korablik1979

manufacturing slot:




 
Thread bottom feet:





 
 

Show how everything was done gradually 
Draft Thread


moving eventually worked out the details. First rough and about




moving eventually worked out the details. First rough and about later in more detail. Neponravilis folds of the dress , so was their remodel

Hello, Gaetan.
If memory does not fail, it seems in the first volume Budrio describes limber holl. There should also be a scheme with axonometry.

 
It shows how far these cuts should go. In the drawings in the top view it is difficult to disassemble, especially in the areas of the stems, where the desired line merges with the keel due to the bends of the frames and it is not clear how the limber holes should go. 

 
 
This is a very interesting system.

Especially when compared as a function of drainage was performed in different countries. 
The Dutch were very original. Here it is visible. 

They did not do the cuts, but made additional beams, which allowed the cladding to be fastened so that a slit was deposited to drain the water to the pumps.
If you read historical works, you can find very interesting stories about this system. During the Anglo-Dutch War, the British were greatly surprised that the captured Dutch ships had virtually no critical wood decay. This said that the  system drainage very good at its task.
Over time, the English have slightly modified the location of the limber canal. They began to make it close to the keel. This was justified, since the keel had the lowest point in the hold. Try to search in the works of Seppings, he describes this innovation. It's all a little lyrical digression.
During the construction of the seventy cannon ships, they had not yet guessed.
And again: you are not doing the right  a Recess. The channel must go perpendicular to the outer edge of the frame. Take a closer look, it's clearly visible on your own drawing. At you the propyl is made not absolutely truly. I tried to show this in your photo.
 

When I studied this element, I came to the conclusion that it is more convenient to do it a little later, when all the frames will be in place. Then, with the help of a thread, it will be possible to accurately mark the whole gagging immediately. And just saw through all the timbers at once. If done separately as you do now, you will not get a smooth line in the collection.

It's amazing when I'm at home watching photos. And I smile, as if I watch a very good film from which I enjoy.
Thank you.

Hello My name is Alexander.  I apologize in advance if it is not clear. I do not speak in English and translated by a computer.  Decided to share their work. Here I will try to show your thread. Do thread recently, so far the results are not very many. But the thread very much. Now work has a couple of figures. So soon there will be still other figures. I hope with time I will continue to show what I will appear.    I'll start with figures that make for your model. Female figure on HMS Druid in 1776.  First, the final result:     
 
 
 
 
 

The second approach to this lion. Now it is brought up to full readiness. Figurine notation scale without stipulating the size in centimeters. Lion is not designed for a specific model, it is a separate work. Later decorative stand should appear.

Albert, congratulations on the victory!

Albert, congratulations on the victory!

It's amazing when I'm at home watching photos. And I smile, as if I watch a very good film from which I enjoy.
Thank you.

Albert, congratulations on the victory!

Hello everyone, outdoor trim, drainage channel, etc....

Good day, indoor hull finishing and first adjustment of the outside and first cut in height of the excess part

Hi everyone, work progress

Good morning Continues to adjust the ribs on the keel and the keelson, everything is temporary

Good morning, everything is temporarily assembled for a first work

Good morning,  with the latest posts, is highlighted the drainage channel of the water, and its trend, conforming to JB's design, such as the feet of the frames at the bow and stern
   
 

Hello, Gaetan.
If memory does not fail, it seems in the first volume Budrio describes limber holl. There should also be a scheme with axonometry.

 
It shows how far these cuts should go. In the drawings in the top view it is difficult to disassemble, especially in the areas of the stems, where the desired line merges with the keel due to the bends of the frames and it is not clear how the limber holes should go. 

 
 
This is a very interesting system.

Especially when compared as a function of drainage was performed in different countries. 
The Dutch were very original. Here it is visible. 

They did not do the cuts, but made additional beams, which allowed the cladding to be fastened so that a slit was deposited to drain the water to the pumps.
If you read historical works, you can find very interesting stories about this system. During the Anglo-Dutch War, the British were greatly surprised that the captured Dutch ships had virtually no critical wood decay. This said that the  system drainage very good at its task.
Over time, the English have slightly modified the location of the limber canal. They began to make it close to the keel. This was justified, since the keel had the lowest point in the hold. Try to search in the works of Seppings, he describes this innovation. It's all a little lyrical digression.
During the construction of the seventy cannon ships, they had not yet guessed.
And again: you are not doing the right  a Recess. The channel must go perpendicular to the outer edge of the frame. Take a closer look, it's clearly visible on your own drawing. At you the propyl is made not absolutely truly. I tried to show this in your photo.
 

When I studied this element, I came to the conclusion that it is more convenient to do it a little later, when all the frames will be in place. Then, with the help of a thread, it will be possible to accurately mark the whole gagging immediately. And just saw through all the timbers at once. If done separately as you do now, you will not get a smooth line in the collection.

That's all!
I tried to talk about my tricks and technologies.
As I said before, I do not have any special and secret techniques. I do not look like a wizard, all my tricks are ordinary and many people know them. I just take the workpiece, the tool and try to get the image I need, which hides inside the workpiece. In the end, I will show a few more photos, there is no point in commenting on them, everything is clear.
 


If suddenly my story about one of my works will help the others, then I will be very happy. If I wrote something incomprehensible and the meaning ran off during the translation, or I did not tell you about a particular reception, then ask your questions. I will try to answer them. All the warmest greetings!

It's time to start making threads on the wings.
In this part of my story, I will describe one more approach in the work of the carver.
When an artist paints a picture or a picture, then he has a law - he draws the drawing gradually everywhere. They are small dashes that show where the main parts of the drawing will be and gradually the artist makes more and more refinements in different parts of the sheet of paper. When I was a student, my teachers told us: imagine that I suddenly tell you Stop! Set aside your pencils and I'll take back your drawings for evaluation. You do not know at what point I will give such a command. But when it does not happen your work should be literate, so that in any place of the sheet it was made gradually. If you have a final eye drawn and the rest of the sheet is empty and there are no other parts of the face at all, then I will consider your work to be wrong and I will give you a bad evaluation.
I hope I could properly explain the law, how the work should go. But in my thread I do not go this way. From the photos it is clear that I choose some zones and work only with them, and then I move on to the next zone and work there.
 


Why do I do this and how do I choose which zone to work for now, and which one to leave for another time? Everything is very simple. After I made a general rough image of the figure, I choose the zone that I think is the main one. And this face figures. I already wrote about this. Then I start looking for the following important parts, for example the body. And only when I like what it looks like I turn to clothes. If I did it differently, I could accidentally cut too many folds and it would seem that the clothes are not on the body, and beneath it there is some kind of hole. And if I make the folds of clothing parallel to the body, then I would have to time to remodel them. If you compare how the body looks now and in the photo of the early stages, you will notice that the angel looks thicker before. And he gradually becomes more slimmer and more correct. The same thing I would have to do with clothes. But when I became satisfied with the body, it became easier for me to understand how much material to cut in the folds. So it is easier and more convenient. There is one more reason why I try to make detailed refinements of individual zones. Each topic has its own rules and technique of execution. The hair has its own characteristics, the folds of clothing are different, the feathers are third. It is more convenient to occupy your brain with one topic than to move from one topic to another. For example, I left my hair and moved to another place. Then, when I return to my hair, I will forget what I wanted to do here. I'll sit and think, so what did I want to do last time. The hands are already weaned and we need to remember the technique again. Each zone is executed by its own tools. For hair, you need one kind and size of chisels, for the folds of clothing other chisels. It is more convenient to put one kind next to each other, rather than running around with one chisel, then another. That's why I work in some zones, in others.
I leave some parts for the end of the work. The whole figure is almost finished and some parts of the figure did not have any treatment at all. These are very small parts, or such elements that go far away from the total mass of the sculpture. In this work, such special areas include the wings and hand, which holds the pipes. I left them specially for the very end. The reason for this decision is very simple. The wings in the finished version must be very thin. On the tips there the thickness is less than 1 mm. If I made wings before, I risked that such subtle elements would break from sloppy traffic or if suddenly the figure fell to the floor. I kept the same law for thin spears in the angel's hand.

Now it's time to get rid of most of the billet. In the meantime, it is already hampering the work. I separate the sculpture from the workpiece. Still here it is clear that I started working on the helmet and angel hair and over the bag of an angel. You can see how the color of the figure changes. The oil absorbs more deeply into the material and the wood is no longer as dark as recently.

 
Next series of photos. They show that I again covered the sculpture with oil. At this stage of my work, I began working on the folds of the angel's. And as I gradually remove excess material from the wings of the angel.needed. I do not cover the whole figure while working. Only when the work is finished.
 

 
Most likely, several days have passed. Now the wrinkles on the clothes began to appear.
 
 

I continue to publish a photo about working on an angel. This series shows how the face is gradually changing. Now this is a more subtle work, which I do with a subtle instrument. More often than not, I begin to do details with faces. Well, of course, if the conversation is about the figures of people. But I do the same with animals and start the details from their head. It's more comfortable for me. The head of any sculpture is the most important place, the most important thing. So I try to do it first.
 


I think this: if I suddenly make an irreparable mistake, I'll take another piece. But if I leave my face to the end, I'll make the whole sculpture and at the end I'll mess up  face, then I'll waste more time. So I'm doing the head fof sculpture first.
I also want to draw attention to other parts of the figure. There are places I do not pay attention to specially. Look at the look of the helmet and hair, as well as the bottom of the figure with clothes. In these places I do not work at all now. At this stage, I remove unnecessary material in these places only if it prevents me from approaching the instrument comfortably. If there is no interference, I do not pay attention to these zones. I feel so comfortable. I think so: now my task is this face person and I give all my attention to this topic. While I do not know exactly how I will do creases, so I better not touch them, so as not to accidentally remove excess material.
 

 

On these frames you can see what one small secret looks like. The sculpture has changed very much. It's not from other lighting. The fact is that these photos I made the next morning, after I covered the sculpture with oil. I covered him before going to bed, I left him to rest for the night, so that the oil would be absorbed into the tree. And these pictures were taken the next morning. See how much material has changed. The angel looks as if I have polished it for a long time. In fact, this effect gives an oil coating. It does wonders. After him, the figure not only looks different. Now the material is completely cut off. There are such places on the sculpture, where due to the arrangement of the fibers, the traces of the cut are very ugly. Such places are not smooth, but as if there was someone plowing on a tractor. Such a feeling that they worked with a tool without sharpening. After coating the oil, everything changes and is cut much better. The oil is not absorbed very deeply and if the depth of the material is removed more than 3-4 mm, then the wood that is wet from the oil will run out and the material in this place will become as it was without oil.
When I tried to make a carving with oil, I really liked this method and I used a lot of oil. For example, he immediately covered the entire figure. But over time, I realized that this method has drawbacks. And now I do not use oil the way I did it while working with this angel.
What are the cons?
1. When you hold the workpiece from your hands on the sculpture gets dirt.
 Wood with oil very quickly absorbs grease and dirt from the hands. And where there are convex places the tree becomes darker. And it's not very good. I tried to work with gloves. But I did not like it. In gloves, especially rubber, my hands sweat quickly and it's not pleasant. I tried to put on cotton gloves and again I did not like it. In them I do not feel the instrument well. It feels like I have to sew a garter and a thread in boxing gloves. I suffered from this. I thought that you need to wait, it will be a little time and I will get used to it. But one day there was a case after which I took off the gloves and did not take them anymore. I was wearing cotton gloves, I wanted to put the sculpture on the table, but with some thread the glove caught on the corner of the sculpture and it hung under the glove. And after a moment the sculpture fell off this thread and fell to the floor. I realized that if at that time my work would have come to the end, and the figure had small details, then they would have crashed from falling. So I realized that I do not like gloves at all. But back to oil.
2. Another disadvantage of oil is that it is impossible to glue anything to the treated wood. Only on cyanatrilate and such a compound will be brittle. This is bad. If during work I see that it is possible to glue a piece that has split off so that it is neat and not noticeable, then it's great. But with oil this will not work. Is that bad.
3. Oil very strongly attracts dust and small pieces of material. And in work it hinders. Especially when you need to work with small details. Garbage prevents you from seeing exactly where you need to cut it. And you have to work hard with a clean brush to sweep away such rubbish.
How to be, because oil has both pluses and ninus. Do I use it now? Yes. But not as before. If I see that I've got a place that hardly reacts to tools, then I smear butter only in this place. I do this almost dry brush and try to do it only where it is needed. I do not cover the whole figure while working. Only when the work is finished.
 

Следующая часть фотографий. Они показывают, что скульптура постепенно теряет вес. Скорее всего, посещение тренажерного зала.
Очевидно, что теперь на скульптуре появляется сумка.
 

 
 








Что я могу добавить к тому, что уже видно? Я не могу сказать, что есть некоторые секреты в работе с инструментом. На этом этапе я использую большие долота и ножи. Меня не волнует, насколько тщательно материал может быть разрезан. Я не обращаю внимания на мелкие расщепления и дрейфы. Они скоро исчезнут, когда сцена начнется с более детального изучения фигуры. Но все так ясно, даже если я не писал об этом.
Я хочу написать что-то, что не видно на фотографии. Я говорю о времени. Когда вы смотрите на эти фотографии, изменения быстро проходят через ваши глаза. Фактически, между этапами, когда я фотографировал, проходили дни или недели. Причины этого разные. С одной стороны, у меня есть другие проблемы, кроме резьбы. У меня есть семья, дети. И я тоже должен провести с ними время. Мне также приходится иметь дело с другими вопросами. Но это не значит, что у меня недостаточно времени. Даже если резьба была моей основной профессией (и теперь она стала такой), я по-прежнему буду распространять свое расписание, чтобы не заниматься чрезмерной резьбой. Я попытаюсь объяснить свою идею, и я очень надеюсь, что это будет ясно, несмотря на проблемы перевода. Работа, связанная с художественным вкусом, отличается от других видов бизнеса.
Например, если бы я строил дом, я бы пришел на работу утром и постарался сделать как можно больше работы для смены. Это означает, что я могу закончить строительство раньше и получить за это деньги. Но эта техника не будет работать, если вы будете работать художником. Если вы смотрели фильмы о художниках, вы, скорее всего, видели, как они рисуют картины очень медленно. Иногда я хочу сказать: что это за глупость? Он' Это просто бездельник! Как вы можете сидеть в течение месяца на одной картинке? Это неправильно, приятель! Если вы не закончите завтра, тогда я увожу вас! У вас были схожие мысли, когда вы смотрели на художников? Я также художник, но у меня также были такие мысли, хотя я понимаю, почему художники работают медленно.
Теперь я попытаюсь объяснить, что видят глаза художника, когда он делает свою работу. Может, ты меня поймешь.
 
Когда вы точно знаете рецепт правильного действия, вы просто это делаете. Но художник похож на изобретателя, который не знает, что думать о его изобретении. И каждый шаг он делает так, чтобы этот шаг не случайно разрушил уже построенный. И только через короткое время можно понять, был ли новый шаг правильным или неправильным. Это первая причина, по которой художники работают медленно и осторожно, как сапер на минном поле.
Есть еще одна причина. Глаз устроен так, что, когда мы смотрим на то же самое в течение длительного времени, мы перестаем правильно видеть все ошибки. Я не знаю, какой пример может объяснить это, и я расскажу вам о подобной ситуации из военной разведки. В армии, когда необходимо следить за вражеской разведкой, ставят наблюдателей. Их задача - внимательно следить и заметить, если вдруг враг начнет готовиться к атаке. Но враг также знает, что за ним следят. И поэтому он может перехитрить интеллект, делая очень медленную прогрессию. Чтобы наблюдатель этого не заметил. Для этого разведка посылает нового разведчика наблюдателю, который только что отдыхал. Он был на посту вчера или позавчера, а затем отдыхал. И такой отдохнувший наблюдатель незамедлительно заметит любые изменения. Он увидит, что его партнер, который весь день смотрел, не заметил. Который только что отдохнул. Он был на посту вчера или позавчера, а затем отдыхал. И такой отдохнувший наблюдатель незамедлительно заметит любые изменения. Он увидит, что его партнер, который весь день смотрел, не заметил. Который только что отдохнул. Он был на посту вчера или позавчера, а затем отдыхал. И такой отдохнувший наблюдатель незамедлительно заметит любые изменения. Он увидит, что его партнер, который весь день смотрел, не заметил.
Тот же эффект возникает и у художника, когда он сидит за столом долго и смотрит на свою работу. Усталый глаз не может правильно оценить ситуацию, и тогда художник может легко совершить ошибку. Например, сделать руку у скульптуры слишком короткой или слишком длинной. Бывает, что вы заканчиваете рабочий день и думаете, что все в порядке, а утром вы приходите к столу, возьмите свою скульптуру в руки и подумайте: «О, что я сделал! Как я могу исправить это сейчас?
С этим Ангелом я имел тот же самый момент. Теперь я показываю фото 2 попытки. Первый стал браком только потому, что я не мог своевременно заметить, что я делаю неправильно. И было уже поздно исправить это и должно было начаться с самого начала.
И чем дольше вы работаете, тем больше становится цена любой ошибки. Очень обидно испортить все, что почти доходит до конца.
По этой причине художники работают не так быстро. В течение одного месяца у одного хозяина будет время построить высокий дом, а другой просто нарисуйте 1 фотографию или сделайте 1 скульптуру. Такая жизнь.
Поэтому я дам один странный совет: если вы хотите попытаться вырезать из дерева или камня, нарисовать картины или сделать некоторые произведения искусства - не работайте слишком быстро. Дайте время вашим глазам, чтобы они могли отдохнуть от долгого взгляда на работу. Это важно! Со временем вы поймете, сколько времени вам нужно. Слишком много перерывов тоже не может. Я думаю, что причина этого должна быть ясной, я не знаю, имеет ли смысл ее описать. Если вы хотите, чтобы я написал это, напишите, и я попытаюсь затронуть эту тему в следующих частях моей истории.

I will continue to write further. Now I'll show you the photos that show that I'm not doing anything special. I just cut the unnecessary parts of the wood.
 


 


Only now the incomprehensible form begins to become clear. And the strange figure of the seal begins to turn into a man
 







At this stage, I have nothing to tell. The secret is simple: you sit at the table, take knives, turn on a movie or your favorite music. A few hours later you suddenly find yourself sitting in the very center of the mountain with wooden shavings and sawdust. And at this moment you feel that for some strange reason you are very tired and the only thing you can do is take a broom and a brush and remove the mountain of garbage. That's the whole secret. 
 

Now it's time to go on to the technical description of the work itself.
The first thing with which any of us starts to do a new thing is transferring the scheme to the workpiece. Here I have no new inventions. It's simple: I printed a drawing or a scheme printed on the right scale, I paste it on the workpiece. Although with this angel I had to think a little. The volumetric sculpture differs from many details of the ship. Often, one type is enough to make a ship element. Even in the carving, I often have only one circuit, for example, projections from the side. But with the angel it was not enough. I needed to combine 2 types: profile and type of face (front). I do not remember now why I did not draw a front with a pencil and decided to go a longer way. There was a time when I was interested to understand different 3D programs and build human figures in them. Around that time, I studied Zet Brash, but this does not apply to this topic. Maybe for this reason, instead of a pencil, I created a front view using the Poser program. Maybe for someone it will be an interesting solution. In this program, you can simulate any movement of a person. You can do both a man and a woman. Consider from any angle how complex and incomprehensible moments look like and much more on the table you can see what I did and the view from above). So I have 2 types on the workpiece: a front view and a side view.
 

 

 
The same stage shows the first stage of processing the workpiece. I did this with a circular saw. Sense, I think and so clear. Now I look at these photos and I myself try to remember what I wanted to do at that moment. I noticed that there was a patch untouched on the workpiece above the head. 
I think that I did it on purpose. Most likely I left it, so as not to spoil the view from above. I think there was glued there another kind. Means then it was then more convenient. It is interesting to consider old photographs.
P.S. I'll pause for this while I go to sleep. I'll continue tomorrow.

So, this story will go about this sculpture.

I'll start with a little prehistory.
 Once upon a time I saved a few photos from one marine forum, where this sculpture was made by an Italian master. I did not remember the name of that magnificent master, I have only photos of his work. She impressed me very much. At that time, I never tried to carve. And I liked this figure so much that I wanted to try to cut it out one day. So one day I decided to start work. She was just for me. This is not an order for someone. I started doing it for myself. In St. Petersburg was supposed to pass the University Cup competition and I decided to go there and try to participate in C3 with my carving. In that year, Ivan Trtan was supposed to come to the Cup, and I really wanted to see his carving with my own eyes, to talk with him personally. This happens only once in a lifetime. It was because of him that I wanted to become a member of the Cup, so that he looked at my work, gave me advice. By this point, I had 2 sculptures ready, and I decided that I could make another figure. And this 3 figure was this very figure from the ship Le Ambitieux.
Unfortunately, I do not know exactly who it is. I know that there was a lion in the book, and I do not know for what reason the Italian maestro decided to change it. Then there was no Google translation and I did not understand what was written in the forum where I first saw the photos. I still do not know who it really is: an angel or maybe it's some kind of character of ancient myths, like Perseus. He was not like Perseus, and I began to call him an angel. Although maybe I'm wrong. If someone suddenly knows who is actually writing, I will be very interested in learning the history of this sculpture.