Wood carving design and workmanship
WOOD CARVING DESIGN AND WORKMANSHIP
BY GEORGE JACK
WITH DRAWINGS BY THE AUTHOR AND OTHER ILLUSTRATIONS
NEW YORK, APPLETON AND COMPANY, 1903
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Wood carving design and workmanship
EDITOR'S PREFACE
In issuing these volumes of a series of Editor's Handbooks on the Artistic Crafts, it will be well to state what our general aims are. In the first place, we wish to provide trustworthy text-books of workshop practice, from the points of view of experts who have critically examined the methods current in the shops, and putting aside vain survivals, are prepared to say what is good workmanship, and to set up a standard of quality in the crafts which are more especially associated with design. Secondly, in doing this, we hope to treat design itself as an essential part of good workmanship.
During the last century most of the arts, save painting and sculpture of an academic kind, were little considered, and there was a tendency to look on “design” as a mere matter of appearance. Such "ornamentation" as there was usually obtained by following in a mechanical way a drawing provided by an artist who often knew little of the technical processes involved in production.
In the third place, we would have this series put artistic craftsmanship before people as furnishing reasonable occupations for those who would gain a livelihood. Although within the bounds of academic art, the competition, of its kind, is so acute that only a very few per cent can fairly hope to succeed as painters and sculptors; yet, as artistic craftsmen, there is every probability that nearly everyone who would pass through a sufficient period of apprenticeship to workmanship and design would reach a measure of success.
In the blending of handwork and thought in such arts as we propose to deal with, happy careers may be found as far removed from the dreary routine of hack labor as from the terrible uncertainty of academic art. It is desirable in every way that men of good education should be brought back into the productive crafts: there are more than enough of us “in the city,” and it is
This third volume of our series treats of one branch of the great art of sculpture, one which in the past has been in close association with architecture. It is well, therefore, that besides dealing thoroughly, as it does, with the craftsmanship of wood-carving, it should also be concerned with the theory of design, and with the subject-matter which the artist should select to carve.
Such considerations should be helpful to all who are interested in the ornamental arts. Indeed, the present book contains some of the best suggestions as to architectural ornamentation under modem circumstances known to me. Architects cannot forever go on plastering buildings over with trade copies of ancient artistic thinking, and they and the public must someday realize that it is not mere shapes, but only thoughts, which will make reasonable the Editor's enormous labor spent on the decoration of buildings. Mere structure will always justify itself, and architects who cannot obtain living ornamentation will do well to fall back on structure well fitted for its purpose, and as finely finished as may be without carvings and other adornments. It would be better still if architects would make the demand for a more intellectual code of ornament than we have been accustomed to for so long.
On the side of the carver, either in wood or in stone, we want men who will give us their own thought in their own work - as an artist, that is - and will not be content to be mere hacks supplying imitations of all styles to order.
On the teaching of wood-carving I should like to say a word, as I have watched the course of instruction in many schools. It is desirable that classes should be provided with casts and photographs of good examples, such as Mr. Jack speaks of, varying from rough choppings up to minute and exquisite work, but all having the breath of life about them. There should also be a good supply of illustrations and photographs of birds and beasts and flowers, and above all, some branches and buds of real leafage. Then I would set the student of design in wood-carving to make variations of such examples according to his own skill and liking. If he and the teacher could be got to clear their minds of ideas of “style,” and to take some example simply because they liked it, and to adapt it just because it amused them, the mystery of design would be nearly solved. Most design will always be the making of one thing like another, with a difference. Later, motives from Nature should be brought in, but always with some guidance as to treatment, from an example known to be fine. I would say, for instance, “Do a panel like this, only let it be oak foliage instead of vine, and get a thrush or a parrot out of the
bird book.”
In regard to the application of carving, I have been oppressed by the accumulation in carving classes of little carved squares Editor’s and oblongs, having no relation to anything that, in an ordinary way, is carved. To carve the humblest real thing, were it but a real toy for a child, would be better than the production of these panels, or of the artificial trivialities which our minds instinctively associate with bazaars.
During the last century most of the arts, save painting and sculpture of an academic kind, were little considered, and there was a tendency to look on “design” as a mere matter of appearance. Such "ornamentation" as there was usually obtained by following in a mechanical way a drawing provided by an artist who often knew little of the technical processes involved in production.
In the third place, we would have this series put artistic craftsmanship before people as furnishing reasonable occupations for those who would gain a livelihood. Although within the bounds of academic art, the competition, of its kind, is so acute that only a very few per cent can fairly hope to succeed as painters and sculptors; yet, as artistic craftsmen, there is every probability that nearly everyone who would pass through a sufficient period of apprenticeship to workmanship and design would reach a measure of success.
In the blending of handwork and thought in such arts as we propose to deal with, happy careers may be found as far removed from the dreary routine of hack labor as from the terrible uncertainty of academic art. It is desirable in every way that men of good education should be brought back into the productive crafts: there are more than enough of us “in the city,” and it is
This third volume of our series treats of one branch of the great art of sculpture, one which in the past has been in close association with architecture. It is well, therefore, that besides dealing thoroughly, as it does, with the craftsmanship of wood-carving, it should also be concerned with the theory of design, and with the subject-matter which the artist should select to carve.
Such considerations should be helpful to all who are interested in the ornamental arts. Indeed, the present book contains some of the best suggestions as to architectural ornamentation under modem circumstances known to me. Architects cannot forever go on plastering buildings over with trade copies of ancient artistic thinking, and they and the public must someday realize that it is not mere shapes, but only thoughts, which will make reasonable the Editor's enormous labor spent on the decoration of buildings. Mere structure will always justify itself, and architects who cannot obtain living ornamentation will do well to fall back on structure well fitted for its purpose, and as finely finished as may be without carvings and other adornments. It would be better still if architects would make the demand for a more intellectual code of ornament than we have been accustomed to for so long.
On the side of the carver, either in wood or in stone, we want men who will give us their own thought in their own work - as an artist, that is - and will not be content to be mere hacks supplying imitations of all styles to order.
On the teaching of wood-carving I should like to say a word, as I have watched the course of instruction in many schools. It is desirable that classes should be provided with casts and photographs of good examples, such as Mr. Jack speaks of, varying from rough choppings up to minute and exquisite work, but all having the breath of life about them. There should also be a good supply of illustrations and photographs of birds and beasts and flowers, and above all, some branches and buds of real leafage. Then I would set the student of design in wood-carving to make variations of such examples according to his own skill and liking. If he and the teacher could be got to clear their minds of ideas of “style,” and to take some example simply because they liked it, and to adapt it just because it amused them, the mystery of design would be nearly solved. Most design will always be the making of one thing like another, with a difference. Later, motives from Nature should be brought in, but always with some guidance as to treatment, from an example known to be fine. I would say, for instance, “Do a panel like this, only let it be oak foliage instead of vine, and get a thrush or a parrot out of the
bird book.”
In regard to the application of carving, I have been oppressed by the accumulation in carving classes of little carved squares Editor’s and oblongs, having no relation to anything that, in an ordinary way, is carved. To carve the humblest real thing, were it but a real toy for a child, would be better than the production of these panels, or of the artificial trivialities which our minds instinctively associate with bazaars.
CONTENTS
Editor's Preface
Author's Preface
CHAPTER I
PREAMBLE
- Student and Apprentice, their Aims and Conditions of Work
- Necessity for Some Equality between Theory and Practice
- The Student's Opportunity lies on the Side of Design
CHAPTER II
TOOLS
- Average Number of Tools required by Carvers
- Selection for Beginners
- Description of Tools
- Position when in Use
- Acquisition by Degrees
CHAPTER III
SHARPENING-STONES MALLET AND BENCH
- Different Stones in Use
- Case for Stones
- Slips
- Round Mallet Best
- A Home- Made Bench
- A Makeshift Bench
- Cramps and Clips
CHAPTER IV
WOODS USED FOR CARVING
- Hard Wood and Soft Wood
- Closeness of Grain Desirable
- Advantages of Pine and English Oak
CHAPTER V
SHARPENING THE TOOLS
- The Proper Bevel
- Position of Tools on Oil- stone
- Good and Bad Edge
- Stropping
- Paste and Leather
- Careless Sharpening
- Rubbing Out the Inside
- Stropping Fine Tools
- Importance of Sharp Tools
CHAPTER VI
CHIP CARVING
- Its Savage Origin
- A Clue to its only Claim to Artistic Importance
- Monotony better than Variety
- An Exercise in Patience and Precision
- Technical Methods
CHAPTER VII
THE GRAIN OF THE WOOD
- Obstinacy of the Woody Fiber
- First Exercise in Grounding
- Description of Method
- Cutting the Miters
- Handling of Tools, Danger of Carelessness
- Importance of Clean Cutting
CHAPTER VIII
IMITATION OF NATURAL FORMS
- Difficulties of Selection and Arrangement
- Limits of an Imitative Treatment
- Light and Distance Factors in the Arrangement of a Design
- Economy of Detail Necessary
- The Word “Conventional”
CHAPTER IX
ROUNDED FORMS
- Necessity for every Carver Making his own Designs
- Method of Carving Rounded Forms on a Sunk Ground
CHAPTER X
THE PATTERNED BACKGROUND
- Importance of Formal Pattern as an Aid to Visibility
- Pattern and Free Rendering Compared
- First Impressions Lasting
- Medieval Choice of Natural Forms Governed by a Question of Pattern
CHAPTER XI
CONTOURS OF SURFACE
- Adaptation of Old Designs to Modern Purposes
- Throwing About
- Critical Inspection of Work from a Distance as it Proceeds
CHAPTER XII
ORIGINALITY
- Dangers of Imposing Words
- Novelty more Common than Originality
- An Unwholesome Kind of “Originality”
CHAPTER XIII
PIERCED PATTERNS
- Exercise in Background Pattern
- Care as to Stability
- Drilling and Sawing out the Spaces
- Some Uses for Pierced Patterns
CHAPTER XIV
HARDWOOD CARVING
- Carvings cannot be Independent Ornaments
- Carving Impossible on Commercial Productions
- The Amateur Joiner
- Comer Cupboards
- Introduction of Foliage Definite in Form, and Simple in Character
- Methods of Carving Grapes
CHAPTER XV
THE SKETCH-BOOK
- Old Work Best Seen in its Original Place
- Museums to be approached with Caution
- Methodical Memoranda
- Some Examples
- Assimilation of Ideas Better than Making Exact Copies
CHAPTER XVI
MUSEUMS
- False Impressions Fostered by Fragmentary Exhibits
- Environment as Important as Handicraft
- Works Viewed as Records of Character
- Carvers the Historians of their Time
CHAPTER XVII
Studies from nature foliage
- Medieval and Modem Choice of Form Compared
- A Compromise Adopted
- A List of Plant Forms of Adaptable Character
CHAPTER XVIII
CARVING ON FURNFTURE
- Furniture Constructed with a View to Carving
- Reciprocal Aims of Joiner and Carver
- Smoothness Desirable where Carving is Handled
- The Introduction of Animals or Figures
CHAPTER XIX
THE GROTESQUE IN CARVING
- Misproportion Not Essential to the Expression of Humor
- The Sham Grotesque Contemptible
- A True Sense of Humor Helpful to the Carver
CHAPTER XX
STUDIES FROM NATURE BIRDS AND BEASTS
- The Introduction of Animal Forms
- Rude Vitality better than Dull “Natural History”
- “Action”
- Difficulties of the Study for Town-Bred Students
- The Aid of Books and Photographs
- Outline Drawing and Suggestion of Main Masses
- Sketch-Book Studies, Sections, and Notes
- Swiss Animal Carving
- The Clay Model: its Use and Abuse
CHAPTER XXI
FORESHORTENING AS APPLIED TO WORK IN RELIEF
- Intelligible Background Outline Better than Confused Foreshortening
- Superposition of Masses
CHAPTER XXII
UNDERCUTTING AND “BUILT-UP” WORK
- Undercutting as a Means and as an End; its Use and Abuse
- “Built-up” Work
- “Planted” Work
- “Pierced” Work
CHAPTER XXIII
PICTURE SUBJECTS AND PERSPECTIVE
- The Limitations of an Art not Safely Transgressed
- Aerial Perspective Impossible in Relief
- Linear Perspective only Possible in a Limited Way
CHAPTER XXIV
ARCHITECTURAL CARVING
- The Necessity for Variety in Study
- A Carver's View of the Study of Architecture; Inseparable from a Study of his own Craft
- Importance of the Carpenter's Stimulating Influence upon the Carver
- Carpenters Imitation of Stone Construction Carried too Far
CHAPTER XXV
SURFACE FINISH TEXTURE
- Tool Marks, the Importance of their Direction
- The Woody Texture Dependent upon Clearness of Cutting and Sympathetic Handling
CHAPTER XXVI
CRAFT SCHOOLS PAST AND PRESENT
- The Country Craftsman of Old Times
- A Colony of Craftsmen in Busy Intercourse
- The Modem Craftsman's Difficulties: Embarrassing Variety of Choice
CHAPTER XXVII
ON THE IMPORTANCE OF COOPERATION BETWEEN BUILDER AND CARVER
- The Infinite Multiplicity of Styles
- The “Gothic” Influence: Sculpture an Integral Element in its Designs
- The Approach of the so-called “Renaissance” Period
- Disturbed Convictions
- The Revival of the Classical Style
- The Two Styles in Conflict for a Time; their Respective Characteristics Reviewed
- Carvers Become Dependent upon Architects and Painters
- The “Revival” Separates “Designer” and “Executants”.
Notes on the Collotype Plates
The Collotype Plates
Index
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