deep relief

[RT Bit and Spur]

This is a practice plate I just finished. I have been helped by Bob Findley over the phone. Any advice would be appreciated.
Rod

 

[Beathard]

Bob always told me you had to cut outside the lines and then sculpt inwards. That way objects wouldn't get to thin. There are a couple of parts that look a little narrow e.g. the horse's neck.

You might want to do some more sculpting on the living objects to give more depth and shadow. They look good now, but will really pop with some extra definition.

Love the background and the depth. Makes me want to do some more of this style. Keep it up!

 

[bronc]

Nice work Rod!

Stewart

 

[monk]

if possible, add a bit of shading to the figures. this might spruce things up a little.

 

[Andrew Biggs]

Hi rod

What you are lacking is definition. You can see the cowboy/horse and steer.........but there's nothing else. Or if there is, then you can't see it.

When doing this kind of thing you have to think in layers. Foreground, middle ground and background.

The foreground has the main action. Middle ground would be things like mountains and rocks etc. Background would be sky and maybe a bird fling around in it. Everything has to be seen and readily identifiable.

As you go further back you have less detail but it must still be discernible.

Or you can have the foreground as rocks and trees that frame the work with the middle ground being the focal point of horse and rider. Then the background becomes mountains and sky. There are quite a few variations that you can think about.

Translated that all means a lot more work for you. But the results are well worth it.

Cheers
Andrew

 

[RT Bit and Spur]

Thank you for the help. I have hills but they aren't cut deep enough to see them. I am going to sculpt the figures more. If It was easy everyone would do it.
Rod

 

[Chujybear]

It's conversations like this that keep me coming back to the forum.
Pick up little things all the time

 

[Andrew Biggs]

Hi Rod

If you look on the GRS web site. Somewhere in the archives of the featured artist, you will find that beautiful small vise that Bob Findlay engraved using very deep relief techniques. It is a very good example to study.

Another exceptional study is german scene engraving. Martin Strolz showed us how this can be achieved with punches and how yo can get a real sense of depth, even though it isn't deep. There is a casting on the FEGA web site that is perfect for study.


Cheers
Andrew