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Sjoerd Brink

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About Sjoerd Brink

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  • Birthday 12/18/1970

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    Zuidland, the Netherlands
  1. I think it's possible to react strongly to a firm opinion without causing a fight, some people might even call it a discussion. Wether one is able to have a discussion or not is an entirely different matter. Blog on F.! Sjoerd
  2. hoi Bart, The glue is called Mixtion. It's an oilbased mixture you can buy at almost any artsupply shop. I used it a long time ago so I can't give you details on what to do or don't with the stuff but I remember to apply red paint on the parts to be leafed. It will give extra warmth to the gold. Hope this helps a bit. groet, Sjoerd
  3. Hi Clive Brave decision to undergo neck surgery. Wish you a full recovery and take it easy, at least for a while. Sjoerd
  4. Hi Phil, Thanks for that link, it's a real treat.
  5. Yep, Daniel Brush's work IS eyecandy. For plastic he used (pink) bakelite. Years ago I went to the library to look up something and accidentally found Gold without Boundries. I lost track of time. When I came back to the here-and-now I wrote down the ISBN and hurried to the bookstore to order a copy. That book also got me into chainmaking.HERE is a link to some clear tutorials. Sjoerd
  6. Hi Ford, Ceramics. That's the first thing I thaught of looking at the vase by Hannya Tamotsu. Elegant in form and contrast. From what my screen is willing to unravel to me the change from one metal to the next seems pretty crisp. Beautiful. thanks, Sjoerd
  7. Hi Ford, ..........(speechless!)and the hitsuana and the elbow sticking out, radical! Thank you very much. Sjoerd
  8. Hoi Hans, Welcome.Nice work on your site! Like your attitude towards learning and sharing. groeten, Sjoerd
  9. Hi there, Alistiar has some of his work on display at www.studio925.nl That's Jan van Nouhuys'site, a Dutch silversmith. Another man found on his site is Louis Hankart, he's loaded with info. www.birgitlaken.nl www.mokume.ch =Hansruedi Spillmann. He was taught by Birgit Laken.
  10. Dick Bonham has written on the subject of brazing copper/bronze. It's the first tutorial "medal cont."
  11. Aloha Karl, I bet your batteries are charged after your class with Gene Pijanowski! As for the soldering part, it's the technical issue. There are so many ways to make a billet. Have you tried a gold solder for the copper/bronze? The trap is there, I stepped into it. But as you mentioned the pieces of the puzzle can fall in place. Combinig the knowledge shared on this forum is of great help. And yes, the goldprice does suck. Jeff, that really is a snake! Hi Ford, I'm trying to find a way to came to the things I want to make. The methods involved, old or new, are a way to get there. Maybe "proven"ways would be a better term.
  12. Hallo Karl, yes, there is a distinct tendency in Germany towards the technical dealings with mokume. I participated in the exhibition and in review I have my doubts about that. I was happy to be invited, worked like hell but ultimately my pieces were cold, technical. I tried to put in a little crude humor in them by turning the pendants into medals. Oldworld tech, oldworld decorations, newworld application??? That question wasn't picked up by anyone. Maybe next time I"ll shout it. I think in the end Hafner is the lucky one. With your thoughts on atmosphere you've hit the jackpot. Wether a piece is partially or entirely mokume makes no difference to me, the important thing is that it's the piece you want it to be. Does it work? Why did I do this, why that. I've had a talk with Janel on her frogs. For me they work. They're never dull to me, they put a smile on my face every time I take a look at them. So again to me the DoesItWork question is important. Sjoerd
  13. Aloha Karl I should have been more accurate on the stainless combination. I've used 1) 1,5mm 316L sheet, 2) 1mm 304 and 3) 1mm copper. Stacking order 1-3-2-3-1-3-2 etc. ending with 1. Sheetsize is 45x38mm, but that depends on the size of your torque plates. If you're seeking for a challenge this one will gladly fulfil your desire. I use an electric kiln, set at 915 degrees Celcius for 5 hours (torque assembly is in a metalfoil bag with preheated charcoal). After the heating I let the foil bag cool inside the kiln to about 550 deg.C., take it out and aircool. I'm having a hard time not to take it out of the bag. When it's finally reached roomtemp take it out, examine it and grind of the edges. For squeezing down the billet I use a propane torch and a hydraulic press. By the time it's about 7mm thick the press has done the best it could so now you're up for the real thing, hammer and anvil. Forge hot. Beware, the laminate fights back. Be sure no one is around for you will swear. A lot. If you have no access to a press you could try making the stack with thinner sheet and smaller sizes. When I'm forging a tough billet I always have an old hss drillrod lying around. By the time I think I've had it with the billet I forge the rod, and hey, the mokume seems to be the kind one. Good luck! Sjoerd
  14. Hi Phil, Great tutorial! I've only used O1 and silversteel for my cold chisels. After polishing I heat it up with a propane torch to an orange colour. Little sparks, dark ones, are having a ball on the tip, and then I quickly quench it in sunflower oil. The tempering is done in a small household oven, 2 hours at about 180-190 degrees Celcius. They're though. cheers, Sjoerd
  15. Ford, thank you but I only used the small cup( Ø75mm, height 25,5mm ) to find out how the stacking order would work after patination and as it is a double laminate, what effect the difference in layer thickness would give me. One coarse looking piece of metal. No balance, no tension. Your friend Wayne creates beautiful pieces. Besides on the nihon-kogeikai site there isn't any information on the subject of shibori, unless one has an interest in textiles Karl C, your alakuma does look like a bug. If you want a subtle combination you could think of silver/iron. In their natural state it's realy nice to look at. The most subtle combination I've made consists of 316L/ 304/copper. Etch the 304 and you'll end up with a very light grey, a slightly dull grey and very thin black lines. It's not the easiest one to make but it can have a strong graphical endresult. Hint on your "unability": nonsense! before you start alloying draw a diagram, top(fine silver) to bottom(copper), left to right(amount of layers). think of the desired endresult and put the dots where you want them. The landscape you end up with can be anything from the Alps to a nice downslope countryroad. Hallo Karl W, and a gutentag to you too. The little bugger was handraised, not a funny thing to do so for flattening the bottom I used my press. The time spent on raising compared to that of pressforming is unbelievable. But as I said before it was a study piece. The picture doesn't do justice to the patination, it's actually more grey/blueish. The patina solution I've used is the one descripted by Eitoku Sugimori, kin-furubi 2, page 85. I added a small amount of vinegar. Lungpower. I only use it for the delicate operations. I got rid of the oxygenbottles and bought an oxygenconcentrating device, used by people with breathing problems. It's powerful enough to melt copper. As for the gasfired forge you might take to look at Ron Reil's site cheers, Sjoerd
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