I have a few entries for you that should rather be treated as an introduction to a given topic. These will be simple tutorials and as each name suggests, each of you must work out your own way of finally presenting the carved subject. As the first I will introduce anatomical elements separately then we will work on the whole character. It seems to me that it will be simpler.

At the very beginning I will add that it is worth making friends with both the medical lexicon and the anatomical catalog for artists. Any kind of scientific aids like skull or skeleton models will be useful to you. The greater your awareness of the anatomical structure of a given “object” or element, the easier it will be for you to work with the topic. Do not get me wrong but we have to work our whole life over our own skills. It is not enough to draw something or carve something a few times. Sculpting is a continuous conscious work, drawing conclusions, sobriety of mind and interpretation of reality.

As the first entry I chose nose.

It is a bit easier to carve part of our face. As far as you can say 😉 We start sculpting by making sketches and, above all, carefully studying the living model of the nose. You do not have to hire a professional model at once, just ask someone close or sit in front of the mirror. It is worth to make sketches in different perspectives and with different levels of accuracy. They can be sketches, any drawing or painting technique. The more elements in the construction of the nose you will consciously observe, the easier it will be to pass you to trials in clay or plasticine. As for sketching from photos as I wrote earlier, in my opinion, it will be poor when you want to move an element from 2D to 3D without experience in sculpting. I recommend the site where you will find a fairly accurate classification of noses due to construction;)

Studying the nasal anatomy separately will let us know that it is a spatial solid. Each element in its composition is not separated by a sharp line on the skin and smoothly goes into another element. This perspective and light build sharp edges. Both in the full sculpture and bas-relief – en face, the tip of the nose will be the most protruding element of the face. Okay, but let’s go back to carving.

Once we have the analysis of the nose structure, we go to the clay model. Here, it is also worth doing a few trials on different types of noses. I know it’s tedious, but before we get in practice, I advise you to prepare such a model before you start working in wood. This will speed you up and make you feel more comfortable. The model in clay is also useful when we are not able to work with a living person anymore. Below you will find the stages of nose carving. It may look a little strange because I did not put it in the rest of my face 😀 But the time will come.


1. Try to use U-profile sculpting chisels. You will not make accidental, unwanted, sharp undercuts.

2. Mark the tip of your nose with a good supply of material. No matter what kind of sculpture it will be the tip of the nose will be your point of reference to build the next anatomical points of the whole face and even the characters.

3. Carefully study the anatomy of the nose and face.

4. Prepare drawings and model in clay.

5. If this is your first nose in your life, it will be easy for you to try to make a full sculpture with a supply of the entire head and even go crazy and carve only the nose in the wood block.

6. Be vigilant! While sculpting, focus on what you do. If you feel tired – take a break.

7. Take your time and try to sculpt when you are rested.


Step 1: Plasticine model (you can use any material that is easier for you to work as well):




Step 2: Sketch on the wood. If you are beginner, add sketches on the wood:


Step 3: Use U-shape sculpting chisels for best results:


Step 4: Directions of sculpting while leveling. Remember to avoid sharp edges:


Step 5: Remember to check nose from every perspective.



Step 6: Voilà! You can use sandpaper to achieve “skin effect”: