THE MAGIC OF FACES

Faces are an endless source of fascination for me and for many other carvers. One of the most often heard requests is "Can you teach me to carve faces?" And that's only natural.

Human beings are hardwired to recognize faces. I believe that to be a survival skill from our earliest tribal days a million years ago. At that time our pre-homo sapiens sapiens ancestors lived in small groups that could be called tribes. Inter-tribal warfare was probably more common than not, so it was a decided advantage to be able to distinguish between "us" and "them". "Them" were dangerous!

Facial recognition was also a great help in keeping the nuclear family stable. Imagine the embarrassment if Ugh got caught dragging Eeep's wife off to his cave. "Ooops! Sorry Eeep! I thought she was my wife. You know these females. They all look alike to me."

Research has shown that humans can recognize a face in the most rudimentary of drawings or pictures. Take the Happy Face for example. What is it but a circle, two dots and a curve.

Not only do we see faces in rudimentary drawings, we also see them in nature: clouds, rocks and even pieces of wood. Take The Jester up at the top of the post. Before I took my knife to him, he was just a piece of a tree branch, but I could see him in there just waiting to get out.

It's a lot of fun to carve faces into found wood, but for beginners or moderately advanced carvers it is easier to learn with commercially processed wood. Found wood is, to be polite, variable in quality. The piece that I used to carve The Jester had soft spots, downright rotten spots, and grain that went every which way. It short, it was a challenge, one that required the use of CA glue to stabilize a couple of areas.

That's why, as I show you how I carve faces I'll be using a piece of 1-1/2" birch dowel that I got from my local Woodcraft store. You just buy a 3-foot length for less than $5.00 and cut it up into six 6" pieces. It's cheap, so if you accidentally turn it into firewood, you haven't lost much in the way of materials. The wood is consistent in density and the grain runs all in one direction. That's what I used to carve old Windy there.

In the next post I'll talk about the knife I use. I say knife instead of tools because I'm going to be showing you how to do this with one knife. Once you learn how to carve a face with only a knife, it's easy to bring other tools into the process.

So, until next time, let those chips fly!

It Ain't Fire Wood Redux

We got some snow this week. I took a couple of pictures through the windshield of my car on my way to work just before sun-up.

The quality isn't the best, but you try taking a picture one handed through the windshield of your car! That white peak to the right in the first picture is Pike's Peak at 14,192'. Or something. It is one of the Fourteener's here in Colorado. If you look closely you can see the line on the mountains where the snow starts. That's about 8,000 feet.

I also did some reworking on last post's subject. I'll post the photo of the original next to the photo of the revised work.

It's amazing how little wood was taken off to produce this effect. I thinned down the nose and changed the profile of the bridge and elevated the tip a bit. I removed some wood between her mouth and her nose. I also altered the lower lip and took some shavings off the bottom of the chin. All the chips I removed could be put in a thimble with lots of room left over. She's still not as feminine as I would like, but good enough until the next one.

Currently I'm working on a new Santa ornament, a small male wood spirit and a very small tasting spoon. I'm using slightly different techniques on all of them. It'll be interesting to see how they turn out.

Until the, let the chips fly!

My First Woman -- Carving, That Is

I've learned a lot about carving faces over the last couple of weeks. I had decided that I wanted to carve a female face. I happen to like women. A lot! So a female face was a natural subject for me. It only took me almost six decades to actually do it!

But just doing something I'd never done before wasn't enough for me. No, not only did I decide to go to the distaff side of subjects, I also decided I wanted to do her as a woodspirit. In found wood! Not even that was enough. I did her in seasoned found wood. Am I a glutton for punishment or what?

Of course I wanted to do a good job. I wanted to at least make her attractive, if not beautiful. Think dryad. So I had to do some studying. My first stop was Ian Norbury's book, Carving Classic Female Faces in Wood. Of course Norbury is a good carver (yeah, let's understate the thing just a bit), but his women are fantastic. So I spent a goodly amount of time poring over his step-by-step photos, learning what he did when. (The time I spent droo . . . um . . . studying the blown up photos of his model was purely research. Yep!) I must admit, though, that his slavish attention to perfect symmetry got on my nerves a bit.

Speaking of symmetry, or the lack thereof, my next stop was a Marv Kaisersatt study cast of a young woman. I made the mind-boggling discovery that Marv is no more wedded to bilateral symmetry than I am. I must make a small diversion here to explain how I went about studying the Kaisersatt cast.

One of the blogs I follow is Doug Stowe's "Wisdom of the Hands", an excellent blog about the role of the hands in education. One of his posts (I wish I could find it again) made the point that modern Man has effectively lost the ability to "see with the fingers". As a woodcarver/sculptor I took that to heart and decided to take the Kaisersatt cast into a dark room and study it with my fingers. It took me a while to get into the groove, but eventually what a revelation! I saw something with my fingers that I had never seen before while examining the cast visually. The left side of her face was off! I speculate that while messing with the hair, he carved off a little (actually more than a little) too much off the temple. Instead of coming down and merging more or less smoothly with the cheek bone as on the right side of her face, he left a shelf of cheekbone running back under her hair toward her ear. A not inconsiderable shelf even though I never noticed it until I took her into a dark room and ran my fingers over her face. (yeah, yeah, take your best shot!) Not only did he make that "mistake", he allowed it to be immortalized in a study cast! How's THAT for confidence!

Okay, okay, moving right along. The next place I went was Lynn Doughty's blog, Out West Wood Carving. Lynn, like Marv, is arguably one of the finest caricature carvers alive today. He's always been generous with his advice and has an extensive gallery of WIP photos of his pieces. Just recently he's begun posting tutorial videos, and during the last week or so has posted a series of videos showing how he carves a head and face. Absolutely first rate work! He does have a tendency to get between the camera and his carving, but his wife, who is both cameraman and director, doesn't let that last long. If you have ANY interest in carving faces, whether caricature or realistic, you MUST view that series.

So that's what I studied. And I got a lot out of all the sources. You've seen my starting point above. You'll notice that the face is very long and the brow comes out just as far as the tip of the nose. One of the things I picked up from the Kaisersatt cast and was echoed in the Norbury and Doughty materials was that the brow is typically farther in than the tip of the nose. This next photo shows that corrected.

This is a front view at the same stage of carving. The chin is still longer than I like, and the sketched-in eye is too high.

I was able to correct that, mostly. The rest of the photos are of the almost finished piece. The only think I lack is putting in the pupils.

She's pretty good, but I'm going to do better.

Until next time, let the chips fly!

The Beardless Wonder and The Fearless Wonder

First, The Beardless Wonder. He's not my first beardless face, but he is my first beardless wood spirit done in found wood. He turned out nicely, but I did some things I'm going to do differently next time. They aren't mistakes, they're learning experiences!

Overall I'm pretty happy with this guy. The biggest improvement I think I could make is going deeper into the branch for the chin. Most people's profile shows a convex curve when drawn from the hairline to the tip of the nose to the tip of the chin.

The other thing I would do is move the smile line on the left side closer to the corner of the mouth and smooth out the transition up to the cheek.

And now for The Fearless Wonder. Now you have to remember that this guy doesn't exist, never has, living or dead, in reality or in effigy. We've all got a bit of fear when it comes to our work. As you may have noticed, I've been trying to get more emotion into my faces. As I was coming down to the finish line on Beardless here, I was really happy with the way he was turning out. I got to the place that the only thing I needed to do to call him finished was to cut in the eyebrows.

He sat around for a WEEK before I could bring myself to finish the eyebrows. I started thinking (and this is not unusual for me) that I was going to screw up the eyebrows and ruin the whole thing! Never mind that I know how to fix such a screw up. Never mind that I had already fixed several things in the carving that I didn't like at first. I was going to screw up the eyebrows and that would totally ruin the entire carving. Have you ever heard of such a ridiculous thing?

Now admittedly this comes as a result of some self-examination. I didn't think specifically or rationally that I was going to screw it up. This was all some sort of subliminal gut type of feeling that didn't come out until I sat staring at the eyebrowless wonder yesterday.

This isn't the first time this gut-delay has happened, nor is it the first time I've come to this particular realization. I've got a potentially beautiful lovespoon WIP laying around that I've been ignoring for almost a year. One day I'll work up the guts to finish it.

This is all to illustrate that we all have these kinds of feelings to one degree or another, and that it is OK to give in to them on occasion. But you have to recognize that there is no rational reason for feeling that way and that sooner or later, preferably sooner, you're going to have to bite the bullet and finish the damn thing!

Until next time, let the chips fly!

Sundry Sunday

Welcome back friends and neighbors. I've spent the last couple of weeks doing different things and trying different techniques, so this blog post is something of a hodge-podge. First up is a little Celtic dragon I did for my daughter. She's going to make a pendant (or something) from it for her jewelry line.



The wood is 1/4" walnut that I got from Woodcraft. Walnut wasn't as hard to carve as I thought it would be. Of course it was only 1/4" thick so I wasn't taking off huge pieces. The only machine I used on this was a drill to start the piercings. Everything else, including rough shaping from the original square blank, was done with a knife. Could be better, but for a first effort, I'm rather pleased.

This wood spirit is the first I've ever done in found wood. As such it was something of a new experience. I believe the wood is aspen. I am not a student of plant life. I know there are two kinds of trees, deciduous and evergreen. Beyond that I'm pretty clueless.

I did this guy a little differently than the others I've done. I did the eyes the way Don Mertz, The Woodbee Carver, does in his tutorial. Then I used a round, negative space for the irises/pupils. I rather like the way it turned out. I also got a little more curvature on the dental mound than I usually get and got more of the nose on the face rather than sticking out in front of it. Still not quite where I want it, but getting better.

The next series of photos is of another technique I've picked up from Don, the Whittle Doodle.

A Whittle Doodle is just exactly what it says. It's a doodle for whittlers. Instead of doodling on a piece of paper with your pencil, you doodle on a piece of scrap wood with your knife. In this case it's a 2"x2"x2" block of basswood. It's a low-pressure way to practice since (unless you are Don) it's not meant to be seen by anyone else. As you can see, I screwed up the eye on the right royally, but I'm really happy with the way the nose turned out. You can also see that the regularity of my borders needs some work. I've still got a lot of room on this Doodle to play with. I'm going to keep at it until I've got every face full. It's going to be interesting when I get to the end-grain faces! That may take a while.

That's enough rambling for now. So, until next time, let the chips fly.