By Bainbridge Copnall and Fabio Barraclough (Auth.)
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57 7 MODELLING FIG. 10. I N relation to carving, which is removing superfluous material carefully with chisels (thus uncovering a conception), modelling is directly the opposite : it is a method of building up the conceived form with a malleable material, using the thumb and hands and sometimes also employing various tools to lay on, spread or cut off the material. Again, as in the case of stone carving, this is governed by drawing, or a thorough knowledge of the form one wishes to express. It is of great importance to a modeller to have his materials of the right consistency to enable him to do his best work.
38 ARCHITECTURAL SCULPTURE To be employed on an architectural project is most satisfying to a sculptor. He has a definite problem and this is different in every case; each problem has its snags, dangers, and disappointments which when overcome by deep thinking and industry will be an everlasting memorial to the status of that sculptor. —D PLATE 21. Author working on carving on Transport House, Bristol. 6 WOOD CARVING Carving a Hollow Rood I was introduced to the art of wood carving on receiving a commission to carve a hanging rood for a renovated Catholic church in Norris Green, Liverpool.
The work was fixed onto the wall by pushing 18 in. copper dowels into holes filled with cement. When I saw the figure no less than fifteen years later I was delighted with the way in which it had weathered; having been lashed with spray and wind it had turned into a grey-silver antique, with a wonderful motley of different colours harmonized by age. Wood Carvings on the Cunarders Several years later I was asked to make a series of wood carvings for the first class dining saloon on the Queen Mary.
A Sculptor's Manual by Bainbridge Copnall and Fabio Barraclough (Auth.)