By Bainbridge Copnall and Fabio Barraclough (Auth.)
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Additional resources for A Sculptor's Manual
It seems to run and move, vibrating with life. When resurrecting these strange shapes I feel that this is 47 PLATE 2 4 . Scene in sculptor's studio during work in progress for the Queen Mary series of thirty woodcarvings. Left, Bainbridge Copnall, centre, Jo Alberdi and right, Fabio Barraclough. PLATE 25. Diana, relief in cherry-wood, for the Queen Elizabeth. PLATE 26. Neptune, relief in cherry-wood, for the Queen Elizabeth. A SCULPTOR'S MANUAL a creation of my own, and I therefore tend to be more aesthetic in my approach than I do with commissioned work which can be influenced (if only slightly) by the wishes of the client.
Slate is built up in a lamination of thin layers, and great care must be taken when working into the layers as it can easily crack if hit with a direct blow. On the other hand, it has some of the smoothness and consistency of hard wood. It could be used in many constructions, replacing sheets of wood or plastic. The colour of slate varies from black and green to red, and when highly polished these colours can be most interesting. There is a plentiful supply of slabs in different thicknesses in most stonemasons' yards, and there are old flagstones of about 2 in.
PLATE 3 0 . "Family Group", 1 9 6 3 , oak carved direct, 1 4 ft high, in the sculptor's garden. Bought by D u d l e y Corporation. M — Ε A SCULPTOR'S M A N U A L Ebony Jarrah Lignum vitae Lime Oak Padouk Pear Pine Plane Mahogany Snakewood Sycamore Teak Hard to cut—a peeling, slicing method must be evolved; rich black in colour; grain very fine. A hard redwood from Australia ; cuts well and of course polishes to a high shine. Very hard and permanent—almost like stone; colour apt to confuse as it is in patches—dark grey-green to brown and light grey-yellow.