Flotsam and Jetsam archive

Thursday 28 August 2008

Russell Parry carves this free-form seaside scene

Gallery

I have always been impressed by the regular yet varied, ridges in the sand left by the retreating tide. Looking at this pattern one day, I was struck by the way in which pebbles were embedded, sometimes with a water-scoured channel around them. Other, lighter objects just rested on the surface. As the sinking sun highlighted the patterns, I took a few snaps for future reference.

I envisaged this carving as a way of depicting the sand patterns that so intrigued me, adding a few small items to focus interest and give context. Incorporating a starfish as the flotsam and a pebble as the embedded jetsam seemed the right way to go, then I realised it would make an excellent piece on which to practice creating the illusion of embedded and resting objects. In this case, the pebble has a channel around it that emphasises the effect. It must be remembered that often a 'buried' object simply meets the surface without any such channel. It pays to look carefully at such things before picking up tools and starting.

It is how we carve the edges where objects meet, that 'tells' the viewer whether one object rests upon another, or is embedded in it. Of course, it's a trick based on the brain's tendency to fill in what it cannot see, but nevertheless it convinces if done carefully. Having carved the pebble, the illusion simply does not work for me, but several non-carving friends have asked if it is a separate piece of wood, so I guess that's good enough.

Pick and mix

Before you start, decide whether you really like the objects I have chosen to depict. If you prefer seaweed go for what excites you! If you can't get to the seashore, there are plenty of excellent guidebooks that will provide you with a range of illustrations.

Transferring the cetre

There is no point in drawing the whole design onto the board. Everything but starfish and pebble will be lowered, so initially all we need is an outline on which to saw to, and the edges of the starfish and pebble.

Only when the sand has been lowered is it time to draw on the position of the troughs between the sand bars. I transferred the lines by taking a copy of the drawing, and first cutting out the pebble and starfish with a scalpel. Once the back of the lines on the drawing have been blackened with a soft pencil, the drawing can be dropped over the carving and the lines drawn over with a hard point, then strengthened with a ballpoint pen.

Finishing

Once you are happy with the shape and all the carving is completed, sand the whole of the surface except the starfish with abrasive; 120grit, then 180 and finally 240 should do it. Try to avoid the step edges altogether; they must not be rounded.

Now you have to make a decision. I decided to leave everything except the pebble as bare wood, as I wanted it to look like sand, with an obviously different pebble. You may want a more 'sculpturesque' finish, in which case sand more finely (I didn't want to lose the matte surface) and sanding seal and wax. If you do this you could texture the pebble with a nail point for contrast. Or perhaps you would prefer to seal everything, tint the starfish and pebble and then apply wax. I carefully sealed just the pebble, then waxed and polished it.


Woodworkers Institute

Tagged In:

russell parry , Free-form , Seaside , Nature

"Lime would have made the carving easier and aided the ukibori texturing"

Technical Breakdown

Wood
I used a piece of cedar of Lebanon (Cedrus libani) about 360 x 260mm (14 x10in) and 25mm (1in) thick. You could decide to work larger or smaller, but if very different to this, remember to scale the thickness accordingly.
Lime (Tilia spp.) would probably make a very suitable alternative, especially if it were a yellowish piece. There is no fine detail so just about any timber would do, depending on your preferred colour and if ukibori (see 'Ukibori made easy' box) is effective. Best test the technique on a scrap corner before you start
Tools
A coping saw (could use bandsaw or scroll saw instead).
Gouges I used: 18mm No.5; 10mm No.2; 10mm No.3; 8mm No.5; 5mm No.3; 3mm No.11; 2mm No.9; 10mm No.2 back-bent; 8mm 60 degree V-tool.
Also my favourite short bladed knife - a Pfeil No.10 - for general trimming, and a scalpel for cleaning up the inaccessible crannies, such as around the pebble and undercuts.
Finishing
Abrasive paper; 120-200grit
Sanding sealer - I use shellac and talc in alcohol
Clear paste wax - a beeswax/carnauba mix

Ukibori Made Easy

Ukibori (floating sculpture) is the Japanese term for a slightly raised pattern, usually but not always, on wood. The word is most often used to describe a particular and intriguing technique, carried out as follows.
Start by pressing hollows into dry wood with a blunt punch. Next, remove the surrounding surface wood down to the depth of the marks, and finely sand and polish the surface. If you now damp the surface - or in some cases steam - the depressed marks should rise into little pimples as the compacted wood springs back. Only limited finishing is now possible if the detail is not to be worn away.
Some woods are better suited than others to this method. Cedar of Lebanon is probably too soft and brittle to give really crisp results, and lime may work better.
One word of warning; it pays to complete the process as quickly as possible. The longer the fibres are compressed, the less they are inclined to spring back