From conception to pattern

[Anthony Filetti]

OK folks help me out here...

...as part of the creative process when creating an "original" carving what techniques do you use to get the idea in your head down to a useable pattern??

(I know what I want to do and have some pictures for reference (pose, shape, etc.) but
I need to develop a good process to use to get beyond the stage of conception. I have created two carvings that I have competed with, that are of my original design but found that the time it took me to get it to the point of a useable pattern was quite extensive.)

Any and all ideas or suggestions would be appreciated.

Tony

[AlArchie]

Tony, I think you've answered your own question.......the design process is the most time consuming part of the individual creative work.

Visualizing a concept, then getting it down to paper and then to three dimensional understanding just takes time. My main problem, or more acurately the thing that takes the most time, is getting the final outcome fixed in my mind. In other words, having a firm three dimensional "vision" in my mind. Once I have those spatial factors fixed, it is easier to work within those parameters with my tools.

Al

[Just Carving]

Having been on both sides of making drawings--before and after an idea was "built", I have found there are several ways of documenting a design. The most obvious and time consuming is to sketch or draw what it is that is to be created, and add notes and dimensions. You develop the concept in your mind, draw it, and then build it according to the drawing. Later, you revise your drawing to reflect any changes that had to be made while carving your project.

If you have trouble getting the concept from mind to paper, make a "model" on paper with pencil using three views--front, top, and side. In each view, lightly pencil in the shape by "boxing" in the general shape of your carving idea using triangles, squares, ovals, circles, etc. Don't worry about being sloppy, or overlaps. You can clean that up later with an eraser. Just get the general idea on paper, and then build on it. An example of a caricature of a clown would be to draw a front view of an oval for the head, a larger oval of the trunk, two long rectangles for legs, two short and rectangles for the arms, two squares for the hands, etc. Then "box" in the same that is applicable for the top, and then the side views. Do a bottom if it helps, too. Worry about details or blow-ups later on--or at least, so you don't forget what you have in mind at that moment, make sketches on another sheet and save it for later on. Proportion is more important than the detail here. For example, if you want the clown to be 7-8 inches high, and the head is 1 inch high, then using the head as a reference, make the clown "7-8 heads" high. Once you have the views boxed in, then start adding detail as you go along. Don't darken anything in until you are satisfied that your drawing reflects what you have in mind. It's easier to erase when it is drawn in lightly. After you have done this a few times, drawing will get easier as you go along. But the key is to break the idea down into small parts--head, trunk, arms, etc. Then take each part and build on it. YOu can even make a sketch of each part of your project and then take those sketches and make one "assembly" drawing of your sketch.

If you're carving your project first, then you can make the sketches and drawings, and revise them as you go. But, if you've finished it, and didn't have anything drawn, not to worry. There is a short-cut that can save you a lot of time--and eliminate quite a few headaches. Take a photograph--better yet, take several photographs of your carving from different angles--front, top, sides, and bottom, close-ups of details, etc. if it will help. BUT the key is to place a small ruler in front of the carving, and take your photo so that the angle of your camera is in line with the center of your carving and ruler and so that you can see the markings on the ruler. You can also darken in the lines on the ruler's inch increments with a Sharpie pen so that they'll be more visible. Use an old ruler if you do this, and keep it handy for the next time. Then take your photos, and print them out large enough so you can write in key dimensions and notes that will allow you to duplicate whatever you carved. If you have photos that were developed at a lab, make enlarged copies on a copy machine, and mark your dimensions and notes on the copies. The ruler will help to approximately figure out any sizes later on if you don't have them written down and don't have the carving to measure it.

Photo drawings aren't as exact and perfect as prepared drawings, but the image will give you a clearer concept of what was made. Having the best of both worlds--photos and drawings--would be most helpful later on.

For over 25 years, I have drawn a lot of ideas from production plant layouts to bridges to road designs--both conceptual and detailed. I know how frustrating it can be to get an idea from you head to paper or to draw something that has already been built. But just like carving requires patience and perserverance, so does drawing--and a lot of aspirin helps too!

Hope this helps. If you have something more specific that you need help with, let me know.

Bob

[Anthony Filetti]

Thanks guys!

I think you both have reaffrimed that I'm not insane or slow, IT JUST TAKES TIME. Al, I suffer with the same issue of getting it right in my mind... Bob, I'll have to try some of your techinques...currently I use detailed stick figure drawings to express what I would like...

Bob, Great detailed explanation, I appreciated it very much and will use your comments in future work. Thanks

[Teri Embrey]

On the other hand, put down your pencils, toss your paper aside and let your muse take you where it will. Just carve. Hammer Make mistakes. Head Bange Turn them into new ideas. Idea See where they lead. "See" what it is and what it is becoming as you go.

Be brave. You might just surprise yourself.

Teri

[squbrigg]

Hey Tony,

Have gone through what you are struggling with a few times, and am doing it again this week. Bob/Liferescue has said it well in detail......sketch it. Sketch all sides, and views. Not only will it give you a reference, but it helps me "fix" the shape in my mind. By drawing it out, I find it just helps prepare me for the task, and the drawings help keep me on track. You can always change things, sure....adapt as you carve, and I never show detail....I let the wood tell me how the final detail should look.

Bob

[Plain_Ol_Ed]

I think a lot depends on your personality. Some people like to work from very structured plans other don't and there are some in between. Myself, I just do a rough sketch, and I mean rough, and then start carving. Sometimes I even skip the sketch. My oldest daughter plans everything down to the last detail. When she's done with the planning stages, she's already got a work of art on paper. Then she follows it to the letter. I can't do that, Winging it is what works for me.

[Clifford_Parker]

I usually sketch a quick outline of the idea directly onto a block of wood. This goes to the bandsaw to make a rough blank and then it is a case of shaping it until it meets the picture in my mind.

[Anthony Filetti]

folks, I think all the ideas presented here are great...one thing this thread has proven that each carvers technique is tailored to the individual. I tend to listen to all and then structure a technique that will work for me. In my case (type A personality and veteran) I need structure. I have used Teri's technique of just wingin' it to free up my creativity, a technique all should try. In carving their are several styles, Kaisersatt vs. Bishop (caricatures), and each technique and interpretation should be attempted in order to find ones own style. I've talked about being "singled-minded" and the ability to focus, a trait I do not posess, so discussion and experimentation are my tools.

when an idea presents itself for use in competition, i end up at the drawing table for hours. i require the answers to all my questions prior to cutting a blank. I like Clifford, leave the incricate details to the carving steps, I struggle with presentation and insuring the carving I present can be seen from all angles as I would like and that each angle presents its own interest. If we were only interested in the fronts of the carving Teri could save some paint and time on her wonderful creations.

As far as ideas go, the technique I use is to carry a small notebook that has all ideas including names and rough sketches. Thus I have an endless supply of ideas. The notebook is a great idea since I never know where I will be when an idea comes up and old age steals my memory (and i'm only 46).

thanks to all for answering this thread and I look forward to reading more techniques!

Tony