Wood carving figures

There are many techniques in wood carving for creating different things of art and also daily things. And in this blog we want to share with you about wood carving figures.

A wood carver begins a new carving by selecting a chunk of wood the approximate size and shape of the figure he or she wishes to create or if the carving is to be large, several pieces of wood may be laminated together to create the required size. The type of wood is important. Hardwoods are more difficult to shape but have greater luster and longevity. Softer woods may be easier to carve but are more prone to damage. Any wood can be carved but they all have different qualities and characteristics. The choice will depend on the requirements of carving being done: for example, a detailed figure would need a wood with a fine grain and very little figure as a strong figure can interfere with 'reading' fine detail.

Once the sculptor has selected their wood, he or she begins a general shaping process using gouges of various sizes. The gouge is a curved blade that can remove large portions of wood smoothly. For harder woods, the sculptor may use gouges sharpened with stronger bevels, about 35 degrees, and a mallet similar to a stone carver's. The terms gouge and chisel are open to confusion. Correctly, a gouge is a tool with a curved cross-section and a chisel is a tool with a flat cross-section. However, professional carvers tend to refer to them all as 'chisels'. Smaller sculptures may require the woodcarver to use a knife, and larger pieces might require the use of a saw. No matter what wood is selected or tool used, the wood sculptor must always carve either across or with the grain of the wood, never against the grain.

Once the general shape is made, the carver may use a variety of tools for creating details. For example, a “veiner” or “fluter” can be used to make deep gouges into the surface, or a “v-tool” for making fine lines or decorative cuts. Once the finer details have been added, the woodcarver finishes the surface. The method chosen depends on the required quality of the surface finish. The texture left by shallow gouges gives 'life' to the carving's surface and many carvers prefer this 'tooled' finish. If a completely smooth surface is required general smoothing can be done with tools such as “rasps,” which are flat-bladed tools with a surface of pointed teeth. “Rifflers” are similar to rasps, but smaller, usually double-ended, and of various shapes for working in folds or crevasses. The finer polishing is done with abrasive paper. Large grained paper with a rougher surface is used first, with the sculptor then using finer grained paper that can make the surface of the sculpture slick to the touch.

After the carving and finishing is completed, the artist may seal & colour the wood with a variety of natural oils, such as walnut or linseed oil which protects the wood from dirt and moisture. Oil also imparts a sheen to the wood which, by reflecting light, helps the observer 'read' the form. Carvers seldom use gloss varnish as it creates too shiny a surface, which reflects so much light it can confuse the form; carvers refer to this as 'the toffee apple effect'. Objects made of wood are frequently finished with a layer of wax, which protects the wood and gives a soft lustrous sheen. A wax finish (e.g. shoe polish) is comparatively fragile though and only suitable for indoor carvings.

Relief carving is a form of sculpture in which a flat piece of wood is carved to reveal the illusionof a three-dimensional form. The process begins with a design from the wood carver’s imagination. The design is matched to a piece of wood before it is laid out on tracing paper. Once transferred to wood, the design is minimized into simple shapes. The carver must determine which cuts will create the desired perspective, depth, and illusion. Using a variety of tools and techniques, the carver brings the design to life. The excess wood removed with a mallet and chisel gives the simple shapes depth. Gouging, scraping, and burnishing help the depths reveal their details. Soon, the illusion of a three-dimensional form is revealed. Sandpaper is used to remove debris from the background. An experienced carver sands very little and lets the tools do most of the work. With experience comes comfort in allowing the wood to reveal the evidence that it has been carved. Sometimes, the wood dictates change to the original design. When a mistake is made, the carver adheres to the following creed: “It’s only a piece of wood. It only becomes a masterpiece when you are done with it. If you make a mistake, get another piece of wood.”