Fundamentals of Figure Carving by Ian Norbury

By Ian Norbury

Thoughts for carving designated anatomical constructions of the human shape.

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The curve under the bottom lid is slightly deepened and softened (Fig 94). Figure 94 The process ofsanding has begun on the right-hand side eliminating the %movefrom the inside comer of the eye across the cheek, softening the crease below the lower eyelid, raising the eyebrow and smoothing out the corner of the mouth. must create an impression. Similarly, stubble would be a problem, as would bristly, spiky hair or wild, tangled hair. Look at carvings in museums and books and you will see smooth, well kept waves, and tightly combed locks.

Having completed these two cuts, the eyeball should now be somewhat pointed across the middle rather than round. 2 gouge to round off the ball (Fig 61). Figurcs 551, b & c This exercise demonstiarcs the rechniques ofcarring eyes and is carried out on a black of limcwoad 250mm110" long and 100mml4" h k h ; the eye openings; from corner to o r n c r , 60mmIZ'Ya" long. A-A RE B-B 44 Figure 60 Figure 61 Figure 62 Figure 63 Figure 64 Figure 65 Figure 66 46 Now look at the opening from the side, Fig 62, and scr whether the shape and size agrres with the drawings and photographs of the model.

Down each side of the neck from the mastoid process behind the ear to the inner end of the collar-bone, runs a strong rope-like muscle. That which faces the front will stand out quite clearly as it is stretched and twisted. The far one will he more concealed in the fold between the neck and the shoulder. At the back there is a depression between the shoulder-blade in the upper middle of which the vertebrae rise up quite distinctly; for further Figure 71 reference see Figs 127 to 133. We now move up to the ear.

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