By Ray Key

Если у вас имеется опыт работы с токарным станком, и вы хотите выработать свой неповторимый стиль деревообработки, а не работать по чужим шаблонам, то эта книга для вас. Ray Key, мастер своего дела, даст вам советы и основополагающие принципы, а не жесткие и строгие правила. Цветная иллюстрированная книга вдохновляет экспериментировать, исследовать и наслаждаться результатами!

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The upper lip does not connect with the nose at the correct angle, making the nose appear too long. For the purposes of this carving this may not matter and can be corrected somewhat, but if it were a true portrait, the whole face would have to be dropped back 6mm/'/4" to re-establish the nose. Also, the forehead is not sloping back enough, and the eyebrows appear wrong, both easily corrected. Fig 89 shows the eyes in progress. These must be most carefully and perfectly done on young people as they are so smooth skinned and free of u~rinkles.

Work at these with 180 then 240. To polish the carving apply one thin coat of clear cellulose sanding sealer and leave overnight. Rub down, working carefully into every detail, with 400 grit sand paper. Apply a second coat of sealer. This should dry to a smooth semi-gloss finish. Rub this down thoroughly with 0000 steel wool and then wax polish. Good quality furniture wax is fine, but avoid letting the details get clogged with wax as this will he difficult to remove if it dries. After a few weeks another coat will he necessary.

On many sculptures the pupil is simply drilled into the centre of this iris. O n larger heads the drilling consists of two small holes side by side, which are then joined at the bottom making a heart shape, Fig 69 left, the point at the top remaining to catch the light, as on a real eye. This method can be seen, for instance, on Michelangelo's David. The other method is to drill out the whole iris into a bowl, Fig 69 right. A rotary burr is best used for this, using a diamond burr to clean up. The hollow can be taken up under the lid.

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