Silver bowl project; peening to make ready for thickened edge

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I watched a film made by the Goldsmiths company to showcase silversmithing skills. The demonstrator was the awe inspiring Christopher Lawrence;

http://www.pearsonsilvercollection.com/biographies.html#lawrence

Christopher Lawrence embodies, for me anyhow, what is it is to be a true master craftsman. If you stop to dwell too long on his achievements, experience and sheer depth of knowledge, you could be forgiven for being disheartened. Trained from a very early age in a time when measurable performance meant far more than ideas and promise, it feel its fair to say the likes of these crafts masters are becoming ever rarer in a time where talking is far more valued than ‘walking’

Rant over! Lets look at peening the disc of Britannia silver before sinking, in preparation to raising. Peening is the same as the approach I presented in a previous post showing how to make simple curves or dishes without curved stakes. The difference being the working from the centre, as before, this time without the ‘dam’ or ‘moat’ I explained to contain the ‘wave’ of material as it is pushed to the outside edge.

The hammer I used is another junk shop find, very heavy, re-profiled and polished to act as a peening hammer. Consistency, as with much of this discipline, is key. My thinking was that a very heavy hammer can be used to keep the blows consistant. Rather than swinging a lighter hammer, with all the variance this would introduce to the force of each blow, I use the weight of the hammer. You see the gentle curve of the hammer face, all blows overlap to keep the ‘wave’ ahead of, and not behind the next blow. Working from the centre to the outside edge, a section of material at the edge is left. All the material is now concentrated there and ready for calking, more on that in another post.

I lift the hammer as precise a distance from the disk and let it fall on the disc of silver. My reasoning being if the height is consistent, the weight of the hammer will ensure the blows are as consistent as possible, I just have to ensure I keep turning the disc to present the next point of contact for each blow. Do not move the hammer, just the disc of silver flat on the steel trist, working in a perfect circle, hence the guide lines made with a compass, moving outward towards the edge.

The little copper model shown here with the calliper showing the width of the rime is to illustrate the sort of expansion you can achieve. The starting sheet of copper was 0.9mm thick. As you see from the digital read out, the size difference is substantial.

I followed Christopher’s lead and did three rounds of peening to achieve this result. Next time I will show you the stages that follow on from this to create the thickened edge as you go along raising your form.

Untill next time, all my very best wishes.

Stu Art.

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Preparing to sink a copper bowl also applies to silver.

Wato wato.

Time for a break from chasing and repousse, good oh do I hear you say?

I very much wanted to create three dimensional, sculptural type work in metal. This type of working was what attracted me to silversmithing in the first place. So we don’t go off at a tangent, as I am likely to do, no really! I will not give examples of the work that inspires me yet. O/K perhaps just one to give an example of the extreme plasticity and mailability of metal over repeated courses.

http://en.wahooart.com/@@/8Y366D-Benvenuto-Cellini-Salt-Cellar-(5)

This piece was made from gold sheet and raised to become the masterpiece you see here. I was astonished when I saw this and was truly amazed to discover how it was made. As I understand it, it is still somewhat of a mystery as to he exactly did it. I feel the need to show a modern master of this extreme form of metal raising, my biggest influence today as well as a thoroughly decent chap who responded to my ham fisted request for help; David Huang.

http://davidhuang.org/gallery2/main.php?g2_itemId=2147

Breathtaking aren’t they. Please do take the time to look at his sight, the man is a truly beautiful individual who has an inspirational take on life that is well worth reading. When I make enough to support myself and have cash to spare (I put when so that defeat is not an option) I will purchase one of his masterpieces, you can quote me on it.

I was afraid I would get carried away, oh well I hope you find some history and examples of masters challenge you to have a go.

The pictures show the early stages of the journey that leads to hand raised vessels, hollowware or sculptural art as shown by Cellini and Huang. Many practitioners start by raising and not sinking first, here is why I prefer to sink first.

The metal, when you start with a flat sheet, even after annealing is quite reluctant to raising and demands a degree of understanding as to the direction the metal will tend to take. As a beginner it was easy for me to get lost and create what looked like a pringle crisp that had been processed more than once. Experienced practitioners do not have a problem compensating for and altering their approach as the material demands, sinking before lessons this ‘wild’ behaviour of the metal, in my experience anyway. Sinking lets the metal ‘relax’ into the process and aids me in making each round more consistent.

The two ancient looking machines shown in the photographs were purchased by me from a chap who retired as a tinsmith. I managed to rescue the whole of his workshop machines and stakes. You can just see one of the two fly presses that came from him. He showed me one of the press stamps and said this was his first job as a tinsmith when he was sixteen. I feel proud to have been able to become the next custodian of these fine machines that were at the centre of the golden era, now sadly gone, of British manufacturing, don’t get me started!

The metal guillotine is handy, fast and efficient in cutting straight edges. You don’t need it, its just lovely to have as is the next machine that you may not have seen before. This is a circle cutting machine. A kind of tin opener like machine with two cutting wheels that cut as the handle is cranked. Again not a necessity, just a beautiful machine to own and one that will be overhauled, like the guillotine in the future.

The metal sheers or tinsnips are perfectly good for this and are mostly used as many people will not have a circle cutting machine. When you cut with these sheers, go just outside the line and finish off by filling to the line. The sheers will leave a little raised edge or burr that will need to be filled smooth. The jewellers saw is a posh one made by KEW designs. It gets mixed reviews, I am not the best person to advise as I started with the nastiest cheapest saw to begin with, as a result I feel sure anything else would feel fantastic. This saw is great for me and I noticed the difference straight away, best, if you can, to try a really nicely made traditional saw, then compare, I haven’t so am not subjective on this.

Shown are the hammers I use, sinking or blocking hammers as they are known. I put the common ball peen hammer in to show the difference in profiles. As you see this hammer has a very tight radius compaired to the blocking hammers. Imagine the surface finish you see on planished jewellery or vessels. The ball peen is great for texture, not so good for sinking as it compressed a too small area. The larger hammer on the right is looking almost flat by comparison. Imagine this moving large areas at a time and distributing the stresses from each blow more evenly as well as making overlapping blows far easier. Some people would use a bossing mallet shown here to do all the sinking. I find it more efficient to use a hammer on wood then finish off with the mallet, either in the same wood depression or on a sandbag to even out the surface before annealing.

I show the two examples of wooden depressions made to accommodate different sizes and depths. The second one shows the hole I drilled to remove material before using a sinking hammer and repeatedly hammering hard and accurately to create a depression that matched the profile of the hammer. The other one was made deliberately irregular with chisels and sanding to experiment with differing depths and profiles. Willow is said to be the best material as it has a natural spring, as it was explained to me, think of cricket bats. I do not have any and used wood I found after a tree was cut down where I walk my two dogs. Pretty much any end grain wood should work I would think.

When you started to mark out your circle you need to centre punch the middle where the compass spike sits. This is important as you will need this as a reference point later. Careful not to go too deep, making sure you can see the mark from the reverse, this is not as important if you plan to just sink, however if you go on to raise you will need both.

I have, again, written more than I intended and find myself running out of time. I will continue this topic next time, trying not to be as distracted. The next post we will start to strike the metal and create a small bowl. For those of you who are not sure about sinking with the wood, or do not have a blocking hammer but do have a ball peen. I will show you how you can use work hardening with such a hammer and a flat steel bench block to make a small bowl from scrap if you like.

Until next week, all my very best wishes.

Stu Art 🙂