Chasing and repousse´bowl, new German red pitch used for completing sterling silver ‘Lawrence cuff’

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See text for explanation of hot air/paint stripper gun.

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Because of the hight required for the ‘runes’, also the definition/separation from the background I wanted to achieve; you can clearly see the material ‘gathered’ from the surrounding ares of each stone to push more silver where thinning will inevitably occur.

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German red pitch, I now have experienced, is very much more supportive. To get this flatness with my normal green would have meant transferring from the pitch to a flat plate, using planishing punches to push back surrounding areas.

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To cover up the marks made whilst gathering material, starting to use different curved liners to give the impression of flowing water.

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Not shown, look at the slightly raised areas made by turning the piece over in the pitch to repousse´ small water eddie type effect.

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Close up of the water eddie effect I was shooting for

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After all the water flowing decoration was applied I planished each rune as best as possible with planishing punches. From the pictures of runes I have seen, many appear to be smooth and shining. Not my normal approach, I much prefer the planishing marks, however for the effect I was looking to create, polishing was next.

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After polishing came the application of the name Lawrence in the rune alphabet.

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All done 🙂

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From a previous post, remember the copper ‘sketch’?

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Another bonus with the German red pitch. Look at the impressions left after removing. It releases much easier, is a lot less messy and so much easier to clean up.

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Fingers crossed Lawrence likes it

Wato wato one and all.

The German red pitch is brilliant, I’m a convert. The green pine based pitch will still have a place in my workshop, I wont be throwing it out anytime soon, horses for courses as the saying goes. For rapid ‘puffing’ or the repousse´ stage, it still has a lot to offer, being as it is far softer than the red. At this time I feel confident in stating I will in all probability not use green pitch ever again for chasing. After using the red, it just isn’t supportive enough. When I made the copper model, yes I know its softer to start with, however I had to, after each course, return to a steel flat plate and return the surrounding areas to flat with mallets and punches. Not once did I have to using the red.

You will perhaps remember when I attempted to put in ‘Lawrence’ into the copper runes, they pretty much all collapsed. I feel very confident that would not have been the case if I had used the red, rather than the green pitch. Yes, the silver is stronger, remember though the amount of raising required to get the hight will have thinned the silver quite a bit, so perhaps not as strong as we may be lead to assume.

In conclusion, green for rapid and less precise repousse´ stages. Red for chasing and more refined lines, less planishing and more support. I hope this is helpful to some of you who, like me, wanted to know the difference. I still haven’t found anywhere on the web where comparisons are made, probably not looking hard enough, please let me know if you find such a site.

A very nice lady, check out her blog  http://patriciacarlson.wordpress.com/  told me of a workshop she attended with a master craftsman, David Bigazzi:-  http://www.dbcollection.net/

She very kindly passed on a tip she picked up whilst there. I show, in the first picture, a heat gun that I have always used for softening my pitch. I find the thought of playing a flame over it and all the associated soot, not good. My Dad is a heating engineer and he has a supper dooper programmable digital heat gun used to check out thermostats. I couldn’t afford one of those, but I got the idea this one. Its great for the job and has a variable heat setting that I find very controllable. Patricia also says DB uses such a gun for annealing!! How cool is that. I must confess I haven’t tried it yet, I will though. Could it be a better way, less risk of overheating and firestain. I will let you know, Thank you again Partricia.

Thank you all again for looking at this blog. Remember if you wish to see something, don’t hesitate to let me know, I love a challenge. I hope to show you next time some ring projects I have in the pipeline. A lady likes my moon series, but wants a ring made. I have done a copper model (no really 🙂 this will be a hollow design needing stakes that I made out of old bolts to create, I’ll show you how. Reen had been asking for me to do a moonstone ring, aaarrrrhhh stones, colour, get behind me Satan. I pays to get out of your comfort zone once in a whilr – right ;\

Until next time all my very best wishes.

Stu Art 🙂

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Repousse and Chased cuff bracelet, a journey from copper to silver

Wato one and all

The year is going at a gallop as my course is up in June so time to get my finger out and settle upon a design I will be using for my final projects and the precious metal bursary that I was fortunate enough to receive from Goldsmiths Hall London. I have, to this point, just keep things pretty much technical in this blog, I find this relatively easy but will stretch myself in future to share some of the roller coaster  journey that this course has presented to me. As you can imaging this will be largely subjective and in no way verifiable or necessarily relevant. Perhaps even unrecognisable to others who have walked a similar path. One of the attractions of this blog, for me, was the opportunity for others to be candid and open with differing views that will inevitably lead to other perspectives; perspectives that I may not relate to. However all comments will bury themselves somewhere in the unconscious. This will only serve to make me more aware and rounded as an individual, difficult as I appreciate it sometimes is to be open face to face, the relative anonymity of this vehicle allows me to be open. I hope you will find it similarly conducive to getting your candid opinion accross safe in the knowledge that we will likely never share the same physical space. I very much look forward to being pushed and challenged, after all nothing can be forged without heat, come on, turn up the burner 🙂

This cuff bracelet was made for very dear friends as a birthday present for Clair. In another post I will introduce the extraordinary force of nature that is Paul and Clair Pennington of the Jewellery Workshop in Porthleven Cornwall.

http://porthlevenjewelleryworkshop.co.uk/

It would take too long to tell the story, suffice to say that in less than a year has seen them become such a successful team that it can be called nothing less than an inspirational tale of guts and determination.

Paul is enrolled on the same course as me and was taken by my, wear your heart on your sleeve, bracelet design. He commented that the inside looked like pebbles on a beach and the forming process left a pleasing sand like look on the inside. As Clair is a lover of such subjects Paul asked me to look at ‘just doing a reverse heart on your sleeve’!!!

The exclamation marks are to warn the unwary of being complacent, on the face of it nothing could be simpler, right? I show the original copper model of this piece to show you what Paul saw in the original design, I will now explain the journey.

The copper model was one of many, actually this is one of two rounded models, the other being a lesson :/ (hideous). Along with this were many flat copper experiments to test punched that I made to try to replicate the effects. I have mentioned this before but it pays to repeat. Working in thin gage copper, approximately 0.6-0.7mm thick is very different and far easier than the 0.9mm Stirling Silver sheet used here. The silver is very much harder to move and requires more annealing stages to obtain similar results, don’t go too far too soon, give yourself more time than you would in copper.

Not shown her is the initial lining as I wanted the stones to look placed on the surface the lines on the outside would spoil the effect. I lined the outlines when the silver was flat on a bench block before bending it to shape with a bracelet mandrel and soldering it together.

Here lies another challenge with a closed form, if you recall it is best to keep the chasing and repousse punches near vertical for them to work at their best. Now you will have to work from either opening of the bracelet. Shown here on my plaster scene, I try to use this as much as possible as the pitch stage is time consuming to set up and messy to clean up.

I chose to anneal often and not go too fast as the unequal stretching that working from either side made overstitching and miss shaping a real danger, so slow and steady. The challenge with this is to keep concentrating on the future as each annealing stage can be a little soul destroying when completed as it appears you have not achieved that much as the rounds count up.

Now as the shapes are coming along nicely the problem presents how best to separate the pebbles from the background. Working from the inside using push tools and planishers define the surroundings of individual elements.

After you have gone as far as you can from the inside consideration turns to the front. I did not want to mark the pebbles as I wanted to keep the finish more subtle, now comes the fiddly part that you have to work out as you go. Using bits of wood and plastic or delron nylon extruded bar shaped with saws and filed to fit a the recesses, carefully knock back the background. As you see from the pictures this still will not define the shapes as separate, for this you will need to undercut each stone from the surrounding.

As one of the last stages it is also a very nerve wracking process. As you can imagine as all these elements were raised from the surrounding sheet. As a result they have streatched and thinned, any careless blows will likely be met with a break through, tearing the silver and necessitating a time consuming repair, worse a piece of scrap, nasty lesson learned.

You see the ‘moats’ or ‘troughs’ surrounding the pebbles. With the undercutting punches I used surrounding material and pushed it towards each element. My reasoning was that as it was moved from untreated areas it would pool up against the edges. This was to ensure that sufficient material was present at the edges of each stone, reinforcing it if you will and making the undercutting process less hazardous, less likely to result in breakthrough. Good luck or practice, I know not what, I had no issues and all went well.

The cutting and finishing of the wavy pattern was done with a jewellers fret saw, files and sanded to acceptable standards before returning to the pitch for final texturing. After putting on the pitch it was left to cool so as to create a hard stake like effect that would support the shape, preventing distortion whilst the texture was applied with liners and planishing punches.

The deliberate break in the pattern was made to ensure that I had enough material to be able to make the piece smaller as I was concerned that with the extreme shaping would result in a possible modification. I feel bound to say that when Clair found it was indeed too big I was glad I did. Fair to say the sawing of it in half and removing a section before soldering back together was another lesson learned. If you find yourself in a similar situation may I suggest that you anneal the piece before you saw it in half. All the forces that had built up whilst final forming and texturing made it distort when I cut through it. I kid you not it took an age to straighten it up and re join it, this would not have happened if I had annealed it first as it would have equalised the forces and made it far easier to modify.

I hope you like it, better, I hope it inspires you to try something for yourself. The next time I will start to show examples of hand raising and making bowls, until then.

All my very best wishes.

Stu Art

Repousse and chasing planishing, texturing punches for silversmithing and art metalwork

Wato to one and all.

On my holidays next week, off to sunny Dorset, well Dorset anyway. A great place to go for the Jurassic coast and all the fascinating fossils just laying around on the beach. A good place also to look for some inspiration for repousse and chasing work. Some of the fossil forms, I feel, lend themselves well, replicating the textures and surface undulations to create interesting silver or copper jewelery. The copper may be best when combined with some patination to give an old world look that would compliment well with the subject matter.

As I said previously I will now introduce some basic planishing shapes, this is not exhaustive as I will explain later. To begin with lets look at the round planishers If you look to the left you will see the disc is paper thin. Try to imagine a tight valley that meets with another, a little live a V shape if you will. This it the only way to planish each side without interfering with the other. I will give examples next time of my work that uses the different planishers. The next one is polished on the sides and slightly rounded. This allows you to go up to a ridge and planish up to it without damaging the raised part as you flatten the surrounding material. This is why I polish all of the punches that come into contact with the metal to as near a mirror shine as I can, preventing unintended tooling marks. The next two  are degrees of concavity that allows me to planish into curved, bowl like, depressions. I waist the end of the punch to make it easier to see where I’m going and where I’ve been as I planish the depressions in a design. Notice I did not polish the sides of these, no need as they will never contact the work. Lastly the very small tool is used for tight corners and texturing. Please keep this in mind as if you are after a smooth finish the larger the tool the better. The fact you can create interesting textures with this tool over larger surfaces will help you to understand; for smooth surfaces at least, the larger the overlap of the tool the smoother the overall finish will be.

Next the oblong or square planishers. All the tools shown here will have the sharp edges rounded of to prevent digging in and scratching. This is especially important to address for these shapes and the following as they all have degrees of straight lines and points. Your style as well as the piece you are working on will determine the degree of both flatness and rounding of the corners. When you explore the working surfaces of these punches with your fingers you should kind of glide around the tool rather than meet with obvious and sharp directions. It should feel like the elements blend together. All of my planishers have a very slight rocker profile to minimise the danger of striking the tool edge on and creating a whelp in the piece of jewellery of hollowware I’m working on. This should not be so pronounced as to make the tool more like a push tool, shown in a previous post.

The tear drop and triangular planishers are made and used in a similar way as the square, oblong types, up to and defining raised elements from flat surrounding areas.

I put the texture punches last as they, to my mind anyway, are filed under the beautiful accident category. The three you see here were the result of my early attempts at making the first type of round planisher at the start of this post. Hardening and annealing, essential tool making skills for the silversmithing fraternity, need to be understood. I will cover this topic in a future post if anyone is interested, please let me know if you are.

When tool steel is hardened it becomes very brittle. If not properly annealed then it will shatter or just snap off at the weakest part. As I put the pronounced waist into these punches the forces concentrate themselves to this weakest part of the punch, look who didn’t anneal his punches properly. But wait, before you get disheartened because all your hard work has resulted in a broken tool, useless now right, just throw it away and be more attentive when annealing next time right. Well, no not really, look at my moon series and most of these punch textures are created with these ‘useless’ tools. The gnarly one was reduced down on a bench grinder to facilitate better access up to the domes on the smaller earrings. Now I deliberately ‘do it wrong’ to create more texture punches as I need them.

The fresh snapped off portion of these punches will eventually dull. The metal has a very coarse christaline looking rough texture that lends itself well to texturing, it will pull at your skin when fresh and become softer over time. I will show examples of these subtle changes of finish another time.

Sorry to prattle on a lot with this post, it is difficult to convey what is needed to be understood without delving a little deeper into language to hammer home the point, no pun intended 😉

The next time I will give examples of work I have created using these tools so you can cross reference the images and writing here with completed works to enable you to go forward and make your own marks, pun most definitely intended.

Until next time all my very best wishes.

Stu Art