Читать книгу Woodcarving Illustrated Issue 71 Summer 2015 - Группа авторов - Страница 22

Woodcarving Illustrated

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SPRING 2013

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Making “Rusty Metal”

By Susan Dorsch

I begin my projects by visualizing a rusty tool that is

compatible in size for the individual bird. Proportion and

balance are naturally important to the final composition.

Once I have chosen the tool for the setting, I draw a

pattern on poster board, trace it onto the wood—tupelo or

basswood—and cut it on the band saw.

Next, I rough out the project with a flexible shaft tool and

micromotor. I replicate the tool as closely as possible, and

then sand it. At this point, the carved tool should be the same

size and shape as the original. I temporarily mount the bird to

make sure it will be visually appealing, and attach and adjust

the bird’s legs and feet to be sure the bird will be balanced

and its position looks natural.

If the composition is appealing, balanced, and

proportionate, it’s time to create texture on the habitat.

Although I most often use a variety of bits from my bit box,

I have no limitations on what I will use to get the desired

look of the tool or setting. I’ve used ball-nose bits, stump

cutters, cylinders, files, modeling paste, sand, etc. I usually try

Once the basecoat is dry, I start applying other

colors, such as rust, yellow oxide, sap green, and

some touches of silver metallic. I use brushes,

sponges, rags, etc., to achieve the desired effect.

When I am satisfied that the spike has been

rendered accurately, I spray it with Testors Dull Coat.

texturing techniques on a scrap piece of wood before moving

to my carved piece. I texture the wood to my satisfaction, dust

it, seal it with clear acrylic, and when the acrylic is dry, coat the

piece with white gesso.

I use several colors of acrylic paint to cover my project.

After studying the original metal model, I mix hues until I

think the colors are similar. Along with the basic hues, I also

use metallics, airbrush paints, spray paints, and whatever else

I can find in local art stores that I think might achieve the old

rusted or metal look.

There are no rules or secret formulas involved in

this process because different finishes dictate different

percentages and mixtures of paint. I apply the paint with

brushes, rags, sponges, pallet knives, and anything else

that gives me the desired effect. Experiment, experiment,

experiment—this is the key to achieving “creative reality.”

For more information, contact Susan Dorsch,

www.etsy.com/shop/ICREE8.

A grouping of

three carved,

textured, and

painted railroad

spikes is a suitable

mount for a small

songbird. The

single spike is the

metal model.

To make the railroad spike, I cut a

rough-out on the band saw and

then carve and generally shape

it. I used a round ruby ball

to create the texture of

the old metal.

After carving, texturing, and sealing

the spike, I apply white gesso all

over and let it dry. Then, I

basecoat the spike

with raw umber.

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