No stones no file no burs only gravers

Christian DeCamillis

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Here are some very close up pictures of a job I am working on. The oak leaves aren't yet finished . The leaf structures in the photos were done using the Enset of course they were shaped with flat gravers and such then hammered smooth with small hammer points I make for my tool. No stoning sanding burnishing none of that is necessary. Remember these are very close taken through the scope to the naked eye they appear even smoother The background was cut with gravers and then hammered perfectly flat as well. Only the background section with the sculpted leaves is finished .I am thinking about not texturing the background but leaving it just flat. It makes it appear as though the work was overlaid . I always likes this look but without stoning or using burs and such it was difficult to accomplish. Sine creating the Enset I have been able to do this kind of work without all the fuss and much faster.
If you want to leave hammered marks it can be done easily . I prefer this smoother look without a polish on it.
http://memberfiles.freewebs.com/91/04/6
0200491/photos/undefined/2014-12-31%2016-31-08.783.jpg




 

monk

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chris: fascinating to look at this up close & personal. is this a grip cap ? i think it will be beautiful when you finish it. thanks for the photos. they show really well what you did there.
 

Arnaud Van Tilburgh

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Nice work as usual Chris, the En-Set using the small hammer points works great for this kind of jobs. Even on Titanium. :)

arnaud
 

sam

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Very nice modeling of the leaves and I think in this case the background left as-is is a good thing. I've never gotten one that smooth.
 

mitch

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that is pretty cool! have you tried finely texturing the face of the "hammer points" by hammering for a moment on some 400-600 grit paper? might make a nice, light frosted look?
 

zzcutter

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Chris, It would be interesting if you could show the different shaped faces of the punches and how and where you used them. Thanks for showing your great work. ZZ
 
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ETHELBERT

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I agree with Sam, I have tried and tried and then tried some more and never come remotely close to getting the back round this smooth. Excellent work.
 

Arnaud Van Tilburgh

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BrianPowley

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Deep relief sculpting is difficult work. It's even more difficult to make it deep AND attractive.
Heavy sculpting is not my forte, but I certainly admire those of you who can do it so remarkably well.
Bravo Chris---great stuff from your studio.
 

rmgreen

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Chris - How is the work piece held in place as you hammer. It appears to be on a piece of brass without the usual "gray glue" etc.
 

Christian DeCamillis

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Jon, Here is a video on the hammer point I use It shows how to make it as well. I ony make one tool for everything. It;s made in several sizes from tiny up to larger ones for smoothing.

The small punches move metal more than a larger one. For example if you made a punch with a diameter of say 2mm and apply force to it you get a certain force. If you make the same punch and reduce the diameter to 1mm or half the force is increased by four times. Also remember that metal does not compress therefore when you hit it it must displace . So if you think about it it will move in the direction of least resistance . Knowing all of this will allow you to work smarter and control your outcome more predictably. Hope this helps

Here is the link to the video [video]http://www.engraversstudio.com/apps/vblog/Video/View.aspx?id=8d2f80e7cc[/video]
 

zzcutter

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Thanks Chris for taking the time to post and answer my questions. I love your work and appreciate the video on the punches.
Please keep posting your projects. Thanks again, Jon
 
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