• Ten tips-1: techniques

    Tips for beginning sculptors in stone-1: technique

    When I first wanted to learn to carve in stone I had trouble finding someone who could teach me this thoroughly. That was, of course, in the time before the internet, around 1990. Now, it's become a lot easier; just type in as a keyword that you want to sculpt in stone and you'll find loads of courses and holiday weeks . Unfortunately, not every teacher is equally aware of the technical aspects (there are still a lot of courses for rasping in soapstone) and neither does every aspiring sculptor have an appetite or time or money for a course. The following 'tips for beginning stone sculptors'’ should help you well on the way.

    1. Just start carving! Stonecarving goes from coarse to fine, and the chisels used to go from point chisel to tooth iron to flat chisel. Choose a soft limestone.

    2. Don't know what you want to carve? Just grab a piece of clay, close your eyes, squeeze into it and see what it looks like. You still don't know? Do it again. Try to vary with less or more thinking, shorter or longer time modelling, or not thinking from your head but just feeling with your hands! Then proceed to make a sketch on paper or a model in clay as memory support. This will give you guidance when figuring out what material should be taken away.

    Photo: Patricia Carabelli, Wikimedia Commons. CC BY-SA 4.0-3.0-2.5-2.0-1.0
    Armadillo. Photo: Patricia Carabelli via Wikimedia Commons.

    3. Use images on the internet! The internet is chock full with images of animals and people in all sorts of cool poses. Choose a topic that hasn't got too many holes or protrusions, because these are hard to achieve in stone, especially if you haven't got much experience yet.

    tandijzer in tandijzerhouder
    tooth chisel and tooth chisel holder with separate chisel insert. Photo: Reiner Flassig via Wikimedia Commons

    4. Buy a few simple chisels. If you're going to carve in wood you'll need many gouges and chisels, but for stone you'll only need a few. You'll need a point chisel (‘spitsijzer’), a flat chisel and a tooth chisel. Next, you'll need a hammer and that's it. You could choose to buy these chisels in a few different widths, but in the beginning you won't need much more.

    Chisels wear out of course, and then you'l have to sharpen them again by grinding. Therefore, it is not really smart to buy an expensive stone chisel. Rather buy a chisel holder, in which you can put several different and interchangeable inserts . There are coarse and fine-toothed inserts and flat insert plates. One could also grind such an insert plate a bit round, for instance for carving a pit without leaving ugly spots with the corners of the chisel.

    800px-Mallet2
    bottle mallets of wood and plastic

    5. Don't choose your hammer too heavy. There are hammers of steel and (soft)iron for hitting hard, and hammers or mallets of wood or plastic for a rebounding stroke. The hardest hitting would normally be done in the beginning, and for finer work, choose a mallet. To which the appropriate chisels fit. Chisels for a mallet have a widened head so you won't damage the mallet on the head of the chisel. Chisels for a steel hammer have a small head. Through all the beating it will get a sharp burr on it, which you'll regularly need to remove by grinding, or else you'll injure your hand. Choose a steel hammer and a mallet. Choose a plastic mallet if you have the money, because that will last a lifetime. Are you very strong? Then buy a steel hammer of 1 kilogram. Heavier makes no sense, you'll only demolish yourself besides the stone. Are you average strong? Then choose 750 gram. If you are very slender-built you will find even that too heavy. For a mallet it will be about the same.

    6. Practice your stone masonry techniques! Below is a series of videos with the basic techniques for carving a rough stone surface flat. It seems uninteresting to just carve a plane, but these are techniques you will keep encountering during the carving of your sculpture.

    7. Download the free pdf (in Dutch) with stonemason's exercises: carving a plane, concave and convex profiles and other stonemasonry tips: Basic techniques of sculpting in stone.pdf

    sculpture book

    8. A good book as a reference guide: The complete book of sculpting.
    Camí Santamera (Josepmaria Teixido i Camí/Jacinto Chicarro Santamera)
    Cantecleer Baarn, 2001. ISBN 90-213-3126-8 / 90-439-1253-0

    A clear book with good pictures and explanation of different movements and techniques of sculpting in stone, for example direct carving, copying with the "pointing machine", enlarging and various methods to copy models in stone.

    9. Visit someone who already has the skills necessary. You will learn more by watching someone work then from all the tips on paper. If you're not able to visit a sculptor, then search for videos on the internet. Below is a video of myself; Read more about this project here.]

    10. And finally: do look for that thorough course in sculpting where you can learn everything about the techniques of carving in stone. It's always about what you make, and about your design. Technique is not important, until the lack of it starts to become an obstacle. For the end result, it doesn't matter how you have created your sculpture, even if it was made with your teeth or with a screwdriver. But if you get stuck in your work out of frustration because you can't make what you have in your head, that would be a waste of your time. Therefore, learn the techniques well, so that later on, you'll never need to bother with those again. As a beginner it would be best to learn all about the practicalities; which will provide a basis that gets you started for the rest of your life. Later on, you can still focus on the design, which is actually the only thing of importance.

    Please note: I've been so busy with making things that I teach no courses or other instructions . So it's no use calling or emailing me about that.

    Continue to the next ten tips.

  • Cunning & Cheating.Inc

    Jan Vermeer van Delft 014

    It's holiday time, and besides some paint work to my house I also have some more time to follow my interests. It must have to do with that paint job, that I'm totally fascinated by a documentary that I found on the internet. It's about an old discussion: When is something art and when not? Inspired by two books on the use of optics in art, entrepreneur and video expert Tim Jenison decides to initiate his own research into the use of a camera obscura by Johannes Vermeer.

    secretknowledge

    Of these two books, one I knew already: 'Secret Knowledge’ by the well known British painter David Hockney. With a convincing explanation and an abundance of beautiful pictures, in my opinion he shows quite clear that the old masters, since about Jan van Eyck and Rogier van der Weijden, masterfully managed to make use of mirrors and lenses. The other book by Philip Steadman, ‘Vermeer’s Camera’, I didn't know yet. Steadman is an architect and succeeds in finding the approximate setup of Vermeer's camera obsura from measurements of Vermeer's work .

    As was to be expected, for a number of art connoisseurs this touched a sore spot. This gave rise to some very fierce reactions, and as it goes when people can't win, often the man was tackled instead of the facts.

    Reproducing with a lense

    Tim Jenison is not a painter, as he admits himself. He was just fascinated by the discoveries of Hockney and Steadman and wanted to see if he could approach Vermeer's way of working via these tools, and could reproduce it. Apparently he is an extremely versatile man: he soon discovers his own version of the camera lucida that Hockney described in his book and begins to paint a copy of a black-and-white photograph of his father in law.

    In the full version of the film (to be found at the bottom of this blog post) Jenison single-handedly rebuilds the whole room of Vermeer in Delft, including all the furniture, finds a brilliant solution for the optical problem and paints his own version of The Music Lesson by Johannes Vermeer. A versatile man with many talents and especially enormous patience.

    Cheating.Inc?

    The ensuing heated discussions (nothing wrong with that, according to me these just add to more understanding) regularly give me the impression that some art connoisseurs feel that Jenisons theory would decrease the respect for the mastery of Vermeer. Strange actually, because Jenison never claimed that Vermeer's work would be 'just a little trick’ that anyone can do, nor that he would achieve the same level of proficiency. He just tried to show that his solution could have been quite possible in Vermeer's time. (Read here a very comprehensive discussion between Tim Jenison and critics about perception, optics and more, with photos, drawings and backgrounds)

    We should know better; after all everyone now has access to a reasonable camera, but that won't make everyone a top photographer. Coincidentally I recently thoroughly explored the website of Dutch top photographer Erwin Olaf (here an article about his photos of the Relief of Leiden). He portrays his scenes as Vermeer and Van Dijck did, playing with light, and yes, he also uses a camera. Should you then call cheats?

    For me this was not as much news. For sculptors do precisely the same! We may not work with lenses, but if there is a new technology that makes it easier to create what we have in mind, then why not? Measuring with a compass, or an pointing machine, or a scan with a computer-controlled router… is that really so much different to what Vermeer would do with a lense? Does it make him less brilliant if he used a lense than just measuring with a thumb on his brush?

    Trying it out for yourself

    Tim Jennison's comparison device that allows him to paint a copy without sketching-SONY PICTURES CLASSICS
    Tim Jenison's comparator device with which he can paint a copy without sketching first (Sony Pictures Classics)

    And now I want to build a few of these devices myself. Firstly, that Camera Lucida that Hockney describes and the mirror device of Jenison. Tim Jenison states he made it with a microphone stand, a part of a photo tripod and a mirror with the shiny layer on the front instead of at the rear (a first layer mirror). I was wondering how in the world to come by such a mirror, but on the internet there is a solution to everything. Just buy a packet of mirror tiles at the hardware store, dissolve the grey protective layer on the backside with acetone, et voilà, you end up with a mirror with the reflective layer on the front. Adjust that to 45 degrees and you're ready to go. Now Jenison is working on a horizontal painting canvas, but I suspect that the canvas can also stand on an upright easel, with the mirror to the side instead of above the canvas.

    Videos

    Below the fascinating (long) film Tim's Vermeer. Those who can find the time should actually see the two videos with David Hockney underneath first.

    (update: apparently the video on Dailymotion now been removed. Unfortunately. Hence now the trailer below. I did manage to find the movie in lower quality elsewhere on the Web:

    Try to see the full video here)

    David Hockney’s Secret Knowledge 1

    David Hockney’s Secret Knowledge 2

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