Still Life & Street Scene in Relief

[pallin]

This relief carving is based on an Escher woodcut from March 1937. The original was almost 20 inches square. This relief will be 15 inches square in 1 - 1/4" basswood. While waiting for the wood to arrive I often spend a lot of time analyzing how this image can become a relief - sometimes a month.

Obviously the deepest part of the relief will be the far end of the street where it bends to the right. Notice that the books in the foreground merge into the buildings on either side of the street. How can I include the lines of laundry hanging over the street? The storekeepers and their wares are really small. That first shop on the left has a display table supported by two sawhorses. How can I simulate the reflections in the lidded container on the window ledge? Look at the patterns in the book covers.
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[Nebraska]

Lots to think about could you create reflections with textures?

[Claude]

You can do it! After all, you did the self-portrait with the ball reflecting you and the room!

Claude

[Glenn Jennings]

The relections could be done with veneer inlay as could the hanging washing.

The reflections on the lid could be achieved withsome delicate staining and the use of both gloss and matt finishes subtly blended on the edges so one blends into the other.

The ribbed book binding could be a tight grained wood like Sitka Spruce stained to get the contrast between winter and summer growth of a tight grain wood with good contrast beween winter and summer growth rings.

The patterned book covers could be cut with a rifle stock checkering tool. I think that would be idealas you have quite alot of control over the process.

Look forward as allways to seeing this unfold.

[pallin]

Lots to think about could you create reflections with textures?

The reflections could be done in several ways. Here is an example from "Reptiles" - the glass is reflected in the bottle with a hint of color, in this case a piece of marquetry: I actually think this be another "selectively gel stained" projects.

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[pallin]

Here is the pattern enlarged to full size - 15" square. When finished, this carving will be about the same size as "Waterfall," on the wall to the right of my head. As you can see, wall space is becoming a problem.

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[Glenn Jennings]

This will be an interesting one to follow !!! Iwill be very interested in the techniques you employ to get the desired result. Rock on buddy.

[pallin]

One of the major differences between the original woodcut and this relief carving is how variations of "gray scale" are achieved. On a woodcut everything is black or white - every cut produces a line of white. So on the original, the gray or textured surfaces are intricate patterns of cuts. On the relief these variations can be done with different stains, and the emphasis is on variations of depth. Think about it.

[Arthur C.]

Phil, you might carve the foreground separately and attach to the body of the carving...that's a lot of perspective to carve into 1.25". I'm considering doing that in carving a French Quarter courtyard scene that's on my agenda next, still sketching it out.

[pallin]

Phil, you might carve the foreground separately and attach to the body of the carving...that's a lot of perspective to carve into 1.25". I'm considering doing that in carving a French Quarter courtyard scene that's on my agenda next, still sketching it out.

Arthur - I look forward to seeing your French Quarter courtyard scene, and perhaps moving forward in parallel. At this point I'm still thinking it through and waiting for the wood to arrive.

[Claude]

The table and books, pipe, etc., carved from an added piece of wood would make it an interesting wall hanging.

Claude

[pallin]

The 1-1/4" thickness of the basswood blank should give me enough wood to include the still life of the foreground with the street scene. Relief carving is unique in being "adjustable" as to depth.

Notice the similarity of this "Grandpa's Watch" relief, with a group of nearby objects and a distant scene out the window:

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[pallin]

This is the stage of a new project where I begin to think of changes that will personalize my design. Should I add an object on the window ledge that is uniquely mine? Should I add "interest" to the street scene - a lady with a baby carriage? A marching band?
Seriously, this is when the ideas invade my REM sleep.

[Merle Rice]

Hi Phil, I can see why it would Disturb your Sleep , it would Blow my Mind . I'll be watching to see your Progress. Merle

[pallin]

Here are two ideas for objects to put among the still life on the window sill. They would be done in relief, not in-the-round. The single figure is one I carved fifty years ago!

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