Carve an Acanthus Leaf Rosette – Misplaced Artwork Press

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Fig. 7.1

The next is extracted from “Carving the Acanthus Leaf” by Mary Might.

Studying to carve the acanthus leaf is – for carvers – like a pianist studying a Chopin étude, a younger oil painter learning the genius of Rembrandt or an aspiring furnishings maker studying to chop dovetails by hand. 

For carvers, particularly those that deal with Classical Western decoration, there comes a time they are going to inevitably encounter the acanthus leaf, study it, grasp it and eventually incorporate it into their very own designs.

“Carving the Acanthus Leaf” is a deep exploration into this iconic leaf, which has been a cornerstone of Western ornamentation for 1000’s of years. Might, an expert carver and teacher, begins her e-book at the start. She covers carving instruments and sharpening with the effectivity of somebody who has taught for years. Then she plunges the reader straight into the work. Under is chapter 7, which teaches you step-by-step find out how to carve an acanthus leaf in a rosette.

Numerous types of rosettes have been used for the reason that Roman Empire as ornamental accents and are sometimes used as appliqués (utilized to a floor) to adorn furnishings and architectural options.

FIG. 7.2 Forged metallic rosette, Aiken-Rhett Home Museum, Charleston, S.C.

Listed below are among the design components for rosettes:

• They’re symmetrical and will be round, oval, sq. or rectangular.
• There’s a small bead within the heart that’s both plain or carved.
• In oval or rectangular designs, this heart bead can be oval.
• Sq. or spherical rosettes which might be symmetrical will be turned on a lathe earlier than carving to determine the fundamental profile.
• There are sometimes 4 main leaves evenly positioned across the rosette.
• The leaves begin on the heart bead and movement outward towards the sting, with the guidelines of the leaves defining the outer edges.
• For sq. or rectangular rosettes, the guidelines of the leaves finish at every nook.
• The midribs or heart stems get narrower as they attain the ends of the leaves.
• They typically have small, secondary leaves which might be between and seem like positioned beneath every main leaf. This instance doesn’t comprise these secondary leaves.

FIG. 7.3 Deeply carved rosette in cherry on a vintage wardrobe, George Davis Antiques & Interiors,
Savannah, Ga.
FIG. 7.4 Painted wooden element on a fire encompass, Humphrey Sommers home, 128 Tradd St., Charleston, S.C., 1769-70. Picture by permission of Dr. Telfair and Hope Parker.
FIG. 7.5 Nook of vintage desk, carved in wooden and gilt, Arthur Smith Antiques, Savannah, Ga.

This design has related structural components to different leaves, however some particulars, reminiscent of positioning the eyes, will have to be visually situated with out pointers.

FIG. 7.6

STEP 1: Draw a sq.. This instance has barely curved edges. Draw the middle circle and the mid-rib (heart stem) of every leaf ending simply earlier than every nook. Discover for this design that the midrib connects from one leaf to the subsequent. That is typically achieved to create a steady movement between the leaves.

FIG. 7.7

STEP 2: Draw the eyes near the middle circle. These eyes characterize the place two leaves overlap.

FIG. 7.8

STEP 3: Draw eight circles as proven that intersect and barely overlap on the pointed finish of the attention. These find the sides of the overlapping lobes.

FIG. 7.9

STEP 4: Erase the components of the circles which might be now not wanted. The remaining traces ought to lengthen from the pointed finish of the eyes. The dotted traces characterize the sides of the lobes beneath.

FIG. 7.10

STEP 5: Erase the dotted traces. Draw the 2 eyes on every leaf a couple of third of the way in which up the leaf at a slight distance from the midrib.

FIG. 7.11

STEP 6: Draw circles as proven that characterize the overlapping secondary lobes. The sides of those lobes ought to lengthen from the eyes drawn in STEP 5. The dotted traces characterize the components of the lobe which might be beneath. Generally drawing the sides of the lobes first may help find the eyes, so steps 5 and 6 will be reversed.

FIG. 7.12

STEP 7: Erase the dotted traces. Draw the pipes that begin from the eyes drawn in STEP 5 and curve and movement them alongside the midrib.

FIG. 7.13

STEP 8: Draw the traces that find the serrations as proven. These are sometimes positioned perpendicular to the middle veins on every lobe, however on this design there are not any heart veins on the aspect lobes.
Draw these traces at an angle situated roughly midway between the eyes and the tip of every lobe. Be aware that the middle lobe has two of those pointers which might be perpendicular to the midrib. After studying find out how to place the serrations within the subsequent few steps, these traces are usu-ally now not vital as guides.

FIG. 7.14

STEP 9: Take a deep breath. It actually isn’t as difficult because it appears. Draw small circles that find the serrations alongside the sides of the leaf. These traces ought to begin on the fringe of the leaf and curve down to fulfill the rules drawn FIG. 7.14 in STEP 8. The dotted traces present the proper path of the curve. These circles are merely used to point out the curvature of the serrations. Erase the components of the circles that aren’t vital. This strategy of drawing the circles is usually not vital after studying to grasp the form and place of those serrations.

FIG. 7.15

STEP 10: Erase all traces which might be now not wanted. Full the sides of the leaf by connecting the serration traces as proven and likewise full the guidelines of the leaves.

FIG. 7.16

STEP 11: Erase any pointless traces.

FIG. 7.17

STEP 12: Draw traces ranging from the within corners of the serrations that movement down every lobe. These traces characterize a excessive edge (or excessive nook) within the leaf.

FIG. 7.18 That is the completed drawing with all particulars.


STEP 1: Put together the Wooden. Research Chapter 2 to find out about totally different strategies to switch templates to wooden. I used carbon paper. Switch all of the traces from the template at the start of this chapter and reduce out the define of the design on a band noticed or scrollsaw. This can be an appliqué.

FIG. 19

STEP 2: Carve the Heart Bead. With a 6mm V-chisel, make a 1/16″-deep reduce alongside the skin fringe of the middle circle. Outline the sting of the bead by making vertical cuts straight on the road with a #5, 8mm. With the identical #5, 8mm, spherical over the bead to a half-sphere. Use the #5, 8mm to decrease the leaf to the sting of the bead, beginning 1/2″ from the sting of the bead.

FIG. 7.24
FIGS. 7.25 & 7.25

STEP 3: Around the Leaves. With a #3, 18mm, spherical over the guidelines of every leaf beginning 1″ from the tip and carving down 1/4″ on the tip (to make the rosette extra formed, this may be rounded deeper). Re-draw any traces that had been carved away. NOTE: STEP 1 and STEP 2 may also be achieved on a lathe.

FIG. 7.27
FIGS. 7.28 & 7.29

STEP 4: Carve the Midribs. With a 4mm V-chisel, make deep cuts that outline the sting of the mid-ribs. These must be 1/16″ deep towards the middle and fade off simply earlier than they attain the leaf ideas. With a #7, 10mm, carve a slight hole within the midrib because it comes towards the middle bead.

FIG. 7.30
FIG. 7.31

STEP 5: Around the Leaf Subsequent to the Vein. With a #4, 14mm, spherical over the floor of the leaf right down to the sting of the midrib.

FIG. 7.32
FIG. 7.33

STEP 6: Outline the Overlapping Lobes. With a 3mm V-chisel, begin in the course of the attention and make a 1/16″-deep reduce alongside the sting of all overlapping lobes.

FIGS. 7.34, 7.35 & 7.36
FIG. 7.37

STEP 7: Carve the Eyes: Research Chapter 3 to study extra about carving eyes. With a #11, 3mm veiner, make a forty five° reduce on the base of every eye. With a #5, 5mm, proceed this reduce on both aspect of the attention to create a teardrop form that has a pointy, inside nook.

FIG. 7.38
FIGS. 7.39-7.40

STEP 8: Outline the Overlapping Lobes. With gouges that match the sting of the overlapping lobes (#5, 5mm and #7, 10mm), outline the sides with vertical cuts straight on the road.

FIG. 7.41 & 7.42
FIG. 7.43

STEP 9: Decrease the Underlying Lobes. With a #5, 8mm, decrease the components of the leaf that seem to go beneath the overlapping lobes and create a slight hole reduce. Ensure that the sharp edges created by this reduce movement within the appropriate path.

FIGS. 7.44 & 7.45
FIG. 7.46

STEP 10: Carve the Pipes. Research Chapter 3 to study extra about carving pipes. Re-draw pipes which were carved away. With a #11, 3mm, make lengthy, sweeping cuts alongside either side of the pipe, beginning on both aspect of the attention.

FIG. 7.47
FIGS. 7.48 & 7.49

STEP 11: Around the Leaf. With a #3, 6mm, soften any sharp edges within the leaf floor that had been cre-ated by carving the pipes. NOTE: Usually pipes are rounded over additionally, however as a result of these are so small, it might trigger them to lose definition.

FIGS. 7.50, 7.51, 7.52 & 7.53

STEP 12: Hole the Secondary Lobes. With a #7, 10mm and #7, 8mm, hole the three secondary lobes in every overlapping lobe.

FIG. 7.54
FIGS. 7.55 & 7.56

STEP 13: Hole the Remaining Secondary Lobes. With a #7, 8mm, hole all remaining secondary lobes.

FIG. 7.57
FIGS. 7.58 & 7.59

STEP 14: Carve the Serration Notch Cuts. Research Chapter 3 to study extra about these defining cuts. With a #5, 8mm, make one reduce defining the serration edge and a second reduce at a slight angle making a small triangular notch reduce.

FIG. 7.60

STEP 15: Clear the Edges. With a #3, 6mm, make a forty five° chamfer alongside all edges. This can create a clear, well-defined edge and can take away remaining template or pencil traces.

The place lets put these? How about as ornamental particulars on the higher corners of door frames? Small rosettes will be added to the corners of kitchen cupboards or accents on dressers or headboards. Then there may be that fantastic architectural function that simply begs for carved particulars – the hearth mantel. Be artistic and both make the rosette a central design function, or a secondary element for a easy accent. How about customized coasters and go away a big flat space within the heart for wine glasses to suit? I’ll have to consider that one over a glass of wine.

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