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Jim Kelso

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  1. Very nice Francis. A lot going on in a small piece. 👍
  2. That's a very interesting test Francis. It may be that the low percentage of iron had little, if any effect. There are so many variables in the niage process. I applaud all efforts toward gaining depth of experience. It's interesting how the wet alloys look so much richer. It is true that lighting makes huge differences in how these colors look. I try almost always to use fresh solution, but this is costly, and my lack of experience using used solutions does not inform how long, and under what conditions, a solution remains viable.
  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 Tokyo Geidai (U of Fine Arts) and he said very clearly what was going on and the light-bulb went on. I had done the right thing, finally, but without really grokking why. The point is, again, experience is the key. I would focus on smallish works, as you are, and combinations of colors, and move on with what you learn. I have found that some pieces I considered small tests turned out to hold up quite well as finished pieces. some specifics to follow....
  4. I do use them in the flexible-shaft too but not when it’s risky😉
  5. Hello Francis. Welcome! Jim
  6. Looks like splendid progress Francis. Stones can be shaped to fit the job, and are best for maintaining flatness, or blending contours. After that, before the brush/abrasive grit polish, I am using rubberized abrasive wheels that are either whole or cut to shape(hand-held, not in rotary tool). Scrapers have their place for detail, but I find do not work well for leveling. An InstaGram post: https://www.instagram.com/p/B3FTYf4HWBL/
  7. Very nicely done Francis. Elegant and stylish. The katakiri is very lovely. Beautiful movement in a deceptively simple design.
  8. Just another thought. Almost every time I look there are 15-25 users at TCP. If you click the "(See full list)" link at the bottom of the menu page you can see the variety of topics being viewed in real time. The topic list of that number of viewers is often impressive in itself.
  9. The forums and Facebook stand as two very different resources. You're not going to find step by step detailed tutorials on a wide variety of carving techniques at Facebook. You're not going to find TCP fulfilling a need for social interaction. Time will tell the relative merits of each.
  10. Russ, David's comments are quite accurate. We started this forum when the format was new and exciting. Things have changed. Many of us are less enchanted with the online social interaction than formerly. I think the greatest value of TCP lay in the encyclopedic volume of information available here, accessible through the search function. A google search with "the carving path" tagged on often functions better than the native search function. Also a comment on critique, if I may. The greatest critic you have is yourself. If you want to improve, you will. Others may offer all kinds of critique, but it is you in the end that will filter what is offered and find that which is useful. Looking at the best work you can find(much of which is here) is a most valuable reference. Happy trails.....
  11. Thanks very much Ken. There is more dialogue about it's evolution here: http://www.bladesmithsforum.com/index.php?showtopic=30632
  12. I call this knife “Tender Remnants of Passage”. I chose to use feathers as symbols of passage, which in the case of birds, could be molting, conflict, flight or death. Feathers have such deep and subtle beauty. Jean and I have quite a collection and I always wonder, when finding a single feather, what the story was. The last knife work I did was 13 years ago. Much of my earlier knife and other work had cast elements, but since about 1990 I've been moving toward direct carving/sculpting, which generally takes a lot more time to produce work in a given area. As I was working on those skills and making other types of objects, I often wondered how to apply it to a knife. The direct work is very time consuming and I knew that the result would be very different than my earlier work, in terms of the newer focus on subtlety and refined detail. It has taken a long time to settle on a design incorporating the new kind of work. As the overall design for this knife emerged it became clear that it would not be conventional. This actually pleased me as I wanted to quietly play with the tension around artistry/functionality. I hoped to do this suggestively and gracefully. It’s not a knife to be used often and coarsely, but perhaps by someone highly skilled, knowledgeable and restrained. I am comfortable with romanticism, paradox and imagination. So, there is an edge, somewhat unavailable to the uninitiated. The fine pattern-welded blade was made by Rick Dunkerley, and to my mind, perfectly suits the overall design. The handle scale is shibuichi (50%copper/50% silver). The inlaid feather is also shibuichi (75%copper/25%silver). These alloys were made to order by Phillip Baldwin. The gold inlays are 22k. The carved transition collar is 18k gold. The signature plate is shakudo. I'd be happy to answer questions about details. There is a slide-show here: http://www.jimkelso.com/albums/tenderremnants/album/
  13. Thanks very much Ezz. You should see what's under the stone....... ;-)
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