Glen, let me apologize first. We have all kinda hijacked you original excellent post.
Just goes to show the great current interest in the bulino style of engraving.
What I’m about to say is old stuff to many folks, please excuse me.
And many of you may not agree with me.
But this might be a little thought starter for those who have not done much bulino.
I would like to make a point (pun, pun) about the line and/or dot methods.
I think we can all agree that with the ENGRAVED line method metal is removed and the line is more or less durable, depending upon line depth.
If a line is scratched into the surface, as in dry-point, there is a groove formed with displaced metal following parallel along its edge.
There is a chance to roll the raised ridge back into the “ditch” and weaken or obscure the line.
(As we do with a burnisher to try to erase a graver slip or a misplaced scribe line.)
The raised metal can also be worn off by any type of abrasion, weakening the image.
Dots can be made by several methods.
If the dot is made by plunging a pointed tool straight into the metal it displaces metal upward and creates a small depression.
This is usually the case if a round needle point is used, for instance.
We would refer to the displaced metal as a bur.
It is highly susceptible to wear. If it is worn down it reduces the shadow effect and makes the image less visible.
If dots are made with a graver point by making a minute entrance into the surface of the metal it creates a cavity and displaces metal upward too.
But if the graver is “flicked out” while the point is below the surface it removes this chip.
If these minute cavities are at the same depth as a lightly engraved line as used in the banknote style of engraving they are quite durable.
With these dot formed cavities placed very close together we have a miniature relief.
The closer together they are the darker the image, in general.
The image should be turned to check how it reflects light when observed from different directions and re-worked as needed.
In banknote style we cut long lines, short lines and dotted lines to give a graduated line.
I believe that if a bulino image is cut with graver made dots and the burs are removed it forms a reasonably durable image.
It is necessary to place the dots and lines close enough together to create the graduations from light to dark, of course.
My understanding and observation of some of the Italian bulino is that the bur is not usually removed.
Some is much better viewed or photographed from one angle only.
Although most of it is a Master quality I question it’s durability for user guns or knives.
Just my thoughts, expecting some flack on this. Best to you all, John B.
Just goes to show the great current interest in the bulino style of engraving.
What I’m about to say is old stuff to many folks, please excuse me.
And many of you may not agree with me.
But this might be a little thought starter for those who have not done much bulino.
I would like to make a point (pun, pun) about the line and/or dot methods.
I think we can all agree that with the ENGRAVED line method metal is removed and the line is more or less durable, depending upon line depth.
If a line is scratched into the surface, as in dry-point, there is a groove formed with displaced metal following parallel along its edge.
There is a chance to roll the raised ridge back into the “ditch” and weaken or obscure the line.
(As we do with a burnisher to try to erase a graver slip or a misplaced scribe line.)
The raised metal can also be worn off by any type of abrasion, weakening the image.
Dots can be made by several methods.
If the dot is made by plunging a pointed tool straight into the metal it displaces metal upward and creates a small depression.
This is usually the case if a round needle point is used, for instance.
We would refer to the displaced metal as a bur.
It is highly susceptible to wear. If it is worn down it reduces the shadow effect and makes the image less visible.
If dots are made with a graver point by making a minute entrance into the surface of the metal it creates a cavity and displaces metal upward too.
But if the graver is “flicked out” while the point is below the surface it removes this chip.
If these minute cavities are at the same depth as a lightly engraved line as used in the banknote style of engraving they are quite durable.
With these dot formed cavities placed very close together we have a miniature relief.
The closer together they are the darker the image, in general.
The image should be turned to check how it reflects light when observed from different directions and re-worked as needed.
In banknote style we cut long lines, short lines and dotted lines to give a graduated line.
I believe that if a bulino image is cut with graver made dots and the burs are removed it forms a reasonably durable image.
It is necessary to place the dots and lines close enough together to create the graduations from light to dark, of course.
My understanding and observation of some of the Italian bulino is that the bur is not usually removed.
Some is much better viewed or photographed from one angle only.
Although most of it is a Master quality I question it’s durability for user guns or knives.
Just my thoughts, expecting some flack on this. Best to you all, John B.
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I love bulino, I took Chris's class and it was a great experience for me. I do enjoy all the above comments. Please, John, hijack some more.
