Home » Wood-carving [Illustrated] by Jack , George
Wood-carving [Illustrated] Jack , George

Wood-carving [Illustrated]

Jack , George

Published January 6th 2012
ISBN :
Kindle Edition
192 pages
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 About the Book 

This edition features• illustrations• a linked Table of Contents and linked IndexCONTENTSPREAMBLEStudent and Apprentice, their Aims and Conditions of Work — Necessity for Some Equality between Theory and Practise — The Students Opportunity liesMoreThis edition features• illustrations• a linked Table of Contents and linked IndexCONTENTSPREAMBLEStudent and Apprentice, their Aims and Conditions of Work — Necessity for Some Equality between Theory and Practise — The Students Opportunity lies on the Side of DesignTOOLSAverage Number of Tools required by Carvers — Selection for Beginners — Description of Tools — Position when in Use — Acquisition by DegreesSHARPENING-STONES — MALLET AND BENCHDifferent Stones in Use — Case for Stones — Slips — Round Mallet Best — A Home-Made Bench — A Makeshift Bench — Cramps and ClipsWOODS USED FOR CARVINGHard Wood and Soft Wood — Closeness of Grain Desirable — Advantages of Pine and English OakSHARPENING THE TOOLSThe Proper Bevel — Position of Tools on Oilstone — Good and Bad Edge — Stropping — Paste and Leather — Careless Sharpening — Rubbing Out the Inside — Stropping Fine Tools — Importance of Sharp ToolsCHIP CARVINGIts Savage Origin — A Clue to its only Claim to Artistic Importance — Monotony better than Variety — An Exercise in Patience and Precision — Technical MethodsTHE GRAIN OF THE WOODObstinacy of the Woody Fiber — First Exercise in Grounding — Description of Method — Cutting the Miters — Handling of Tools, Danger of Carelessness — Importance of Clean CuttingIMITATION OF NATURAL FORMSDifficulties of Selection and Arrangement — Limits of an Imitative Treatment — Light and Distance Factors in the Arrangement of a Design — Economy of Detail Necessary — The Word ConventionalROUNDED FORMSNecessity for every Carver Making his own Designs — Method of Carving Rounded Forms on a Sunk GroundTHE PATTERNED BACKGROUNDImportance of Formal Pattern as an Aid to Visibility — Pattern and Free Rendering Compared — First Impressions Lasting — Medieval Choice of Natural Forms Governed by a Question of PatternCONTOURS OF SURFACEAdaptation of Old Designs to Modern Purposes — Throwing About — Critical Inspection of Work from a Distance as it ProceedsORIGINALITYDangers of Imposing Words — Novelty more Common than Originality — An Unwholesome Kind of OriginalityPIERCED PATTERNSExercise in Background Pattern — Care as to Stability — Drilling and Sawing out the Spaces — Some Uses for Pierced PatternsHARDWOOD CARVINGCarvings 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 GrapesTHE SKETCH-BOOKOld Work Best Seen in its Original Place — Museums to be approached with Caution. — Methodical Memoranda — Some Examples — Assimilation of Ideas Better than Making Exact CopiesMUSEUMSFalse Impressions Fostered by Fragmentary Exhibits — Environment as Important as Handicraft — Works Viewed as Records of Character — Carvers the Historians of their TimeSTUDIES FROM NATURE — FOLIAGEMedieval and Modern Choice of Form Compared — A Compromise Adopted — A List of Plant Forms of Adaptable CharacterCARVING ON FURNITUREFurniture Constructed with a View to Carving — Reciprocal Aims of Joiner and Carver — Smoothness Desirable where Carving is Handled — The Introduction of Animals or Figures