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Old 11-11-2008, 10:25 PM
Brian Hochstrat Brian Hochstrat is offline
Gold
 
Join Date: Mar 2007
Posts: 168
Default Re: Brian H. contest submission Engraved Nude folder

Ok, here is an overall look at how things are shaping up. All the fine gold channels are cut and ready for inlay, the scroll design is outlined, as is the pockets for the 18K gold (the hair)

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So now lets set some gold, for these ribbons I used round wire. I don't get fancy either, I have several sizes of wire and I use what will fill the area. These channels are of varying widths, so I start at the wide end and work toward the narrow. When I get to where the wire is to wide, I cut it, square the end, and I drop down a size. Keeping your joints square will stop layering, which is when your gold flows over the top of another piece of gold, if you allow this when you surface the gold off the top layer will pull out, and surprise, you now have an ominous hole in your inlay. Also when punching the gold in (on higher karats of yellow and green), you can get the wire to stretch as you move forward, this is a handy move, say if the channel is getting a bit narrow for the size wire you have, but, you are almost to the end of the channel and really don't want to stop and then mess with a micro length of smaller dia. wire you can just push that excess gold forward lessening the flow of gold out the sides.

Also for 95% of my inlay work I use a small steel punch about .04 inches in dia. with a textured face. This small face allows me to both concentrate impact power and keep track of where all of my tool is, so I do not hit the steel. I prefer steel because it does not bend, mushroom and holds the roughness on the face for a while. The down side is, if you hit the steel, you now have a major dent, so use it at your own risk.

So after setting, we pare the gold back. I use a square graver turned flat with a long 20 deg heel and the corners dubbed again a little disclaimer, this works great if you can control the tool, it stays very sharp and cuts the gold cleanly, but do not nick the steel, the dubbed corners help, but you still have to pay attention. Using a brass graver of the same design is safer, but personally, I do not like them due to the fact they dull quickly, but many people like them and get along fine with them. I come in at about 90 degrees to the line and put the point of my flat under the overflow and lift and cut forward at the same time, this will give an upward cut and test your gold for security, better it lift up or out at the bench, than some other time down the road. I repeat this all the way around the inlay and will be left with a raised center, I then come in very flat and level and shave the gold down, being cautious not to dip below the level of the steel.

Once it all pared down pretty close, using surfacing stones, I will flush the areas that will adjoin the 18K. The rest can be flushed once all of our gold is set.
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So here we are working on the hair, again I outline the channel, remove the bulk of the material with the rotary tool and undercut. Two things I do on larger inlays like this to level the floor, is to use a flat graver to shear off the high spots, and then I take a micro punch .02 +/- and punch it all smooth, you don't have to get brutal either, just go over it lightly and work it down level. Now that it is level we can cut our teeth.


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