Van
yout hard work on behalf of our guild is of the highest order. This latest effort of Ron’s great book is just another example. FEGA has been instrumental in reviving the art of engraving through the tireless work of all our officers and members over the years.
glad a bunch of us threw $20...
Another way of doing this technique is to once you transferred the clay image to the metal, build a clay dam around the area.
Now dilute the cold blue about 50-50. This slow down the coloring and makes sort of a dye out of it. Pour the solution into the dammed area and watch it carefully. As...
I use a 70 degree graver sharpened to a 45 face with no heel. Like Sam, I just poke and lift away from an angle as I go along I use a piece of brass to scrape off the small burrs
Sold by whom ?????? Was this bought online like on Ebay??
You can regrind the tang sq so it fits the collete that you use. Also don't fret over snapping off the front end to make it the rightsize for your hand. We do that all the time. One size does not fit all.
it does not look like the type that goes into a power hand piece. Rather a standard push graver type handle. The tang section should be either square or round to fit the collete
when I was doing printmaking in High School we used printing plates made from Zinc for our intaglio plates. This might be another option for you if you can find any. They engraved very easy almost like copper but had a silvery color to them
Just a thought
I have always found the onglette super easy to sharpen. Frank Hendricks showed Mike Dubber and myself how to do it years ago . Hard to describe how but just once watch it being done and it’s a no brainer by hand Dont over think it. Alain Lovenberg let Mike and I try one with no heel. Dang if...
Depends on what i am shading and the size . Usually use a 105 or sometimes a 90. For scrolls usually a monarch hand piece. For scenes mostly push by hand no power