Overview:
This 1903 text, “Wood-Carving: Design and Workmanship” by George Jack, offers a comprehensive guide to the craft of wood-carving. Jack emphasizes the importance of a strong connection between design and execution, advocating for the carver to design their own work. He stresses the need for a thorough understanding of wood’s properties, tools, and the principles of light and shadow in creating compelling and visible carvings. Jack draws inspiration from the rich history of wood-carving, highlighting the craftsmanship and design principles of medieval artists, particularly their emphasis on pattern and economy of detail.
The book guides the reader through practical techniques, from sharpening tools to choosing woods and carving various forms. It includes detailed descriptions of tools, their uses, and proper sharpening techniques. Jack covers a range of design elements, including the use of patterned backgrounds, the importance of understanding the grain of wood, and how to create realistic yet stylized representations of natural forms. The author also delves into the historical context of wood-carving, exploring the relationship between carvers and architects, the influence of styles and periods, and the evolution of the craft.
Key Findings:
- Design and Execution are Intertwined: The carver should design and execute their own work, ensuring a cohesive artistic vision.
- Economy of Detail is Crucial: Avoid excessive detail, focus on highlighting key forms to create clear and visible carvings.
- Pattern is Essential for Clarity: Utilize patterns in both the design and the background to enhance the overall coherence and visibility of the carving.
- Understanding Wood’s Properties is Essential: Master the challenges posed by the grain of wood and its interaction with light.
- Medieval Carvers Offer Valuable Insights: Learn from medieval carvers’ emphasis on pattern, economy of detail, and the effectiveness of tool marks.
- Carving Requires a Deep Understanding of the Subject: Thoroughly study the forms, habits, and movement of animals, plants, and figures.
Learning:
- Sharpening Tools: Learn to sharpen tools effectively using different oilstones and slips to achieve a consistently sharp edge.
- Carving Techniques: Gain proficiency in carving various forms using different tools, including gouges, chisels, and veining tools.
- Design Principles: Learn to arrange forms to create harmonious patterns and emphasize light and shadow.
- Understanding Wood: Master the challenges posed by the grain of wood and learn to work with it effectively.
- Imitation vs. Abstraction: Understand the limitations of precise imitation of natural forms and learn how to abstract and simplify them effectively for carving.
- Historical Context of Wood-Carving: Appreciate the historical development of wood-carving and its connection to architecture and other crafts.
Historical Context:
The book was written in 1903, a period of renewed interest in the crafts inspired by the work of John Ruskin and William Morris. This revival was a response to the perceived decline of craftsmanship and the dominance of mass-produced goods in the Victorian era. Jack’s text reflects this desire for a return to traditional skills and craftsmanship. He emphasizes the importance of historical context, drawing lessons from medieval carvers, particularly those who worked in close collaboration with architects. Jack’s discussion of the “Renaissance” reflects the anxieties of the time about the potential loss of craft traditions and the separation of design from execution.
Facts:
- Medieval carvers preferred general effect over technical possibilities. They focused on creating visible and coherent designs from a distance.
- Grinling Gibbons’s intricate carvings were often “built-up” using multiple pieces of wood. This method demanded exceptional skill and was outside the scope of “solid” carving.
- “Conventional” designs are those that have been “agreed upon” as the most effective and efficient for their purpose. The word implies that these forms have been developed through experience and shared understanding.
- The “variety” of geometric patterns often found in “chip” carving is purely mechanical and lacks artistic depth. The true beauty of the style lies in its disciplined repetition.
- The grain of wood can be a significant challenge for carvers. Mastering the grain requires patience and understanding of its direction.
- “Throwing about” refers to the technique of making leaves and other forms appear to rise and fall from the background. This effect requires careful attention to the contours and surfaces of the carving.
- Carving should never be polished. The natural texture and tool marks add to the beauty of the work.
- Undercutting is a technique used to create the illusion of depth and detachment from the background. However, it should not be overused, as it can disrupt the sense of solidity in the carving.
- The “grotesque” in carving is often used to express humor, but it requires a skilled and nuanced approach. Exaggeration for its own sake is not desirable.
- Medieval picture subjects were often treated in a broad and distinct manner, emphasizing the story rather than minute details.
- Animals in carving should be imbued with vitality. A sense of movement and character is essential for compelling depictions.
- Bewick’s engravings of animals are invaluable resources for carvers. They offer detailed and expressive studies of form and character.
- The use of clay models can be helpful in the design process, but it can also stifle the carver’s creativity. Carvers should learn to rely on their own intuition and direct carving.
- The study of architecture is crucial for wood-carvers. Understanding the relationship between structure and ornament is essential for designing and carving within a larger context.
- Medieval architecture was characterized by a close collaboration between builders and carvers. This partnership resulted in a strong and cohesive style.
- The “Renaissance” revival of classical architecture initially brought about a mixing of Gothic and classical elements. However, this fusion eventually gave way to a strict adherence to classical forms.
- The “revival” of classical architecture led to the separation of the designer from the executant. This separation undermined the creativity and individuality of carvers.
Statistics:
- Carvers may use from half a dozen to twenty or thirty tools for a single piece of work. This number varies depending on the complexity of the carving.
- A professional carver might have a stock of up to a hundred or more tools. However, many tools are similar in shape and size, varying only slightly in sweep or width.
- A beginner can make a start with twelve to twenty-four tools. Jack suggests acquiring tools gradually, learning to use each tool before adding more to the collection.
- The depth of a sunk background can vary. The “branches” in one of Jack’s exercises are sunk about 3/16 of an inch deep, while the “plums” are sunk 3/8 of an inch deep.
- The width of the bands in fretwork should not be less than 1/2 inch. Wider bands have a better visual effect.
- Medieval carvers often used abstract forms to represent foliage. Later, more realistic depictions became common, often at the expense of clarity.
- “Built-up” work, where multiple pieces of wood are joined to create a complex carving, is time-consuming and demanding. It requires highly skilled craftsmanship.
- The “restoration” of the choir stalls at Winchester Cathedral involved replacing old carvings with imitations. This practice undermines the authenticity and historical value of the work.
- Carvers in medieval England often imitated stone construction in their woodwork. This was considered a legitimate practice, but it should not obscure the essential character of wood.
- The “Renaissance” period saw a rise in “arabesque” designs, often featuring repeated motifs of fiddles, festoons, and ribbons. While these carvings display exquisite craftsmanship, they often lack deeper artistic meaning.
- The carved chest in York Cathedral is believed to be from the same period as a similar chest in the South Kensington Museum. This suggests that the carvers may have worked in close proximity.
- The font canopy at Trunch Church is approximately fifteen or sixteen feet high. This large-scale structure demonstrates the impressive scale of some medieval church carvings.
- Philip Webb, the architect, designed the cornice for a chimney piece that was executed by Laurence Turner. This collaboration between architect and carver highlights the ongoing partnership between these crafts.
Terms:
- Chip Carving: A simple form of wood carving using a chisel to create small, evenly spaced holes or shapes.
- Fretwork: A type of carving where the background is entirely cut away, leaving the design in relief as an open pattern.
- Grounding: The process of creating a sunken background for a carving.
- Undercutting: The technique of carving away the wood behind a projection to make it appear more detached from the background.
- Built-up Work: Carving that is assembled from multiple pieces of wood, each carved separately.
- “Throwing About”: A technique used to create the illusion of movement and depth in carvings, making forms appear to rise and fall from the background.
- Conventional: A term used to describe designs that are simplified and stylized, often based on repeated motifs.
- Texture: The quality of the surface of a carving, determined by the direction and nature of the tool marks.
- Arabesque: A type of decorative pattern featuring intertwined lines, often inspired by Islamic art.
- Miserere Seat: A type of carved wooden seat found in churches, often with intricate carvings on the back and sides.
Examples:
- The “chip” carving pattern in Fig. 12: A repeating pattern based on traditional South Sea designs, demonstrating the beauty of simplicity and repetition.
- The design for the second exercise in Fig. 16: Features rounded forms like plums and branches, requiring the carver to learn new techniques for shaping.
- The design for the corner cupboard in Fig. 32: Includes small, diamond-shaped spaces filled with simple foliage, highlighting the importance of pattern in smaller-scale carvings.
- The design for the mirror frame in Fig. 55: Features a combination of low relief carving, fretwork, and pierced ornament, demonstrating the versatility of the craft.
- The design for the bench in Fig. 56: Emphasizes the importance of choosing a suitable design based on a functional object.
- The design for the clock case in Fig. 58: Includes a small figure, emphasizing the need for integrating figures into the larger design.
- The design for the settle-end in Fig. 59: Features a cock roosting on a branch, demonstrating the use of animal forms in carving.
- The heraldic design in Fig. 60: Highlights the importance of accurately depicting heraldic symbols.
- The design for the wooden cross in Fig. 62: Demonstrates the use of pierced patterns and shallow relief carving.
- The jester figure in Fig. 63: Illustrates the potential for humor in carving without relying on exaggeration.
- The “chip” carving pattern in Fig. 12: A repeating pattern based on traditional South Sea designs, demonstrating the beauty of simplicity and repetition.
Conclusion:
George Jack’s “Wood-Carving: Design and Workmanship” is a valuable resource for carvers of all levels. It emphasizes the importance of understanding the craft’s technical aspects, such as sharpening tools and working with wood’s unique properties. The book also provides a framework for developing effective designs, drawing inspiration from the rich history of wood-carving and advocating for a strong connection between design and execution. By mastering these principles and embracing a spirit of creativity, carvers can unlock the full potential of this beautiful and enduring art.