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Wood and structure


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For a composition of "Lizard" I used a nut.

I picked up in a wood a piece of a root with very beautiful structure.

But the tree is soft, there's difficulties with processing.

To lizards I want to make a scaly skin, like in nature.

I want to put figure on a bark of a tree - emphasize natural structure of a bark,

but I'm nor sure about rightness of this decision.

Maybe I should leave how it is? Prompt, pleas!





Snail is from a boxwood, on a bowl I cut out figure.

To put a structure on a body I want to use technics "ukibori".

I would like to hear your opinion. Maybe there is other method of drawing of a structure?



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Are you familiar with using the SEARCH feature for this forum?


The upper navigation bar: HELP SEARCH MEMBERS CALENDAR


Click on SEARCH


Type in: ukibori and in a short while a page appears with the pages on the whole TCP forum which have the word "ukibori" on it.


Open each topic and look for the word, or read the whole thread.


There are several contributions that might give you an idea where to begin with the technique!


Boxwood works well for ukibori. If you have some spare material which the carved pieces were made from, cut and sand a surface as you would a carving, and experiment with compressing the wood as you would imagine might work with the ideas you have for the carvings.


Ukibori is not the answer to all texturing needs. Time and careful carving is often the answer to bark and textural elements. You must find out what your wood is capable of with the technique. The carving you are doing, and that many of us do IS labor intensive, not too many shortcuts are available for good detail work.

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Yay! Ah Leon! I have not seen him or his work for a while! He does such amazing things with clay! Thanks Jim.


When I carve bark, I often look for a piece of the real thing and make choices about what to use and what to ingore and fit it to the "stick" that I am carving.

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Hello, Janel!

Many thanks! I have familiarized with system of search earlier.

Technics of "ukibori" applied in works - like it very much!

Whether I want to find out is there other technics of creation of the "skin" of frogs and snails.

Thanks for your attention!


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We all learn by trial and error. I always do a sample texture on a similar piece of wood before committing the carving to the process of texturing.


See this topic: Red Lily. I showed a bit of the ukibori process for that piece. My demo is not the only way to do it. See work by Cornel Schneider (use the SEARCH for referrences to his work) and also use a link from those topics to go to his web site.



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I recall reading somewhere that certain schools of netsuke carving, or certain artists would specialize in specific textures, or illusionary techniques. Iwami school is known for their ukibori. Another artist may have been known for realistic insect carapaces, and still another for his texture of peanuts.


I bring this up, with humility,as there are so many tools out there to choose from, so many subjects, and so many carving techniques, that we must all be careful to be patient to let things develop within us naturally at individual rates of growth.

It's a personal thing with each artist as to what they seek and how they choose to develop...


just some thoughts :blink:

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I had another look at your lizards and tree stump carving...

perhaps you'd consider leaving things as is. The lizards look a bit like salamanders, so you could keep their skin smooth and highly polished as if it was slimy and wet, while not sanding the tree and leaving it somewhat natural. The contrast of surfaces might provide visual interest. In other words, create visual appeal not through surface carving techniques, but the degree to which something is polished.

Janel created a piece a while back- I think it was a green apple? :blink: -where she polished the apple, but left the stem and leaf dull. It was a nice combination of surfaces. Was that right Janel?

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:blink: Did I do a green apple? Um... (blank, staring smilie) I did not find a green one, but perhaps your monitor and mine are calibrated differently. There is the apple, tree frog, leaf and fly which might appear that the leaf is dull. It may be polished as much as the apple, but the image does not show that. What I see is that the leaf is slightly different in color because it is the wood just under the bark, a differently colored layer. I have been shy about major ukobori on snakes, so my snakes (all three of them) are smooth skinned when carved.


The concept Doug suggested is an interesting technique to consider while planning a carving. Native American potters who create the black, designed pots with burnished shine and matte slip application uses that technique beautifully.


I hope that you are able to decide where to go next with your lizards!

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That's the one I meant. Green in the sense of a type of apple rather than any coloration you provided. I was just going on memory anyway :D

mmmm- yeah, as I look at it now via your site it does look like the apple is polished-and thereby darker- and the leaf is less so. Now I get it! :blink: thanks for the explanation.


anyhow, the idea of polished vs unpolised still stands ;)

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