[Jim Kelso]

18 years ago I met the Japanese artist Kodo Okuda at the Netsuke Society convention in Miami. As well as carving amazing netsuke I became aware of a series of leaf carvings he had done in lacquered Ivory. I was later able to handle one and was just flabbergasted at the technique and artistry. Having done woodcarving myself I naturally went over in my mind what I thought the process would be to produce a piece like that in wood and pondered trying it. I think mostly what kept me from trying it was the thought that people would say, "Oh Kodo did that already", or something like that.

Well, since that time the thought of trying it has stayed with me like a sheep-dog and my love for
fallen and decaying leaves has only increased so I decided to give it a go. I also came to realize that a wood piece would be very different than an ivory one and have it's own set of unique qualities, such as color, and whatever unique features I could bring to it as an artist.

I'm going to start by posting photos of one of Kodo's leaves® in laquered ivory and also the real leaf(L) I used as a model.

Attached image(s)

• 

[Jim Kelso]

Well here's the real leaf I used as a model. I'm going to have to reveiw how to post multiple images.

Attached image(s)

• 

[Jim Kelso]

Here's the leaf model and my pencil drawing of a top and side profile. I stretched the design out
somewhat just to make it less compact.

Attached image(s)

• 

[Jim Kelso]

This shows the top and side profile templates positioned on the Ebony piece I chose. I don't know exactly what specie this is. Some think it is Macasser which it may be, but it looks different than most Macasser I've seen. It may be of Phillipine origin. It has beautiful caramel marbeling and striping. I've had a couple of log sections for nearly 30 years, and it came across country with me.

Attached image(s)

• 

[Jim Kelso]

This shows the initial band-sawing of the profile from top to bottom. I spent a lot of time trying to make the most of the coloring. At some point you just have to jump.

Attached image(s)

• 

[Jim Kelso]

Here I've sawn the side profile. Also shows the off-cuts. My best guesses seem to have worked OK for the color.

Attached image(s)

• 

[Jim Kelso]

Beginning the shaping. After the band-sawing, about 95% of the work was done with burs. I did some filing, scraping and knife work which I'll show later.

Attached image(s)

• 

[Jim Kelso]

A little more shaping with the center vein being defined. Hi Don! Anyone please jump in with questions or comments at any time.

Attached image(s)

• 

[Jim Kelso]

This shows further shaping with the beginnings of veins showing.

Attached image(s)

• 

[Jim Kelso]

Further vein definition. Also note the color distribution which worked out nicely.

Attached image(s)

• 

[Jim Kelso]

As the outside became more defined I began work on the inside. From this point it was real back and forth between the inside and the outside with the outside taking the lead.

Attached image(s)

• 

[Jim Kelso]

At this point I wanted to work out my system for forming the veins and the final texture, to be able to proceed with some confidence in the way things would look at the end. I rough formed the veins with a bur and filed the top edges smooth with a file and sandpaper. I could then carefully work up those polished tops with more bur work. The tops of the veins end up being a thin polished line contrasting with the highly textured surface. This ended up being a good system, allowing for changes if I wanted or in the case of slip-ups.

Attached image(s)

• 

[Janel]

Thank you Jim, this is beautiful already!

Janel

[Greg Delaunay]

Thank you!!!

[Jim Kelso]

Thanks guys. I'll try to get more up later today. I'm hoping to finish it this week.

[Garrett McCormack]

Thank you for posting this, its beautiful

[Jim Kelso]

Thanks Garrett.

Taking a break from this tutorial has caused me to reflect on the value of continuing. The technique is relatively straight-forward and intuitive. I'm sure most of you have got the picture without even seeing the tools. There are some technical challenges mostly involving care and patience.

The real challenge of this piece is the sculptural evolution involving endless decision making around how every part relates to every other part.

Some of my concern is that the sculptural process can't really be conveyed and is somehow diminished by trying to show it.

At this point I'm not sure how to continue and would like to open this up for discussion.

[Dick Bonham]

Jim,
Your leaf is beautiful! I love the way it curves in on itself. I think you have shown the important steps which are the layout and placing the grain, cuting out the blank, rough carving and texture. All you need at this point is a picture of the finished piece. People can ask questions if there is something they do not understand. Beautiful piece.
Dick

[Janel]

Hi Jim, I understand and agree with what you allude to.

The rest of the work is more slowly paced, with little progress evident from one session to the next. The care of working the leaf surface and veins takes time and is less exciting for another to watch than the major cutting and burr work. (That also equals less drama in the photos.) The piercing or most delicate detail work closer to the completion is again exciting for the artist, with hope for a steady hand to guide the tools, but again is slow and not photogenic.

If you feel moved to post an image pointing out something you feel is good for sharing, that would be nice. Otherwise, waiting is the game from this monitor.

Janel

Thanks for the, um, hard to put into words... It makes me want to carve leaves again . . . they have an alluring nature, a lifelong appeal to my creative self. (You should see what I keep on my many surfaces at the studio, and now and then on the shelf above the sink for contemplation while hands are busy with sink stuff.) Thanks for opening an inner chamber.

[tsterling]

Hi Jim,

I am quite faniliar with your feelings about not continuing the tutorial, however, for neophyte carvers or for those who are crossing over from another medium I believe continuing the tutorial will provide great value. I know, having just completed my sockeyes netsuke tutorial, that the interruption in the carving process is a real pain, but worth it all in the end.

May I suggest simply taking photos as you go along, and then completing the tutorial at your leisure after the carving is finished? I find your descriptions very informative, and especially liked the way you developed an interesting contrast with the polished veins. There is always something valuable to be learned from another.

Just my 2 cents.

Regards,