Carving Facial Expressions by Ian Norbury

By Ian Norbury

Probably the most tricky stuff you can choose to carve are facial expressions.

Wood is unforgiving yet many carving blunders may be simply hidden. regrettably, the way in which our brains are programmed make us very delicate to any discrepancy in what we predict and what we see while taking a look at a human face. Than implies that any blunders could be instantly made evident.

This booklet might help you triumph over those problems and assist you step-by-step to arrive that aim of turning into a professional aid carver.

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Extra resources for Carving Facial Expressions

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Overall the impression i s of a totally immobile face, as if to say 'I am in control', and an intense cat-like stare at some distant point. Fig. 94 Slave girl Range of Expressions In Fig. 94, 1 have attempted to portray dignity and strength in adversity. It i s interesting that the face of the Zamburu woman, Fig. 95, has almost exactly the same look, but was carved with completely different intent, several years later. 47 1: 48 i' Range of Expressions ii, i The Masai warrior iig. 96 and Ozymandias, the Egyptian king, Fig.

Using a fine punch may be worth trying. It also depends on the scale of the head. Ultimately one must accept the limitations of the medium. (Fig. 1 1 1 over page) Range of Expressions Range of Expressions SUBTLE EXPRESSIONS If expressions must be obvious and unambiguous, wheredoes that leave us with the more subtleexpressions, which after all are probably more useful than extreme ones? The faceon Touchstone, Fig. 112, i s my interpretation of the Shakespearean character - a court jester who is intelligent, witty, somewhat cynical and jaded, but basically generous.

96 and Ozymandias, the Egyptian king, Fig. 97, have similarexpressions. The model in Figs 98 and 99 gives an indication of the slightly raised head mentioned earlier. The Alchemist, Fig. 100, is intended to show his 1: 1i *, belief in his own superiority by reason of his magical skills. Study of antique Greek, Egyptian, Roman and Renaissance art would be well repaid in the search for nobility. I I ~ I I Fig. 96 Masai warrior ! ,; I1 Fig. 97 Ozymandias Range of Expressions Fig. 100 The Alchemist 50 Range of Expressions .

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