re-
in
flections in the concrete of people
cHmes and
in various
so that
civilization,
working
in different states of
if it
were necessary
for
the purpose of this book, there would be little,
if
any, difficulty in tracing minutely,
during
character
the
various
periods
of
history.
Briefly stated, the material lation
by
may be of
workers
different
and
its
manipu-
regarded as a compound expression
character
:
in
the cold, grey, would-be
imperishable granite they used, and equally
ages
in the past
firm,
treatment,
severe,
and
may be found
in
its
unsympathetic
a basis for
much
conjecture as to the nature of the Egyptians in the
pure marble and
requires
treatment, which
a delicacy of touch, with a
appreciation of its
its
natural
its
beauty,
full
nature, to bring out
may be
seen
a
all
clear
WOOD CARVING. the refinement of the Greek
reflection of
and
as expressed in all they thought
Brick and
its
limitation sufficed for earl
Rome
victorious
an
until
could an it
wa
but
th
supply this in abundance, but
stamped
never
anything
with
refim
artificial
Money
ment demanded marble. did
did.
characteristics of the people, as historicall
known. over
Passing
we
time,
find
and
free-cutting stone, is
still
racter,
more
Norman
Period
Transitional.
with
—as
chc :
Copper.
— Intermingling
of a
re
— Silver.
— Pure
Silver.
— Fusion
Transitional.' silver.
freer rendering
classified as follows
fining influence
Early English.
its
stamped
clearly
and may be
c
country that wooc
this
in
space
intervening
the
of gold into th
INTRODUCTION.
Decorated.
— Gold,
golden
the
period,
culminating in excess. Perpendicular.
—M
deteriorating
ixture,
into dross, demonstrating the lament-
able fact that the people had ceased
and so the
to think for themselves,
work
On it
be found that carving
—a building or
tive,
charm.
a further examination of the subject,
will
art
lost its
more
article
interesting,
by
an applied
is
made more its
decora-
application,
and
as such becomes part of a general scheme
termed part,
" Architecture "
but
to
is
architecture
to the nation, so
— the
a
possibly
an important one
still
the individual
:
smallest
speaking loudest of power,
;
is
small
and as carving
things
often
etc.
Understood, then, as a means of expression,
it
is
therefore
conducive
development, and carving
may
to
mental
claim to be
WOOD CARVING.
lO
when taught
educational only
as such
;
i.e.
the creation of visible evidence in material
form of thought, however influenced. This demand upon the creative faculty
common
to
all,
becomes a
direct appeal for
mental development, and the power of concentrating thought
The
sculptor
is
may
thereby cultivated. see in every block of
stone a single figure, or group of figures,
but
it
the concentration of thought upon
is
the group in his
him
to
folding
mind's eye that enables
remove the superfluous to
view
the
hidden
stone, un-
evidence
or
concrete reflection of his imagination.
Michael Angelo said that the object of sculpture
was "to
Carving
may
let
out the angel."
take a prominent place as
a branch of hand and eye training. the former, accuracy and precision
;
In
through
the latter, artistic power, refinement, appre-
INTRODUCTION.
ciation of the beautiful
qualify this generalising term, "
nature." is
Firstly,
nature
in
beauty
of
our
for
form
proved by the addition of
;
For
a
first
Few nature
is
its
indeed offers
are
the
no reward
generally noticed etc.
and those better
mass or leaf,
and
Surely
not
may be
seen at
glance.
than the passing glance.
veins,
in
an ivy
beauty.
that which
in
purpose.
Secondly,
colour.
instance, take
wherein
altogether
to
being im-
this
beauty of outline, whether seen detail.
go
would be well to ask what there
It
admire
to
ask
may be
nature,
and developed.
cultivated
To
in
I I
;
is
the
instances closer
for
The
first
where study feature
oudine, the stem,
but press the leaf in a book, features
will
still
example of technical
possible to produce in
remain as a skill
any other
than
it
is
material.
;
WOOD
12
Would
this
CARVING.
pressed leaf satisfactorily appeal
to our intuitive ideals of its general appear-
ance
?
No
created, a
because
;
something
has robbed
it
of
its
a
absent
is
beauty,
the pressure
;
its spirit, its life
the graceful form has departed, and
wonderfully minute details
been
has
void
fail
remaining skeleton of flatness
all
the
to clothe the " ;
it
is
unin-
teresting."
Seen, then, from this point of view,
cannot
fail
to appreciate the actual value of
becoming monotonous
details; the technique,
as
it
all,
approaches perfection,
seeing that a leaf
same cannot be claimed the
emphasised by all
creation details,
good work, the
by no means beautiful with-
etc.,
whilst the
for the pressed leaf.
of
beautiful
forms
must be the basis of
latter
a secondary position.
is
may be
out the clear outline, stem,
Thus
we
being relegated to
INTRODUCTION.
THE OBJECT OF THE BOOK. To
teach carving
is
the
least,
even
one, of the objects attempted. to
fill
a long-felt want
of exercises,
these
for a
It is
if it
be
issued
graduated course
being suggested by a
long and varied professional and teaching experience
once
—a
course
that
and calculated
practical,
shall
be
at
to inculcate,
though to a limited extent, the principles evolved from a careful study of nature and
good works
and not the monopoly of any,
every,
of
these principles being the basis
;
particular style of carving, as Gothic, etc.,
which are but phases
tools being
first 2,
5
;
necessary expense
have been
four plates 3,
the abstract
life
of
an important matter, the most
useful curves
I,
The
ornament.
of
in
selected,
may be worked
and the
with tools
with one of No. 7 between three
—
WOOD CARVING.
14
students,
the
complete course
given under the heading of
As
with
as
8,
tools, etc.
a working motive such an outline
is
used, and, as careful observation will show, -the abstract
either
form underlying natural leaves,
when complete
compound
is
as
grouped
in the ivy,
the
in
laurel,
in the rose,
conventionalized in the acanthus.
The logical
by
series
Fig.
exercises
also
form
stages
of
principles
design,
be
faculty little,
as
:
I.
treats
upon the
technical side of
the subject, the importance of which to
the
sequence of an attempt to develop
easy
follows
of
overrated is if
becoming
;
for
if
the
is
imaginative
not
being
developed, there
any,
good
purpose
proficient
in
the
apt
served
means of
is
by its
expression.
The
actual idea expressed
by the ground-
5
INTRODUCTION. ing-out process
is,
that at given points the
material not being required, Fig.
II.
1
is
cut away.
must be an attempt
form more pleasing than the
flat
to create a
Fig.
i.
;
and
according to the appreciation of the beautiful in form,
so the degree of success must be
gauged. Fig.
III. is
the application of the important
principle of continuity of thought in line
and
mass. Fig. Figs.
IV. is VI.,
the complete development. VII.
is
the application of this
form of creative power, at any given place, to produce a desired result.
The point,
leaf
form Fig.
i.
is
cut off at the
and the square end turned under and
over like a Figs.
roll
IX.,
of paper.
XI.,
similar forms
but treatments with different Figs.
X., XII.,
to
Fig.
ii.,
tools.
similar forms to Fig.
ii.,
but
6
WOOD
1
CARVING.
treatments with different surface
and
An
outline.
value of tool-cuts
cuted with tools
exercise in relative
and
I
2,
and
xi.
are exe-
and Figs,
x., xii.,
Figs. ix.
:
both upon the
tools,
the same cuts emphasised with tool Figs,
An
group of
xiii.-xv.,
exercise
in
in
of
Fig.
i.
thought
any arrangement of
In this instance
design.
details
concentration
upon a given part
2.
first
the centre
leaf.
Figs. XVI., XVII., a scroll. Figs. XVIII., XIX., a scroll, with additions for space -filling purposes.
Figs, xx.-xxii., the XV.,
but detail Figs.
of Fig.
vi.
same and
as Figs, xiii.-
viii.
used instead
I.
Figs, xxiii., XXIV., useful details. Figs. XXV., XXVI., the interlacing of stems in
design.
Fig. xxv.
ing of Fig. XXVI.
;
is
a soulless render-
the latter
is
the appli-
cation of principle inculcated in Fig.
11.
7
INTRODUCTION.
1
Figs. XXVII. -XXX., the clothing of stems at their juncture with each other, etc.
Fig. XXXI., a design Fig. XVIII. enlarged,
whose main stem
and clothed with
Figs. XXVII., XXIX., XXX.
Fig.
it
details
also an exercise in
work within a
confining the
preparing
;
is
border, thus
for application to furniture, etc.
XXXII.,
design
a
containing
useful
details for future use.
Fig. XXXIII., a design with XXVI.,
and
details xxiii., xxiv., xxvii., xxix.
more decorative treatment
Fig. XXXIV., a
of Figs.
main stem Fig.
IX.,
The edges
XII.
are
broken
up.
Fig. XXXV., a
of Figs.
more decorative treatment
IX., XII.
Fig. XXXVI., the grouping of details Figs. VI.,
VIII.,
XXVI.
Fig. XXXVII., the grouping of details Figs.
XXXIV. and xxxv. B
WOOD
CARVING.
Fig. XXXVIII., based upon,
and freer render-
ing of design Fig. xxxi. If is
two are placed together an oblong panel
formed. Fig. xxxix., design similar to Fig. xxxviii.,
but built up of details Fig.
i.,
elaborated as
Figs, xxxiv.-vii. Fig.
development
the
XL.,
of
Fig.
XXXVIII.
Each
exercise has a distinct purpose,
and
the student cannot be too strongly advised
master each step, asking the reason of
to
every peculiarity he
may have
may go
so being quite clear, he
assured of success the
combination
—the
of
noticed
.
and
cultivation or recognition of a
and
on, feeling
secret of
head
;
which
hand,
is
the
purpose at
every stage of the work.
Each
cut
production
should of
a
be
fixed
one idea,
towards
the
although he
9
INTRODUCTION.
1
should always be ready to modify any such
purpose
To
occasion presents
if
itself.
prevent the natural inclinations for
"niggling" and hesitancy on the part of the student, large tools, and bold, vigorous strokes have been employed
of
wood
out of the corners,
;
in
it is
a matter of using small tools as the
wood properly down, when
will
jump
out,
it
first
is
details
same
the large tool
this, but,
Too
often
proceeding re-
of
the outcome of compounding the
number of
and
restriction in the
tools.
strictly
scheme
of cutting
The apparent sameness
step throughout,
A
it is
much
wonders why the corners
main so untidy. design
not so
the troublesome bit out.
the student will not do to drag
the cleaning
will
limited
be
edition
issued,
in
of
a similar
which
natural
have been employed to express the ideas
;
but as working to nature
is
attempting an unattainable standard, any-
—
!
WOOD
20
CARVING.
may be
thing short of this standard
How many
"failure."
up
in despair
counted
workers have given
because they discovered their
inability to attain to the standard so foolishly
fixed in their minds' eye, trying to carve like
nature
Most of the examples of such attempts are
what may be termed
original
and
;
ventional
not admit
not caricatures, then con-
if
treatments. it,
caricatures of the
the
If
latter,
why
and derive the pleasure — "the
fun " of twisting and fighting the m.aterial
with one object in view, that of producing beautiful
fascinating,
The
and
forms
who
will
lines
deny
working
student
That
?
do next
I
upon
his teacher, etc., is
?
is
?
with
fear
trembling, ever asking, Is this right
must
it
?
and
What
therefore ever dependent
more
to
be pitied
than blamed. Individual
effort,
however crude,
is
prefer-
1
INTRODUCTION.
2
able to slavish attention to the material and its
treatment, instead of the thoughts
but the
The
medium author
prepared
scheme by bench
mitted,
and
is
for expressing.
is
demonstration,
it
to
pay
with
lectures,
report
introduce his
to-
practical
upon work sub-
periodical
visits
where
desired.
In submitting his scheme he
mindful of tions
more
its
is
not un-
shortcomings, and any sugges-
calculated
to render
the
useful will be appreciated.
course
still
TOOLS 'T^HE -^
course has been worked out
full
with the
called the
first
eight tools on
"Ambleside
and
list,
The Sloyd Tool
set."
Carver Street, Sheffield, supply
Co., set as
one of
many
their
this
reliable specialities
;
few in number being the most desirable, as less
to
become acquainted
possibilities
for use
called
different
curvatures
is
a gouge, yet
its
so
their
the sooner discovered.
gouges
Usually
with,
and'
chisels,
and widths. curvature
slight as to permit of
its
is
No.
of 5
sufficiently
use as a
chisel,
thus serving the double purpose of gouge
and
chisel.
The sharpening
of tools
is
a very import-
ant part of the work, and the process they
TOOLS.
23
undergo before being ready ing, whetting,
for use
and stropping.
is
The
grind-
former
is
done on a grindstone, which quickly removes the thick material usually on a
^
1
for
.
2
V
new
tool,
more
preparation
in
careful treatment in
y the sharpening upon an ordi-
nary joiner's
3
removes any roughness that
-
4 <«
which
oilstone,
may be produced by
__^
the severe
treatment on the p-rindstone. Carvers' tools are rubbed on
\/
•
both
The
tools.
8
9
_
.
^^_^
movement
done oh the flat
joiners'
upon
treatment
in
the
tool ;
to
follow
the outside
by holding the
tool
face of the stone
and
oilstone
upon the
thus
cutting,
easily the varying planes
nearly
as
both sides gives a slight lever
enabling
more
not
sides,
WOOD
24
angles, working
at right
end
end of the stone
to
come
of the tool will
stone
CARVING.
the former
if
in
it
;
sideways from thus the curve
contact with the
turned from corner
is
to corner in the distance.
To make
the
figure
8
on the oilstone
has been suggested, but the curves at the
end
of
the
figure
more than
the tool
allow
corners
of
their share of friction,
resulting in their being
The
the
rounded too much.
inner sides of the gouges are rubbed
by means of finger -slips, or small pieces of
stone
with
neat's-foot oil
may be
thing to avoid tools
curved
is
Olive
edges.
The
used.
or
principal
making the edges of the
dumpy, which
is
brought about by
rubbing too much on the edge,
i.e.
hold-
ing the handle of the tool too high. If
occasionally
may be
held
seen whether
ficiently,
it
up
to
the light,
it
has been rubbed suf-
as the parts untouched will appear
TOOLS.
25
bright in contrast to the dull parts already
worked upon.
may be
edge, will
Again,
an
if
the
after rubbing,
felt
rough
arras, or
tool
only require stropping to remove that
and complete the process of whetting. Stropping is
is
the
final
touch.
worked, as a barber does his
The
razors,
a piece of
leather, buff for choice.
old belts
make
tool
upon
Soldiers'
excellent strops, which, for
carving purposes, must be inside of the gouges.
The
flexible, to
leather
fit
must
the first
be prepared upon one side by a mixture of crocus powder and tallow being well rubbed into
One sible,
surface.
its
practical
in
demonstration, where pos-
sharpening tools would serve the
student better than
many pages
of confusing
instructions, clear only to the writer.
Tools become dull soon enough without
any assistance from the worker, who by
WOOD
26
arrangement allows the edges to
careless
come
in contact
The upon
with each other.
proper and safest position for tools the
touch
CARVING.
bench
each
is
other,
when
they
scarcely
and placed with
their
edges towards the worker.
Of is
V
those used in this course, the
tool
most awkward, "though but
at once the
momentarily," and the most useful of the carver's set.
Its
use tends to develop the
much-desired power to produce and appreciate
good sweeping
curves, either in abstract
or actual form, and the importance of
In the
general use cannot be overrated.
holding of this
tool,
and
in fact
any
should not be gripped too firmly, for
its
other, if it
it
does
not retard the flow of one's ideas through the tool to the material,
it
certainly
cramps
the flow of lines which those ideas suggest.
Hold to
as near the sharp edge as convenient
work
with,
and
sufficiently firm to
prevent
TOOLS.
slipping
may be
it
;
of a mallet,
of design, a
in
using presenting
the worker allows
become embedded A
by means
or,
forced along the line
difficulty
when
only
itself
pushed,
may be
it
27
The
the wood.
in
to
it
top
B
The
corners, V, should always be in view.
thickness of line producible by this tool de-
pends entirely upon the angle held
if
:
well
up
at
which
is
may
at the handle, the line
be as deep as the section of the It
it
tool.
very necessary to acquire early a
is
thorough
knowledge and one
particular tool, as, until position,
it
seems
to
of
control is
in that
this
happy
have a most undesir-
able knack of going in any but the right direction,
under
and
control,
intention of possible,
its
possibilities for
are
its
use
more than the
maker.
Use
it
when
original
whenever
even to removing as much ground
as convenient to get
at.
Main
lines
and
WOOD
28
CARVING.
Stems so produced are than
by
obtained
those
far
with gouge and chisel
;
more
The
setting- in
careful
by no other means
can the subtle curves of stems, racteristic in nature,
beautiful
etc.,
be produced so
so chawell.
other tools, being gouges of different
curvatures, call for no further comment.
matters
long as
which side or
little it
effects the object in
It
size is used, so
view; 9 and 10
are additional useful tools, the latter being called a bent gouge, or grounding-out tool.
Tools, like
and
drivers,
work
an end. that,
require
them be
let
;
know
their
do
their
to
means
to
as friends,
so
as servants,
them
understanding them better,
often
many new
suggest.
outcome of royal
to
forcing
Lastly, treat
not ignore the so
seem
horses,
road,
practice,
are
facts
you
will
cuts or ideas they
Dexterity
being
the
and there being no especially
to the learning of wood-carving.
applicable
WOOD T) EST *-^
pine-wood
exercises,
is
suggested
all
except Figs, xxxi.-xxxvii.,
not entirely by reason of qualities,
for
and the quick
easy-cutting
its
obtainable,
results
so dear to the beginner, but partly because students will only learn by experience that
the material they are to use has a nature requiring
a
certain
This
consideration. virtue of to
split,
purpose.
The
his
particular
obviously best
and therefore exactly
it
wood,
expert, its
suited
knowing
or
by
limitations,
desired
effect
;
for
the
his material,
can produce the
student, on the other hand, begins
ing
study
of
freeness in the grain, liability
its is
amount
average
by worry-
away, with a rough and rugged
result.
—
—
WOOD CARVING. At every thought treated
point a
will
suggest the
and seems
to appreciate proper
Whenever
cutting.
way wood should be
resents tearing or dragging away,
it
;
observation and
little
appearance,
it is
i.e.
a
presenting
firm
rough
suggesting a reverse or side-
ways treatment of
cutting.
When
cutting
accurately, the student at once feels every
assurance of the
fact.
produce a
In cutting, he should try to
low whistling sound, by slightly curving the from side to
tool its
progress
when
side,
forward.
possible,
in
Perfect smoothness
not required in the
initial stages,
of finish
is
as
the outcome of time and practice
it
is
only.
To
expect a beginner to master his
material and tools on the
models
is
possesses
When
first
two or three
surely too much, unless he already
some
the finish
knowledge is
produced
of
material.
by.
means of
1
WOOD.
a plane, this
may be
material
not
is
it
will
possible,
every
tool -cut
more or
plane,
less
;
absolutely forbidden,
be made general
in
;
for
fact,
it
if
the
one way,
be cut clean
but a matter of turning
carving,
It
3
In
about.
produces
its
own
and as sand -paper
is
some allowance must
tool-marks improve the
effect.
does not necessarily follow that the
experienced
wood -worker has every
ad-
vantage over the beginner.
Whilst admitting that dexterity comes of
I
careful practice, which, in
command
of the
its
turn, indicates
means whereby we seek
to
express ourselves, yet high finish should not
be
obtained
away a
at
the
expense of
frittering
student's enthusiasm.
Given an advanced copy, a student may worry
the
wood away
desired forms
;
in
obtaining
his
yet an intelligent appeal to
WOOD CARVING. complete his success, by carefully finishing the edges,
will
etc.,
have more
several lessons devoted
to
with no tangible purpose cutting said this
is
to
effect
than
grounding
out,
a form of carving which
cultivate
means
Chip-
in view.
may be
and care
precision
;
but
of cultivating precision
and care
The
majority
has two disadvantages of cuts are
upon the
ist.
:
which, by the
slant,
way, are those cuts least demanding for their production any special consideration of the material, therefore of relief
practical use in
little
work, especially as a preparatory step.
Granting, for the labour expended, very effective work, apparently,
may be
produced, yet
the habit acquired for niggling far outweighs
any such advantages of being effective,
2nd.
etc.
compass and
The
rule creates
hand and eye
"to
attractive,
excessive, use of
an
evil
a dexterity
in
by training conforming
—
WOOD.
and reliance upon,
to,
curves,
become
which
33
artificially- produced
less
interesting
as
they approach perfection in their execution.
The
work and the best modern chip work
ers' is
easily seen
—
more freedom is
between South Sea Island-
difference
in the
is
former examples
much
The same
thing
displayed.
noticeable in the early Gothic tracery
the subtle curves of which are not those pro-
duced by the compass and stamped with accurate characteristics. writing of the
its
The drawing and
nineteenth-century children
very clearly shows the rigid grip they have of
the
pencil "
unsympathetic
— whereby
means
—
"
pen
and
they express themselves.
The
suggestiveness of the hard pen or pencil
line
is
too slight to appeal to
substitute
those
supple brush" fingers
means
— and
a power
—a
for
them
another
;
but
— "the
they have within their
means
for
expressing
WOOD
34 feeling,
thought,
life
CARVING.
—a
freedom unlimited
in possibilities.
Too many
are the ways and
means
for
dwarfing the imaginative plant, by giving its
co-partner in design, " construction," an
undue share of
attention.
The
also the hand, being very sensitive,
eye,
and
promptly
repay any want of confidence by acting accordance with estimated worth.
and care are very desirable
in
Precision
features,
but
their early cultivation in carving should not
be too much insisted upon.
Each model has been produced by most easy lowed
to obtain in the material, and,
carefully,
may be
if fol-
a high standard of techniqtie but at the expense of
obtained,
creating copyists.
If the student is to
his ideas full play, his efforts
restricted too
cuts
much.
give
must not be
It is quite possible to
produce such beautiful forms as
may
require
WOOD.
35
the experience of a professional to complete technically.
If this
should be the outcome
of the freedom advocated, then the student
should be encouraged, not compelled, to see
beauty
in subtle forms, as in the laurel leaf,
in contradistinction to
tongue
the developed hart's
fern.
Exercises illustrations,
and
xxxi.-xxxvii.,
may be worked
lime, kauri-pine, walnut, or for preference.
remaining
in oak,
alder,
mahogany; oak
HOLDING THE WORK
OTU DENTS ^^-^
must not underrate
importance of making their work secure
The
before beginning operations.
may be
of accidents
The
of care.
illustration of
methods,
simplest
Two
may be
want
and
shown
all-
in the
a block held firm by means
which may be made of iron or
clips,
wood.
majority
traceable to this
sufficient for this course, are
of
the
such clips are required, and
fixed as follows
:
At
A
the clip
is
driven into the edge of the block to be carved, at surface.
holes
may
B
G
and
C
it
rests
upon the top
cramps are useful where screw-
not be put in the bench-tops.
Another method, the simplicity of which
may recommend
itself,
is
that
of
gluing
;
HOLDING THE WORK.
39
the block to be carved on to a larger piece of wood. separation,
If
paper
is
put
between,
by means of inserting a
becomes an easy matter.
First
the
chisel,
glue the
paper down upon the larger piece of wood this done, glue
about one inch round the
edges of paper, sufficient to hold the edges of the block, not
all
over
block until the glue has
set.
;
then hold the
WORKING DIRECTIONS PLATE
I.
MATERIALS required: Block of pinewood j^" 6" y-
1"
y-
sheet of carbon
;
or transfer paper, and drawing-pins.
Having
prepared
should be sketched,
it
— which
not traced, from the
working drawing, Fig. block, fix
drawing
the
i.
—
to
occupy the
with pins upon the wood, with
carbon paper between, then trace carefully over the lines with a hard pencil, and the
drawing
On that
will
be reproduced upon the wood.
reference to Fig.
the
wood about
i.,
the
it
will
leaf
be seen
form
been removed to a certain depth.
has
As a
guide for the depth, mark along the edge of the
wood
to
be operated upon a
line,
Plate
I.
WORKING DIRECTIONS.
down from
say f"
the
face
;
43 this
be understood as applying
will
depth Figs,
to
i.-xxx.,
and xxxiv.-xxxvii. inclusive; with
V
cut
tool
round
the
but not quite up to
No.
I,
and with
the spare
it
outline
Then
it.
of
design,
take gouge
remove as much of
wood about
the design as pos-
This done, proceed to trim or pare
sible.
the edges perpendicular to the ground, but this
time quite up to the
The
lines.
technical terms for these
"grounding out and
are
setting
processes in,"
lower level being called background.
the It
very important that this should be done
is
fairly
work, the
accurately in the early stages of the as
success
uniformity
is
partly
measured by
of ground depth,
and the
sharp, square-down treatment of the edges,
which should be neither ragged nor uneven, a result brought about by half cutting the
WOOD
44
CARVING.
edges down, and then dragging or gnawing the
remainder
moment's
when
wood
the
of
away.
remedy
reflection will suggest the
the student finds his
A
work rough and
untidy at this point.
The ground been cut with been
first
show
must
it
has
had
planed up perfectly smooth, and
marks are not
bits
the design, as
at
Fig. XXXIII. is
it
not as though
tools,
down upon
then the carving glued
tised,
that
A,
wood Fig.
and about
in
and B,
xxxii.,
Stamping, as generally prac-
often
careless work.
of
Tool
it.
but a means
The
claim in
clearly defining the design
to its
disguise
favour of
The
weak.
is
ground and carving being one, why separate by suggesting that the carving had been fret-cut in the first instance,
a different texture to
The
art of
its
and fixed upon
own
wood-carving,
?
briefly,
is
the
WORKING DIRECTIONS. of beautiful
creation
be
45
forms, and
may
this
upon the block of wood now
illustrated
prepared and standing up above the background. (Fig.
book
a
For the purpose of
I.)
form
beautiful
pleasing curved surface. carefully leaf,
round the edge
form Fig.
the curve
is
i.,
so
possible
may be
that
at
much
as
and
good wood-
possible
D
introduced as at
Contrast
obtained by keeping the parts as directly
C
A.
those
opposite
high, at
A
low
;
at
high, thus producing light
shade with the material.
B
as
avoided.
taken down, as at low,
to the
surface
flat
carving are contrast and variety.
high
i
See that
down
characteristic features of
may be
true,
any part of the
say point A.
as
a
With gouge No.
gradual and quite
ground,
The
denotes
this
Variety
B
and
may be
by treating the opposite side Fig.
ii.
illustrates the carrying
WOOD
46 out
of
this
CARVING.
make
contrasts of form will
generally to
the
work look
lumpy unless connected
so that
;
these two important principles must be
added
merging of one form
continuity, the
into another, as at Fig.
iii.
a good, pleasing general
In this effect
by connecting the created forms by means of
tool
throw from end
The or
and
Variety
form-creation.
i,
secured
is
at
manner
A
and
B
one decided sweep or
to end.
successful connection of these forms
ideas being so important, the
stepping
outside of the subject for further illustrations to
emphasise
So long
its
importance
as single keys are struck
piano, "the
a group, there.
individual
upon the
sound emitted being termed
the purpose, ideas,"
be
is fully justified.
all
may be
well
;
for
touch
and a discord or harmony may In the
first
attention
is
instance,
possible
;
to in
give the
WORKING DIRECTIONS. second,
of
lack
47
sympathy of tone causes
each note to claim attention at one and
same time
the
seem
;
in
the third instance, they
one into the
to run
joint being imperceptible.
applies
to
carving
may be
colour,
is
;
thus
a book, a scheme of colour,
As harmony
to
is
the
carving to the sense of love for the If the carver has failed to
beautiful.
endow
work with a continuity of thought, he
much
has yet
The that
etc.
colour to the eye, books to the mind,
ear,
his
This continuity
book-writing,
a piece of music.
so
other, the exact
to learn.
student will do well
it is
to
remember
not a matter of abundance of form,
but just sufficient and well connected, to render the
more
flat
more
surface
pleasing,
or
interesting to himself at least.
Returning to Fig.
made more
iii.,
interesting
the form
may be
by the addition of
WOOD
48
CARVING.
V
a conventional stem, the
This done, slightly
used for the purpose. hollow the same look heavy, and
and
for
;
if
tool only being
if
rounded
would
it
At
cut narrow, weak.
F an improvement may be made
use of a quicker gouge, say No.
These additions are suggested attention to ferred
to,
the
relative uses
and more
by the
or No.
2
E
3.
draw
to
of tools re-
clearly to define already
existing cuts.
Experience, the outcome of observation, will
fully
develop the tastes for adding successthese
final
touches,
not necessary, yet impart crispness, able.
lightness,
From
standing
above
to
the
work a
otherwise
underneath,
highest
wood may be
not
although
which,
at
the
the
obtainpoints
ground,
the
cut away, the object of this
being to produce a further light effect in the work, and not to
show how
far
under
Working directions. or
how
thin
In
cut.
4$
and feathery the edges may be the latter should
fact,
invariably
be bevelled- about f? of an inch
The
technical term for this operation
"under- cutting," and " under-cutting
'
it is
the
until
com-
as before stated,
;
but a means to improve existing work.
is
The completed throughout
by the
I.,
be made of ground,
To
In
—
the
smooth surface
flat,
the
so
parts in fact,
that shall please the
do
this,
wood that
up, there can be
possible
should,
produced by a soulless machine,
artistic senses.
ponding
iv.,
development, be influenced
its
demands a treatment
the
Fig.
exercise,
idea that the
of Fig.
full
is
important that no
done
be
pletion of the top surface it
thick.
may
if
the most must
above
projecting
one part
is
kept
no reason why corresnot.
merging
be
as
low
as
into the ground.
majority of instances,- this half-
—
WOOD CARVING.
50 expression
of
thought,
or purpose,
is
some-
actual cause of students feeling that
thing
is
wrong
with' their
work
the
;
and
too often as a consequence they erect their
own
stumbling-block,
fear to take off too
i.e.
"fear
much wood.
In working to a copy this
but in utilizing slips which cuts or pieces broken secrets of success,
may be
off, is
i.e.
may be
and a check
is
wished-for freedom
ment of these reliance, slip,
;
accidental
twisting the unsatis-
Dictate a
placed upon the much-
encourage the develop-
slips,
is fostered.
possible;
found one of the
factory part into something else. cut,
to. spoil,"
and confidence,
self-
Often the developed
the apparently ruined corner, becomes
the most honoured cut in the piece of work.
Wood boldly,
being cheap enough, begin your work not in a niggling manner,
applying the following tests
:
always
WORKING DIRECTIONS. 1.
Are the forms
5
I
or ideas properly carried
out? 2.
Are the forms
nected
or ideas properly con-
?
3.
Is the outline true
4.
Is the detail sufficient or too little, or,
?
as often, too much.
PLATE Figs, v.-vii.
wood
II.
Material required, two pine-
blocks 7^"x6"xi".
Mark
design as already suggested, each
occupying a block. Carefully ground out with gouge No.
not forgetting to take the
V
tool
but not quite up to the lines as a
i,
round,
first
step.
This done, cut the edges clean, and quite up to the lines.
With gouge No. Fig. V.
i
round the end A.
;
WOOD
52
'
Round down
Fig.
A or B,
E, as
to -ground at
J
r:
II.
Connect
E
to "A,,
as..
produce Fig.
this will
Cut ends B, Fig-
CARVING.
Fig.
VI. ,
A
to B, Fig.
vi.
v.,
Jii.
I-
'[
.,
complete as. j9,
a-nd
_.
,
Bevel the edges.
/J
i
i
....
,
Undercut. Figs.
VIII.
VII.,
Remove
a
Round of
little
at
i.
material
completion df turnover
facilitate
Cut ends
Round
//, as
to
Connect
B, Fig.
ground
C
how
A
to
jB,
in
viir.
'
.
'
— The
'
.
'^"
-
'
exercises' Plate
forms
producing
i.
..
''
show
may be createdv^ In
these two exercises (Plate-
power
Fig. ni.
'
'
pleasing
.,
at C.
to G, as
Bevel edges.
Remarks.
i.
to
v.
Complete ends H, as Fig.
Undercut.
G,
at
at
ii.)
we apply
given
that
points
a
Plate
"WORKING DIRECTIONS.
55
may be
taken from
definite idea.
Such
nature, casts,
or photos.
capable
ideas
of creating
If
a student
is
elementary forms
the
may be
presumed
as in Figs,
i.-iv., it
that he
able to combine these forms at
is
given points,
Knowing standard less
producing a given idea
instance
this
a
that is
safely
a
in
paper.
scroll
or
scroll
must be round, a
roll
of
Nothing
fixed for his guidance.
than a truly rounded
be
coil will
otherwise the purpose
factory,
:
satis-
or thought
only half expressed.
is
This done, a quantity of material, D, F, remains for further treatment.
and
its
lesson.
than a
flat
ing,
matters
it
down
we Fig.
;
C
obtain VI.,
Fig.
ii.
Seeing that any other form
surface will look little
E
and three
CGI,
Apply
which part
are
VIII.,
interest-
is
thrown
suggested.
Thus
forms or
Fig.
more
ideas,
EA
B,
and these separate
WOOD
56
CARVING.
forms require continuity to complete their success, this being
gested at Fig.
brought about as sug-
III.
PLATE Material
wood
:
Two
7-^"x6"x
III.
or four blocks of pine-
i".
Sketch design upon the wood,
in
each
instance with one clear outline, as Figs.
and
ix.
XI.
Ground Create
out.
first
form at A, then B, afterwards
C, Fig. IX.
Create F, Fig.
first
form at D, then E, afterwards
XI.
Figs, ix.-x.
and
hd.ve
xi.-xii.
the
same
forms.
Connect
these
three
forms,
i.e.
one into/another.
The
surface of Fig. ix.
per illustration, with tools
merge !.
then treated, as
is i
and
4.
Plate
III.
;
WORKING DIRECTIONS. and
Figs. X.
have had
xii.
59 their
edges
broken and surface treated with gouges
and 4
;
gouges
Fig. I,
2,
4
Fig. xii. edges
;
gouge
with
treated
the surface treated
xi.
No.
2.
2
with
and surface It
will
be
noticed that the small corners are rounded off; also notice the effects
gained by vary-
ing the width of bevel on the edges.
Undercut. '
Remarks.
varies
yet
in
— As
form,
nothing
every leaf upon the tree so
less
may than
those
a
in
carving
beautiful
form
"completed" must be the basis of operation,
and
—form
it
first,
cannot be too often details afterwards.
Make more lines,
stems,
interesting
&c.,
by addition of
but not at the cost of
destroying the original form degree. etc.,
repeated
The
additional
must tend
lines,
to radiate
in
the
least
stems, cuts,
from or to the
'WOOD CARVING.
6o centre, and,
if -possible,
of the, form. :'
;
.express the contour :
,
;;
;
In this exercise the student
;
givep scope
is
for experimentirig- as to the relative value
of different
The
tools..
rnenting will
more pleasing than the
be
'
working of Fig.
iv.
< :^
;
PLATE ':
of experi-
result
IV.
.....
Materials: Block of pine-wood 7^"x6"x
Mark
design upon the wood.
Take
V
tool
round the
lines as
i".
before,
then ground out.
A
Free the leaf-form .
of the
wood away,
IV.
Give
its
has been, done. to
the
B B.
as at
Treat the centre in Fig.
by cutting some
side
various stages like '
\
by
.
leaves
throw or form, as at CC.
Complete
.
.
merging the
more
little
a"
'
;
_
forms
,;
:
thus
Plate
IV.
WORKING DIRECTIONS.
CD
produced,
B,
as
63
shown
E
£",
shown
in
at
Fig. xiy.
Playfully treat the surface, Figs,
as
ix.-xii.
Bevel the edges, and undercut.
Remarks.
— The
value of this exercise
is"
the combination of previous work, but of
much more
in
Importance
is
one
it
for
developing concentration of thought upon a given feature
a
in
Generally
design.
speaking, the best plan to adopt in working
any design feature,
is
to single out
making
that
main
its
successful
first,
a form point of view, afterwards
heed
line or
from
paying
The average
to the smaller features.
method, and
very
often he finds himself going over his
work
student
is
wanting
in
many
times
He
too fond of touching
in
is
with
no
appreciable it
a cut here and there, and
result.
up, putting all
over the
wool) cArving.
64 panel, thus
method of working,
in
The
other than
after the
in
it
up
taking
work
one
tool;
main features have been roughed
"boasted," and with
in or
cut
finishing, etc.
royal road to finishing carved,
none
is
it
expressing want of continuity
may be
capable
it
finish
of doing,
every putting
down, only to take up another, the next usefulness,
and so
perhaps, requires
amateur tion
is
is
capable
of,
method,
self-control than the
because the tempta-
very great to pick up a tool just
to take out
The
more
This
on.
one
little
bit.
next best method
is
to
begin
the root of the design, and thrash
main
features
;
afterwards
smaller features, etc.
out
complete
at its
the^
WORKING DIRECTIONS.
PLATE Figs.
V.
Material
XVII.
XVI.,
65
:
Pine-wood,
6"x6"xi". Sketch design upon large as
it
Ground
at
A,
then falling to
The
produce cut
ABA,
out.
notice
ground
and as
will allow.
With gouge No, taking
the wood,
flat
ing to this
that
2 it
rising
begins close
to
the
gradually to B, and
A'.
surfaces,
CD,
require connect-
hollow thus created, which
done by softening
them and the
cut
off
is
the ridge between
ABA.
Bevel the edges and undercut. Figs. XVIII., XIX.
Material, 7i"^7i"xi".
The
as
Fig.
By
same
cuts
last
exercise.
XVI.
the addition at each corner,
above design (Fig. is
in
produced.
xvi.)
H H,
to
a different effect
WOOD CARVING.
66
The
gouge-cut
ABA,
as at
Remarks. for
success
in
ness,
line,
building up designs
is
with
and as its
its
truth in
a true decided sweep-cut none in
carving.
its
If
the
or cut, of a design suggests weak-
no amount of
the
;
drawing depends upon
The
for the defect.
of
very useful as a
scroll is
important
less
main
repeat of cut
///.
—This
curvature, so
the
a.
has been continued or run through
H H H, detail
E F G,
finish
compensate
well-developed skeleton
human form
beautiful
will
— however
details
of
ill
muscles,
-clothed etc.
—
is
preferable to the well-clothed but deformed skeleton, from a designer's standpoint.
These two give
further
exercises
scope for
(Figs,
the
student's taste, in that he
of
improvement wherever
an opportunity.
xvi.-xviii.)
exercise
may add
of a
touches
his fancy suggests
Plate
V.
WORKING DIRECTIONS.
Upon XVII.
69
reference to the illustrations, Figs.
and
xix.,
it
will
be noticed that some of
the hard lines in Figs. xvi. and xviii. have
been retained, but so modified as to give a pleasing
Their retention depends
effect.
upon the student's
down
so
taste,
toning them
as to appear part of the form.
When
not too obtrusive, these lines improve the
appearance
of the
too many.
It is
work
;
but
beware of
not by covering the
work
with lines and cuts that poor forms are guised; in
weakness its
own
fact,
make
it
such treatment emphasises
in that respect.
safeguard,
listen to its
dis-
if
its
A good form creates
the student will but
appeal for just sufficient detail to
look interesting, and no more.
Notice that the lines are not continuous,
and points ments as
Kill
finishes,
of tool marks.
give you various treat-
each varying in strength
WOOD
yo
CARVING.
PLATE Figs.
VI.
Material
XX. -XXII.
Pine -wood,
:
7i"x6"xi". Sketch design upon wood, and as large as
it
will allow.
Take
V
tool
round the
lines,
then ground
out.
Free the centre
away
at 5"
A
by cutting the material
5".
Treat each one exactly as Figs.
Remarks. so
is
this
— As
Plate
Plate
vi.
iv.
to Plate
The same purpose
is
instructions as for Plate
is
vi.
viii.
Plate
to
i.,
ii.
served and the same iv.
These are
Figs, xxiii., XXIV.
and
details for
future use.
Material: Pine- wood, 6"x6"xi".
With gouge No. to
H.
2,
one cut from
/, to
G,
Plate
VI.
.
;
WORKING DIRECTIONS.
With gouge No. to
2,
one cut from J, to K,
2,
one cut from J, to Z,
M. With gouge No.
to
73
M. Notice the contrast
JLMK,
and high
at
notice that the touches
:
down
at
I
G
RPQNO.
H,
Also
upon the prominent
only sufficient for the purpose
parts
are
their
continuation, from a
technique point
of view, would be troublesome at least, with
no corresponding advantage to the general
any
effect, if
at
all.
PLATE Material
VII.
Pine- wood, 6" x 6" x 1"
:
Sketch and ground out design as large as
wood
allows.
Fig.
XXV.
The
idea suggested
is
that
of interlacing.
AA
is
B and D
lowered to pass underneath C;
under A.
Remarks.
— In
Figs. xxv.
and xxvi. may
WOOD
74
be seen
the
line
CARVING.
indifferent worker. different mechanical latter
and
may be
worker
is
In the
seen.
seen the sympathetic worker
same
ornament goes
The
design.
make
far to
and what holds good
interesting,
good and
In the former, the in-
his treatment of the
interlacing of
the
dividing
in flat also
holds good
in
principle
involved in this exercise,
is
the creation
modelled ornament.
of
beautiful forms
it
This i.e.
subject to
others in contact.
To
mechanical
the
interlacing
of
Fig.
XXV. has been added the principle evolved in
Fig.
Each form
II.
and treated as Figs, up, as a contrast,
the
same
at
ii.,
is
in.
MM, K L.
suggested on Plate
being most
;
down
gradually from
these twisting forms are less as
taken as Fig.
in evidence.
The
i.,
at
G H,
G
to /,
surfaces of
treated
more
or
in., central lines
Plate
VII.
A
WORKING DIRECTIONS. Notice the combination
']']
and
hollow
of
round cuts on the surface of the forms too
much
of each
feature,
as
it
not
;
quite
is
possible to completely disguise those forms
beyond
and
recognition,
purpose of details
this
is
not
the
notice also the bevelled
;
edges, the continuity of forms in the interlace of the same, the throw or spirit of the
Undercut.
work.
XXXVI.
Fig. XXVI., to
Plate
II.
which
The
is
combination
a
is
added open
Wood — 7-^"x6"x
at
i"
VIII.
—
Ground
No
2
pine, alder, or lime, out.
take one sweep
cut,
as
B.
Lower
L
tool
as on
method of working.
PLATE
With
scrolls,
Fig.
outer side of example being
unfinished, suggests
Fig. XXVII.
of
the
wood
as high as the
at
wood
A, with opposite will
allow
;
side
contrast.
WOOD
78
CARVING.
Free the corner at D, keeping the outer
edge well up, as a contrast to part going under
at y^.
Merge
B
cut
into
C,
B D,
as in
Figs.
XVI.-XIX.
With same gouge,
cuts
F
and
G may
be
produced.
Undercut.
Fig. XXVIII.
Fig. XXIX.
Wood, 7"x5"x
The main stem
is
down
i".
at
J H I,
with
opposite sides contrasting.
From
J, gradually rising to K.
Double arrangement of
Fig. XXX. XXVIII.
Wood, 8"x6"xi".
Remarks.
— These
explanatory, leaves
Fig.
showing,
examples
are
self-
they
do,
how
as
and stems may break away from
each other. Fig. XXVII.
with a
leaf.
is
a broad stem A, half clothed
Leaves, being
details,
must
Plate
VIII.
WORKING DIRECTIONS. partake of the same form at tion
with
the
onward,
design
away from
which
stem, i.e.
the
carries
springing
gradually
the stem, unless
junc-
their
when
specially
articulated.
Fig.
The forms
XXVIII.
and the play of
completed,
seen on Plate
E, as a contrast
to
in.,
down
the main stem being taken
applied, at
tools, as
are
L, which projects
to the full extent of material.
XXIX.
Fig.
twisting
about,
shows
stem
bending
a leaf thrown
over,
partaking of that same twist as at Fig. XXX.
and and
J K.
shows a double arrangement of
Fig. XXVII., also the junction of two stems.
Notice the throw of same,
N, up
at O.
down
at
M and
—
WOOD
82
CARVING.
PLATE
Wood
-12" X 12" X
kauri-pine
This
;
is
IX. s^g"
— walnut,
alder,
the latter for preference.
a combination
of
previous
all
exercises.
The main stem out
and
the
application
clothed
of
leaf forms,
groups
or
(Fig.
is
the
;
become
Fig.
is
xviii.
corner
compounds
in
of
by
pieces,
(Plate
details
which
opened
viii.),
themselves are smaller
leaves
iv).
The
border, or working within a margin,
first
introduced here.
tion
to
ground
it
being cut straight
at the
margin
suggestiveness of too
ground,
if
There
line,
is
no objec-
down
to the
other than
much "frame."
its
The
curved, and thereby brought up
to .the surface,
certainly looks better than
the former treatment.
Plate
IX.
WORKING DIRECTIONS.
V
Proceed as before with as
much ground f" deep
same do
tool
;
down tool
so
This done, trim up the
carefully setting
wherever
on,
possible
places
it
in,
will go,
the lines
until
clearly defined.
cutting firmly
Use
of
Begin with
then tool the
6,
design are
the largest tools where
cleaning up the ground.
for
and
In
where the design passes over other
portions,
than
as convenient with
to the depth required. I
removing
affords an opportunity
it
for further practice.
by
tool,
whilst admitting that tool 2 will
this quicker, yet
lines
85
it
deep
is
not necessary to set in other
enough
to
retain
the lines of
pattern.
Begin with the main feature
stem
—and,
in
the cutting, notice
first
— the
that the
forms have been produced by a cut with tool
edge
No.
2,
taken along the back or outside
of the
scroll
or
main stem.
This
WOOD
86
cut
ground each
to
instance coil
Remove
end.
suggesting
B D F H.
rising
The
inner
up from beginning
wood
the
at
points J,
remembering the necessary contrast Plate
to
in
coming from underneath,
its
Reference
the
to
gradually
G,
fully
is
down
being
A CE
at
edge of to
by
varied
is
CARVING.
will
viii.
at
supply
K. the
other details for cutting.
PLATE
Wood
—
1
2" X 7!" X
X.
5//'
—
walnut,
kauri,
oak.
Side tool
A
No.
is I
merely roughed
being
Notice that
C
much and
in or boasted,
in evidence.
D
is
taken
down,
and the remainder of centre softened it.
Being
further
a
scroll
self
explanatory,
calls
for
into
no
comment, other than no motive as is
so useful to practise
upon
the production of good sweeping cuts.
for
^
F?^ nxn
•
'''"1
"^^'
'f
PUATE
^
X
/L^
\
^
^
>
\
^'^5^^'"'""^ T'-K^TWR
Plate
XI,
WORKING DIRECTIONS,
PLATE
Wood—
1
2" X
At
B
out
completed.
is
may be
boasting
XI.
2" X =//'— oak.
1
A
Portion at
QX
seen the earlier stage of
the
design
preparatory
to
finishing.
Notice points at at
C
D
are down, and points
up.
The
is
built
up
the
main
stem,
design
combination
;
lengthened
with
xxiii.-xxiv.
foliated
of
ends,
details
in
Fig.
xxvi.,
as
Figs,
Fig. XXX. in evidence at the
root of pattern.
WOOD CARVING.
92
PLATE Figs. XXXIV. -XXXV.
Fig. XXXVII.,
More
XII.
—wood, 9"x6"x
9"x9"x
j".
Oak wood.
i".
elaborate details, singly and in com-
pound, form Fig. xxxvii.
The
additional designs found in the set
of working drawings
may be worked
student feels inclined to do
:
remembering,
as he must, that merely laying
the design under another
is
designer fixes those conditions.
must accept them, and his beautiful
set
as the
one piece of
not
all.
The
The
student
about to create
forms under the given circum-
stances of line arrangement. Fig. xxxvi.
The
See Plate
vii.
conventional square leaf-forms cloth-
ing the stems are but suggestions.
those outlines
may be
Within
sketched and cut such
elaborate details as the acanthus foliage, etc.
FtdXKAA^ ^_J
Plate
XII.
:
PLYMOUTH WILLIAM BRENDON AND SON, PRINTERS.
—
IV|anual Trailing Tool CCABVEB STREET,
SHEFFIELD.
CARVING TOOLS.
^'' ^"^^^^^^-
Illustrated List on Application. (MR. PHILLIPS' SET.)
Mr.
J. Phillips' Set of 10 Tools, sent out handled, ground, and specially sharpened, ready for use.
BOOK.—Mr. Carving,"
J. Phillips'
" Course of
^y
Wood
3/6.
CASTS for same: Set a.— First 7 Casts, 17/6. Set B. 5 Advanced Casts, 15/-. Shaded Workiiig Drawings, Set of
—
Size of Casts, 5
16
:
Full
-.
PANELS.— 24
Panels, to cover Phillips' Complete Course, in Fine, Alder, Kauri, and Oak,
Wood well seasoned, and Any Size Panel to Order.
carefully planed.
V
OBJECTS FOB CABVING.— Set
of Objects Carving in preparation, 20 Objects, including Mirror and Photo Frames, Brackets, Chair Backs, Bookshelves and Racks, Corner Cupboard, Coal Box, Table Top, etc, for
CHIP CABVING. V Tool, 2/6.
9
•
Set of 4 Tools, including 10
GEM MALLET. — A handsome tool, round, polished head, SLIPS.— Set
of 4 Arkansas, 2/9.
Cramps, Strops, Stones, Sharpening Paste, Small Grindstones, Carver's Clips, and Screws,
—
CLASSES COMPLETELY FITTED FOR CARVING AND AI.L EIKDS OF MANTTAL WORE.
1/-.
.
WOOD!
Wholesale
WOOD!! Cheapest
....
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and
WOOD!!!\^'^^''^
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WOOD!!!!"^
COBBETT & C9 CASH TIMBER MERCHANTS, WRITE
64 &
FLUTED FRETWOODS
66, Virginia Road,
for
and
Bethnal Green,
PRICE LIST
London,
FREE.
FREFARED e.
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and Bacl^boards.
Squares for Turning.
SPECIAL OFFER! We
on receipt of 3/-, SIX PEEPARED PANELS—size, prepared from prime J-inch of any of the following woods: Canary Wliite Wood, Bed Wood, Uahogany, Figured Oak,
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Write for Price List
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