[AlArchie]

Last year I took a class in low relief and finished this piece. I'll be taking a class from these instructors (Fred and Elaine Stenman)again next onth and would like a critiqe of this carving so I have some idea of what to work on. Like I said, it's a low relief, colored with acrylic washes, and accented wity some light pyrography.

Susan agreed to look this over, but anyone else with some critical suggestions is welcome to comment, too.

Thanks for your input.

Al

[Lynn O. Doughty]

Looks good to me. I really like the dark edge bleeding into the relief. About the only way I can see that might improve it would be to work on the perspective of the log cabin.

[Hi_Ho_Sliver]

I like it...agree on the perspective of the cabin, but think thats too late....how about a pole fence about half way between the bottom edge and the cabin, running clear across except for the opening for the road? seems bare in front to me? but not a relief carver so wadda i know?

[AlArchie]

Thanks, Lynn, that's exactly the type of input I was hoping for. Something I hadn't really picked up on.

Al

[AlArchie]

Dave, you may not be a relief carver, but you do bring an "artist's eye" to the discussion. I probably won't be doing another scene like this, but the idea of balance in the carving is a good one. Thanks!

Al

[Irish]

Hey Al!

Since this was a class was the pattern pre-arranged or did you chose and design the
pattern????

This is a great example of low relief where the carver (you )uses no under cuts to
distinquich one level area from another. With low relief the idea is to roll over each
edge allowing that joint between the two element to show.

You have caught that idea wonderfully here! The only place that I see you slipping out of the low relief technique is in the foreground oak tree. That is a very nice knot hole and the branch above it has just enough undercut to frame off the rest of the scene.

The feeling of layers if great. I know that you have not gone very deep into the wood yet the tree, cabin and church all have their own dimensions and depth ... Quite Nice!

You perspective is good, nothing leans, nothing is too flat.I really like how the texture of your gouges shows in any area of the carving that I look. The grass, tree leaves, sky and even burshes all have a connection because of that repeating gouge texture. It really holds the carving together and shows your confidence in your work.

For an early low relief this is just outstanding ... I'm amazed!

Now, there are a few things that I would do to your next low relief ... if you were
going to carve this scene again. And these are mostly pattern changes, not carving
technique changes.

I love the foreground tree, it frames the cabin side of the carving beautifully.
Imagine how nice it would be to have a second tree on the opposite side of the carving to complete the frame effect! Because the tree is large and heavy you have compensated very well by using dark colors with the paint and staining ... that works well, but I do think a second tree would work better. Plus ... you could put a little swing on it Again, this is more pattern design than carving.

I would have added mountains behind the church. Now, that's just me. I can see the appallacian mountains (sp) from my front door and love them. A small mountain range would make the church appear larger and give a nice color halo around the steeple. By the way the perspective on the church's front wall is excellent. This, the lack of mountains or clouds, also has to do with the pattern.

Now, the biggest change I would make to a second carving is that I would be much more bold in carving the road that leads to the church. I would texture the foreground of the road as heavily or more than even the large tree in front. That road is the entire story of the carving as it leads you through the country side to the focus point, the church. Deeper banks along the sides of the road, like you have surrounding the cabin would an emphasis.

OH ... ... maybe a path from the cabin's front steps to the road? Could I have that
too, please.

I can't wait to see what you do in your next class. I get the feeling from this carving that you have worked it from the back to the front - church to the tree - and by the time you got to the tree you really were into the flow of the carving. I think you knew this when you were carving because I can see you 'having fun and getting into' that cabin detailing.

And since you are going to start your second relief starting off where you were with the tree I think it will be a great carving!!!!!
Susan

[AlArchie]

Thanks, Susan, I will take all your (and others') comments into acount when I get to the next class.

When Stenmans have a seminar, they provide either complete patterns or individual elements that can be combined into a scene to work with. Fred is the visual artist of the pair and although I did a lot of my own work on the pattern, I depended on him to flesh out the rough spots, as I really am not much of an artist.

If I work with another piece that has a connective feature, like the road, I'll follow your advice and try to develop more structure to that. Any hints on how to work a bit of a ditch or drainage into the shoulder area? And how to go about about defining the rutted areas a bit more?

Al

[Irish]

Al, when you are working as small and tight as this scene my only suggestion is some micro v-gouges or a veining tool.

This sample is on a 6" square so I had a lot of room for the path. But at least you can get an idea of the ruts and ridges of an old dirt path.

Have a Great time at your class and take lots of photos to share with us

Susan

[AlArchie]

Thanks, again, Susan! I saved that picture for reference.

Al

[Hi_Ho_Sliver]

You know, that same scene without the cabin and a pair of deer where the cabin is would be a great carving too! Not to mean anything wrong with this one....just another idea and would make the church really stand out!