1、 Roughing:

粗坯是整个作品的基础，它以简练的几何形体概括全部构思中的造型细节，要求做到有层次、有动势，比例协调，稳定，整体感强，初步形成作品的外轮廓与内轮廓。凿粗坯的基本要领是，从上到下，从前后，由表及里，由浅入深。从上到下，就是从头部开始做到脚跟;从前后，就是先凿前身，再凿后背;由表及里，就是从木料表面开始，一层层向内剥进;由浅入深，就是先凿好浅的地方，再凿深的地方。

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.

玉石雕刻机

Jade carving machine

二、掘细坯：

2、 Fine billet excavation:

先从整体着眼，调整比例和各种布局，然后将人物等具体形态及五官、四肢、服饰、道具等逐步落实并形成，要为修光留有余地。这个阶段，作品的体积和线条己趋明朗，因此要求刀法圆熟流畅，要有充分的表现力。掘细坯中的镂空技巧，要求以纵纤维组合镂空，镂去多余的部分。要运用带筋法，即在作品的擎空易断的部位留下一小块料使其与临近的部位牵附，待作品完成后再用薄刀密片法把牵附之筋去掉。

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:

运用精雕细刻及薄刀密片法修去细坯中的刀痕凿垢，使作品表面细致是修光的目的。要求刀迹清楚细密，或是圆转，或是板直，力求把各部分的细微末节及其质感表现出来。

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:

根据有些作品需要，将白坯木雕用粗细不同的木工砂纸搓磨成细润光滑。要求先用粗砂纸，后用细砂纸。要顺着木纤维方向反复打磨，直刀痕砂路消失，显示美丽的木纹，要注意保持作品轮廓清晰、线条流畅。

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、刻毛发、饰纹：

5、 Hair and decorative patterns:

用三角刀刻画毛发、饰纹，要求运刀爽快、肯定，粗细均匀，一丝不苟。

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、着色上光：

6、 Coloring and glazing:

着色不仅仅是为了弥补某些材料的不足或缺陷，而且还能起到加强丰富材料质感美和作品形式美的作用。因此在作品着色上要酌情而定，要求尽量体现出木纹的美。色泽要深沉明快，符合天然木质的种种美感。

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.

上光的目的是滋润木质，使作品锦上生辉，同时也起到防污作用以便长期保存，因此要求均匀渗透，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:

底座不仅是主体的依托，也是雕刻造型中不可分割的一部分。因此要求底座的形状尺度要与作品的内容形式相辅相成。充满曲线与生动活泼的作品，可借简洁朴素的底座衬托，而造型简洁或肃穆的作品则可以在底座上稍事雕饰。总之要注意互相之间的比例协调，注意色调上的相互烘托，切勿喧宾夺主，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.

以上就是玉石雕刻机时的注意事项，如果您还有其他问题，可以随时咨询我们。

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