1、 Roughing:

粗坯是整個作品的基礎，它以簡練的幾何形體概括全部構思中的造型細節(jié)，要求做到有層次、有動勢，比例協(xié)調(diào)，穩(wěn)定，整體感強，初步形成作品的外輪廓與內(nèi)輪廓。鑿粗坯的基本要領是，從上到下，從前后，由表及里，由淺入深。從上到下，就是從頭部開始做到腳跟;從前后，就是先鑿前身，再鑿后背;由表及里，就是從木料表面開始，一層層向內(nèi)剝進;由淺入深，就是先鑿好淺的地方，再鑿深的地方。

Rough blank is the basis of the whole work. It summarizes all the modeling details in the conception with concise geometric form. It is required to be hierarchical, dynamic, proportion coordinated, stable center of gravity and strong sense of wholeness. It initially forms the outer contour and inner contour of the work. The basic gist of roughing is from top to bottom, from front to back, from surface to inside, from shallow to deep. From the top to the bottom, we start from the head to the heel; from the front to the back, we first chisel the front and then the back; from the surface to the inside, we start from the surface of the wood and peel into the inside layer by layer; from the shallow to the deep, we first chisel the shallow place and then the deep place.

玉石雕刻機

Jade carving machine

二、掘細坯：

2、 Fine billet excavation:

先從整體著眼，調(diào)整比例和各種布局，然后將人物等具體形態(tài)及五官、四肢、服飾、道具等逐步落實并形成，要為修光留有余地。這個階段，作品的體積和線條己趨明朗，因此要求刀法圓熟流暢，要有充分的表現(xiàn)力。掘細坯中的鏤空技巧，要求以縱纖維組合鏤空，鏤去多余的部分。要運用帶筋法，即在作品的擎空易斷的部位留下一小塊料使其與臨近的部位牽附，待作品完成后再用薄刀密片法把牽附之筋去掉。

First, from the overall point of view, adjust the proportion and various layouts, and then gradually implement and form the specific forms of characters, such as facial features, limbs, costumes and props, so as to leave room for light repair. At this stage, the volume and lines of the work have become clear. Therefore, it is required that the sabre technique be skillful and fluent, and have sufficient expressive force. The hollowing out technique in the process of excavating fine billet requires that the longitudinal fiber combination be used to hollow out the surplus part. To use the method of band, that is to leave a small piece of material in the easily broken part of the work, so that it can be attached to the adjacent parts. After the completion of the work, the thin knife close piece method is used to remove the tendon.

三、修光：

3、 Finishing:

運用精雕細刻及薄刀密片法修去細坯中的刀痕鑿垢，使作品表面細致是修光的目的。要求刀跡清楚細密，或是圓轉(zhuǎn)，或是板直，力求把各部分的細微末節(jié)及其質(zhì)感表現(xiàn)出來。

The purpose of polishing is to use the method of fine carving and thin knife dense slice to remove the knife mark and scale in the fine blank and make the surface of the work fine and perfect. It is required that the trace should be clear and fine, or round or straight, and try to show the details and texture of each part.

四、打磨：

4、 Grinding:

根據(jù)有些作品需要，將白坯木雕用粗細不同的木工砂紙搓磨成細潤光滑。要求先用粗砂紙，后用細砂紙。要順著木纖維方向反復打磨，直刀痕砂路消失，顯示美麗的木紋，要注意保持作品輪廓清晰、線條流暢。

According to the needs of some works, the white wood carvings are rubbed with different thickness of wood sandpaper to make them smooth and smooth. It is required to use coarse sandpaper first and then fine sandpaper. It is necessary to polish repeatedly along the direction of the wood fiber until the sand path of the knife mark disappears, showing the beautiful wood grain. It is necessary to keep the outline of the work clear and smooth.

五、刻毛發(fā)、飾紋：

5、 Hair and decorative patterns:

用三角刀刻畫毛發(fā)、飾紋，要求運刀爽快、肯定，粗細均勻，一絲不茍。

To depict hair and decorative patterns with a triangular knife, it is required to move the knife briskly and definitely, with uniform thickness and meticulous care.

六、著色上光：

6、 Coloring and glazing:

著色不僅僅是為了彌補某些材料的不足或缺陷，而且還能起到加強豐富材料質(zhì)感美和作品形式美的作用。因此在作品著色上要酌情而定，要求盡量體現(xiàn)出木紋的美。色澤要深沉明快，符合天然木質(zhì)的種種美感。

Coloring is not only to make up for the deficiencies or defects of some materials, but also to strengthen and enrich the beauty of texture of materials and the beauty of the form of works. Therefore, the color of the works should be determined according to the circumstances, and the beauty of wood grain should be reflected as far as possible. The color should be deep and bright, in line with the various aesthetic feeling of natural wood.

上光的目的是滋潤木質(zhì)，使作品錦上生輝，同時也起到防污作用以便長期保存，因此要求均勻滲透，亮而不俗。

The purpose of glazing is to moisten the wood, make the brocade shine on the work, and at the same time play the role of antifouling for long-term preservation. Therefore, it is required to penetrate evenly, bright and not vulgar.

七、配置底座：

7、 Configuration base:

底座不僅是主體的依托，也是雕刻造型中不可分割的一部分。因此要求底座的形狀尺度要與作品的內(nèi)容形式相輔相成。充滿曲線與生動活潑的作品，可借簡潔樸素的底座襯托，而造型簡潔或肅穆的作品則可以在底座上稍事雕飾?？傊⒁饣ハ嘀g的比例協(xié)調(diào)，注意色調(diào)上的相互烘托，切勿喧賓奪主，本末倒置。

The base is not only the support of the main body, but also an integral part of the sculpture modeling. Therefore, the shape and scale of the base should be complementary to the content and form of the work. The works full of curves and liveliness can be set off by the simple and simple base, while the works with simple or solemn modeling can be carved on the base. In a word, we should pay attention to the proportion and coordination between each other, and pay attention to the mutual contrast on the tone, and do not make the cart before the horse.

以上就是玉石雕刻機時的注意事項，如果您還有其他問題，可以隨時咨詢我們。

The above are the precautions for jade carving. If you have any other questions, please contact us at any time.