The rose element on the right hand side of the lovespoon is redrawn over the shaped portion of the lovespoon where it is located. Before any actual carving of the rose’s basic form its level in the overall design needs to be established. In addition the overall form at that portion of the carving needs to be shaped into the volume that will be carved into the rose element.
Once the outlines of the rose’s main forms; petals, leaves and the underlying scrolling terminals of the tendril lines are drawn in, the deep undercutting is commenced from those lines.
A balance of depth, delicacy of form and the necessary inherent strength required for the unsupported rose element here on far right hand edge of the lovespoon, means erring on the ‘chunky’ side. There remains the possible refinement of form later after many more hours of turning gripping and handling have safely passed. Even then the refinement to the rose’s final form will need to be cautious and sparingly executed.
I could have opted for an ornamental and robustly geometric Tudor Rose in this situation but it seemed a more naturalistic, only slightly stylised rose, would fit the art nouveau style of the overall design better.
In the next post the carving of the Welsh Dragon will be described.