carvingce
8
Introduction
ter' of the person. In the past, the pseudo-science ot physiognomy believed absolutely that a person's naturę and mental State could be accurately deduced by measuring their facial features, just as phrenology maintained that it could by mapping the lumps and bumps on the skuli. I think that reading 'character' from the lines and wrinkles on someone's face is just about as fallacious as physiognomy and phrenology.
However, from the point of view of artists, a bad person has always had a nasty face and a happy person is one with laughter lines. The purpose of this book is fourfold: first, to explain briefly and as non-technically as possible how the facial expressionsare created by muscular activity; second, to give a wide rangę of illustrations of facial expressions, using dif-ferent models of different sexes, age and builds, which can be used by carvers as reference materiał for their own work; third, to give a rew working examples of carving these 'expressions', simply and effectively; and finally, to show a rangę of carved faces by myself and others, which will hopefully inspire the woodcarver to personally explore this fascinating subject.
Most carvers I know, like to create figures; the face and body are interdependent, the face expressing the feelings of the body and the body giving meaning to the expression of the face. A figurę with a bland face is only half a figurę.
With this in mind it will clearly pay dividends to make a thorough study of the face, its structure and function over a wide rangę of individuals — young, old, fat, thin, małe and female in a great variety of emotional States. Such is the infinite diversity of the face that any book can only provide a tiny sample of the types. It is incumbent on the carver to collect photographs of faces from every source he can to provide his own reference library. Do not be de-ceived into believing that you can make up a con-vincing, realistic face from your own imagination without many yearsofexperience. Furthermore, great satisfaction can be obtained from creating a face from sound reference materiał, thereby achieving an end result that conveys to all the expressions in-tended, qualified by evidence from naturę.
Carvers involved in a wide rangę of subjects will find this invaluable. Obviously those indulging in the increasingly popular craft of carving caricatures should derive great benefit and their work will im-prove dramatically, as the stereotyped expressions some of them use are replaced by real ones. Portraits and self-portraits will also be found easier to achieve by understanding the mechanics of the face. Reli-gious figures, fantasy figures, studies of people working or sportsmen, all popular subjects can all benefit from improvement of the facial expression. The fringe benefit is that once you get into faces, it becomes quite a fascinating study, and you will find yourself constantly watching people. If you can bring yourself to make a few little sketches while you are watching, so much the better. Of course. the easiest way is to study your own face. The artist Messerschmit madę 47 lead models of his own head, making what he considered to be every possible expression. These are striking, if bizarre pieces, but you will derive great understanding by looking in the mirror and pulling faces. Be careful the wind does not change!
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