I took a class with the italian masters last year and I was amazed at the speed and accuracy of these masters. I had been trying to get some skill back with the palm tool, but this was the first real challenge, as they work with the palm tools exclusively. The lines are so fine for light shades, you can hardly identify them, but their tools are very short. they grind the two bottom belly facets at about a five degree lift. these facets are about an inch long. they put no heel on their gravers except for a slight polish right at the tip giving it a slighter lift. They do this by stroking them on polishing paper similar to how I learned to do bright cutting onglet gravers in diamond setting. They can put a series of accurate lines consistent in length and spacing while I am still thinking about it. It was quite an education. I was so frustrated after the first day, I had go and talk to the trees for a while. I came back into the class, picked up the tool with m y left hand and amazed myself because I had never even thought to try anything with my left hand.

The project came out pretty good, but was a little rough compared to their work. I wish I knew how to post a picture, I would show you my finished project. Some of the lines are so fine you cannot even see them on the actual piece without good magnification. I don't use a scope so I had trouble seeing what I was doing, but before you guys begin touting the praises of a scope, I have tried one a bit and just can't seem to get it to work without slowing me down to a point that it isn't worth it to me. I can see that it will take considerable practice to get the timing and touch required to do that kind of work. Of course, I always thought impact was more important than technique, as long as you are at the height of accuracy, so I try to achieve that, and many times bulino is so fine that it isn't conducive to a vibrant contrast which is so important to the appreciation of your work and ideas. I don't know if this will help you, but it is a stimulating subject and I learned things I was in the dark about because of my own personal approach to my work.

Ron S

Ron Smith
4/8/2007 11:07:38 PM

Hi Ron

The simpilest way to post a picture is e-mail it to Bill Gamradt who manages the web site at MtMedEx@aol.com and he will post it for you.

Alternativley you can send it to me and I'll happily post it for you. My email address is biggschristchurch@xtra.co.nz

I've noticed in the photographs of the European engravers that they often hold a loupe in their non working hand and are about 2 inches from their work with their noses almost touching the work. It strikes me as a good method for bulino type work as the optivisors only seem to go to a certain magnification.

I was lucky enough to see some of Fracassi's work at the SCI show at Reno. How he could get that many dots per square millimeter beat the heck out of me.

I've tried bulino just a tiny little bit for shading darker areas on animals and it's hard to resist the urge to really plunge the point into the work and create a set of burrs that feels like 360 grit paper. It would seem a lighter touch gets better results.

Cheers
Andrew

Andrew Biggs
4/9/2007 12:57:07 AM

Andrew,

That is correct. They hold the 10x loupe very close (a few inches)and go to it. As I said, I had trouble seeing what I was doing in the class and I even have 10x optivisor type thing with lenses made for me by an optomitrist.

They create their intensity by stacking lines on top of each other in a very orderly fashion and obliquely. they are very short lines (dashes)until they reach the the tonal intensity that they want.

The lighter touch is exactly right and you have to accumilate hundreds of lines to create a black tone, but they can do it with such speed it will amaze you, and the accuracy is precise.

You had better get ready to add a few weeks onto your process until you get the speed.I have so much trouble with a palm tool now that I am not sure I could ever get the speed. I will stick with my own approach for now and practice with the palm tool in the mean time.

As for the picture, I would have to take one and then send it, and I am too busy trying to understand this computer crap right now. I have to get my email going and learn how to use windows vista. I just got a notice that my recovery disc is running out of memory and I don't know what to do about that. How is that possible. This is a brand new computer? After I get in the groove and smooth out I can send a picture. I don't know how to post one on email either, yet. I am supposed to get a disc from the server wednesday and I will probably be up and running thursday, but you never know about these computers. they jump out and get you every once in a while.

Anyway, thanks for the input Andrew.
Later

Ron S



Ron Smith
4/9/2007 12:13:03 PM

Hi Ron

Unfortunatley I know nothing about the new Vista operating system for computers. One thing I do know about computers is that they can increase your vocabulary of swear words in record time!!!!!

Interesting what you say about virtually no heel on the graver point. I've tried that grind you mentioned with making small lines/dashes with varying success. Too steep an angle of attack or going deep resulted in disaster as the graver just wanted to dive into the steel. If I got my attack angle just right and made the cuts very light it wasn't a problem. The speed..........well, just getting them accurate was hard enough without going at 100mph.

Barry Lee Hands wrote an article and I remember him describing either Pedersoli or Fracassi sounding like a sewing machine as they were working that fast.

I've also thought about the way that some of the bulino engravers use a hole in a peice of card to protect their work while the're working on it to stop the abrasive action of the skin. Perhaps it also serves as a focus point as well? so that you are concentrating on one tiny area at a time and not distracted (or discouraged) by the rest of the engraving.

Cheers
Andrew



Andrew Biggs
4/9/2007 8:08:16 PM

Andrew,

They didn't seem to mind the abrasion. they used a well used polishing paper with a little oil to finish over the work. they would engrave a while and rub the work with the paper and get the oily dirt into the cuts so they could see what they had, but I am so slow already, I don't need any help there.They were truly amazing to watch.

Ron S

Ron Smith
4/9/2007 8:22:09 PM

Wow, this is a great post!! Reading through this post reminds me of some of the stuff I have read about the renaissance artisans like Michelangelo who could chisel marble and stone with great speed and accuracy. We are truly reliving that great time with engraving. The same secrets are applicable today, but under incredible magnification. Great to be part of it.

Hi Ron, you don't know me but I certainly know you. Your books and your work are a great inspiration. If I might say, a lot of folks I know are wiping their new systems and re-installing with Windows XP. There are a lot more applications out there that run reliably on XP than on Vista. If that option sounds feasible, I think you'll find that your local computer shop as been doing this a lot for customers.

Look forward to seeing some photos. Chris

Christopher Malouf
4/11/2007 6:00:29 PM

Chris,
Thanks for the kind words and welcome aboard! Are you an experienced engraver or learning engraving? It is undoubtly a great trade, but one that will challenge every aspect of your being.
Ron S

Ron Smith
4/12/2007 1:02:11 PM