Sculptor & Korbinet
Sculptor Sculptor
Korbinet Korbinet
Korbinet Korbinet
I notice your pieces often have an internal skeleton; do you map that out before you start sculpting, or does it evolve during the process?
Sculptor Sculptor
I usually start with a very loose idea in my head, like a vague shape, then as I begin to carve the first block of stone the skeleton starts to appear. I don’t sketch a detailed skeleton beforehand; I let it evolve as I feel the weight and flow of the material. It’s a dance between what the stone says and what I feel needs to be there. If I find a flaw or a new curve, I’ll carve away a bit more to adjust the structure. That way the piece grows in a natural way, and I can keep refining until it feels right.
Korbinet Korbinet
You rely on the material to guide you, but that means the core can shift until you finish. I would audit the design first, lay out the skeleton on paper or digitally, then use the stone as a verification tool. That way you can isolate flaws early, rather than chasing them after they appear. In other words, plan the framework, then let the stone adapt within it.
Sculptor Sculptor
I hear you, and you’re right, a clear plan can save a lot of rework. I do sometimes find myself carving a bit of the framework on the spot, letting the stone’s grain guide me. But if a sketch or digital outline can keep the core steady, I might try that next time. It could give me a safety net while still leaving room for those little surprises the material loves to throw at me.
Korbinet Korbinet
That sounds reasonable. Draft the framework first, then use the stone to validate. Keep the plan lean; you can iterate on the sketch, but never let it become a freeform after the fact. Good practice will keep the final piece free of rogue structures.
Sculptor Sculptor
Thanks for the solid tip. I’ll keep the sketch tight and let the stone confirm, but I still like to leave a little wiggle room for the material to surprise me. A balance between plan and play often brings the best shape.
Korbinet Korbinet
You're managing the trade‑off well; a tight outline provides a containment map, and the stone can still signal deviations that you correct immediately. Keep the outline minimal but complete enough that any new curve you carve has a defined boundary. That way you preserve the safety net while still allowing the material to surface its unique irregularities.