Critique Request Bulino polar bears on mini spyderco set.

[Dani Girl]

Yes I got the finish the best I could with what was at hand. It's a slightly messy 600 gone over a bit with a coarse and a yellow sunshine cloth. It got worse when I had a huge slip and tried to fix it rubbing half my design out which led to some ears coming out twice as big as they should be etc. I learned the importance of outlining eyes and ears etc. Then cutting inside the shapes... not blocking in areas... they tend to grow. Eyes doubling in size etc.

 

[Dani Girl]

Some 3m finishing paper would be the best thing to finish with I know of.

 

[Dani Girl]

The handle length of these two knives are 50mm and 40mm

 

[Dani Girl]

Ok so here is where the teeniest one is at so far. 40mm long

 

[Marcus Hunt]

I'd avoid polishing fine dot bulino if at all possible. I think you might end up destroying your engraving. It can take very little to damage fine dot engraving. I was talking about polishing before hand, for future reference, as I think a little extra prep to the steel would really lift your engraving to the next level. It's not so important with scroll engraving on a Spyderco but when it comes to something as pretty as this I think it deserves a little bit more attention.

In the early days of my engraving watch backs, I used to leave the factory brushed finish but quickly came to realise it was detracting from my final product so I took to polishing the backs smooth now and it makes a huge difference to the final result.

 

[Dani Girl]

Thanks Marcus. I took what you said as advice for next time. I know how much damage it would do to the work now to try to fix the finish.

 

[Ron Jr.]

Ditto on what Marcus said. When I started everything I read said 600-800 grit surface prep for bulino. Did many engravings with that finish but it was always distracting to me on a small scale. I now polish just about everything before engraving.... Harder to see the engraving? Yes. Looks the best in the right light? Obviously IMO yes.
You asked about bulino dot sizes all being the same. Yes and no if you ask me. I wrote a scrim tutorial giving my two cents on this. You want the dots to be invisible when viewed (too small to pick out individually with the naked eye), trying to create a smooth looking color/shade. But for black/dark areas you need to get in there and make some "cuts" unless you want to spend hours and hours making that dark shade with teeny tiny little cuts. I've found there is a limit to this though. Cut too big/deep and it starts reflecting the light, you lose the "shadow" your trying to create.
Oh and pertaining to what Mitch said. I agree, you can lose depth and detail quickly leaving an area just "white" with no dots but you can just as easily make (in this case) a dirty bear See the blonde on the right in the pic. Here hair is still clearly blonde but has been "worked".
IMO you picked a pretty hard subject matter but have pulled it off well Hope my rambling here helps you in some way Dani Girl. Has been a pleasure seeing your progression

 

[mitch]

i dunno, Ron, she looks like kind of a dirty blonde...

 

[JJ Roberts]

Anyone every use a burnishing tool for blending the dots?I was emailing with an English engraver Allen Portmouth and he told me he uses a burnishing tool to blend the in certain places on his engraving,mainly the game scenes.We also talked about using agate,he said he never used agate but it would work. J.J.

 

[Brian Marshall]

Most of the agate burnishers I have ever used were used in Keum-boo process - for which they are ideal...

Wouldn't choose that material to burnish steel unless I had nothing else handy?


Brian

 

[Ron Jr.]

Anyone every use a burnishing tool for blending the dots?I was emailing with an English engraver Allen Portmouth and he told me he uses a burnishing tool to blend the in certain places on his engraving,manly the game scenes.We also talk about using agate,he said he never used agate but it would work. J.J.

I've done it when an area is too dark JJ, sort of "squish" the cuts down. It's tricky and risky IMO but can be done. I think the hardest part is if you burnish too much, it's a b#$%h to see the shade you're trying to achieve if you have to go back in.

 

[Dani Girl]

Can anyone take a picture of how you hold a burin to make bulino cuts or refer me to more info? I have watched Christian Decamillis' dvd set and have the castings from that. I am starting to have trouble with my right hand aching especially with bulino although with practice the death grip is easing off a little. When I get home I have decided to give more thought to the ergonomics of my work station and chat up a friend who is a physio about how to get a good amount of years out of my body doing this (and if I should/can).

The general theme of replies seems to be... metal prep, smaller dots, and more of them. I will try to take it all on board and thank you all for commenting. I will tweak these guys a little til I am pleased and post again with the third guy in the set. I think framing them in some way will be the thing to do. Maybe a magnetic frame like case and have the knives held by magnets... although I detest the thought of magnetizing them I know the girl they're going to can deal with that.

 

[JJ Roberts]

Dani Girl,Here are the tools for Bulino engraving you asked about & how I use them.

 

[JJ Roberts]

Here is a European Red Stag on a patchbox done in all dots.

 

[mdengraver]

Nice pics JJ!

 

[JJ Roberts]

Ken,Glad you like the pictures,my tools I use for game scenes on gun and now for dry point print making are made from small carbide drills that John B showed us how to make with no heel.I'm having a great time with the print making will post some pictures soon. J.J.

 

[Dani Girl]

Thanks for sharing those pictures of your tools and how you use them jj, I appreciate that.

 

[hello-bro]

Hi Dani,
Love your work. I bought your engraving book couple of years back and absolutely loved it. Glad to see you are doing Bulino as well. Always wanted to try Bulino but never attempted. I reside in melbourne . Do you know of anyone in Melbourne or Australia that could advise and teach Bulino to a beginner? Many thanks

 

[southern_lights]

Beautiful work Danae. You are moving from strength to strength!
It takes much skill to be an artist, but no skill to be critical.
I have found it helpful to have animals critiqued by those who have spent much time observing them. Although they may not be artists, they can sometimes point out mistakes in anatomy, posture, muscle placement etc. If my memory serves me correctly, Charles M Russell had a friend do this for him. He also produced many sketches of the old west, horses, landscapes etc. that are well worth studying. Suggested reading, "The Charles M. Russel Book By Harold McCracken". Perhaps a library in your area would get it in for you?
Look forward to seeing your future work.