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Before starting a model the sculptor must imagine the form of the final piece as he sees it in the wood to be sculpted.
As the ideas come he starts to draft, he takes a bit of clay or plasticine, and then forms the shape, making a framework. This does not necessarily show the final movement or expression of the future work.
He makes several drafts, but does not destroy the unsatisfactory ones, until he finds the one that gives the maximum movement and expression.
It has to have the best expression and the maximum sculptural power, sculptural power being a synonyme for beauty in form.
The sculptor must not forget that he makes this piece and not another, the sculpture is not a thing of beauty if the shape does not speak of the subject.
The draft is then placed on a stand, the draft must be lively; it must look like the shape the sculptor had in mind at the beginning after all the tries. The draft is not moved.
That's why all the drafts have been kept. They reflect our deepest thoughts, our creative vision; these drafts are indispensable as they mark the time taken to change the wood, the natural expression of our feelings. For that, it seems sensible to cover the drafts, so that we can make a faithful reproduction of our first study, then the study is cast.
Now the wood carving can start. The draft is placed on one side and the cast on the other. Now we are sure we can start the work.
If we are afraid to make a mistake we go back to the small draft and measure with a compass to bring up to full size the place to cut.
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Cheminées & linteaux de portes
