Читать книгу Decorative Decoy Carver's Ultimate Painting & Pattern Portfolio, Revised Edition - Bruce Burk - Страница 8

I have attempted to depict the birds as realistically as I possibly can, within the limits of my capabilities. This is not to be construed as a claim that there are no differences (for I am sure there are many) between my drawings and paintings and the live bird. However, any mistakes made here are a result of either my artistic limitations or my lack of knowledge—they did not come about in a conscious attempt on my part to improve upon, or alter, these already perfect creations of nature.

The difficulty that many carvers, especially amateurs, experience in finding an accurate reference for color primarily prompted me to create this book. Highlights and shadows have been used very sparingly on the paintings in this book so that the colors shown would be true. The carver should make every attempt to use the real thing (live birds, study skins and bird mounts) for determining color whenever possible and should use all paintings, including those shown here, only as aids.

It should be pointed out that there are some variations in the coloring and markings of feathers on birds of the same species and sex. Some of these dissimilarities, but not all by any means, can be attributed to age and molt. For example, first-year female ducks vary somewhat from adult females. The considerable variation of the side-feather coloring of female widgeons is a good example of the color differences between adult birds of the same species and sex. Also, some adult ducks of the same sex and species have differences in the coloration of their bills and feet. Francis H. Kortright’s fine book, The Ducks, Geese, and Swans of North America, covers some of these variables in his excellent written descriptions.

Making an accurate layout of feather groups and individual feathers is one of the most difficult phases of realistic bird carving. Many feathers are hard to discern in photographs—and even on live birds. This is especially true when groups of feathers are of the same color. Individual feathers are even harder to distinguish on some study skins and mounts where the normal pattern has been disturbed. To further complicate matters, the bird has many more feathers (a pintail duck has approximately 15,000) than can be possibly drawn and carved. Therefore, on carvings some feather patterns have to be simplified and the total number of feathers reduced.

I have attempted to show detailed feather patterns on the paintings used in this book. In some cases, the amateur carver may wish to simplify these feather patterns. Also, in the case of service or “shooting”-type decoys, very few of these feathers would be individually carved and painted. In addition, the raised wing primary-feather groups would be made to lie flat on the body.

Realistic bird carving is truly one of the most fascinating of hobbies. The carver not only can express himself in three dimensions by sculpturing the wood to the naturally graceful lines of the bird, but can also find great satisfaction in trying to duplicate the complexity and elusive coloring of the plumage. The great popularity of this art form has prompted the introduction of a number of how-to books and many instructional classes and seminars, making the learning of the various techniques involved much easier. The serious carver of today can learn in a relatively short time what it took some of us many years to learn. This ease of learning how to carve and paint birds has been generally a great benefit to the amateur carver but, in many cases, has been at the cost of lost initiative.

There is a tendency these days to follow the path of least resistance and just copy rather than spend time and effort doing one’s own research. The carver who uses little initiative is missing one of the most satisfying aspects of bird carving—that of being able to say, “I did this carving from its inception to its finish, all on my own”—and also the satisfaction of seeing his own individual style emerge. The earnest carver should make every attempt to interject his own designs, or at least alter existing drawings or patterns.

I sincerely hope this book will help you attain your bird carving goals. From one bird carver to another, I wish you the best of luck and a great deal of success!