Tcensor
+1
Posts: 81
Hi All 
I thought it would be of some interest to start a thread about engraving and sculpting. It does not necessarily have to revolve around straight razor scales or blades - However, it's as good a starting point as any. I will get the ball rolling.
When engraving, one must first and foremost be able to draw the design. If you can't draw it, you probably can't engrave it. Another reason for such an emphasis on drawing is the fact that usually only the highest end objects made of the finest materials are the ones to be engraved. Mistakes and screwups during final execution are not an option, so it is actually much "safer" to draw and redraw and the redraw again - BEFORE jumping into the final execution. A bit more about drawing as we progress.
The tools used to engrave are fairly simple, chisles, chasers, burins, scrapers, varnishers, hammers etc. The mastering of control to use these tools however, requires practice. Learning curves differ from person to person, but true mastering of the various techniques that surround this art may take many years.
This is said not in order to deter the amateur or the hobbyist from taking up engraving or sculpting. For many people engraving is a pure form of fun, and well it should be, because if you don't take to it it can become a form of torture VERY quickly. Please note that while I am addressing mainly metal engraving techniques, most of what I say applies to wood as well with slight variations in process and tools.
Here are some of the tools used in engraving:
These tools will be discussed in more depth later on.
I thought it would be of some interest to start a thread about engraving and sculpting. It does not necessarily have to revolve around straight razor scales or blades - However, it's as good a starting point as any. I will get the ball rolling.
When engraving, one must first and foremost be able to draw the design. If you can't draw it, you probably can't engrave it. Another reason for such an emphasis on drawing is the fact that usually only the highest end objects made of the finest materials are the ones to be engraved. Mistakes and screwups during final execution are not an option, so it is actually much "safer" to draw and redraw and the redraw again - BEFORE jumping into the final execution. A bit more about drawing as we progress.
The tools used to engrave are fairly simple, chisles, chasers, burins, scrapers, varnishers, hammers etc. The mastering of control to use these tools however, requires practice. Learning curves differ from person to person, but true mastering of the various techniques that surround this art may take many years.
This is said not in order to deter the amateur or the hobbyist from taking up engraving or sculpting. For many people engraving is a pure form of fun, and well it should be, because if you don't take to it it can become a form of torture VERY quickly. Please note that while I am addressing mainly metal engraving techniques, most of what I say applies to wood as well with slight variations in process and tools.
Here are some of the tools used in engraving:
These tools will be discussed in more depth later on.
[Last edited by Tcensor, 2010-10-07 16:11]
2010-10-07 16:03
Chris Calvé (wdwrx)
From: Canada
Posts: 703
2010-10-07 17:00
Smythe
Advisor
From: United States
Posts: 990
Subscribed!
I often wondered why some of our esteemed scale-makers have not yet got the idea to engrave/carve simple but elegant designs wood or horn scales... after all, they did it many decades ago.
I often wondered why some of our esteemed scale-makers have not yet got the idea to engrave/carve simple but elegant designs wood or horn scales... after all, they did it many decades ago.
2010-10-07 20:26
RicTic
From: United Kingdom
Posts: 240
2010-10-07 20:40
rayman
Advisor
From: United States
Posts: 499
Smythe:
Subscribed!
I often wondered why some of our esteemed scale-makers have not yet got the idea to engrave/carve simple but elegant designs wood or horn scales... after all, they did it many decades ago.
Actually, I am working on something right now. I also have some Elk horns, in my hand, that a friend brought me from Flagstaff. I'll let you see what turns out when it happens.
Ray
2010-10-07 20:45
Chris Calvé (wdwrx)
From: Canada
Posts: 703
2010-10-07 21:04
Smythe
Advisor
From: United States
Posts: 990
Subscribed!
I often wondered why some of our esteemed scale-makers have not yet got the idea to engrave/carve simple but elegant designs wood or horn scales... after all, they did it many decades ago.
Actually, I am working on something right now. I also have some Elk horns, in my hand, that a friend brought me from Flagstaff. I'll let you see what turns out when it happens.
Ray
A craftsman way ahead of the game. Thanks Ray, would love to see the result.
And thanks Tcensor for starting this very interesting thread... subscribed again
2010-10-07 21:05
Smythe
Advisor
From: United States
Posts: 990
I've had the thought of carving a simple "chip carving" design into a set of scales.... but I've never done any kind of decorative carving before.
A few months ago, my grandfather gave me a few old magazines on the subject of wood carving and I've been meaning to ask to borrow his carving knives but I've just never gotten around to it.
Winter's coming... and work is expected to really slow down, I might find myself with more time on my hands than I'd like.
A quick google-fu turned this thread up
Not very inspiring.
well that depends on how you look at it... he flattened a nail and sharpened it to use as a carving tool... he's got ba11s.
As mentioned, perhaps with some practice, he could turn out some surprisingly elegant work.
2010-10-07 21:21
Tcensor
+1
Posts: 81
Cool I am very happy that this sparks some interest, and hopefully it will lead to some interesting designs.
A word about the tools - I too have more advanced tools than shown here such as pneumatic gravers and rotary tourbines (like the ones used by dentists.) but I realize it is rather costly equipment that not everyone want/can to afford, So I aim to keep it as simple as possible so as to allow as many people to experiment with some of the techniques.
A bit about area coverage and design:
I think the best place to start is scroll work.Scroll work is the classic type of coverage used for Guns & knives as well as other objects of function and beauty that are deemed "worthy" of engraving work. There are several kinds of scrolls and all adhere to the same principle of geometry. The Golden Ratio or The Golden Mean or, sometimes referred to as the Golden Spiral or just "Phi" (the Greek letter that designates it). Here is how it works:
What is Phi?
Phi ( = 1.618033988749895... ), most often pronounced fi like "fly," is simply an irrational number like pi ( p = 3.14159265358979... ), but one with many unusual mathematical properties. Unlike pi, which is a transcendental number, phi is the solution to a quadratic equation.
Phi is the basis for the Golden Section, Ratio or Mean
The ratio, or proportion, determined by Phi (1.618 ...) was known to the Greeks as the "dividing a line in the extreme and mean ratio" and to Renaissance artists as the "Divine Proportion" It is also called the Golden Section, Golden Ratio and the Golden Mean.
Just as pi (p) is the ratio of the circumference of a circle to its diameter, phi () is simply the ratio of the line segments that result when a line is divided in one very special and unique way.
If you would like to read more about Phi and other accompanying concepts in mathematics start here:
http://en.wikipedia.org/wiki/Golden_ratio
A closely related concept is the Fibonacci spiral that bases it's function on a so called Fibonacci sequence:
This is the "perfect" natural scroll backbone. This is where ALL scroll design starts and evolves into what will ultimately be a method to both cover effectively, and embellish a surface. Here are some classic scrolls types as presented by Ron Smith in his book Advanced Drawing of Scrolls:
American Scroll
Bank note scroll
English Scroll
German Scroll
Western Scroll
Nimschke (more on this style later on...
Oakleaf Scroll
Vine Scroll
As you can see, all these scroll types base themselves on the concept of a spiral. If the drawing is streamlined and proportional - in keeping with the concept of Phi the scroll work will look perfectly proportional to the object they are engraved on.
I am very happy that this sparks some interest, and hopefully it will lead to some interesting designs. A word about the tools - I too have more advanced tools than shown here such as pneumatic gravers and rotary tourbines (like the ones used by dentists.) but I realize it is rather costly equipment that not everyone want/can to afford, So I aim to keep it as simple as possible so as to allow as many people to experiment with some of the techniques.
A bit about area coverage and design:
I think the best place to start is scroll work.Scroll work is the classic type of coverage used for Guns & knives as well as other objects of function and beauty that are deemed "worthy" of engraving work. There are several kinds of scrolls and all adhere to the same principle of geometry. The Golden Ratio or The Golden Mean or, sometimes referred to as the Golden Spiral or just "Phi" (the Greek letter that designates it). Here is how it works:
What is Phi?
Phi ( = 1.618033988749895... ), most often pronounced fi like "fly," is simply an irrational number like pi ( p = 3.14159265358979... ), but one with many unusual mathematical properties. Unlike pi, which is a transcendental number, phi is the solution to a quadratic equation.
Phi is the basis for the Golden Section, Ratio or Mean
The ratio, or proportion, determined by Phi (1.618 ...) was known to the Greeks as the "dividing a line in the extreme and mean ratio" and to Renaissance artists as the "Divine Proportion" It is also called the Golden Section, Golden Ratio and the Golden Mean.
Just as pi (p) is the ratio of the circumference of a circle to its diameter, phi () is simply the ratio of the line segments that result when a line is divided in one very special and unique way.
If you would like to read more about Phi and other accompanying concepts in mathematics start here:
http://en.wikipedia.org/wiki/Golden_ratio
A closely related concept is the Fibonacci spiral that bases it's function on a so called Fibonacci sequence:
This is the "perfect" natural scroll backbone. This is where ALL scroll design starts and evolves into what will ultimately be a method to both cover effectively, and embellish a surface. Here are some classic scrolls types as presented by Ron Smith in his book Advanced Drawing of Scrolls:
American Scroll
Bank note scroll
English Scroll
German Scroll
Western Scroll
Nimschke (more on this style later on...
Oakleaf Scroll
Vine Scroll
As you can see, all these scroll types base themselves on the concept of a spiral. If the drawing is streamlined and proportional - in keeping with the concept of Phi the scroll work will look perfectly proportional to the object they are engraved on.
[Last edited by Tcensor, 2010-10-07 22:02]
2010-10-07 21:28
Chris Calvé (wdwrx)
From: Canada
Posts: 703
... he flattened a nail and sharpened it to use as a carving tool...
Ha, missed that part.
I didn't mean to be too hard on him... it's more than I've ever done.
Tcensor,, I'm waiting anxiously for the nest installments.
What are the most basic tools one should start with?
(Maybe I'll have to run and see if i can borrow those tools!)
2010-10-07 21:41
Tcensor
+1
Posts: 81
Like I said in the very beginning If you cant draw it you cant engrave it so, as for tools, I think it would be advisable to start with some plain white paper, a pencil (preferably a 0.3 mm mechanical with HB2 Leads - but any pencil will do), and eraser - and most importantly, a waste paper basket.
The above exemplifies different attitudes and amplitudes of coverage over the same area. It is important to be able to control the "direction" and the "tightness" of the spiral so as to create a balanced effect in the final design. This requires the ability to replicate (or nearly replicate) the same direction, amplitude, and tightness over and over again.
This ability to draw spirals both cw and ccw will become very important fairly early on if you decide to create intertwining scrolls and trust me on this - YOU WILL.
So the first step is to draw, and practice practice practice...
The above exemplifies different attitudes and amplitudes of coverage over the same area. It is important to be able to control the "direction" and the "tightness" of the spiral so as to create a balanced effect in the final design. This requires the ability to replicate (or nearly replicate) the same direction, amplitude, and tightness over and over again.
This ability to draw spirals both cw and ccw will become very important fairly early on if you decide to create intertwining scrolls and trust me on this - YOU WILL.
So the first step is to draw, and practice practice practice...
[Last edited by Tcensor, 2010-10-07 22:30]
2010-10-07 21:46
rayman
Advisor
From: United States
Posts: 499
2010-10-07 21:51
Tcensor
+1
Posts: 81
2010-10-07 22:07
rayman
Advisor
From: United States
Posts: 499
Thanks Ray,
I would love to take credit for these patterns - but I can't. These are all Classic designs and these particular ones are from a book about advanced design of scrolls by Ron Smith.
Regarding the use of power tools I have to stress the following: Power tools save time SOME of the time - but you can't do it all with power tools and certainly you cannot do it all with rotary tools. This is expecially true for the outlines and for the shading segments of the work. I usually resort to power tools only for massive background removal before stippling.Of course - none of what is written here is etched in stone. There is no "right" or "Wrong" way to do it - but I am trying to convey what I believe is the best way to accomplish the work in as clean and precise manner as is humanly possible. I will discuss this is greater depth later on.
My exact sentiments. The power tools are nice for the heavy work, but the detailing still needs to be done by hand if you expect quality.
Ray
2010-10-07 22:12
Tcensor
+1
Posts: 81
Once you feel confident enough with your spirals, clock wise and counter clock wise, it's time to explore how they best "fit in" to your design. The best way to work up to a logical evolution of lines is to start by simply sprouting scrolls one out of the other in alternating directions (no overlapping or cross hatching at this point):
Experiment with various areas and various shapes to be covered i.e. draw a square or an oval or a triangle and experiment with filling the inside of the boundary of this shape with spirals. Once you feel comfortable with doing this, start to hatch the spirals from the INSIDE of the spiral that came before it. Like this:
Once you feel at home with this line, you can attempt more complex ideas such as spines for leaves and tendrils:
Of course, these are the very raw basics - there is plenty more to cover and the fun is just about to begin so....stay tuned for more (soon, I promise)
Experiment with various areas and various shapes to be covered i.e. draw a square or an oval or a triangle and experiment with filling the inside of the boundary of this shape with spirals. Once you feel comfortable with doing this, start to hatch the spirals from the INSIDE of the spiral that came before it. Like this:
Once you feel at home with this line, you can attempt more complex ideas such as spines for leaves and tendrils:
Of course, these are the very raw basics - there is plenty more to cover and the fun is just about to begin so....stay tuned for more (soon, I promise)
2010-10-07 23:09