right way to carve any project with large or integrates scenes?

[Regis]

After looking at tha saddle that Bruce posted, I am perplexed as to the right way to carve any project with large or integrates scenes. I'm at a point that I can carve individual items and it is time to put some togather in an oveall scene. Assuming I create a satisfactory layout where do I begin carving and how do I progress. For example a mountain scene with trees near and far and a cougar creeping toward a mule deer. Instinct tells me to carve the most difficult animal 1st then the other animal. Then start carving trees and mountains from the animals outward. Then begin tooling in the same order.

Is the a good approach, or should I work from one side caeving and tooling and working my way across. That makes sese if I should not be laying hands and arms on completed work.

Would I do the same if I had lots of detiled leaves covering the entire peice?

Could I get a little guidance here?

[rharris]

I start with the foremost object first and work my way to the fartherest.

rharris

[bruce johnson]

Regis,

I agree with rharris' reply about going from front to back. For floral and oak patterns I do the same. I do my flowers first, then leaves, and then stemwork. I also usually use my tools in order of size. The one's with the bigger footprints first, followed by smaller tools, and end with the tools with more texturing. I think in one of Stohlman's books the advice is to only pick a stamp up once, use it everywhere necessary on the piece, and then put it away. This is supposed to speed things along. I am not that good.

On some bigger pieces I divide the piece into sections. I usually cut the whole pattern at once, but will then only tool one fourth completely, and keep the other 3/4 under saran wrap, covered with a plastic bag, or whatever. If the untooled part starts to dry out too much, I rewet that whole 3/4 section, wetting more on the last sections to do. As I progress across the piece, I am rewetting ahead of myself to try to have no breaks by having a section too dry or wet to work as I get to it. Anticipate how that leather is holding the casing and wet or uncover as necessary before I get to it. I find by breaking it into sections I am not fighting the casing on the whole piece. If I have to rewet a previously partially tooled section to finish it, I lose detail and toolability in that section. I rewet with either a piece of sheepskin or sponge, wrung out to the appropriate moisture content for however much water I am losing.

I background with matting type backgrounders first. I use a set of Barry King's finest checkering backgrounders. If I am going to use a more textured backgrounders like the 104's or 888's, or bargrounders, I let the whole piece get pretty dry, at least 8 hours or so and sometimes overnight before I come in with the texturing backgrounders. This gives me good tool burnishing and contrast. Also since the background has been previously matted, it doesn't take much force to lay it down and won't tend to expand in to my elements.

Bruce Johnson

[Regis]

Thank you.

Quote: "If I have to rewet a previously partially tooled section to finish it, I lose detail and toolability in that section. "

That is what I believe has happened to me as I practice on different parts of the same scrap piece.

What you say about dividing up the project for tooling makes a lot of sense. And apparently re-wetting ahead of yourself does not have the same affect.

Thanks agin

Regis

[bruce johnson]

Regis,

Yes that is pretty much my experience with my leather. If I can keep it wet, then I can tool it better. If I let it dry out totally, then it doesn't tool as well for me on the second wetting. Keeping it wet from the start just works better for me. I like to tool my saddles as the pieces are drying from the casing and fitting if at all possible.

Bruce Johnson