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Old 11-14-2010, 06:17 AM
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MikeDubber MikeDubber is offline
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Join Date: Jun 2007
Location: Evansville, Indiana
Posts: 510
Default My method of wax transfer

I've seen much discussion and commentary about transfers on the Forum and I wanted everyone to see another solution to transfering. This system requires that you first engrave a pattern on a piece of steel (or lift it from/off another original engraving) then transfer onto the subject using some every day non-technical supplies. Like other methods, this kind of wax transfer allows you to transfer directly, reverse the pattern, and keep the original pattern for future use. I have accumulated boxes of steel plate transfers that I've used again and again.

I was first introduced to the method while doing a project with Colt Manufacturing. This project included 1,200 Colt SAA Revolvers that were titled the "Old Masters Series," and there were eight engravers on the project The process required that the Colt Contracted Engravers (those outside the Custom Shop) produce a master plate and send it to Colt for approval. Then the master plate was returned to the engraver for direct transfer and engraving on the Old Masters series guns.

Below I have placed a photo of another Colt Custom Shop job I did in a traditional Cuno Helfricht pattern using a Master Plate and transfering with wax. I had a matched set of four of these to engrave, so the master plate was a real time saver! You can see one side of the plate in this photo showing some of the original engravings - the opposite side had the remainder of transfer images.

In regard to reversing the patterns (like matching scrolls on both sides of the frame or barrel) the process is simple. First do the original pull, place that piece of tape face up on a flat surface, then place another piece of tape face down on the original, then and press to capture the inage, lift and place it on the subject. I estimate that you might loose about 15% of original clarity, but if done carefully, it works just fine. Always remember to fold over a short bit of both pieces of tape so that you can easily peal them apart - if you don't you'll spend a great deal of time cursing me and the tape!



Variations.I am including this photo to show a variation in technique. On the left is a positive transfer, and on the right is a negative transfer. The techniques for lifting these two images should be apparent - in one case you fill the engraving and in the other you simply pat a layer of wax over the engraving. If I am engraving a very brightly polished suface (typically on gold and silver jewelry items) I always use the negative...hides the brightness and makes the image more apparent.


The other significant fact that you should be noticing here is that unlike a line drawing (via a paper/transparency transfered onto the subject, or drawn directy on the metal) this method provides another helpful advantage for cutting the subject, especially on the negative transfer. Look closely and you will see that the wax transfer reproduces the artistic inflections of my original engraving. These delicate abaresque scrolls have character - that is to say they are cut light to heavy throuough the scrolls. I wanted each cylinder flute to be the same, and with the direct transfer, I can repeat the light to heavy sequences on each flute - they all match exactly because I can see the changes in line depth and width in my transfer as I cut it.


Here is the LINK for the video.


Last edited by MikeDubber; 11-14-2010 at 03:33 PM. Reason: Clarifications - additions
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