In case you were wondering, there are 156 white squares carved out of this piece. Not that I was counting, right? Luckily, one of my carvings knives had the perfect shape and size to cut out the boxes.
Thursday, October 05, 2006
SET IN MOTION
Now that I had seen the process in whole and gone from concept to finished product, I really felt that there was something here. The work, though painstaking and frustrating at times, was well worth the finished product.
I immediately started work on three new carvings: Padron, CAO Gold, and Cohiba (Cuban). Each were less daunting than the Opus X project, but still intricate and beautiful designs.
Now that I had seen the process in whole and gone from concept to finished product, I really felt that there was something here. The work, though painstaking and frustrating at times, was well worth the finished product.
I immediately started work on three new carvings: Padron, CAO Gold, and Cohiba (Cuban). Each were less daunting than the Opus X project, but still intricate and beautiful designs.
OPUS X: THE FINISHED PRODUCT
Although it took over a year, the finished product was worth all the work. One of the things I wanted to do with the carving was have it signed by the Fuente's (Carlos, Carlito, and the rest of the gang). There was no room on the carving itself for signing and no way to attach hardware for hanging without risking the integrity of the already thin releif carving. After much thought of how to make it hangable and signable, I mounted the carving on a piece of red oak. I couldn't find a board big enough for the carving, so I used red oak plywood and veneer edging. Once stained, I sealed it with a satin polyurethane.
The next step: tracking down the Fuente's with Sharpie in hand!
Although it took over a year, the finished product was worth all the work. One of the things I wanted to do with the carving was have it signed by the Fuente's (Carlos, Carlito, and the rest of the gang). There was no room on the carving itself for signing and no way to attach hardware for hanging without risking the integrity of the already thin releif carving. After much thought of how to make it hangable and signable, I mounted the carving on a piece of red oak. I couldn't find a board big enough for the carving, so I used red oak plywood and veneer edging. Once stained, I sealed it with a satin polyurethane.
The next step: tracking down the Fuente's with Sharpie in hand!
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