Carving
the Head in the Classic European Tradition
A Woodsculpting
Course in Proportion and Design
by Martin Geisler-Moroder
Softcover
215 x 280mm
83pp
Published by Fox Chapel Publishing Co Inc
R.R.P.$29.90
ISBN 1-56523-302-6
As reviewed in The Australian Woodworker Issue 128
The human head is one of the most challenging subjects to carve. Not only are there details and facial expressions to consider, but even the basic proportions can be difficult to master. To address the specific problems associated with this type of work, Carving the Head in the Classic European Tradition provides a complete step-by-step process to enable intermediate carvers to shape heads with confidence.
The book was written by Martin Geisler-Moroder and the carving prepared by Horst Pali, both associated with the world renowned Geisler-Moroder Austrian Woodcarving School which was founded on the Moroder family's 400 year association with woodcarving. As depicted in the gallery section towards the back of the book, the work of the School embraces modern and experimental carving as well as traditional designs, but the basic techniques remain 'in the classic European tradition'.
There is a set sequence in developing the design. First the subject is roughed out as a group of merging three-dimensional forms such as cubes and spheres. The shape is then carved with interconnecting planes. At this stage the main features such as the nose, cheeks, eyes and mouth become recognisable in spite of their abstract appearance.
Further refinement of the planes brings out the features. The basic carving is now complete and the level of detailing to be added is up to the discretion of the carver.
To demonstrate the principles and techniques involved, the book describes the carving of a single project, the head of a young male. There are several pages of data at both the front and the back of the book covering the basic dimensions and proportions of the human head and the effects of age and expression. These can be used to experiment and produce a variety of head carvings based on the techniques presented.
A third of the book segment devoted to the carving of the male head describes the sculpting of the subject in clay. This is certainly a departure from the norm for woodcarving books, but since the approach presented here is heavily based on working with geometric forms, clay is a good medium to work with while you are developing your skill. With clay you have the option of working two or more shapes together to form the rough blank required, rather than having to visualise the merged form as you cut away at a piece of wood.
The carving process is continued until a reasonable representation of the finished sculpture is achieved. While the book notes that some readers will want to skip this part, it highly recommends the production of a clay model as a means of developing the design and avoiding serious problems when working on the final carving.
The wooden carving is taken through the same process, from three-dimensional forms to detailed appearance. Each step in forming both the clay and wooden figures is illustrated with well-lit colour photographs.
The approach to carving given in this book may not suit all tastes, but if you are having difficulty with this subject, then Carving the Head in the Classic European Tradition provides complete step-by-step methods.
Photos: Colour
Contents
About
the Author and the Artist
Preface
Part
One: Getting Started
An introduction to the process
Tools and materials
Wood
Safety
Theory
Part
Two: Step-by-Step Modeling
Making the armature
Geometrical building
blocks
GeometricaI shaping
The first modeling cuts
The finished model
Part
Three: The First Stage of Carving
Before the first cut
Cutting the
profile view
Fixing the profile
Cutting the first planes
The planes
of the neck
Part
Four: The Second Stage of Carving
Setting the forms of the nose, the mouth,
and the chin
Setting the forms of the eyes and the hairline
The sides of
the head, the shoulders, and the collar
Carving the back
Part
Five: The Third Stage of Carving
Detailing the nose, the mouth, and the
chin
Shaping the ears
The finishing touches: the hair, the collar, and the
base
Part
Six: The Final Finish - A Gallery of Ideas
Appendix
A - Metric Conversion Chart
Appendix B - lllustrations