10 Steps to 3D Carving
10 Steps to 3D Sculpting
If you are a first time carver, novice or even a professional it is always a good idea to have a plan of attack. Each time I carve a sculpture I use the same plan of attack and that is the Ten Steps to 3D sculpting.
Breaking a carving down into steps really helps you streamline the process. There is less thinking about the next step, wondering what should I work on now? I complete each step and move on until my sculpture is complete.
We will review each of the ten steps and break them down for you to further understand the process. Diagrams and photos for you to visualize our words will accompany each step. For this section we be carving a Seahorse design. This sculpture is a great design and melts down very nicely at parties. It is also good for displaying each of the qualities of the ten steps.
As we start out it is important for you to remember that we will be carving on a pedestal or lift. This will help your back and make it easier for you to make straight cuts using your chainsaw. It is important to carve in your comfort zone. The zone is above your waist and below your shoulders. Any higher or lower will make it more difficult on your precision cutting.
Also remember to have all of your tools organized on your table. Try to keep each tool in its proper place throughout this exercise and as you use that tool it should be placed back in the same position you found it. If you follow these procedures they will allow you to spend more time carving and less time thinking about your tools. As this becomes more automatic for you it will also increase your carving speed. Since we work with a temporary medium and time is money this is also crucial.
Comfort Zone
Too High
Too low
Practice the thrust cut method especially around the outside of curves.
Gently rub super burr to perfect exterior lines of your sculpture.
Backside Drawing
A
B
D
C
E
F
G
H
Die grinder creates channel guide and saw cuts to the line.
Die grinder creates channel guide and saw cuts on an angle to the line.
This section was heavily influenced by:
Aaron Costic
Mac Winker
Notes:
Carve on a pedestal or lift, stay in the comfort zone
Keep an organized tool table this will increase speed and efficiency
Block design should be drawn 2” x 4” (or equal ratio of)
Keep designs simple with strong profile
The ice melts quickest at the thinnest points and top down
Draw and redraw your design as a study technique
Use collages and models whenever possible
Use only major reference lines on template
Keep a master template and revise it as needed
Create templates on newsprint paper
Do not loose major reference when sculpting, if you do immediately redraw the line
Use the thrust cut method around curves with chainsaw
A perfectly cut silhouette will allow for betting viewing later into the carvings life
Reference point is the intersection of major reference lines
Tucking in lines as opposed to blocking in
Use Y-cut to split wings or fins
Use channel guides to keep yourself from making over cuts with the chainsaw
Rounded surfaces work better on the meat of the carving as opposed to smaller parts
Chisels vs. Die grinders; chisels provide clear crystal quality but do not last as long
Cleaning is essential to make your sculpture appear like crystal
Learning to carve is difficult so practice, have fun and don’t give up
STEP 10. CLEANING
If there is one thing that you can do as a young carver, you can always clean your sculpture. When you have a clean carving you will end up with a beautiful crystal like quality, one that only ice can give.
Start by brushing all excess snow from your sculpture.
At temperatures above freezing you may clean with water. In the shop I use a hose with a nozzle. I set the nozzle on shower so that I do not blast any one part of the carving because that can erode the detail.
Temperatures between 15’F and 32’F a torch may be used. Many carvers use a roofing torch that hooks up to a propane tank. Indoors this is not a great option but off site carving at demonstration is great. The viewers love the big torch sound and the flame, so when you get the chance to use this one public to get the wow factor at the end. Same as the flowing water try not to blast the carving as it will corrode the detail even faster than running water.
If you have a finshed surface of chisel marks, no cleaning is necessary except brushing of snow.
Anything below15’F will require a buffing tool and or hand sanding. 3M makes a great product that can be purchased in most auto-part stores, it is green 36 grit sand paper. This works best for hand sanding and polishing in cold weather environments.
STEP 9. DETAILNG
With the tool of choice you will now put on your final detail. Refer back to your model and line drawings. Create watermarks on the wave with v-chisel or v-bit and netted squares on the seahorse body with a cone shape end mill or v-bit. Plunge any bit to create an eyeball effect and put fan lines on the fins.
When detailing you must decide if it is better to use a chisel or die grinder. Chisels create beautifully clean crystal cut surface when sharp but a die grinder can get into small spots and create small curvy shapes. Generally chiseled surfaces do not last as long as v-bit or cone end milled detail lines. The rotary tool can leave a much deeper impression. Some time it is a good idea to have a v-chiseled surface and then come back over it with a smaller cone shaped bit to drive the center of the v-groove deeper. This will allow you to view the chiseled surface and after an hour or so when that melts away you will still have the power tool line.
STEP 8. SANDING
Sand the entire surface of the sculpture. You may use an angle grinder with 36” grit sanding paper or hand sanding works for the hard to reach places or on the rounded surfaces. Try to eliminate all tool marks such as chainsaw lines, over cuts and un-even surfaces.
Sand all surfaces.
STEP 7. ROUNDING
Once all the layers are there you may begin rounding the corners that require it. Remember, if you cut away one corner you will create 2 more corners in its place. Each time you make a cut we call it breaking the corner. For Buffet carvings we will break a corner 3 times before achieving round. In competition style carving you may want to break a corner 5 times or more. Good tools to use for this job are the super bur or the Excalibur bit. This should be a less aggressive tool and rub the ice rather than cutting it.
One thing to consider is what edges should be round and which should be square. It is a good idea to leave some corners on your sculpture because as the melting process occurs this will happen naturally. Square corners will cause the sculpture to hold its shape much longer than a rounded corner. In fact square can be more appealing than a rounded surface as well. I try to strategically decide which parts are to be rounded. If the piece or section is thin like the nose or the center back fin than I will leave them square and detail them as such. Remember these items are on the top of the block and thinner than the rest of the sculpture so they will melt the fastest. If the piece is larger like the body than I will round it.
Notice that at the top of the sculpture and the thinnest points are left square. The larger surfaces and areas in the middle to lower section of the carving are rounded. The base is thick and square for stability.
Eliminate corners
When attacking this step you should stand to the side of your sculpture (side view 40” tall, 10” wide) you will have to begin creating levels or layers. You must try to visualize where everything belongs in your sculpture. Example: if you are carving a fish, the dorsal fin is in the top center of the fishes back. The tail may be layered in front of a piece of seaweed. In this instance the seahorse is to the front of the sculpture and the wave is to be layered towards the back. The body of the seahorse will be tucked into the head line and the nose will be in the center of the head. The lower fins will be split and the back fin will be centered on the back and trail off in-between the two split fins. Blocking in a sculpture is the most difficult step to visualize and complete. If you studied your design in step by drawing and redrawing your subject, this is the step that will pay off the most. Do not be discouraged this will take a number of completed sculptures to master.
The next cut is referred to as tucking in a line. Instead of taking the surface straight back we will angle the cut into the channel guide. This is a very simple cut and provides a wonderful look of depth on a sculpture. Some layers can be blocked in and others can be tucked in. Just remember not to lose any major reference lines.
You may want to create split wings when you are blocking in your sculpture. This process is referred to as Y cut, because you are taking out a wedge shape of ice and you will do it with three different cuts. First make an original depth cut with your chainsaw straight into your block so you can see how deep you want to cut into the block. The reason you take the time on this cut is so you can visually check your depth from the template side of the block. Most often this cut is made into the side of the block. Next you will make two additional cuts on angles and this will push one wing or fin (whatever you wish to split) on to each side of the sculpture creating an empty v-groove in the center.
Now what you need to know is what depth to take each level. Refer to our depth chart.
STEP 6. BLOCKING IN
This is the most difficult step in the carving process. The idea in this section is to create different levels or layers to your sculpture. You will have most of your artistic freedoms in this category so work happy, work hard and have fun with it. One ultimate goal in this step is to keep all of your major reference lines from your template. If your reference lines are not there then you can get lost or vary from your original design.
To create layers you need to know at what depths your tools can take you. The tools I use most for layering are shown in figure . I start with the tapered end mill line that comes from step 2 tracing the template. In order to keep my reference lines I bury my template lines past my blocking-in cuts. To start make a pass with the straight bit just slightly deeper than the tapered bits original depth. This will be approximately half of the cutting surface of the straight bit. Next make a second pass using the same bit except you will burry the cutting edge. Be sure to keep your tool perpendicular to the block. Once these three passes are complete your depth of cut will be approximately 2” which is almost ¼ the way through your block.
The next depth will be approximately 4” and for this step you may use the zip cutter or a 1/2” end mill will work for this step as well. The zip cutter will have about ½” deeper cut than the end mill. Using your next tool of choice (availability) take a pass through the straight bits line and take it just slightly deeper than the 2” depth. Next go back over the line and burry the bit. This will take you to a 4” layer.
When you remove a section of ice you will most often use the chainsaw but you may use a chisel as well, this is referred to as blocking in. When using a chainsaw you want to be sure not to make any over cuts. When cutting you want to get the tip of the bar into the channel guide you created with the die grinder. You can feel through the saw when in enter the channel because it will grab a little at you. You want to ride this channel without pushing past the channel guide.
STEP 5. Connecting Reference points
From the backside you will notice that there are a multiple reference points. A reference point is the intersection of any major reference lines. The diagram points out all major reference points. Since we did not use a backside template (which is always an option) you must draw the major reference lines on the back according to your reference points.
On the back of the seahorse’s head you must draw a c-shaped line from points A to B. Then draw in the back line, this time an S-shape line from points A to D. Connect point C with the back line. Next draw on the top wave line between points D and E, this is a v-shape line. The bottom wave line connects F and G. And finally connect the base line G and H.
In order to complete this step it is vital to have a drawing of the back side of your sculpture. This will show how to connect all of your reference points. Use a 7 degree tapered end mill to draw these lines and then bury the ¼” straight end mill.
STEP 4. PERFECTING FIRST DIMENSION
Ignore all interior lines and only concern yourself with the exterior lines of the Sculpture. Look at the seahorse as to the right, that is the shape you are striving to achieve. Now that your first dimension is cut out, you will continue to perfect the first dimension. With a die grinder or sander you will shape every curve, square of every line and Make that front view appear exactly as your template appears.
This step is important, It will insure that your shape will hold during the melting process. Best tools to use are Brice zip cutter or super burr cone bit (part ic-b2408). All these bits require a die grinder with a threaded shaft or nose driver. For hand tools use a hand scratchy and pruning saw.
Remember that one reason this step is so important is that a perfectly cut silhouette will leave a strong impression on the viewer. It will also last longer and hold its shape better during the melting process. When you designed your piece you are going for a strong first impression or silhouette, this steps will reinforce that concept.
When you look at the carving from the backside you will see the exact shape as from the front. If you are to view the backside and it does not appear as front does then you should continue perfecting the first dimension.
Front side with template lines back side no reference lines.
Good example of cutting around a curve. Continuously making thrust cuts will round a corner quite easily.
STEP 3. CUT OUT FIRST DIMENSION
From the template side remove all ice that is not part of your design. Start with section one and continue with all the gray areas (as they are not part of your design). Ignore all detail lines and only concern yourself with the exterior lines of the template. Start on the top of the sculpture and work your way down so that large pieces of ice that fall will not break anything on the way down. This step requires a chainsaw.
Remember to cut just outside your line and do not remove any ice that is in your design. Watch out for over cuts and non level cuts. This is where the carving pedestal will help pay off. It is important to carve in your comfort zone, especially when using a chainsaw. The comfort zone range is from above your waist to below your shoulders. Any cut outside this range can cause non level or sloppy cuts.
For example, if your leaning over and cutting in a downward motion then the saw will point in a downward motion and make level cuts more difficult to achieve. In this example he is carving below his waist and the saw naturally points in that direction. If you carve above your shoulders the saw will angle upwards and prevent you from making straight cuts. Best case scenario is to carve in the comfort zone. It is much easier to make straight and level cuts in this area.
When cutting around a curve it is a good idea to use the thrust cut method. Thrust the saw on the outside line of curve into the ice until it comes out the back end and pull back out immediately. Do not attempt to turn the saw in the ice. The next thrust cut will start bending around the curve. Put the tip of the chainsaw into the edge of the last cut. As you thrust inwards the part of the bar coming around the curve is the only part cutting the ice. The other end is partially buried in the previous cuts channel. Pull out and repeat steps all the way around the curve. The next cut center the bar and turn the chainsaw around the curve line. This is very simple technique and will help you save time by cutting your sculpture out properly.
Remove all ice not in design.
Tracing bit is a cone shaped end mill.
STEP 2. TRACING
Place your ice block on to your carving pedestal using a lift or tongs.
Apply template to front side of ice using cold water. Try to even out the template with a brush to get all air pockets out. Then trace using a die grinder with the 7 degree tapered end mill. This might very well be the easiest of all steps. Trace outside the line on exterior lines and on the line for interior reference lines.
After the tracing is complete you can go back over each line and bury the ¼” end mill. Make two passes to complete this step. You already have a line from the first bit, now go just a little deeper with the straight bit. Make one final pass now and bury the cutting edge of your bit. It is imperative that you hold the die grinder perpendicular to the ice so that the cut is nice and straight.
Section Overview
1.Design & Templating
2.Tracing
3.First Dimension
4.Perfecting the First Dimension
5.Connecting Reference points
6.Blocking In
7.Rounding
8.Sanding
9.Detailing
10. Cleaning
Tools:
Graph paper
Pencil and erasers
Newsprint or large poster paper
Markers (permanent)
Carving Pedestal
Chainsaw
Template
Die grinder ¼” shaft
End mill with 7 degree taper
¼” Straight end mill bit
Long end mill bit?
V-Bit
Die grinder 3/8” threaded shaft
Super Burr or Brice Zip Cutter
Angle grinder with 32-grit sandpaper
1” Flat chisel
V Chisel optional
Six Prong chipper
Pruning saw
Brush
Bucket of water
STEP 1. DESIGN & TEMPLATE
It is important to have a good design with a strong profile. Be sure that you have the design pre-drawn with detail lines and major reference lines. It also helps to have a front and back view drawing.
It helps if you have a collage of pictures or even a 3D Model. I often purchase little statues or toy dolls of animals, vehicles and fish. This is a great reference tool.
This step is further broken down into more detailed steps. Please read over the complete section of DESIGN & TEMPLATES.
Today we will be carving the seahorse design.
Summary
The ten steps to 3D sculpting is one way to break down the carving process. By breaking down the carving process it will help the student from becoming lost in the sculpture. It will also help you to create a plan of attack and make you prepare your self carve.
