carvingúce
3
THE EXPRESSIVE FACE
Having seen an example of a passive expression, and how it is created, we will now study the practical application on a smali scalę, carving a morę expres-sive example. Most carvers will be working on figli res up to 60cm (24") high which means that the face will only be 5 or 7.5cm (2" or 3") high, possibly smaller. It is all the morę important to understand the basie mechanics of the face in order that the main, significant forms are put in place — the lengthening of the jaw when the mouth opens, the thickening of the cheeks when grinning — if these major shapes are correctly formed initially, the smaller details tend to fali easily into place.
The best approach to carving a head like this is to find a person prepared to pose holding the expres-sion while you take photographs. This is cheap and easy to do, and I find most people quite willing. Take pictures from all angles, not forgetting from above and below. Study your model and your photos, relat-ing them to the anatomy drawings in order to understand what is happening under the skin (Figs 1-3). Make a clay model, prior to carving, not in fuli detail but just blocking out the main masses of the face. I can not stress enough that you must start with real reference materiał. For example, if you wish to copy a picture in a magazine or book, take your own photos of a similar model, to supplement the infor-mation you have.
In this study, photographs of one model were used in conjunction with drawings of another. The face is intended to express hope and exhilaration, but with just a tracÄ™ of worry, of someone trying to achieve something wonderful that is probably beyond them. The head is carved in walnut and is 4.5cm (1 W') from the eyebrows to the point of the chin.
In the drawings and photographs, Figs 30-35, it will be seen that the eyebrows are raised as high as possible by the frontalis muscle on the forehead, in order to assist the eyelids to open wide for better vision. The mouth is open, partly to take in extra breath for the exertion of leaping, and partly drawing back at the corners, in a grin. This draws the muscle around the mouth tightly around the teeth, hollows the cheeks as the jaw opens, and creates deeply stretched lines from the nose to the chin. Some thickening and wrinkling is created under the eyes, as is normal with a grin. A tracÄ™ of worry is shown by slight creases between the eyebrows. It can be seen in Fig. 40 that when these creases are not present the face looks quite happy.
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