My thought is the graph paper background will also help if there is any lens distortion, you can make sure teh graph lines are still equally spaced and parallel when printing it.
Wondering if it would be helpful to put the tape on graph paper instead of plain paper. The graph lines would help make sure there isn't distortion, and ensure you are at the exact right scale.
Took it to the range today. It really fits my hand nicely, very easy to shoot. I was getting better groups with lead round nose than with wadcutters. The grip did start to loosen a bit; I haven't yet put blue loctite, I wanted to test it out first.
Prior to polishing the stone is rather dull. Here I've started sanding it, probably up to about a 400 grit in this photo. I took it up to a 2000 grit and used some polishing powder.
At this stage I had some blued steel grip screws from Numrich. They served for fitting, but the threads weren't...
I then started rounding and shaping them. Once I had the basic curve, I marked around my fingers to make grooves, ensuring it will lock into my hand for shooting.
A chip did come off the bottom of the right grip as I started cutting, but that area all going to be removed during the shaping, so I didn't worry about it.
I made paper templates and glued them to a piece of marble tile. Just Elmers glue thinned with water. This was the first attempt, a piece of Greek Tinos marble, but it proved too brittle and crumbly. I started over with a nice piece of Northern Italian Verde Alpi marble. I epoxied fiberglass...
Well, it's not engraving, I hope you don't mind.
I came across a nice 100 year old (1923 production) S&W 1905 M&P 4th Change with a very attractive price. Nickel with vintage after-market mother of pearl grips. The grips had some chips and looked too fragile, so I wanted something more durable...
Some of the Harding Collection as it was displayed for many years. I haven't been there in a few years, I know things have changed around, so I don't know what is currently on view.
https://www.artic.edu/exhibitions/6201/armor-from-the-harding-museum
Raymond J. Wielgus (1910-2010) and his wife gave twenty five of his engraved firearms to the Art Institute of Chicago. Here is a stunning 1911, click his name on the page and you'll see the others.
https://www.artic.edu/artworks/69876/colt-model-1911-semi-automatic-pistol
I don't believe any...
Thanks for all the feedback. Some of the stories remind me of a some of the old stone carvers. I worked with one in Italy when I was 20-21 years old, he was phenomenal at roughing out large sculptures in marble. Sledge hammer, three pound lump hammer and a point chisel. There is a rhythm and...
For comparison, same year mine was produced, 1953, Beretta did an engraved .22 Plinker, model 948, which made the cover of American Rifleman. That one was signed by A. Baglioni, and they said it "required the major portion of each working day for 51 weeks". They also offered to make another like...
No, found it here. I don't have an importers license, only C&R. Not sure how I'd go about importing from Italy, especially because their laws are way stricter than any here.
Weims are very cool, very smart. I carved one in limestone a couple years ago. (a treestump tombstone, installed at Bonaventure Cemetery in Savannah, GA).
But I didn't think to include a dog tag, that would have been a very nice touch.
Yes, I expected that when I bought it. (it is nicer than the photos I'd seen). I'm sure the lower level engravers at Beretta were put on this sort of production run, with time constraints placed on them, and if their skills developed, they moved up the ladder. So, they might not have had the...