Richard Colbran’s Carving

Richard brought 3 boxes of carvings – a selection that represented his range of work and his development over time.   He, like all good magicians, had a glamorous assistant (Mick Illsley) to bring the rabbits (sorry carvings ) out of the box!!    Richard gave us a brief life story.       He took up woodwork to furnish their home when he married Pat.    Many years later, on retirement, he took up carving and joined a   class in Burnley as well as LCW to learn more of the craft. Recognising his need to improve his seeing and understanding of shape he also attended an animal drawing class”.

Carving is not just about controlling the tools and copying the work of others.   There is need for curiosity to discover interesting subjects and ingenuity to work out how to carve them.   There are NO carving rules, try anything and everything, and reject what does not work.

If you want to see all Richard’s work, go to Galleries  ,and click on Members carvings, then choose Richard Colbran from the list

The carvings Richard showed follow.

THE HAND – Rhododendron.

The hand was a copy of his own hand – always useful to have a model close by.    The original finish on the rhododendron wood was yellowish, giving it a dead appearance, but a surface treatment and refinish achieved a more lifelike shade

GREENMAN Lime

The Green Man carving is not a direct copy of a Somerset pew as he felt that the original had the grapes hanging upwards.  The background was punched which was another learning curve.    The carving had an integral border which made life difficult, so he now frames his 2D carvings with a separate frame, either mitred or  edging that is just tacked on.

DANCER.  Swamp Cypress Knee – American wood

Richard had been given the challenge of carving a dancer, and found inspiration in combining carving with the natural shape of the wood.

LITTLE OWL.  Stained lime in oak frame,

Image based on wood-engraving by Charles Tunnicliffe.     The ferns were a problem due to short grain.

GREEK STALLION  Lime on slate base

Although Richard had lots of photos of horses, he was still unsure of how to carve it.   He stood for a long time watching horses until he had learned the shape.   His drawing teacher suggested that he drew his dog every morning to improve his seeing

TWO FOXES  Mahogany,

When carving two animals it is difficult to get the balance right.   Richard experimented with stains and paint.

THE FIRST LOOTENANT!  Stained lime

Originally called Privy Councillor    Design taken from an ice carving

GREENMAN   Oak

You need sharper tools for oak but it is a much prettier wood

Three Hares by Richard Colbran, stained oak

THREE HARES  – ANOTHER ANCIENT RELIGIOUS ICON  – Stained oak

THe hares share an ear.    All carved from one piece of oak.

DOLPHINS    Mahogany, on a background of Ash

Richard was aiming for an impression of movement.

BEWARE THE BLACK BEARS

Originally called The Mad Whittler because that is the title of the chain saw carver who executed the work

THE RED DEER OF LOCHNAGAR – Parana pine 26 cm high

The Red Deer of Lochnagar

Richard had found making mitred frames too much trouble and just attached the wood to the sides.    This type of frame avoids the need for mitre joints but still requires careful work for a neat appearance.

CHARIOTEER – lime,  32 cm wide

Charioteer

This shallow engraving needs good top lighting to produce the shadows.

FLYING CROW – Stained Lime 20cm square

Flying Crow

The ends of the wings were laminated on the back with oak for support

HUMPBACK WHALE – Lime  on Mahogany 28 cm high

The whale was carved separately, then mounted on the backboard.