Nautical Research Journal 257
20. T e master for the dolphin castings.
Figure 16 shows a fi gurehead for Fair America. T ere are side and front view studies with the trim rails and of the fi gurehead itself. Additional sketches might be needed of the hands or other parts to understand how to carve them.
Always fi t the wood for the carving to its location on the ship fi rst, then carved. T is rule applies to the curved side of a ship, the width of the stem, the complex contour of the locations for stern badges. Drill the hands fi rst for whatever the fi gure is holding, then carve the hands. Figure 17 shows two versions of the fi gurehead, each with a diff erent stance, holding the rod of wood that will become a sword or a peace pipe.
T e dolphin for a ship model stand (Figures 18 and 19) poses a dimensional problem. A study was made for the positioning of the cartouche and crown, as well as studies of the tail and head. T is design is a French dolphin—the British equivalent is quite diff erent—taken from a silver table service of the same period as the ship. Drawing the details fi rst provides a design to follow as you carve, which makes it a lot easier.
A master carving of the dolphin was made for duplicating four such pieces. (Figure 20) T e more vertical rear dolphin pose was chosen because the tail can be bent to the forward confi guration in the casting process. Figure 21 shows two dolphin mold
21. Wax dolphins ready for mold-making.
masters in wax. T e wax can be bent when heated to a little more than body temperature. I bent the tail while the wax was still warm right aſt er it was removed from the mold. Further adjustments can be made of the fi nal brass parts by heating them with a torch and using small pliers. T e brass I used is a jeweler’s formula that simulates the color of 22-carat gold. Aſt er the units were silver-soldered together, they were polished to look like gold and clear-coated to reduce tarnishing.
Figurative carving can be fun once you get the hang of it. T e drawing studies are the keys to good results. Figure 22 is a study for two men in the hold receiving a crate being lowered to them. Drawings must be the exact size you need for your model. Note the importance of the top view in establishing the direction of the shoulders and the body twist. Figure 23 shows the rough result.
Next, we can go through the steps in carving a fi gure. First, we need a photograph or reference for the fi gure we want to carve. Figure 24 is the cook from Jean Boudriot’s 74-gun ship.
Next we need studies of the diff erent views we will transfer to our wooden block. Figure 25 shows the front, top, and side views of our fi gure. It is very important to study the twist of the body. Notice that the feet point in one direction, yet the shoulders are at 90 degree to the feet, and the head looks straight
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