Wouldn’t it be lovely if you could plan a sculpture and create it exactly as you had in mind every time? Unfortunately, as every chainsaw carver will tell you, that isn’t how things go. Wood is unpredictable, and no matter how great something looks on the outside, it can throw all kinds of surprises once you get below the surface. When this happens, it’s often necessary to alter your design as you go. This blog has some of my tips for when and how to adapt your sculpture design.
SURPRISES WITHIN THE WOOD
Having agreed on a design with my client, I always strive to remain faithful to that design. After all, our agreement is for me to create that piece! However, as we all know, things don’t always go as planned. So then, what are some of the factors that would cause me to adapt a sculpture design?
First, rot. A piece of timber may look fine from the outside, but once you get further in, you can hit a pocket of rot. White rot means you’re very unlikely even to be able to carve anything successfully – it simply won’t take/hold shape. Although brown rot may still allow you to carve something, it won’t last.
Bark inclusions are another reason to adapt your design. Again, these aren’t always visible from the outside, and may necessitate a change of direction.
Finally, you will need to adapt your sculpture design if you discover a split or weakness in the wood.
A CHANGE OF POSE
How can you adapt your design when these unexpected things happen? Well, my most extreme change was a bear that became an eagle instead! Thankfully, a complete change of subject is rarely needed.
My first tip for overcoming the unexpected is to change the pose/positioning. For example, my Skater Chick sculpture was originally going to be in a two-handed handstand. There was a big patch of rot, though, so I rotated the design by 90 degrees and positioned her in a one-handed handstand instead. Please forgive the quality of the photo. 2000s cameras weren’t what they are today!
You could also scale down the sculpture to remove the rotten patch. However, I make this a last resort as my client is expecting a sculpture of a specific size.
ADD SOME TEXTURE!
Another tip for adapting your design when you discover imperfections is to add some texture. This tactic can successfully hide minor cracks and also discolouration. Saburrtooth created a range of burrs that are fantastic for adding texture – discover my favourites HERE. I also use smaller saws, such as the STIHL MSA 300, and a Milwaukee angle grinder with ManpaTools attachments.
That being said, it’s essential to check where the discolouration is in relation to the design, and potentially still change the pose. I’ve worked hard on a face before, only to find that there was a large knot in an unfortunate place, and texture was not going to solve it!
If you’re wondering what it will look like if you don’t adapt your design, Gollum (Poulton Hall) has a large knot on his face that I couldn’t avoid. Over time, it has mellowed, though, and thankfully is no longer as visible now.
INCORPORATE THE IMPERFECTION!
My third tip is similar to tip one: Adapt the design.
However, while Tip One focused on avoiding things like rot, my third tip is to incorporate features of the wood into your design. Imperfections in wood add to its beauty, and if the “surprise” won’t compromise the design, it may be possible to work the design around it.
An example of this is my elephant sculpture. Rather than removing or avoiding the bark inclusion, I took inspiration from David Popa and created the mother elephant across both pieces of the trunk.
LET IT BREAK!
My fourth tip for adapting your sculpture design is perhaps counterintuitive. Let it break!
That’s right, let it break!
This tip is for times you discover a crack or weakness in the timber. I sometimes continue carving as planned and let it break. Then, I can glue or bolt it back without compromising the design. I don’t have a specific brand to recommend, but experience has taught me that polyurethane glue is the only glue to use.
This glue sets faster when applied to a wet surface and expands to fill cavities, making it ideal for large wood sculpture construction.
PLUG IT!
My final tip is for when you discover a cavity or have to remove a piece of wood.
Plug it!
There are cavities I’ve plugged with wood before that I couldn’t eradicate without severely altering the sculpture. For example, I had to remove a section from the back of the Angel of Bethesda and replace it with a new piece of timber. When this happens, I match the shapes of plugged areas with the design so they are less visible.
And that concludes my tips for now on adapting your design to compensate for issues with your timber!
Has this been helpful for you?
What techniques and suggestions would you add? Drop a comment and let me know.
And as always, if you would like to commission a sculpture, please fill out the form at www.treecarving.co.uk/contact.
I’m looking forward to hearing from you!