If working on the flat grain. And you are on the outside of the log, cut into the nose of the grain. In other words, cut into the convex curve of the grain.
If your wood is oriented such that you are carving from the heart out, then you reverse, and cut into concave sweep of the grain.
I measured my engraving at some point along the way.
I was typically coming down about .3mm.
Actually just remembering, I hand an opportunity to do some measurements on a silver bracelet from about 1900. It was around .2 not accounting for any wear.
Sure. Thanks.
I’m in the same boat. Lol. Busted my phone, got it back from the shop then a week later it bricked. Currently operating off my nieces old phone while I wait going on three months for the local computer genius to get to my phone.
It needs a bit of tooth to bind into.
Use your pitch bowl for pitch. It’s awesome in that application for doing reppousse and chasing.
Score a grid into any block, and your jet set will lock into it.
I was in the Pitt rivers museum in oxford and was excited to find numerous instances of a feathered serpent carved in argillite. I thought that we had stumbled across some potential evidence of contact between South America and the NWCoast. Shortly after my little brother was directed to these...
I use hot glue for most applications. But if immobility is key (outside of grafting a perfectly contoured jig out of wood or metal) I use shellac. It is rock solid. Will break before it bends, which is what you want if you are texturing reppouse, or setting stones, as the case may be.
By machine engraving are you talking about a pantograph? Or do you mean your pulsegraver?
If its the pulsegraver, you can cut with all kinds of things... old files, bed springs, old burs, drill rod, I have tools out of all those and more scrap... but the commercial blanks are pretty convenient.
Ya. I like to see, sometimes I flip a bracelet to sign the back and get a nice inversion of the carving... I use alcohol, but often struggle to get it to release... do you make some sort of vent to get the alcohol in there?
I don’t see a picture.
But if it’s just to test the design, just some plastercine will do you.
If it’s to preserve and immortalized the disigh it will be hot wax.. guessing you make your own.
Drip some sealing wax in heat resis rant container (tin?) and away you go.
If you are going to burnish- burnish in the direction of the scratch. This will neatly close the scratch.
If you burnish across the scratch your approaching stroke may somewhat close the score but the crossing action will open up the other side and you’ll end up with a riffle effect.
Because...
Three things that I do for fragile work like that would be some sort of solvent to decouple some of the grease in the lowlands.
Electric toothbrush can get in to places and the opposite motion of the brush
And I often sharpen up wooden tools to get into places with cemented in crud.
With a spring in the handpiece it is meant to receive spurts of air rather than a steady flow.. with a steady flow there will be no reciprocation..
I believe there are other systems (gravemeister?) that operated on a similar principle but with suction,,,
Anyways, from your illustration it...
those lindsay high angl;e gravers will do just what you are asking.. as you see fit you can grind out running away from the cutting edge and you will have all the relief you need for signets and stamps..
there is another way you can look up some Japanese engravers.. the face of their tool...