46 replies to this topic

[Jim Kelso]

I've done up a tutorial on the inlay of the silver owl as seen earlier in the "metal painting" thread posted in new work.

You can see the tutorial HERE

Any comments or questions are welcome here.

Attached Images

• 

[Dick Bonham]

Hi Jim,
Great job on the tutorial! Thank you.
Dick

[Ekrem]

Jim Kelso, on Sep 24 2006, 03:19 PM, said:

I've done up a tutorial on the inlay of the silver owl as seen earlier in the "metal painting" thread posted in new work.

You can see the tutorial HERE

Any comments or questions are welcome here.

Very helpful tutorial. Thank you jim.

Ekrem.

[Jim Kelso]

Thanks for the comments guys.

[Samuel Rediske]

Jim,

As always your tutorials are great, nice color on the shibuichi, and the owl.

Thankyou

[goldcutter]

I haven't been here in a while, and spent some time just looking around. I am humbled and amazed by the work I see here! Thank you for the tutorial on inlay. Your pictures are very clear, and your craftsmanship is an inspiration. I've downloaded the pictures for further inspection, and to remind me that my engraving and chasing are more than a way to earn a living. I am inspired to a higher level, art is calling.

goldcutter

Edited by Janel, 20 March 2007 - 04:50 AM.

[Mark Strom]

Jim,
Could you show a more detailed shot of the trees? I would love to see how you achieved the 3D look in such low relief.
Thanks

[Jim Kelso]

Goldcutter, thanks very much for your comments. I'm glad you find it useful.
Very nice sculpting on the ring.

Mark, here is a close-up of the trees although I don't think, because of the flat light, there is much revealed.
The middle tree has some relief. The other two flush with the surface. I'll see if I can find another photo that may show this better.

Attached Images

• 

[Mark Strom]

thanks Jim, the photo showed what I wanted to see. I am always looking for new ways to approach things. This technique is similar to how tombstones are carved, simple but effective. I do appreciate the detail and depth you achieved. Thanks for not only showing the work but the process as well. Great piece!

[Jim Kelso]

Thanks Mark. Here is the beginning of the relief and carving process for the middle tree. Started with a slightly ronded chisel and finished up with filing, stones, paper and horsehair brush. After shaping, the tree detail was engraved and chased.

Attached Images

• 

[magnus homestead]

Jim,
Thank you once again for your generous sharing of both your wonderful works and your knowledge. I wish I had more time to just explore all the nooks and crannies of this site. I just went through your inlay tutorial and the patination as well. I was given an answer to a problem I've struggled with for years - that of obtaining a truly even and polished surface (especially on flat recesses). I have tried using scrapers, burnishers and tiny sandpaper sticks but have never come across the die makers stones you refer to. I have known that was what I needed but didn't know where or what to ask for. It seems most jewelers are not needing such finishing. Also the horsehair brushes - Beautiful - Thank you.
This site is a constant source of inspiration and the knowledge needed for me to reach out for higher levels of craftmanship. I am deeply touched.
Blessings,
Magnus
P.S.
I must add that every time I see your peony vessel Jim, I am much moved - lovely work!

[Don Barnhill]

Jim, I love your work. The Owl is great. I use a technique on woodcarvings that may aid you here. When I carve a low relief tree and want it to stand out I put a slight bevel on the edge I want to highlight. It reflects light and makes it look like the last frame in your tutorial. If you will look at it you will see a highlight. A beveled edge makes it stand our even more.

Don

[Jim Kelso]

Thanks guys. I'm on the road, but will follow up when I get back Sunday.

[Patrick Hastings]

Jim Kelso, on Sep 24 2006, 05:19 AM, said:

I've done up a tutorial on the inlay of the silver owl as seen earlier in the "metal painting" thread posted in new work.

You can see the tutorial HERE

Any comments or questions are welcome here.

Hi Jim,
I really like the color of the backround plate. What is the composition of the shibuichi?
Regards,
Patrick

[Jim Kelso]

Hello again,

Magnus, thanks very much for your comments. The use of stones is something not well understood. At some point I will do a more detailed summary of what I use.

Thanks Don. As you will see in the photo below, that highlight comes from actual shaping of the tree, which is slightly raised above the background.

Hi Patrick. It's 70%copper/30%silver.

Thanks all.

Another shot after all carving(except owl) and during the polishing.

Attached Images

• 
• 

[DanM]

I found a link to a class at Revere Academy next month. of course the timing and location doesn't do me much good,but maybe someone else is interested.

Zougan Inlay

[Patrick Hastings]

DanM, on Mar 27 2007, 10:31 AM, said:

I found a link to a class at Revere Academy next month. of course the timing and location doesn't do me much good,but maybe someone else is interested.

Zougan Inlay

That's not far away from me. Where was that class 8 years ago! Ford taught me most of what's offered in that course to me a couple years ago, but I am still tempted it never hurts to get as much exposure as you can to various teachers and there individual expressions of the craft.
Patrick

[Patrick Hastings]

Thanks Jim,
I have been fleshing out my palette of alloys. Experimenting with the coloration, mechanical properties, and such. I have sheet stock containing from 75 to 2 percent silver so far some with gold and some without. I am not getting that kind of gray with any of them yet. I have darker and lighter versions so far. I am still working on different solution strengths and proportions of Roshuko to Tampan. Fun stuff.
Patrick

[Patrick Hastings]

ford hallam, on Mar 28 2007, 07:08 AM, said:

Hi Patrick,

you won't get any appreciable change in colour of these shibuichi alloys by varying the colouring solution ingredients. It's definitely far more reliable and practical to concentrate on the alloy compositions. One thing to watch though, is having the metal at liquidus for too long once all the metals have melted. If the mix is allowed to become too homogeneous the alloy will tend to yield a much deeper, (and duller, in my opinion ) colour. It will also lose the discrete nashiji grain structure.

Cheers, Ford

Thanks Ford,
That saves me some Roshuko.
As you told me, I put the silver into the melt at the last possible moment. I am getting visible nashiji in most of the plates as a result.
Patrick