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  2. Thank you Jim, so much to learn and I should probably pace myself a little bit Agreed. For the piece I am working on now, I am combining what I've used in the past with shibuichi 40/60, which I haven't used before. It's one thing to think "light gray" and "dark grey", but it will be interesting to have a piece that actually shows them both in contrast to each other, and to silver. I should be able to do some patination tests this weekend on a number of additional alloys, I'll report my "findings" here. Perhaps this thread can continue to capture more of my notes in the future, a
  3. A lot to cover here Francis, but you clearly have a good grasp of the basics to ask such good questions. Experience is the key to all. You will hear various truisms, some which will bear out and some which won’t. Also something that works one time may be hard to replicate. Small things that you didn’t notice may have an effect. It’s easy to understand why the Japanese had specialists who only did patina, or it was their primary focus in a studio. I struggled with a certain piece, finally getting it acceptable without knowing quite why. I took it to Japan and consulted with a professor at Toky
  4. I had some fun trying to carve a swallowtail butterfly at about 1/7th of its actual size Originally just a practice piece, I'm now looking to inlay this into a larger composition. This is shibuichi 20/80, so should patinate fairly dark. Cheers!
  5. Being fairly new to irogane and rokusho patination, I'm trying to get some understanding of the basic color palette that is available to me when planning a composition. Although I have been able to find some good information here and on other sites, I was hoping that people with more experience could fill in some of the gaps in my understanding (or correct it if it is wrong!). I only have (limited) experience with copper, 20/80 shibuichi, fine silver and 24k gold. My current notes have the following: - Copper will shift color from orange to brown and eventually to red given enough ti
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  7. That's a great point. I think I'm due for some sharpening this weekend. I have the Flexcut Slipstrop with various profiles for small carving tools. I have noticed recently, especially for my very fine 1mm tools they aren't cutting cleanly and leave flaked/fragmented wood edges which are difficult to file/sand down. Thanks Ed 👍 Once I'm done with this piece I'll be done with basswood for good though, just too flakey and soft for the detail I want.
  8. I have carved a fair amount of Bass Wood, and if you are using knives and chisels ,make sure they are sharp and if they are with a little more practice you won’t have to file or sand so much . Sharp tools leave a better finish than one that is not as sharp. Do a little more honing on your tools for a smoother cut. I use both a leather strop and I have one with leather glued to wood and I use the wood side to finish my honing. the small one is wood and leather.
  9. Thank you Ed that's a great way to think about it. I'm not intending to make a facsimile of the original, I'm only intending to practice and learn. So the original really is just a guide 👍
  10. Thank you Francis that explanation makes a lot of sense actually! I'll try harder pressure while filing, or changing the angle with each stroke to see if that prevents the hashing. Thanks Janel! I will attach the photos below. Yea I have a feeling it has something to do with the grain and varying hardness. It seems to occur on the ends where the grain is stubborn. I'm still learning the complexities of the grain and how to work with it rather than against it. Also, I'll have to try those same files on the Castello wood and see if it reacts the same. Thank you 😀
  11. Hi Justin, I think that these days bandwidth is not a problem now. It would be good to see the images here if you can add them to your post. Does the chatter or hatchmark happen in one direction and not another? Have you tried a finer file? Jeweler's finest files possibly? The grain of the softwood might simply just do this, but possibly the file is going against instead of with the grain. The shape being filed might be limiting the direction of the filing action, so a work around that is not a first choice might help. Possibly sanding sticks like fingernail boar
  12. Thak you 😊 I made this two-hour project after playing with the children Ludo? I wasn't able to roll a six. But I still didn't win with this dice. Everyone can find the deeper meaning for themselves.😉
  13. I'm sure someone with more experience could comment, but I've seen these on wood and metal alike. From what I can tell, changing the angle of the file and/or the pressure tends to make those go away, and I my feeling is that this happens when (even a slight) chatter and the angle of the file teeth get together "in phase". Caveat: I don't really know what I'm talking about
  14. Hi Ed! Thanks, I'll certainly be sanding down a lot more then burnishing a bit to get it all smoothed out 😃 Are the hash marks from files a normal occurrence with coarser files? I was just wondering if I was doing it wrong, or using crappy files 😅 Thanks
  15. What I do is to use their carving to guide me . A lot of the old antique are out of Ivory, so if you use wood for your carving,it will be different and look different. I would not try to make my carving look exactly like anybody’s else carving. If I used another’s carving as a guide for mine I would let anyone who looks at it know that I used it as a guide. What the copyright laws , rules are I do not know . I do a lot of insects carving and they are my guide , if someone has a famous carving of one and you carve one also , I don’t feel you are , or could be making a copy of theirs.
  16. J all I can see is to finish with some sandpaper with fine grit 240 or finer.
  17. I am so glad he did. Both forums are incredible resources, even for people like me who are a little late to the party. Thank you!
  18. We live in a world with many fake netsuke. They flood ebay and lower tier auction houses and sell for hundreds to new collectors. So is it wrong then for an amateur carver to learn by copying actual antiques? If they are being made just to practice and learn, with no intent to deceive or sell then no harm no foul? What about putting my own signature on a copy I've made of an antique? Certainly it's wrong to fake the original artist's signature, but putting your own on their design? Iffy? One counter point - didn't actual in period netsuke-shi students learn by copying designs of
  19. I am using hand files and getting file hash marks in certain spots. I'm curious what is causing this. Please see these 2 images on imgur (So we don't use CarvingPaths bandwidth on large images) https://imgur.com/a/wUvTQc3 Is this the wood telling me to use a finer grained file? Is it due to filing the end of the grain? IE - The file digs out the softer wood but leaves the harder grain wood behind? Something about my filing technique is wrong? Also FYI this is basswood. It's way too soft and I have switched to castello for newer pieces, but would like to fi
  20. Wow! Francis, thank you for the link to the extensively detailed information from the creation of this ensemble. (Bladesmith's early founder Donn Fogg, joined and encouraged Jim Kelso and myself as co-founders of The Carving Path forum.)
  21. Hi Dmitrij , I think your pendants are beautiful. There is one in particular that I'm interested in purchasing. How can I go about doing that? I'm in New Orleans, Louisiana.
  22. Thank you so much Ed! Here's the tsuba mounted on the sword. There are a couple more carved/inlaid elements: For anyone interested in the other aspects of the build, see this thread (in another forum, I hope that's okay to link to). Cheers!
  23. Unless the other three sides all have 1's, it seems to me there really are only winners Love the concept I really like those little carvings!
  24. Looks like loaded dice . Great work. Thanks for sharing.
  25. Excellent work, fantastic ,would love to see the sword. Thanks for sharing.
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