Professional Documents
Culture Documents
~ James B. Meek.
BOOR De'iBn, DrawinBs and phocoaraphs
BY THE AUTHOR
Introduction . . vii
Chapt.er 3, Anato my . 50
v
INTRODUCTION
vu
became apparent and developed - thai of "ICHcher" (which was really Ihe
in tent of The Ar t or Engraving in the first placc). When he first staned
writing, he exhibited the c haracteristic that ,JI[ fine craftsmen seem to have
and too of len ex hibit in thei r "how-to' art iclcs or books . whic h bas i call~
is: " Heck, H r ca n do it. anyone ca n' and proceed on tha t assumpt ion w it h-
out giving a ny of the details as to jus t " how'!
In discussing th e above wi th the a uthor. J pointed Out t hat mOSI of [he
readers were not going to be accomplished anists. bu t just average people
w ho wanted to lea rn; that every move, every detail . should be pointed out.
described in depth and illustrated - even to a point where the readers should
be told when to wi pe off {he sweat from their brows. Frank Brownell. who
was editor for the book, and I arc not artists or engravers - quite to the
contrary: yet, because of Bruce's ultimate mastery of the tcaching ability.
we both have a yen to grab a graver and a piece of practice s tecl <md slart
cutting every time we read some of hi s wri tings. We both feel thai if he
can so inspire a couple of fumble-fin gered indi vidual s such as we arc. T he
Art Of Engra ving will inspire anyone w ho reads it!
Finally. it is the hope and design of all of us in any way involved with
The Art O f Engravi ng that the reader w ill find instruction. knowledge and
inspira tion between its two covers - That the person who wants to engrave
can proceed with confidence because what he needs to know is here for
hilTl - That the pe rson w ho appreciates engraved pi eces w ill have a new and
keen understa nding a nd a ppreciat ion of the work . style and mo ti fs created
for him by th e e ngrave r - And tha t the fru its of J ames D. rl'leeks lifet ime of
devoti on to his love of ex pression throug h an can inspire others to eq ual or
su rpass t he ideals a nd a bili ties of Ihis fine craftsman. instructor and a u thor.
Bob Brownell
Montezums. Iowa
August. '973
V III
FOREWORD
From the beginning of 1irne there have on the detail s of engraving imposes quite a
been those indi\'iduals who have had an in- handicap on the progress of the beginner. With
clination 10 express themselves in some man- this book we will attempt to anticipate and
ner. A.<; leaders in the military, in poli ti cs and answer many of the questions the novice wil!
in the arts. these men have [eft their mark. ask. and give him a comprehensive coverage
Among the earliest recorded art forms. the dec- on each ph ase of the subject. It is im l>ortan t
orated caves of t he primitives show this urge to the beginner that he be given more than the
to create. The wealth of the early Chinese. Jap- ba re essen ti als of the topic. lest he get lost in
anese, Indian and Persian deconlti vc aft is an an endless series of trial and error efforts.
amazing record of man's ingenuity and his There will probably be some of you who
a bi li ty to create. All of these, in add ition to arc interested in the processes and proced ures.
the Greek, Roman. French, German and Eng- but have no in tent ion of actually working at
lis h styles of ornamentation. wh ic h have had engraving. To you . we hope that you will find
more of an influence on our own culture, make th e book both understandable and interes ting .
an imposing store house from which to draw V'lith the furor over the possession of gu ns
inspiration . and the fact that they may be rest ricted. it
With all of this treasure of accomplish- behooves the younger engraver to seek out new
ment. the beginner has difriculty in finding avenues into which to channel his tale n ts .
explicit, detailed in structions to guide him in M a ny of th e present gun engravers are. o r have
this fo rmidable endeavor of begin n ing to en- been. engaged in the die-making craft or as
grave. Presumably. any instruct ions that were jewelers and engravers. Even L. D. Nimsche.
given to apprentices were given by word of who was so prolific in an era when t he gun
mouth . This hard-earned knowledge and these was so common. also engraved watches.
"trade secrets were not to be C<lst recklessly spoo ns. plat es and dog col lars. In fact hi s ca rd
into the open market since reputations were s tated "Engrav ing on firearms - Lettering on all
built on craftsmanshi p of quality and s tyle. metals'. The old saying that "you cannot teach
The mas ter engra ver was a creative artist de- an old dog new tricks' make~ some sense. but
voted to his craft. and the describing. explain- some of yOll you ng dogs with a fresh viewpo int
ing and relating in print of even a simp le may start a whole new tre nd o r fashion. So
procedure cou ld put a demand on his time keep an open mind and an active one. You might
that would have been proh ibitive. Whatever contact your sl>orting goods Stores and prov ide
the reasons. this lack of w ritten information thelll wi th samples of your engraved. person-
IX
alized, ornamenta l nameplates for their cus- Especial ly valued is the inspiration, the
tomers' golf bags, fishermen's tack le boxes or critical interes t. the experience and occasional
brief cases . Such an area might include individ- prodding of Bob Brownell, the publisher, who
ual ized , decorated cigarette lig hters. A s moker has been largely responsible for the creation of
who is proud of his rifles and shotguns wou ld this effort .
surely have a simi lar pride in an object t hat Next, a note of appreciation for my wife,
he uses and displays so often. [t would take Jeanette, whose encouragement and forebear-
some advertising and promotional wor k, but if ance in socia l and recreational matters has
it once caught the fancy of the pub lic, who made possible the time to accomplish the job.
could predict where it might lead! I know that you are anxious to begin, and
T here are a nu m ber of fine engravers to get started you must have a design for your
whose work I should liked to have incl uded engravi ng. So now let us develop that design
bu t space did not permit. Mr. Prudhomme's from the very beginning for the novice who has
book the Gun Engraving Review has covered no idea even what a design is. Along the way I
this field very welL with many fine reproduc- will give explan a tions and examples that should
tions for the beginner to study. To Arnold Grie- help to clear up a ny hazy conceptions or wrong
bel, Alvin A. White, John E. Warren, E .C. Prud- directions. The areas of uncertainty will be re-
homme, Lynton McKenzie and John R. Rohner placed with a few concrete ideas that are basic,
I particu larly extend thanks for the photo- and from these, your ideas can then be expand-
graphic material that they so wi ll ingly and ed into elaborate and complicated layou ts.
generously contributed. r want also to thank I t is my intent and hope that this book
LL Col. F.B. Conway ( Ret) for comments and will be a source of aid to the beginning crafts-
photographs that I am sure you will find inter- men of tomorrow. So, to you young beginners-
es ting. Thanks also to all of those good fr iends of whatever age - I should like to dedicate this
who have permitted me to photograph their book. with "Best Wishes" for ma ny happy
firearms for use in this book. hours with the gravers.
James B rVleek
Newlon. Iowa
May, 1973
x
1
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11
any beginners want 10 take up en - your thinkin g about design . The two lines that
graving but are bewilde red and per- are basic in a ll design are Ihe s trai gh t line and
plexed at just how to gc t s tarted . the circle. Naturally, the curved lines w ill not
Th is is unders ta nda b le beca use all be segments of a ci rcle, but they will be
there is a scarci ty of material on the su bject . varying part s of the ellipse a nd Ihe circle. The
and the material that is available has been straight line is t he least interesting because of
published in an assortment of diffe rent maga- its lack of va riety. The perfect circle by curving
zines and books over a long period of time. unifo r mly in its entirely has thi s sa me lack
MOSI beginners are completely un awa re of of variety. This does not mean that the straight
these articles or have no idea as to where to go line and the circle do not have a fun c tion in
to find them. So, 10 those of you who a rc taking desig n. Th ese will be discussed as w e ge t into
up thi s fascinat ing art form for th e first time, the subject and as they relate to the whole
leI us start a t the vcry beginning. design. Here are two si mple examples which
It may come as a surpr ise Iha l we will demonstrate the effecti veness of a few s imple
not begin by picking up the graver and starting lines.
immedi a tely on the practice of actual engraving. Figure I a shows the effect of s tra ight hor-
To do a good job of engraving you must have a izont al lines t hat one commonly sees in an
good ide a of w hat you wa nt to cut in to t he early summer lan dscape; the long flat horizon
metal. So, let us go to work on Ihe first require- li ne plus the flat bottoms of all of those white
ment of a good engraving job, namely a good cumulus clouds drifti ng lazily across the deep
design, You should be able 10 PUI your design
on paper, for by so doing you can alter and
change Ihe design until you arc sati sfied that FIGURE I a
il is w hat you wan I. This w ill give you some
assurance that oncc the li nes arc CUI into the
metal. they w ill have been cut exactly where
you wanted them. The d ea n. polished surface
of a piece of metal is a di s lin ct challenge, and
having a well thought-out design will reduce
the qualm s about cuttin g into that beautiful
surface.
Let us s ta rt by assuming that you have
had no art training, and il is necessary to give
you some simple facts th at w il l help!O organize
2
The popularity of the scroll with its infini te initely more interesting and lively because of
variety has always been a favorite with dec- the variation. The straight lines will of course
orators and engravers. At figure 4 are shown be as stra ight and as uniform as you can make
two examples: the one is a demonstration plate them. This will not be as contradictory as you
by A. A. White show ing different scrolls and might think for the curved lines of the scrolls
the other is a typical example by the late Arnold are enhanced by the relief of some good straight
Griebel. To get back to our scrolls again, a lines. The straight line in nature tends to be
curved line that is of uniform thickness does associated with strength. The straight. clean
not have the same quality as one that has some lines of the well-muscled athlete as contrasted
variation (from thick to thin). Figure 5 shows w ith the soft curves of the fat man.
several scrolls, the right side of which shows
scrolls with lines of varied thicknesses. The
left side shows them cut to a more uniform
width. The scrol ls on the right side are def-
FIGURE 5
Start to practice your basic scrolls using from one side, then start the next one at the
a medium soft pencil and a good white paper. bottom and reverse it. Each time that you do
As you practice, use a light touch with the one, attempt to enlarge your area of vision so
pencil. Developing such a touch will help you that you are aware of the whole area of the
later when you come to drawing animals and square.
figures. Do not start making scrolls haphazard- You need not confine these practices to a
ly even at first. See figure 8, and from the very square; try rectangles horizontally and verti-
first try to visualize the area into which the cally, see figure 10. With practice you will find
scroll is to fit. It is very important that you do them smoothing out. Be alert and do not let
NOT begin by picking up a pencil and dashing them become lumpy or uneven. You can prac-
off scroll after scroll. Such effort will not devel - tice these in odd moments of doodling (on
op the mastery or control that you will need. scraps of paper, magazines, newspapers or old
envelopes) if you have a pencil with you at
all times. See how many ways you can place a
scroll in that square or oblong. To repeat, start
in one corner one time, a different corner the
next time or in the middle of anyone of the
fo ur sides. Do not allow yourself the habit of
making all of the scrolls in one direction. You
will probably make them more naturally in one
FIGURE 9b direction than the other. The direction that
~~~
~
Draw each scroll rather slowly, concentrating
on your control and making it as evenly pro-
gressive as you possibly can. This thoughtful,
serious effort is bound to show results. Draw
a square (which need not be perfect) and if it
will help, you can even indicate a circle inside FIGURE 10
the square to help guide you in your first efforts,
see figure 9a. The objective is to force yourself
to make the scroll fit a definite area. Make your seems more difficult will require more practice.
squares of assorted sizes, see squares 9b and You can also vary the number of spirals in
beyond. Make them differently by reversing the your scrolls to get some variety.
direction of the scrolls since you will event ually These scrolls are somewhat comparable
be making them in all directions. Start a scroll to the notes of the scale, for after practicing
6
FIGURE 15
FIGURE 16a
FIGURE 16c
9
larged still more to show you a fine example the finished surface presenting more of a tex-
of how to cut a bird to get that modeled effect ture than a bold design Another example of
that shows so well in the overall reproduction. this style of engraving is the floor plate by
Thi s also shows you that if you can make your Kornbrath shown on the inside of page 6 of
subject into a good pen and ink drawing. it can The Gu n Engravi ng Review . The design at 17b
be cut into the metal to get a very similar effect. has more of the background removed in rela-
From the boldness of the cutting. you can tell tion to the scrolls and the detai ls stand out
that this engraver knew what he wanted to say. qui te weU displayed and visible for some dis-
To review our steps this far: you should lance. In the same book just memioned , on
have a basic scroll quite well in hand. Secondly. page 16, the second gun from the top of the
you will be able to carry it into a second scroll page shows a fine design by th~ late Arnold
in <:l11y position with no problem Tllirdly. you r Griebel th at is typical of his excellent layouts.
ability to con tinue these scrol ls to cover an How you eventually feel abou t design will deter-
area will be well practiced by now. Finally you mine which of these two types of design you
are increasing the variety and interest in these will want to work. A design to be displayed
scroll s by interweaving and making them more conspicuously must be well planned and execu-
intricatc. Only after you k--el that you have a ted as it is right out in the open for everyone to
good control of these patterns should you start see. A design thai goes to an overall pattern will
to explore the field of finishing deta il. Here not display its flaws so blatantly. They may be
again some of the good reproductions will be of there but they are less easily detected. While
great help to you. The re is a very good book you are examin ing the reproducti ons of various
out. authored by E. C. Prudhomme. e ntitled anists, use your pencil to fix some of these
Gun Engraving Review that would be a fine forms in your mind. Even go so far as to use
source of material for your study. some matte acet ate or thin tracing paper and
follow in de tail some of their designs. You will
be surprised at how easily the details will devel-
op after you have the main lines laid out.
Most of our designs are based on things the
artist has been acquainted with. The elements
of decoration are many. You might develop
geometl'ical designs, or designs based on flow-
ers, leaves. vines or natural objects. Many are
based on animal or human forms or sometimes
a combination of the two, such as the centaur
FIGURE 17a FIGURE t7b at figure 18a. On occasion. you will find the
FIGURE 18a
Two examples of scro!! work are shown in
figure 17. Both are conventional in treatment,
yet each is different in design to give you a FIGURE 18b
basis for comparison. In 17a, the scrolls are
kept very full with a minimum of backgroun d
removed . From a little distance this makes for
a tapestry effect with the design mu ted and
10
FIGURE lac
FIGURE l8d
v
FIGURE 19
AKANTHOS AKANTHOS
MOLLIS SPINOSUS
FIGURE 21
FIGURE 22
WINTER OAK
FIGURE 23-<:ont.
13
ARTIFICIAL FOLIAGE
LIVERWORT
~
~ MIKANIA
N
are not necessarily natural and actual repre- The vine with its foliage . both natural and
sentations of the oak leaf. but have been stylized artificial. has long been the means of covering
by the engraver to conform to his own idea or an area decoratively. The vine can be trained in
method of engraving . Leaves such as the maple, a given direction and the leaves arranged in a
the grape and clematis have been adapted to decorative fashion. For the beginner, the vine
carvings. both in wood and in stone. If you (see the natural grape vine in figure 24) offers
come across a leaf that appeals to your fancy. a means of covering an area with a design that
take your pencil and make some drawings of it. docs not require the experience and discipline
If it still looks good to you, use it in your own of the scrolL The design can be an overall pat-
engraving, trying to retain the character of the tern and each cut can be made somewhat irreg-
leaf. You need not copy each serration or inden- ular by the very nature of the subject. Do not
tation. but try to catch its characteristic shape. let the easy way entice you away from the more
original, basic scroll. for once your fundamen-
tal scrolls are mastered , you are in a position to
do anything that your fancy dictates.
FIGURE 24
FIGURE 25b
FIGURE 25a
15
COAT OF ARMS
segments of arcs and elli pses seem to almost ITALY
autom atically coll ect these interes ti ng and en d-
less variation s. Do not al low th is hu ge field of
pas t de sign to di sconcert you. Stay wit h your
scrolls and as you acqu ire profi ciency in their
use, your ability 10 assimilate and ad apt 0 1her
ideas will grow. All the tim e your a wa reness of
the possibi li ties in design is becoming greater.
Your s torehou se of ideas would not be com-
plctc, howeve r, wit hou t discus sing briefly the
use t hat has been made of ani mals, bird s and
the human figure, and some of the fant as tic
co mb inat ions tha i have res ul ted from t hese
un ions.
ot her decorative pur poses . The Engl is h used
the li on in their heraldry where it beca me their
most po pul ar an ima l fig ure. The comb inations
of an animal's body wit h a bird's wings and
head led to the crea tion of t he mons ters. The
Gri ffi n has the head and wings of an eagle on a
li on's bod y. The Chimera, a s he monster, usu ally
ROM AN
CHIMERA
ASSYRIAN
WINGED LIONESS
FRENCH
AL L DRAWINGS
ON THIS PAGE
FIGURE 26
16
FIGURE 29
THE GROTESQUES
The Medusa head (in the circle) was one of the
myt ho logical s ubjects Ihat was used on s hields,
armor , doors and above gates. The half figure
is si m ilar to the grotesque, except t h at t he
u pper body is treated in a natura l manner. I n
FIGURE 28 many cases the body is e ncircled by a decorative
belt below the breasts or around th e stomach
from which the design is carried d ownward
and outward. In other examples , the natural
contours of the lower abdomen form a transi-
tion from the body to the decorative mot ifs of
the design, see figure 29. The half fi gure has
been a popular ornamental device for centuries.
It has been used not only in low and high relief
but in the full round as well.
THE RIBBON
18
VERTEBRATE
I_D~
were intended for use with colors as in borders
in tile Ooors . Among these bands you may find
borders that you can adapt to your own jobs.
FR ET From the rosette and palmette bands you can
find ideas for many small running designs. The
FIGURE 30 verteb rate band and the undulate band will
ROSETTE also enlarge your choice of design. You will
see among all of these designs, not only com-
plete ornamental ideas. but many that you may
want to take only a portion of and combine
with something of your own design.
Included are some link borders and crest-
ing borders, see fig ure 31. The link borders
were ru nning borders of foliage held together
(or linked together) with scrolls. Cresti ng bar-
PALMETTE
LI NK BORDERS
the cloth that they designed as well as on their
pottery. [t is o f simple construction and can be
varied to quite a degree. The chain band was
often used and as the name implies is based
on the links of the chain. No illustration is
shown since it is easily imagined, The chain
FIGURE 3 1
19
ders were used as ornamental c rests on the top tombstones (or steles) were similar to the ak-
of the roof or ridge. The akroter acts as an roter and the antefix and they too are readily
ornamental terminal to the peak or gable of a adapted to the engravers use.
Decorative finials were used 10 terminate
FIGURE 31 cont.
gables. balustrade s. flagstaffs and parts of
furniture. see figure 32. Many finials were of
wroughl iron and were also used on chande-
liers and brackets. Two capitals. a pend ant
knob and a decorat ive shaft. are shown from
which you can find decorative motifs.
CRESTING BORDERS
FINIAL
KNOBS
PENDANT
AKROTER KNOBS
CRESTS
FIGURE 32
STELE
CREST MNHll!TPATH
In the illustrations of past designs tha t pearance when the cutl ing is fi nished? The
have been shown YOll will find much material fullness that you give to the componen ts and
that may be used as is, or which w ill enable you the amount of background you allow is going
to devc\op your own drawings. The illustra- to determine the final appeara nce. Once you
tions arc slightly undersize and have been re- decide on the effect that you want. try to main-
d rawn from euls that appeared in the Ha nd- tain abou t the same relationship in each of the
book of Ornament by F.S. Meyer. The book is scrolls . The ind ivid ual parts in a scroll would
an unabridged and unaltered re-publication of vary even though you tried to ma ke each exactly
the English translation of the last revised edi- like the other. This variety is good and you
lion. [t has 300 full-page plates with 3002 illu s- shou ld strive for a difference while retaining a
trations. Th is book is available from Dover simi larity of character. See the six elements in
Publications. The material from the book that figure 33c that are essentially simi lar in c har-
is included here is only a small portion of that acter but each slightly di ffe rent.
which is contained in the book. There is another
book vcry similar in content, Sty les of Ornament
by Alexan de r Spel tz. It has 400 full page plates
and 3765 illustrations. This book is also avail-
a ble from Dove r Pu blications.
FIGURE 33d
scroll, you should decide wha t you in tend the
final appearance to be. That is, arc you going
to have a pronounced pattern, an overall tex-
tured effect or something intermediate in ap-
21
FIGURE 34
. . -- .. ,
,
,,
-- ' FIGURE 3 3e
perhaps the larger part of the engraving being A portion of a 94 Win. engraved
done. In this, the design is cut with the express by John E. Warren showing fine
purpose of removing the background to a dcpt h shading of the elements.
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a ny of the materials that you w ill be In time you will probably develop a pref-
using are ava il a ble around almost erence to the tools you like best. The most com-
a ny home. like paper, pencils, crasers monly used tools are the onglette, the square
and scissors. Where J have found (or lozenge) and the flat or chisel gravers . In
that specific materials arc sufficiently superior, add ilion 10 these, many engravers use the d ie
I have mentioned them by name in the opera- s inkers c hisels. also illustrated in figure l.
tions th at they are connected with. When the gravers come 10 you and before you
Naturally you are especially interested in try them, examine t he poin ts carefully. Gen-
the tools with which yOll will be doing your erally you will find that in grind ing the sides
actu al engraving. So let's start with the tools of the onglclte gravers, the grinding wheel has
that are going to do t he cutting. the gravers. cut a little deeper at the point, giving it a
These come in a number of shapes and sizes, rou nded appearance. When we come to the in-
and the illustrations at figure I will show you struc tion s on sharpen ing and clearances we
the shapes and the numbers of the s izes in will explain the reason why this is un sa tis-
which the tools are available. These are shown factory and that the tool should be ground back
somewhat smaller than act ual size. fo r the until the sides are parallel. with this forward
large die sinkers chisels are approximately rake eliminated.
7-1/2" lon g.
FIGURE 1
1 2 3 4 5 6 7 8 9 10 11 12
You will need good hand les for some of sen a metal plug, turned to fit the hole tightly.
the gravers as you will eventually wanl to at- This metal plug takes all of the hammer blows.
tempt engraving by hand. These are available Using the gravers gives you a wider choice of
with shorl and long shanks, so you may want sizes as the die sin kers chisels come only in
to try several of each kind as they are compara- sizes 9 & lOin the ongleltc . The gravers are
tively inexpensive. You will probably find that only about half the price of the die sinkers
some of you r used gravers wh ich have been chisels. although the price factor is not too
sharpened to only about half their original important for either the chisels or the gravers
length are easier to control than the new ones will give you many, many hours of service.
that project so far out of the handle.
0
~ 2
~
) 4 5 6
~ ). 40
~42 4) 44
~ 45 46
"L .. r 1:!IIIIIIIIIIIII
]
-
~
flat nos. 36 to 49
Onglette or Point nos. 000 to 6
FIGURE 1 cont.
~~
52 54 56
~~~
57 5. 59 60
~
4 6
10 12 14 16
,/ 1 'iWI'11 he
Round nos. 50 to 63
You may find that you are having some since the graver is more eas ily con trolled. You
difficulty with the hand graver when it comes s hould. however, continue your practice with
to shading and giving form to the parts. The the hand graver until you can handle it with
00 and 0 arc the smallest of the ongleue gravers complete confidence.
and they can produce the fine lines that you Once morc I want to talk to the novicc with
will want for your shading. If the g ravers arc no knowledge of sharpening metal cUlting tools.
fitted with handles as previously mentioned The action of all cutting tools is onc of wedging.
you can do the shading with the chasers ham- For example, a cold chisel will really take a
mer. It will be easier for you in the beginning beating and force itself right through a bar of
cold rolled steeL The ordinary knife blade
2
~, 4 ,
,
6 7 00 0 2 , 4
;,1
FIGURE 1 cont.
.c: ~ iiii!l!
Lozenge nos. a to 18
c <4CC_ :3 liilii
"'"
~ ~
Streight ~nd Bent lining gravers
nos. 4 to 32 - 2 to 121ines
FIGURE 2<1
FIGURE 3
33
way until the sides are perfectly straight to the Now let us sharpen o ur first tooL Grind
face of the tool. the face of the tool to an angle of 45 degrees
In grinding these tools great care should with the bottom edge of the tool. making su re
be exercised in order to maintain the original that this angular face is square with the length
temper Do not overheat the tool in a hasty of the tool, see figure 6a. This angle does not
attempt to get it grou nd. Have your water sup- need to be precisely 45 degrees, fo r as you ac-
ply handy and usc it often. The lool should be quire experience this ang le will vary with the
in the water as much as it is on t he wheel, and material that you are engraving. The softer the
do not leave it on the wheel long enough to materials, the less strength is required in the
build up heat. [n my grinding I use a paper point so that it can be sharpened wit h an angle
towel, soaked in water. and wadded up around that is more acute. The harder, tougher mate-
the point of the tool. As you press the tool rials can use a rake angle as small as 10 degrees.
against the wheeL also squeeze the wad of paper The more acute the angle becomes, the more
and force more waleI' onto the point where con- you will sacrifice in strength , so a 45 degree
lact is being made. You cannot see the 1001. but angle will be a good one with which to stan.
with frequent inspections you can grind about
where you intend 10. This takes off the bu lk of
the metal that is to be removed, and after the
excess metal has been taken off you can finish FIGURE 6b
it to the exact shape that you wanl. Do this
linal finishing in the convent ional manner, keep-
ing it cool by dipping. See figure 5.
Rake
Ang le
Having ground the fi rst angle, the pro-
cedure from here on becomes a little more diffi-
cult to explain. Since you have the face of the
onglette ground to the 45 degree angle, let us
Tilt 01 Tool p lus examine it carefully. Look at figure 6b showing
Clearance Angle the tool as it would appear when it was tipped
to enter the work. This is only slightly exag-
Actual Clearance
gerated so that you can see what \ weak, un-
Ang le app r ox. 5 supported point is presented to the metal that
FIGURE 6a
Tool Filce Angle is being removed Taking the tool in its present
shape, you would, of necessity, have to work
with the hammer end of the tool quite close to
In the illustration showing the angles at the work. If you raised it very much, the ten-
figure 6a, note the dotted line at the face of dency of the tool would be to cut deeper and
the tool. This portion is usually removed at the deeper. In order to reduce this weakness to a
rough grinding. By removing this small amount minimum as well as to allow more working
it is easier to maintain the sharp point by ston- room, an additional 15 degrees will be stoned
ing without the necessity of taking off the thick off the bottom at the point as shown in figure
portion of the tool with the slow stoning. 6c, which will make the actual cutting angle of
35
FIGURE 6c
;::.L=-p-f- - - - -
,. edge toward yourself you can again bring that
face angle back until it is at a right angle to
"
FtGURE 6d
the stonc. Figure 7c shows the tool rotated past
the 90 degree angle for stoning. If the tool were
stoned at the 90 degree angle there would be
no clearance for the culling edge of the tool.
Now we come to the critical part. Take the Thi s would give the edge its maximum strength
onglette that you have sharpened to the 45 but it would lack the cutting qualilY that we
degree angle squarely and as you read these are after. By rotating the tool to Ihe correct
instructions follow along with the tool and a angle and checking the height of the back end
stone or any flat surface that you can think of of the tool you can bring the tool into a position
as a stone. Simply reading the instructions may so that the center line of the tool is parallel to
sound confusing. but jf you can actually see the surface of the stone, see figure 7d. With the
what is happening I think they will be easily
understood. Let us start by laying the tool flat
on its side on the surface of the stonc. The
face of the tool is at a 90 degree angle to the
stone. see figure 7a. Now if you raise the ham- FIGURE 7d
mer end of the tool straig ht upward until the
tool makes approximately a 20 degree angle
36
tool in the correct position proceed to slone round gravers the face is tipped a small amoun t
this one side u ntil you are down to the cen ter- and rotated to stone a small clearance all the
line. When looking down t he bottom of the way around the cutting edge.
tool, this part that you h ave just stoned should There is one final tip for you in this shar-
be a s traight continuation of the bot 10m edge pening act. With the tool completely sharpened
of t he onglette. In stoning this angle. it can be we take it and give one light pass over a fine
stoned perfectly flat or by using a wiping action ruby bench stone (a fine hard Arkansas stone
and rotating the wrist, you can maintain t he would be as good). Hold the tool so that the
con tour of the onglette. The opposite side is face is at right angles to the surface of t he
stoned maintaining the same angles except that sto ne in t his final pass. 'vVe want to emphasize
they are reversed . W hen finished t he tool shou ld that this is only a light. polishing touch and
look like figure 7e. There is onc ot her anglc to very little metal is removed. It \ViII, however .
be considered i f you arc going to stone these impart a burnished effect to the cut . leaving
the cu t bright. We also break the very bottom
of the pain! wi th a light rolling touch because
the very tip is quite vulnerable as a sharp
FIGURE 7e
point. Onee the point is chipped or broken the
cutting quality is gone. This is especially evi-
de nt if you a re cutting by hand. When the tip
goes is usually when a slip occurs. The amount
of metal removed is not apparent to the naked
eye in this fina l touch .
FIGUR E 71
Place the edge of Ihe 1001 on Ihal part of the Now for the power behind the ch isels and
Slone that is nearest you. Place Ihe angle Oat gravers. Aside from hand power, c ha sers ham-
on the surface of the s tone. Now raise t he back mers are the mos t generally used hammers for
of the tool up abou t 5 degrees. Wit h a fir m d ri ving the gravers and chisels. The c hase rs
pressure move the tool forward across the s tone hamme r heads arc available in different s izes,
and as you move forward drop the back of the whi c h also means different weights. rr you pla n
tool down. Try to coordin a te the two move- to buy only one hamme r. I would recommend
me nts so tha t as you reach the end of the that it be the 1 1/ 4" face which is the largest
stroke, the tool is back down to the fla t from one. On some of the heavier cu ts this extra
which you started. weigh t will be an advantage. and on the lighter
This somewhal rounded, chisel-like edge cu ts you will use s horter, gentler slrokes of Ihe
gives you a burnishin g cut that is very bright hammer. With t hese c hasers ham mer heads
and shiny. This makes a s trong point and as is you will use Ihe regular chasers handles which
obvious you are getti ng IwO cutting poin ts with are sle nder and springy. Naturally, you can
the one sharpening. In use the tool is tipped use any hammer that is available, but the oncs
up at an angle. The 1001 m ust also be held at that have been des ign ed fo r the purpose and
s li ght angle to the travel of the tool. With some in use so long have their advantages. If you
practice cuts you can determine t he angles for shou ld use a regular hammer, leI il be com-
holding the tool w hi le cutting . Th is is a good pa ratively light and scrape the shaft of the
tool to use w he n you want to make a line handle down until it has a little nexibility.
graduating from fin e to wide and back 10 fine. With the tools all s harpen ed and ready to
This about covers ou r methods of tool s harpen- go, you will start thi nking about the work and
ing and any special grinds will be covered where how you are goin g to hold it. Many engravers
Ihey are called for . work in a standing position and thi s has been
38
recommended for it allows a freedom of move- grow it and turn it in on a more advanced
ment in changing posi tions. So in all probability ou tfit. Each time tha t he trades he must take
the most feasible plan in thc beginn ing would a loss. So he has no t only lost his money but
be to try an ord inary swivel vise which many of has lost all the advantages that he could have
you ma y a lread y have. This can be left free to had with the better equ ipment. So il is with the
swivel and it will hold your work and serve engraver: if he is reasonably sure that it w ill
the purpose quite well. Your rloorpl a tes can be a rewarding hobby or avocation, then he
be attached to a block of wood and the block would likely be wise to invest in a good en-
clamped in thc vise. When you are clam ping an graver's vise, There is always the possibili ty
automa ti c or pump actio n shotgu n recei ver in Ihat in the event he should change his mind, he
the vise, be alert 10 any chance of springing could recover a s ubstantial portion of his invest-
the action ou t of shape as the be nch vise has ment in t he second ha nd market.
a lot of power , Thi s is also true for any action For those wishing to make their own vise,
w ith th in parts. [ have never tried any of the [ am showing a set of photographs of the vise
"all posi tion" vises but I do know of one en t hat I made. This vise is more com plicated than
graver who does use such a vise. They might is necessary because it was designed to make
be worth investigating. and would surely be usc of the two good bearings that I had avail-
less expensive tha n an engraver's vise. able. My fini shed vise measures 5-7/16" at its
,
The lOp section of the vise was machined
- --
--+- I
- -
firs t, see figure 10. This part was set up in the
ch uck with the fla t side of the top of the casti ng
against the chuck. After centering the piece,
turn the stub on the bottom to accept the bear-
ings. You can see by the photo that the main
bearing is a large taper bearing. The large dia-
meter gives a broad base that is a distinct
advantage. Here again. a large thrust bearing
FIGURE 9a would serve equally well and be conside rably
cheaper since it need not be a precision beari ng.
The finished ball shown at Figure 12 is 57/16"
in diameter at the largest circumference and There are also available various needle bearings
weighs 22 1/4 pounds. for both radial and thrust loads that could be
used to good advan tage.
1/
.'
40
FIGURE 9c
The ball at 9d is a die sinkers ball and it was Let us now turn to another phase of our
available in weights from fifteen to forty-five tool requirements In your engraving or inlay-
pounds. As far as [ know these are still avai l- ing, you wil l find yourself needing and using
able from William Dixon, Incor porated. Leather punches of various shapes and sizes. These can
ring pads are also available for these balls . be purchased, but you will find that it is more
Sometimes when [am using t he hand grav- convenient to make them you rself from either
ers r like the ball to turn q u ite freely, so I have oil orwater-hardening dri ll rod. Since the shapes
turned a wooden ring out of rosewood to re- are simple and holdi ng tolerances are no prob-
place the leather ring . The engraver's hall lem, the regular water-hardening drill rod will
shown in the photo has been given a good probably be more often recommended. Most
smooth finish and when it is used in t he wooden p u nches needed can be made from l/S" or
ring it turns vcry easily. Figu re 13 shows a 5/32' drill rod Brownclls have Carpenter tool
cross section of the ring that I made. You will steel available in the Green Label Tough Tim-
ber (water-hardening), as well as the Stentor
sleel (oil-hardening) in any size that you may
want. Their cata log has the inst ructions for
the heat treating of these steels as well. The
Machinery Handbook has quite a complete ex-
planation of the heat treatment of steels. This
book contains almost 1900 pages of infor ma-
FIGUR E 13
tion on all kinds of machining and tools. as
well as tab les of all kinds relating to mechanical
notice that it is relieved u nder the ball a nd that functions, and is an excellent addition to your
the bearing surface upon which the ball moves working library. To get back to our punches.
is reduced to the very minim u m. With the nat- however, the 5/32" size is prefe rred as it seems
ural oils in the wood it moves with very little a little easier to hold if much punch work is to
resistance. If a li ttle morc frict ion is needed, be done at one time . Here again it is nice to
the ball is simply lifted out and a piece of cloth have the handles knurled for easier holding,
is laid over the ring. In case sti ll more fr iction but in the interest of saving time I compromise
is wanted, some of the powdered rosin that is and wrap the holding portion with masking
used on barrel bush ings is sprinkled onto the tape. This gives a good, no-slip surface and
cloth at the point of contact with the ring. The takes very little time or material to achieve.
ball shown is the conventional one with the The rod is cut into 2-1/2" lengths. Unless
turning vise. With the foregoing information I your fi ngers are unusually large, this is ample
hope that you can overcome your holding prob- length for comfortable holding. The blanks are
lems.
cut (usu ally 8 or 10, in the interest of saving the back, hammering the forms up from the rear,
time) and made in a group. Since the back- then refining and finishing the detail on the
ground punch is so often used, let's lise it as front.) This punch that you must make is a
an example in making our punch, With the
background cut away in a pattern, this punc h
is used to give a uniform tex tu re to the area
The punch is slighlly concave on the end. giv-
ing a small raised dot each time it is struck,
eliminating the graver marks and giving a nice
over-all texture to the background.
The punches are machined on a lathe .
They can be shaped in a drill press with a file;
however, in a pinch they can be filed by han d .
After the blanks are cut to length, a blank is
chucked in the lathe. With the compound set
at 15 degrees off center. the point is turned
down until approximately a flat of [/32"
diameter is left at the point. see figure [4a
~ C-----'l
FIGU RE 14 a simple one wit h abOllt a 1/32" radius on the
point, see figure 14b. After it is shaped a nd
( Round the point hardened. put a high polish on the rounded
point. To use it. take one of the punch blanks
~<----'~
FIGURE 14b FIGURE 14c
thai you have made and holding it securely in a
vise, place the dapping punch in the center
a nd lap it lightly. If the im pression is centered,
replace the punch and deepen the punch mark
unt il it almost reaches the outside edge of the
punch. see figure 14c. With the punches being
made on the lathe, it is a simple matter to
FIGURE 14d chuck the punch blank into a collet in the head
stock an d put the dapp ing punch in to a tai l
stock ch uck . Bring the tail stock with its punch
close to the punch blank and lock the tailstock
At this poin t we will have to s top and make in place. Turn the lathe on at a moderate speed
a cl apping punch before we can finish our back- and with some center lubricant on the punch
ground punch. Dapping punches are made in blank. fo rce the dapping punch in to the punch
a number of graduated s izes , and are used in blank. It doesn't take much force as the dapping
repousse work to form circular convex fo r ms. punch is only forced in unt il the dimple almost
( Repousse is the working of thin metals from reaches the outer edge of the punch face.
44
makes quite a good sized gold line inlay. My where it is beaten out from the back side with
smallest w ire is 26 gage which is about .0[6" in the round end of a small ball peen hammer o r
d iameter. Th is still makes a good-sized gold line. w ith punches. Be careful however, for the len
and where [ wan t a nice fine gold line I reduce dency is to go too far. It docs not take very
this \0 the smallest draw hole in 111y plate which much d ri vi ng 10 pll nch I he go ld all I .015" or
gives me a wire of .011" diameter. This smallest .020". Various punches are used to model the
wire is used for inlayin g go ld lines where the main form s and it can be worked from bOlh
desi g n requires a delicat e line that is not going sides. After Ihe big forms arc com pleted. it is
tooverpower Ihe area in w h ich i t is used. Special cemented 10 a block of wood with some engrav
tongs arc made for drawi ng the w ire through the er's or chaser's cement. The gravers are now
draw p[;:Hc. uscd 10 refine and add the fine delail. The
The fl a t s tock that I usc is purchased in 18k reference here is to a firea rm s inlay . when
gale\. 20 gage which is ,032 . thick. Thi s i s speaking of t he dept h of draw on the lead block.
perhap s a litt le thicker than is ac tually needed. In the fi e ld of repousse work on s ilver, gold or
bu t it gives ample material where a rich, fully brass the possibili ties are much greater, and
metal on the day of the sale. The prices shown at best. Platinum Dr palladiu m is often used
here arc only to give the novice some idea of w here a s ilver-colored inlay is wanted as it
the relative prices at this li me. 22 gage (.025 " retains its silver color without the oxidi zing
thick), in 10k is S2.90, 14k is S4.25, 18k is S6.30 problem. Gold smi th Divi sion of National Lead .
a nd Palladium-Ruthenium is S5. 12. [n 20 gage Hoover & Strong or Southwest Smelting and
(.032 'thi ek), in 10k is $3. 6\. 14k is 55.35, 18k is Refinin g Company arc a ll dealers in th e pre-
S7.90 and Palladium-Ruthenium is S6.46. scious meta ls mentioned. There arc doubtless
Sterling silve r in 22 gage is 24 cents pe r square other re fi neries or dealers that m ight be closer
inch with 20gage at30cents pcr sq uare inch. The to your location .
24k gold wire cost approximately 52.50 per foot There is one other item that you can use
in 26gage, S3.30 per foot in 22 gage and 54.40 per to good advantage; an oval template. Mine is a
foot in 20 gage . " Rapidesign, number 77 Ellipse Master". It
The plate can be bought in about any size is a vel}' flexible. fa irly thin plastic template
desired up to 6" x 24". When sheet gold is pur- w ith six ty ovals cut into it ranging in size from
chased, [have it Cllt int o 2" squares whi ch make 1/4" to [-3/8" long. They arc accurately an d
a handy size to manipu late in sawing Ou l the cleanly cut, covering four projections from q uite
figures. The loss in lay ing out the figures is round ova ls to fairly narrow ones. The two
minimal as tl1ey can be juggled around to fill the axes are marked so that they can be lined up
space to best advantage. As a conservative esti- accurately if need be. By s hifting the templa te
mate, the 2" square piece of metal w ill yield at slightly , the inside and the outside lines of an
leas t eigh t inlays, and you might ge t as many as oval panel can be laid out exactly. They are
twelve or fourt een . So if you were to use the [Ok available from Dick Blick and will save much
gold in the 20 gage at S3.6 1 per square inch. you time in laying out oval panels. There are many
would have 4 square inches for a total cost of more ova ls besides the one described. but t his
SI4 .44. If you got ten inlays from the piece your one wil l do ninety-five percent of your work. If
cost per in lay would be quite inexpensive. This you do not ha ve an art supplier near you . the
is not allowing anything for overhead which you a bove com pany has a very complete line wit h a
would have to account forif you were in bu s iness, catalog av aila ble.
but it w ill give you an idea of the relative cost of After this review of materi als. any special
the material as compared to the cos t of the time tools. equi pment or supplies that will be re-
that yOll will ex pend on installing it. quired will be dealt with at the time they are
Silver is used on firearms in lays, but its called for to go on with the work .
tendency to oxidize makes it a seco nd choice
50
ome idea of Ihe st ructure of the var- muscles. they a re named and along with the
ious animals and birds is necessa ry name is given the origin and insertion of that
if errors in drawing are to be avoid- muscle. Also. is important to know that the
ed . Not only w ill the actual drawing muscle that is contracted is actually acting on
be made more easily since you know what to the lever below the joint. For exa mple. with the
look for and where 10 fi nd il. bu t your drawings biceps con tracted the [ower arm is flexed. With
will be made fa ster and w it h the authority th at the muscles in Ihe fo rearm actuated the action
is bound to show in the finished work. Thi s is takes place in the hand. So when Atlas on the
especially evident to th e viewer who is w ell beach wants to exhibit his muscles. he sends a
acquainted with the subjec t that was drawn. message to both the biceps and the triceps to
I wish to state a t Ihe ou tset that I do no t e nergize themselves and the resulting conflict
consider myself to be "a nat ural ist. Thi s will fills oul both the fronl and back of the arm w ith
be only a basic explana tion of the structure of quivering power. see figure I b. I believe that
some of the an imals and birds more commonly
used as subjects in the engraving field. I hope
that th is information may help prevent some of
the more blatant errors from showing up. and
urge the novice to ge t some good books on thi s
s ubject. There is a wea lth of information by
many com peten t men in this fi eld . and I have
ineluded a list of a number of the better ones.
The skele tal structu res of ma n. beast and
fowl are nothing more than a system of levers.
In their most simple form the arms and legs
can be though t of as straight sticks . See figure
la. When onc of Ihe Slicks is actuated in one FIGURE 1b
direction a muscle must con tract to move it.
[n order to move that stick back to its original
position there m ust be a muscle on the oppo- this fo rm of exercise is now called isome trics.
site si de to accomplish this. So you have just Since all of the muscles come in pairs. it is this
FIGURE 1 a
learned one of the fundamental facts muscles connici between one muscle and il s opposite
come in pairs. [n Ihe following description of Ihat results in t he beneficial exercise.
51
The anatomy offered in this chapter will masses. Observe carefully the tip and tilt of
be an attempt to give the beginner only the the head, s tudy the position of the rib cage
main facts about the construction of the human and determine ex actly what position the pelvis
fi gure, animal or bird tha t is lhe subject. The is assuming. For example, when a deer has
books listed below contain detailed information been alcrted his hind legs arc brought in under
on these an imals. and they give all the details the body and the pelvis is tipped in toward the
of the bones and muscles if the know ledge is rib cage to give him more purc hase when he
seriously sought. mak ing thcm va luable addi- takes that firs t leap in flight. The s tructure of
tions to your library. the deer and that of man are not too grea tly
Books available 011 the human figure in- different but wha t the understanding of one
clude The 1luman Figure by J. Vanderpoel: will be a great help in the drawin g of the other.
I3ridgnw I1 s Cons trnctive Ana tomy and An Al- See figure 2.
Ias of Anatomy for Arti s ts by F. Sehider. Al -
though Th e 1luman Fi gu re In J\'lotion by Muy-
bridge is not a book on anatomy. it docs show
hundreds of aClioll shots of bOlh the malc and
female humall figurc in motion.
For the books 011 the an<llomy of animals
therc an: An Atla s of Animal Anatomy for Ar-
ti sts by Elknbergcr. Ihum and Dittrich: Ani-
mal Drnwing. Annlomy and Action fot, Art ists
by C.I~. Knight: and Animal s in Motion by
Muybridge which contains hundreds of shots
of animals in motion. W.J. Wi!werding's Ani-
mal Dra w ing and Paintin g is publis hed by
Dover Publications, Inc. Another book giving
a n amatcur good examplcs of free, artistic ren-
dering s wit h effec t ive me t hods of handling
sketches and expressing action is Fredric Swe-
ne y's Tec hniques of Drawin g and Painting FIGURE 2
Wildlife , published by Reinhold Book Corpor-
a tion, This is an excellent book on the art of
sketching and drawing animal s. All of the above
are listed in the back of the book along with t he To begin our s tudy of the human figure lei
publishers. us start with the framework and the larger
Perhaps ninety percen t of the figures you muscles tha t go to make up the outline of the
will eng rave will be either anima l or bird . figure. The muscles will be diagrammed and
However, there w ill be occasions where you named so t ha t Ihey can be located as we talk
must use the human figure, so we shall begin about them. The bones are shown in figure 3
with thc essentials of the human anatomy . and on ly the larger ones will be named. Start-
Whether it be man or animal there are three ing at the top is the skull with the sp inal column
principal masses to keep in mind: t he head, the connecting the skull, the rib eage and the pelvis.
chest and the pelvic areas. In order to draw The ribs in the front are attached to the ster-
them, you should have a clear mental pic ture of num, commonly referred to as the breast bone.
what is taking place in these three principal AI the top of the sternum Ihe clav icle or collar
52
1 'ITape"iu"
2 Pectorali" ~IaJor
7
8
il.ectus Abdominus
Glu teu:'! Hediu .. ,,Rectus I'emnris
Vastu" ~:x tern","
, Patella
>0 GnstrQcnemius
J Oe1toid 9 Sterno - Cleido_ ~la"toid Soleus
"..", Semitendinosus
J Vastull lnte ..."u,"
" i.allti""imus Dorsi
5 Sc rrntus ~lagnu"
>0 Gluteu" Hnximus
Teres Najor nn' ,
4 Gluteus ~l ediu" Tibialis Anticus
P"roneus Longu"
6 Extorn .. l Obli q ue " Teres Minor
Gluteus Haximus
6 Tensor Fascia I"", to.
7 Sarlorius
" Diceps Femoris
8 Gracili" "
9
, 4 4 ,
J 6 6
J J 7
'J
"
" "
'J
FIGURE 4
HIGHT LEG LU'T LEG LU'T LEG
f"ront "ie'" outside view rear view
"
FIGURE 7
54
When drawing the head, whether it be man, attention to the correct portrayal of these shapes
animal or bird. be sure of the big proportions which shows that you are aware of the forms
and sec that they <Irc as true as yo u can pos- thaI are there. For example. take a coin from
sibly make them before going on 10 finish any your pocket and hold it under a single light
details. You must always be aware of the mass. source with the light shining across the surface
When the pencil makes a mark it is not only a of the coin. On the Jefferson nickel the forms
line, but it is also a boundary for one of the are very well defined: the underside of the jaw.
parts of t he mass that makes up the subject. the zygom a tic arch. the eye sockcl and the tem-
In drawing the masses of the head (or any ple are all clear and definite. The Kennedy half
figure), the light under which they arc viewed dollar contains perfcct lessons for the beginner
is very important. A single light source is excel - to study and use as a guide. see figure 8. The
lent. such as the sun in nature or a single light engraver cuts these shapes or masses to vary-
bulb. You will find that such a light will separ- ing depths into the metal as opposed to the
ate your subject into three distinct tone values. artist who uses a variety of tints and shades to
The area upon which the light is falling directly record the same shapes.
will be the lightest part of your draw ing. The From the side view the skull constitutes
part that is on the opposite side away from the the principal mass while the jaw and the face
light source and receives no light becomes the are a subordinate mass . From the front. the
darkest part of the drawing. And those planes skull is still predominant as can be seen at
that are transitional from light to dark where figure 9. Once the big proportions are estab-
the light is passing across the planes are re-
ferred to as half-tones since they are neither
lighter or darker. Single light sources are excel-
lent for showing the struclUre of the masses
in any animal form. When you have a foggy. \
diffused light or a number of lights. these forms
tend to merge and it takes a discerning eye 10
detect the subtle shapes.
Lighted from above. these masses of the
head show up as definite shapes and arc basic-
ally quite similar from man to man (also true of FIGURE 9
FIGURE 10
FIG URE 11
FIGURE 16
angular-shaped muscle that has its origin at emphasize the importance of some good books
the base of t he skull . the seven cervical and the on Ihe subject. If there are art classes available
twelve thoracic vertebrae. The m uscle is in - in your area for figu re d raw ing by all means
serted at the outer third of the clavicle and the take advantage of them. Shown at figure 16
spine of the scapula, see ISb-1. The prominent are two such Sllldies and a sketch that were
muscles on each side of the neck are the sterno- done while attending eight years of studies at
cleidomastoid. Its origin is the upper pan of the Chicago art schools.
the stern um and inner border of the clavicle Even while the body remains in one spot
and is inserted into the mastoid process back there can be a variety of actions expressed. The
of the ear, sec ISb-3. The third of the three body can be bent forward. backward or side-
muscles is the levator of Ihe scapula. This mus- ways. The hips can remain stationary or they
cle lies somewhat beneath the trapezius and can be tipped from side to side with one hip
runs down to the upper angle of Ihe scapula or higher or lower than the other. The pelvis can
shoulder blade from Ihe uppe r cervicle verte- be tilted forward wi th the buttocks bulging to
brae. As the name implies, il lifts Ihe angle of the rear (we are speaking of the top of the
Ihe s houlder blade. Here again I would like 10 pelvis or the iliac crest as being tilted). If the
top of the pelvis is tilted to the rear in relmion
to the lower portion of the pelvis then the but-
tocks will be brought in under the trunk. The
hips can remain stationary. wi th the chest and FIGURE t Sa
shoulders rotated about the axis of the spine.
Or the chest may be held in one position w hile
the hips arc turned. With the upright torso. the
sil houette of the front view and that of the back
view will be the same but the actual d rawings
will be entirely differenl. see figure 17a. In the
back view at 17b. showing the muscles of the
s houlder and hip, the sp in e of the scapu la and FIGURE 18b
the iliac crest are land marks to look for as they
tell the location of t he shoulder blade and the
pelvis. most of the action takes place in the areas just
Most of the action of the spine takes place men ti oned . see figure 18a. However, with the
in the cervical vertebrae or the neck, and in body rotating about the axis of the spine. mos t
the lumbar vertebrae or small of the back. In of this action takes place io the lumbar sectioo.
this flexing of the body back and for th the The trunk should be thought of as having three
thoracic vertebrae (t he vertebrae to which t he principal masses; the ches t. the abdominal por-
ribs arc attached) may be considered as prac- ti oo and the pelvis, see figure 1Sb. Before start-
tically stationary. There is only a small amount ing to put a line on paper. stu dy the action and
of movement in each of the vertebrae, but in the interrelationshi p of t he parts. Establish
total it adds up to quite a degree of movement. firmly in your mind the action t hat you w ish to
When the body is bent forward or backward express. see again the figures al !Sa.
While the muscles on the rib cage alter the large muscle on the front of the upper leg.
the outline only slightly, the rib cage itself is It is the one t hat is used to straighten the lower
the for m that is most evident. This is not the leg when onc is walking or kicking a footbaU.
case in considering the ]>elvis. The form of the These two muscles for m the ou tline of the upper
pelvis is largely concealed by the big muscles leg w here it attaches to the pelvis. If a line were
that connec t it to the legs a nd those that attach to be dra wn from the fold below the buttock to
it to the spine and rib cage. Th is is one rcason a point \\!he re the erect us abdominus (bel ly
that the ili ac crest. the symphysis pubis and muscle) appears to inte rsect the muscles on
the sacr um a rc so important in determining the front of t he upper leg, this line would form
the position of t he pelvis. Figure 19a shows the lower bo undary of the pelvic mass, see
the gluteus max imus or the big muscle of the ft gure 19 a t a and b.
buttock tha t has its origin a t the upper rcar The a rm, by the very nature of its construc-
portion of the iliac crest , th e sac rum and coccyx tion and atlachment to t he body , is capable of a
and is attached to the upper en d of the femur great ran ge of movemenl. The on ly solid attach-
(the long upper leg bone), At the front of the ment is at the sternal end of the clavicle, and
the ligament attaching it to the s ternum , see
figure 20d, permits qu ite a lot of movement at
its outer end \\!here the upper a r m attaches.
Th e outer end of the clavicle (collar bone) at-
taches to the acromium process (figure 20a) of
the scapula which can be moved up and down
As individual muscles are re-
ferred to. you can turn back as weU as away fro m the spine or in toward
to figures 4 and 5 for further the spine. The acromium process, and the coro-
study.
noid process at 20b are the parts of the scapula
(figure 20c) which form the socket into which
the hum erus (20e) or upper arm bone fits. The
clavicle (20d ) shows the position of attach-
~
ment to the shoulder blade. Attached to the
FIGURE19b
FIGURE 19a
FIGURE 22c
,,
I
I
since this is a function of the forearm. The
drawings in this short synopsis should not be
taken as perfect anatomical drawings (these
you should study in your books on anatomy),
but are reasonab ly accurate as to proportion
FIGUR E 2 1
and funct ion.
The lower arm is made up of two bones
A
and these two bones give it great mobility. We
A
have already spoken of the ulna which can be
felt from the point of the elbow to the little
B finger side of the wris t. The other bone, the
radius, runS from the outer side of the elbow
c to the thumb side of the hand. When the hand
is palm down, the rad ius crosses over the ulna,
o ---IOU see figure 22. The muscle at 22a is the pronator
radii teres and is the muscle that accomplishes
the action of turning the hand palm down. The
supinator shown al 22b is the muscle that turns
FIGURE 22 the hand up or toward the front. For some
typical shapes of the arm see figure 22c.
back of the hand, the joints of the fingers are
of unequal length and they get shorter toward
the ends of the fingers. On the palm side of the
hands the pads of the fingers are appro,imately
equal in length. sec figure 23.
The leg, as in the arm, has its three main
parts, the th igh . the lower leg and the faa\. In
cont rast to the arm. the muscles in the leg are
heavier and eaeh of the parts taper more rapidly
than corresponding parts of the a r m. The fe-
mur, the longest and heaviest bone, is slightly
curved when viewed from the side. and the whole
leg fro m the hip to the ankle has the effect of a
gentle reverse curve. This effect is emphasized
by the bulge of the rectus femoris on the front
of the upper leg and the s\vell of the gastroc-
nemius or calf muscle on the back of the lower
leg, refer to figure 5.
As the upper leg bone descends from the
pelvis to the knee, it normally angles inward
when viewed from t he front. From the knee to
the ankle the two lower leg bones (the tibia
and the fibula) assume a more nearly vertical
descent. As the femur approaches the knee it
suddenly broadens from side to side and length-
FIGURE 23
,
,, I (he
'\
~ ~.
\ 1(
\
,
\
Hands have been a difficult part of anat- ~
omy to draw for many a commercial artist. '"\
Actually, the hand is not too much of a problem
if you are lully aware of some of the facts con-
cerning it, for which you can be on the lookout.
The hand is thicker at the w rist and tapers
toward the fingers. It is wider at the knuckles
and tapers backwards toward the wrist . The
palm of Ihe ha nd extends out to haH the length
of the first joint of the fingers . Looking at the
ens from front to back. giving thi s joint a larger,
stronger bearing surface since this joint carries
practically all of the weight of the body. The
top end of the tibia is similarly enlarged to
match the femur. The front of th e tibia is quite
ev ident all the \Va.v to the ankle as the s hin
bone. The inner sid e of this bon e. on the inside
of the leg. tcrminates as the inner ankle bonc.
Th e second lower leg bone. the fibula. origin-
ates slightly below the knec joint and to the
rear. on the outside of the leg. From there it
desce nds. to become the outside ankle bone at
its lower end. The outside ankl e bone is always
lower than the inside ankle bone.
that the anatomy should not become the end "A worker in precious metats. fine woods, ivory and
result so that every drawing was an anatomical pearl is a rather rare breed of firearms craftsman
today" quoted from the American Rilleman fea ture
rendering, but that the finished d rawing should ar ticte on Alvin A. White. January 1967, p. 15. Alt
be able to sta nd up to a criti cal analysis as far items illustrated in this informal portrait of White
were made in thei r entirety by him. Coortesy of A. A.
as proper physical construction was concerned. While Engravers, Inc.
There are tissues, skin and fur that cover
up these muscles so that many of the smaller
ones are not apparent at all. The larger ones,
of course, influence the ronn. The very nature
of the coat of fur breaks reOections so that
masses become soft and somewhat fused into
one another. 50, as an art ist. you must see,
select and emphasize those shapes and actions
thaI will best portray (he true character of that
animal. Illustrated in figure 24 are two stand-
ingdeer. One has the forelegs drawn in a stra ight
up and down position. Hemem ber that a ve rti-
cal line is a static line. and the resulting draw-
ing leaves something to be desired as a picture
of a living animal. Anything that you can do to
give that animal a life-like quality is going to
be recognized and appreciated.
MASS ETER
BRAe
FIGURE 27
FIGURE 28
71
Anatomically. the moose is much like the The barren ground caribou are found in
res t of the deer family. Th e legs are longer. large herds and mostly in the tundra areas of
with the shoulders more massive and hunched. northe rn Canada a nd Ala ska. They arc never
However. the same skeletal and muscular land- long in one place an d af C continually on th e
marks found on the deer are presen t to help move. moving sout h in the wi n ter ti me and
and guide you when drawing the moose. north in the spring. Like the moose he has no
The carihou is the only rem ainin g subject aversion to watcr and in hi s migration (rat her
in the deer family on the North American con- than detour a round it) he will sw im right across
tinent. It is a somewhat curious faci that en- a lake.
gravi ngs of caribou are relatively fcw. My files The male caribou will s ta nd up to four feet
on engraving are quite extensive, and there at the shoulder and weigh from two hundred
arc only a few Ihal have used the caribou. a nd fifty to fo ur hundred pounds. This is one
animal on whi ch antlers will be foun d on both
the male and female. The fect of the caribou
arc large and more nearly round than the feet
of the deer. elk or moose.
The woodl and caribou range a little far-
t her south in C'mada and are found in the mus-
kegs and pine forests. They move about only
short distances compared to the barren ground
caribou. (more like the elk) and will migrate
up or down the mountains. They also are larger
than the ba rren ground caribou wi th larger
horns and may \\Icigh as much as six hundred
pounds.
FIGURE 29 conI.
FIGURE 29
FIGURE 31
GRtZZlY
Sheep and mountain goats arc often used
as subjects by the engraver since they are splen-
did troph ies t hat are becomi ng increasingly
difficult to come by. The white sheep or Dahl
sheep is slightly smaller than the bighorn sheep,
but with his beautiful white winter coat and
gracefully tapered horns, he is a prize trophy.
He is found in the moun tainous areas of north-
western Canada and Alaska. When the spring
thaw comes and he slarts living close to the
earth again, the beautiful white coat becomes
soiled and discolored , giving a measure of pro-
tective coloration.
81
FtGURE 32
following comment regarding thc two eagles picti ng birds one must rely on the big forms
and I quote, "taxidermists are like engravers: and the distinct ive markings of the subject.
there are good ones, then there arc those who The waterfowl family covers a wide variety
are not so good. The pop-eyed appearance of of birds, but we will concern ourselves here
the gol den eagle is due Lo the taxidermist ne- only with the ducks as representative of this
glecting to build up the skull above the eye, entire group. (Geese are much the same as
to replace the cartilage that nature put there ducks. only on a grander scale.) Much of the
originally. This build-up of the cartilage gives variety that occurs between the d ifferen t fam -
the eye of the bald eagle that fierce, deep-set ilies shows up in their general conformation
look which is normally present also in the eye but especially in the length of the neck and
of the golden eagle", see figure 32. If you are the wing size.
usi ng mounted s l)Ccimens, be sure that they are The accompanying diagram of the duck is
good examples of the taxidermist's art lest they labded with the common names used in refer-
mislead you in certa in tell-tale details. Good ring to the comparable bones of the human
reference books are a mlls t if you want to check skele ton, see figure 33. With a knowledge of
specific details of anatomy. these bones and the areas in which they func-
The skeleton of the bird is generally much tion, you can avoid drawing the different mem-
the same as that of man. The bones are lighter bers in positions that it is physically impossible
in structure because of the requirements placed for them to assu mc. The two outline drawings
on them. But their function is the same as any of the ducks with their bills open is an example
animal. In birds, however, the muscles are of what not to do. These two tracings are from
much less in evidence than those of fur bearing actua l engraved guns of German origin, but I
animals. The feathers are forms in th emselves have seen the same drawings on some of our
and eHec! iveiy hide the musculature. In de- early double-barrelled shotguns. The duck's
84
) HAND
view and underside vicw of the win g . You will
note that the unde rside of t he wing also has its
SHOULDER BLADE
( FOREARM
UPPER ARM
COLLAR BONE
coverts which serve in wind proofing the w ing.
The rough action sketches of the four ducks in
night are shown to illustrate another important
facto r in drawing the wing. The curve of the
wings is quite pronounced and takes place both
from the body to t he tip of the wing and from
the leading edge of the wing to the trailing edge.
PELVIS
BREAST BONE
PRIMARY SCAPUlARS
KNEE
W-~~ TOES
BONES OFTHE FOOT COVE R~T~S~~~~li~~~-r
L
The wing. as it is shown. is bnsico:Il1y the
same lor 1110st of the birds. so it will not be
repeated when we come to the land birds. The
::~~:~~=IEY Y:l 11
T E R TIA lS------=:..J
primaries afC the feathers that attach to the TOP OF WING
hand and fin ger section of the wing. The secon-
daries arc those feathers attaching to the fore-
arm portion of the wing. The tcrtials arc the
ones that are attached to the upper arm section UNDER WING LINING
of the wing. The scapulars are the feathers
that cover the shoulder blade and form a con-
nection between the wing and the bi rd. The
wing coverts. as the name implies. cover the
shafts and bases of the feathers where they
attach to the wing. I have shown both a top
85
FIGUR E 3 4
fierce look missing in the stuffed onc shown frame, slightly undersized, to give you an idea
earlier. The woodcock and grouse are shown of the finished appearance of the two birds.
about nine times larger than actual size to give In concluding this chapter on anatomy.
you quite a clear picture of how this particular let me once again reiterate thai my sole aim is
engraver acheived the detailed and lifelike qual- to help the novice in avoiding some of the more
ity that shows up so well in the finished work. common errors and to give him aid and support
This was not done by extensive modeling, but in his understanding of those figures that he
rather by the bold, correctly placed individual will be required to draw and engrave. And. as
cuts. Here is a perfect example of how a simple, one last bit of advice. do not neglect your own
direct statement in pen and ink can be converted fi les and library; be known for what they con-
into an engraving. tain, not what is missing.
AJso, I have included the two sides of onc guo
89
1 is indeed a rare individual who of these books are available from the South-
does not get a t hrill out of seeing his west Smelting and Refining Company. Incor-
name beautifully engraved in all of porated. The earlier book was w ritten by Albert
it s sparkling beauty. This is espe- A Winter. and entitled A Pracli cal Course In
cially true if the name is done in gold, silver or Je welry Engraving. The secon d book. a more
even polished brass, and attached to some val- recent one, was written by John J. Bowman
ued possession. As an engraver, yOll will re- and R Allen Hardy, and is called The Jewelry
ceive many requests to cut initials, names or Engra vers Manual. Both of these books have
inscriptions. and this can be potentially a trc- much to offer and the novice will fi nd many of
mendously large market [or your talents. the answers to his advanced questions. My
Cutting of lettering is another phase of the concern in this chapter is to give the beginning
engraver's job that will require study and a engraver the information he needs as he turns
considerable amount of practice for the work to this special phase of the engraver's art.
to show the superior quality which yOll wish to Anyone who seriously intends 10 become
imply you can do on your engraving jobs. The good at lettering must accept the fact that it
letlering must be, first of all, spelled correctly, requires a careful study of the various letter
well lai d out, and cut w i th authority. That formations . For this reason, do not waste your
little catch about the correct spelling should time and effort with 11 graver as you endeavor
not be taken light ly. It is quite easy to become to learn the shapes of the letters. It is both a
engrossed in the layout and omit a letter, or lavish and misspent use of your time and
become so interested in the design that the energy for you can accomplish so much more
correct spelling is overlooked. After the layou t with pencil and paper without the frustrations
is finished and the lettering job completed is attendant on t he use of unfamiliar engraving
the very worst time to find oul that the spell- tools. You must first be aware of what consti
ing is incorrect. Check and double check the tutes a well-formed letter. After you can draw
spelling! ! the letters acceptably well, t hen you can begin
I know of two books dealing with letter- engraving w ith some chance of success.
ing as related to the jewelry field that contain There are hundreds of alphabets that have
a great deal of information which would cer- been and are still being used, which greatly
tainly be of benefit to anyone who plans to contributes to the confusion of the uninitiated.
attack the problems of lettering seriously. Both In an effort to reduce this confusion to an
9U
ABC ABC in this Old English letter. The fourth big cate-
gory is script. or a natural derivation of the
hand written word which the engraver has de-
veloped into a n elegant and graceful letter fo rm ,
Gothic Roman Once you have mastered these four basic alpha-
bets. you will be equipped to do any kind of
lettering job from simple names to e laborate
trophies.
The Gothic and the Roman letters will be
found as either vertical or s lanted letters. When
these letters are made on a slant they are re-
ferred to as Italic, for example, Roman Italic
or Got hic Italic, a nd it is quite common to find
Old English Script these letters used either way. The Old English
letter is always constructed wit h t he m a in
stem s verticaL The script letter is practically
always a sl<lOted letter a nd only o n occasions
is it drawn as a vertical letter.
Since! have urged the study of the letter
formations, we will first go into this part of the
extreme curves for more strength
result in many and character use
broken points. straighter cUtS.
91
1UJl/4J;fjj/!lIfIJJM!#
\fter SO l1l1.'" pract ice BO U IOlU be a bl .. t o j udge lIour
The 45 degree angle is one tha t I seldom use.
It is useful if yOll have a long space and a com- As you accumulate a file of engraving and
paratively small number of letters to occupy lettering examples, one of the first things that
that space; however, script is a letter that looks you will encounter in script is the great variety
better if it is cut rather condensed. The two of styles used . One engraver may indulge in
rhos. Jeffersons were drawn to demonstrate many decorative loops, while another will be
the difference graphically . content with a simple, straight-forwar d letter.
When you are going to study lctter design, In any case, the letters must have a relationship
do not attack it with a mad rush, Instead, take to each other if there is to be any unity within
a letter or two a t a time, and after drawing the finished lettering. To accomplish this unity
them take the time to give them as critical and I have illustrated the alphabet and used the
unbiased a comparison as you can possibly oval as a basis for each of the letters. Keep this
make. Only by ferreting out the mistakes that basic oval rather long in relationship to its
you are making, then correcting them, can you width . The length of the oval shown is approxi -
expect to make any progress . It will do you no mately two and one half times its width. As a
good to continue to practice making poorly- tall stately woman is more graceful than a
formed letters. So the amount of practice is not short fat one, so it is with the oval and the
the whole answer; but careful, thoughtful work script letters, see figure 3.
will bring its reward. Study and draw the leiter There are numerous so-called keys to build-
shapes until they are firmly fixed in your mind. ing up these letters, and the ultimate end of all
When you do start the cutting, it would be well of them is to design a letter that is easy-flow-
to layout the work as carefully as you did while ing and natural. The use of the small ovals for
studying. Eventually, when you have acquired the minor portions of the letters acts as a guide
the ability to judge the spacing required by the toward attaining a uniform and even flow to
shade cuts and the hairlines, you will be able the lines, and a likeness to s imilar portions of
to simplify your layouts as shown in the alpha- other letters . You will find that constructing
bet illustrated in figure 2. these ovals lightly will be a definite help , and
I recommend that you use them in your studies.
By using the alphabet showing the direction of
the various cuts (figure 5), and following the
suggested use of the ovals, you should experi-
ence little difficu lty in developing a good work-
ing knowledge of the script alphabet.
A B c D E F tl The basic hairline cuts (shown at a, b,
and f), and the basic stem cuts (c,d,e,g and h),
are illustrated in figure 4. Once these are fixed
FIGURE 3
93
FIGURE 5
I(j 0 I: 1N80DEF8 lea ves a large bl ank area a bove Ihe lower bar .
The lellers A,C,E,F,J,L,T,V. W,X and Yare all
0 0 HldKEMN open lellers and w iJl require special atlemion
3" in yo ur lettering. In the conve ntional Roman
81<- alphabet, the letters D, G, 0 and Q arc also
.
onstructwn of Gochu.: btl mechanical means open leiters. Figure 7 gives some add itional
information on the Got hic leiter as it would be
designed and cu t w ith the flat 1001.
The first Walter is l11 ustrated in the name "Wa lter", at figure
spaced. mechanicaUH' 8, is the e ffect of mechanical spacing. To correct
The second is spaced this bad-looking spacing. you must space it
0PQRS TUVWXYZ Dollars " and evcn the small " Wash ington, D.C.".
The eye travels over these letters smoothly. The
seri fs on any line of lettering serves to give that
FIG URE 12
in appearance and add a little interest. as is that bears his name and has come down to u.s
shown in the "Janet Richmond" plate at figure virtually unchanged . The. fine Roman aLphabet.
11. below is one of the Caston family.
The Roman lctter is perhaps the most used
of the various letter classes. The main reason
ABCDEFGHIJ
for this seems to lie in its construction. which
by theusc of thick and thin strokes. immediately
projects a morc interesting impression. The
serHs add considerably to its clean image and
legibi lity. (For the benefit of the novice. the
seri f is a shorl line at the top and bot 10m of a
stroke, and terminates that stroke. It serves a
KLMNOPQR
very real purpose. The plain Gothic letter, w it h-
o ut any caps or serifs, has a ll of the stems end-
ing on the guide lines. Examine a one or five
STUVWXYZ
dollar Federal Reserve note to graph ically dem-
o nstrate these points. First, examine the Iwo
lines of Goth ic letters without any serifs, "This
&abcdef ghijklm
note is legal tender for a ll debts, public and
private". If you do nol read it at a glance but
let the eye travel over the individual letters, it
nopqrstuvwxyz
will go something like this: It s tar ts out s traight
and smooth over the T, hits onc bu mp of the H
and then the second, hits another bump of the
fiffflffiffi1234567
890$
I, then up and over the S, across a space and
two more bumps of the N, and so on down the
line. As a contrast, observe carefully any of t he
li nes of the Roman letters , " Federal Reserve
FIGURE 13
98
~'~J~1Oi
The 19th century Roman a lphabet shown
here gives yOll a morc decorative treatment of
the seri fs. The serif at figure 1401 shows it as it
~~:tJ~w:~,
was originally designed. The serif at 14b is a
suggested modification that might be consider-
ed when using these leiters in an initial or in
monograms.
'(JJl[j~t\
ABCDEFG tfW~1\~ ~ 1
HIJKLMN 2$456789D ab
OPORSTU (Qfghilklmn
VWYa1fTb opqrcSlu D
FIGURE 14
~jlaJ~JJ~
diagonals at wh ic h the arrow is poin ti ng shoul d
also be made at an angle thaI is more acu te
than the guide lines.
The simplified alphabet shown here has
J-!t~~
been cut to follow the guide lines; that is the
vertical and diagonal lines are cut straight.
As slated before, there <Ire many variations to
t his alphabet and as you acqu ire the knowledge
~~!'1t~~~
and skillih ese will show in you r f'i ni shed wo rk.
Yo u r diagona l cuts. both the ligh t a nd the
heavy, may take on a slight curve which reli eves
the monotony of all of the straight lines. Shown
a l rigure 16 is an Old Engl ish type face used
pqy:~tu\tUr~~z
in the main stem a double line. This makes for
a letter Ih<ll is a littie more decorative an d
which can be used to advantage in in itials.
However the simplified alphabet retains thi s
FIGURE 16
character and to the average individ ual this
d ifference would scarcely be noticed. The let-
ters G,M and S in figure 15 s how a treatmen t of
parallel to the vertical guide lines. As with the the Old English letter as it might be used in a
Rom an letters. the up strokes arc thin and the set of in itials.
dow n strokes arc heavy. 50, a stroke that is
going up to the righ t is a light, o r ele me nt,
wh ile the s troke that goes dow n a nd to th e
FIGUR E 17
r ight is a heavy, or th ick stroke.
As w ith most rules, there arc a few excep-
tions where it is best to deviate from the guide
li nes in order to improve the appearance of the
finished let ter. Two of these changes have to do
with leiters tha i arc not \00 often used, namely
the X and the Z along with the ampersand "&".
If t he diagonal clemen ts in these leiters were to
follow the guide lines. the resul ting letter would
2c
be too extended and would appear as lighter
spots in the line of lettering. The d iagonals of
these letters should therefore be drawn at a
more acute angle; approximately a 60 degree 4C
angle will give the desired result.
1DO
with some of the more elaborate old-style exam- signs may still be based on one of the four
ples. The main ste ms are high-lighted and cross- basic alphabets. Gothic. or block letter. Roman.
lined. with the leaves close-lined. The initials Old English or script. They can be placed sim-
" rGD" is another style of treatment that was ply. o ne after the other as they would appear.
quite common to this period. and was referred (for example see the initials '"RTL" at figure
to as "ribbon monogram." The book by Albert 19) or they migh t be placed one beneath the
Winters. previous ly mentioned. goes into this other as on a tri gger guard, sec "FRS". Slant-
style of engraving with detailed ins tructions ing the monogram as in the "G5M" may be
and illustrations. The initials "J5M" can be cut used to advantage in occupying a space both
with the main s tems close-lined if you want to vertically and horizontally. With the letters
emphasize them. After careful observation , it designed in panels of various s hapes. such as
is quite evident that a ll of these monograms squares, diamonds . ovals. circles, triangles and
are basical1y vertical script letters. so forlh, you can envision the endless possibil-
In most monogram engraving where three ities that arc available.
initials are designed in a geome tric form such When designing initials within a triangle.
as a diamond or circle (for example the initials square or diamond panel. I should like to again
"TAB") the shape dictates that the center let- emphasize that the lellers must remain easily
ter must be larger. Thi s larger letter is com - recognized. Where the letters are made to con-
monly the initial of the famil y name or surname. form 10 the shape of the panel some weird
with the two initials of the give n names smaller effects can result. For example. the P in the
on each side. When all of the initials are of the "PGK" monogram in [igure 19 could be a lower
same height and in a row. they appear as they case e. and it is sca rcely recognizable as a P
would naturally with that of the surname last.
In addition to the two books on engraving
that have been mentioned, there are several
thai are a fine source of information for the
person who is beginning in the lettering field.
F
One of these. Decorat ive AJphabe ts and Initials
edited by Alexander Nesbitt. is published by
Dover Publications and is available from Dick RTL KOC
Slick. It contains 123 plates. 9 1 complete alpha-
bets and 3.924 initials. There is another book.
Ca lli graph y by Johann Georg 5chwandner.
R
which was first published in Vienna in 1756 as
a collection of continental calligraphy. Con-
B
taining 150 extremely ornate frames and panels.
it also has many ornamental initials and fig-
ures, and is available from Dover Publications.
There are many more books covering this part
of the engraver's art, and should your interest
lean this way you will find a great deal of
pleasure in searching them out.
However. if you are beginning. your aim
should be toward simple legibility rather than
over-elaborate and involved initials. Your de-
FtGURE 19
102
FIGURE 21
103
ME~/d~D~S~R
The tools most used in lettering are the
flat. the round and the sq ua re. When sharpen-
ing the square tool. which is the one most used
in cutting the script alphabet, t here are several
FAj('V '2WW /3tP{( forms this tool can take and each form results
in a different shape of cut. Basically the shar-
pening steps are the same. (he only differences
FI GURE 22
104
FtGURE 23
105
tool (except of course for the 45 0 angle). This 10 degrees will give a good edge, Beware of
makes a good tool for fine lines. However, this carrying this edge too far forwa rd, since this
angle can be improved for the cutting of a line results in a tool that is difficult 10 controL For
that must start out fine. become broade r and the beginner, the tool just described is a good
then thin down once more. Look at figure 23-6, one to start with.
and by studying it you can see that by rotating There are lwo variations of the tool just
the tool in the holder so that it is no longer per- mentioned which are accomplished by using
fectly flat there will be morc metal removed different angles when setting up the tool for
from onc side than the other before you attain a stoning the belly. Look again at figure 23-3.
Oat surface all across the face. This will be Here the tool is held perfectly flat on the stone.
taking morc metal off of the left side of the tool The finished angle of the belly is the same as
as you look down over it, while hold ing it in that of the square tool itself, 90 degrees. If the
readiness to make a cut. This in effect moves tool is rotated so that the bottom edge of the
the cutting edge a little forward. which makes tool contacts the stone first. instead of being
the tool more effective in going into a broader held flat on the stone, then more metal is going
line and back out again. You will remember to be removed from this edge, and the tool is
that all of your culs are counterclockwise when going to end up with an angle of say 105 de-
cutting script. So putting this edge a little for- grees instead of 90 degrees. This second tool
ward results in its meeting the metal a little will make a broader cut wit llOut the necessity
more squarely, and with improved clearance, of cutting as deeply. Here again, extremes are
See the illustration at figure 23-3b and com- to be avoided. As the angle becomes greater,
pare with 2b, Setting the holder off center 8 10 the more dif[icult it becomes to control the tool.
So on your first try, aim for a tilt on the tool of
about 7 or 8 degrees. This will give you a tool
similar to the tool shown at figure 23-4 b.
The last tool variation is one that may be
used for fine lines and for close-lining letters.
With the grave r flat on the stone, as in figure
23-3, rotate the tool so that the outside edge of
the tool contacts the stone first. By so doing ,
the outside edge of the graver is removed, and
the resulting angle is less than the 90 degrees.
The angle of tilt may again be 7 or 8 degrees.
which will give an included angle of approxi-
mately 75 degrees instead of the normal 90
degrees. With this sharp an angle it is wel l to
Cameras, like cars and many o ther prod- easier to work in a larger scale. By working
ucts, may be had in a variety of styles , makes larger. (he proport ions C<ln be more accurately
and prices. For o u r purposes. on ly a camera compared , and the smaller detai ls can be stud-
with a ground glass vicwin g back wi ll do the ied and drawn with more exactness.
job th at wi ll be required of it . Of the cameras Beside the advantages of doin g the draw-
with thi s type of back. our interest will center ings oversize as mentioned. (here is an added
bonus when using the camera to reduce this
drawin g back to act u a l size for transfer to the
gun. Say that your d rawing was made three
times larger than the size of (he finished job.
Also assu me t hat you made a slight error in
proportioning. for example. t he size of a revolv-
er in a man's hand compared (0 the size of the
holster into which it is supposed to fit. If this
error is only slightly noticeable in the oversized
drawi ng, when the drawing is camera reduced
to o ne-thi rd Ihis size on the ground glass this
small discrepancy is also going to be reduced
by this same amount. This is one reason that
much of the commercial art work is drawn
larger than it will actually be reproduced Small
irregularities and imperfections will be reduc-
ed unt il in the finished producI they will be
unnoticeable.
\Vith the preliminaries OUI of (h e way,
main ly on the press camera or the view camera. look at figure I. A piece of acetate sheeting has
There are several photograph ic magazines t h at
carry advertisements for new and used camera
equipment and cameras of this ty pe can be
purchased a t reason able prices . If you are u n -
acquainted with cameras. perhaps you have a
reliable camera store. or a good friend who can
advise you. Both types of cameras will be avail-
able in difrerenl sizes. The camera that I use
is a 4"xS"' Linhof press type camera, and I have
founo it capable of handling any s ize of job
that has come up so far .
To demonstrate some of the possib le appli-
cations of the camera for a n engraver. I shall
use a model 94 Winchester that has had the
scroll engraving and the gold inlaid borders
completed Space has been left into wh ich will
be put the m ajor scene with its gold inlaid
figures. Drawings for this area can be made
actual size and transferred. thoug h it is much
112
been taped firmly in p lace to preven t any shift- wa nt . In this event, simply trace the largest
ing whi le tracing an o utline of the meainto image that you can get o n the grou nd glass.
which your drawing must fit with a good black This can be done in a few minutes . Now place
penci l. (Tracing paper can be used instead o f this second tracing on the copy board, and
acetate .) It iso '[ necessa ry to be too exacting focus it to the size that you want, a nd trace it
with every little crook and turn recorded. [t is off. This sounds like a great deal of tracing,
good to have this outline as black as possible. but very lill ie actual time is req u ired. Fo r
even to drawing it wit h pen and India ink, those of you who arc unacquain ted with cam-
shou ld you not h ave a real black penci l because eras. especially those with ground glass view-
you will want a good contrasting line when il ing, you will notice that the im age on the grou nd
is viewed th rough the ca mera on t he ground glass is not only upside down, but also rever-
glass. Also, it is well to indicate "top" which sed fro m side to side.
will aid in determ ining at a glance whether the Those among you who have a 4x5 camera,
acetate is right or wrong side up. also no doubt have an en larger for your 4x5
negatives. This is the second means by which
an enlarged tracing can be gotten. Tracing on
the baseboard of an enlarger is much easier
than doing so on the camera back, because you
a re working on a flat surface. Also. a greater
grass. For this reason yO ll may lwve to rely o n benefit o f th ose who <Ire comple tely unfamili ar
your li brary, or other shots to supply these w ith it. When an illustration sllch as figure 4
details. In this particular instance. there were (which is black lines on a w h ite background),
other shots that were of help. as well as animal is placed before a camera <lncl H piece of fi lm
and nn(l\Oll1y books . The result is shown in the is exposed and developed , the resulting film
fini shed s tudy of the buffalo at t he lOp cen ter is referred to as a "negative" because it is exact-
of the drawin g board. Show n in the upper right ly the reverse of the origin<l l ell"a wing . The back-
hand corner of the illu stration is a book o f ana l- ground which was white on the drawing, comes
amy that is turned 10 a page on the construc- out totally black on the negative; and the lines
tion of a horse's leg and foot. The fin ished study that were bl<lck on the original. come out elear
of the horse and rider is shown at the upper (in effect. <lppear white when held up before a
left corner of the drawing board. light ), The o nly exception to Ihis procedure is,
of course , the Polaroid cameras in wh ich the
e nd resu lt is a positive print. [n order to obtain
an image that duplicates the original drawing
(black li nes on whi te background), another ex-
posure through the negative m ust be made on
to either photographic film or paper and devel-
oped. Figure 4 is shown both as a negative
would appear (black background), and as a
positi ve.
For the most accurate method to transfer
an image to the metal. the first step is to get a
good black outline . This can be your own draw-
ing. a trac ing from a phot ogra ph. calendar,
magazine cover o r an illu s tration. With this
good black outline placed before the camera
on a wh ite background. and well lit. reduce the
outline on the ground glass to the exact s ize
that you want your design to be. In shooting
this outline, a high contrast film, such as East-
@ man's Kodalith Ortho, gives 5uperior results
since it is tmlde for the reproduction of line
drawings. Eas tman's Plus-X or any of their
continuous tone films may be used if necessary.
Figure 4 shows both the nega ti ve and the posi-
tive of such an outline. These are pictured the
exact size of the finished pan els.
Once you have a sharp, clear negative of
your d esign to size, the most simple and direct
course is to use it to transfer the drawing.
Figure 4 is the finished, actual size reduc- Should you w is h to keep the negative for use
tion of the line drawing of the studies. Before in the futu re, a tracing can be made by taping
going <In)' furthe r . lei me bricrly explain a few of a piece of clear acetate sheeting over the nega-
the clemen wry [<lets about photograp hy for the tive and making the scribed out li ne on it. An-
l1S
help in the design and drawing field . especially vantage of any means to improve our work th at
if he is a patient and careful craft sman. Even presents itself.
the accomplished professiona l could make good Regard[ess of th e degree of accomplish-
use of it at times should he want to. ment (hat an engraver may have attained, the
Naturally the best engravers (those who camera can become another im portant tool. It
can rightfully be called mast e r engravers), are can reduce the time required in tran sferring
men whose interes t has always been along the drawings. It ean enlarge, reduce, and lor re-
lines of art and decoration. Many of these men verse layou ts, designs or drawi ngs accurately,
have studied in art classes to develop their and in a minimum of time. It can record details
knowledge of anatomy, thei r powers of obser- and information for future reference. [t can
vation, and their talent as draftsmen. With the build up a library of facts on animal and bird
yea rs of obse rvati on. study, and the actual life that would take years to accumulate if it
practice of their craft, they have developed had to be done with sketche s and draw ings.
ski ll s and their confidence to the poin t where I believe it is the finished job that should
th ey can make their layouts (w hich arc some receive severe and critical judgment. Ex ami ne
times minimal) directly on the metal w ith no the work carefully to sec if all of the cuts are
doubts as 10 the excellence of the finished job. clean. the design well organized, the straight
As an old instructor at the Chicago Art [nsti lines cut straight an d to a uniform depth, the
tute used to say, "It would be nice if we could curvcd lines clean and [lowing, an d the figures
all start in w here Michelangelo. Velasquez or well proportioned, with good detail and accu-
Rembrandt left ofr . However. since it doesn't rately inlaid . [fall of these details arc well done,
work that way, and we all s ta rt in morc or less then the job is a work of art. <lnd it should be
t he same place. it is up to each of us to go as enjoyed to the fullest .. regardless of how the
far as w e can. In doing so, wc s hou ld take ad engraver accomplished (he resul ts.
121
101 f
he pceceding fi,e chapt." have giv-
en the beginner information o n de-
, sign. materials an d tools to help
prepare him for the time that he will
vise and to do the work s tanding. Each e ngrav-
er w ill simply have to choose the met hod most
comfortable for him.
Another question tha t often comes up is
pick up a tool and begin to engrave. A number the choice of tools. and whether the work is
of beginners have come to me for help in getting do ne w it h hand gravers. The fine old English
started. for invariably they are confronted with scroll engraving and much af the fi ner German
s ituations Ihal seem to un loose a flood of ques- engravi ng were clone with hand gravers. Bear
tions. So in this chapter. J would like to take a in mind th at many of these guns were engraved
little more time and answer some of those ques- before any of the case hardening or heat treat-
tions that occur most frequently. ing was done, so that the steels were campar-
j\'lany phases of the engraver's art comes <ltively mild and easily cu t. This applies a lsa to
down to a matter of per~onal preference. for our own early factory -engraved Park ers . L.c.
instance. whether the work is done while stand - Smi ths ancl lthacas. As to the choice of tool,
ing or sitting. ,"Vhile visiting in Germany re- the onglclte or point graver is the 1001 that I
cently. a friend told about a visit that he had would recommend using far your beginning
with an older German engraver who was un- efforts. It makes a cut that is quite similar to
questionably a master. Thi s engraver did his the s quare or lozenge graver, a nd you may find
work standing. drivinj! the chisel with his ham- yaurself using any one of these as the hand
mer and moving his body and hands to follow graver that you eventua lly prefer.
the cutting while carrying on a running con- In cutting by hand as well as with ham-
versation . An illustration in my files shows mer and chisel . I use a lubricant on the tip of
Browning's e ngraving room where m any of the th e tools. I think it not only makes the cu tting
e ngravers are women and all are standing at easier, but also lengthens the tim e between
their work. On the o ther hand . there are perhaps s harpen ings. I use a mixture of kerosene a nd
as many examples of tha~e who do their en- a machinist's su lfur cutti ng oil. increasing the
graving while seated. One article about an e n- proportion of cutt ing oil for the tougher steels.
graving firm in Texas shows five engravers at On gold and s il ver. add a few drops of kero-
their tables. all seated. My own work is done sene. For a convenient oil dispenser, I took a
while seated. wi th t he exception of some occa- fired 20mm shell casing and sawed it off about
sional barrel and action work where it seems one inch above the primer end . Into this casing.
more convenient to hold the piece in a heavier which has good weight and doesn't tip ove r
122
FIGURE 2
127
GG
chisel or graver a!lacked as onc would drive a
nail. The chasers hammer has a light springy
handle. as previously described. and is not
made to deliver the heavy blows for which the
carpenter's and machinist's hammers are de-
signed. In driving a nail the hammer may be
raised a foot or more from the nail to gain FIGURE 3a
a smoother curve. To repeat, the smoother cut In the first wris t action technique, stan
is a direct result of an increased number of with the forearm parallel to the floor and the
lighter hammer blows. [n scroll number 3, the palm down. Take the hammer in the left hand
machine was set to deliver 1200 strokes per as show n in figure 4, and place the handle of
minut e, and it was set for lighter blows. The the hammer into the palm of the right hand
resultant cut was an even cleaner scroll. With naturally, with the thumb along the shaft of
this explanation, you can increase the scope the handle. The palm of the hand and the face
of your practice cuts to include experimen ts of the hammer arc both parallel to th e rloor.
with longer and shaner back strokes. increased Grasp the handle easily and naturally. Now,
strokes per minute and lighter or heavier ham- if you Oex the wrist up until the palm is nearly
mer blows. at a right angle to the forearm. you will find
the hammer face in a vertical plane. If Ih e hand
with the hammer were facing an im<lginary
clock w ith the hand holding the hammer at the
center of the clock, the face of the hammer
would be in a position about opposite 10:30
o'clock and paralic! to the clock face.
With the hand remaining in this position.
try moving the wrist forward and backward
so that the hammer head travels in an arc
about ['" in length. Take a pencil in the left
hand and hold it in fronl of the hamm er head.
By moving only the wrist. tap 011 the pencil and
see how natural the movement seems, see fig -
ure 5. With the forearm still parallel to the
floor and the wrist still bent at a right angle,
rotate the forearm and hand with the hammer
to the right. and then to the left as far as you
FIGURE 4
FIGURE 7
131
The descriptions givcn here are not to be When cUlling the counter-clockwise curves. the
taken as rulcs. but as an aid for the beginner top edge of the tool is tipped to your right.
who has no idea how to use the engraver 's When cutting a clockwise curve. ti p the top
hammer. 11 would be well for the beginner to edge of the tool to your left. In practicing. try
study these instructions and use them on his tipping the tool to different angles on different
practice plates. rather than taking a hammer cuts and determine what the results arc. If you
and striking out in a hit-or-miss fashion. The cut a curve in w hi ch you do not tip the tooL
wrist and forearm action may seem strange at you will find that the outside edge is not c ut-
first. but with persistence a fine comrol can be ting well because it lacks the clearance on the
developed. Examine closely t he sketches of the curve that the inside edge of t he tool has. As
various engravers a t their work. and see how the tool is tipped. this clearance on the outside
edge is increased which improves the cu tting
quality. As the tool is tipped increasingly to
the outside. the wid th of the line wil l be in-
creased. There is a practical limit to how far
this tipping can be carried. and with several
cu ts you can determ in e thi s li mit. Figure 10
shows a practice plate with scrolls cut to the
left. to the right and in a variety of sizes.
When s tarti ng your cuts you will find t hat
applying a little extra downwa rd pressure at
the point of the tool will aid in getting the
tool to enter the steel. instead of skidding
across the surface. As soon as the tool has
en tered the cut. this pressure at the point can
be relaxed . and the tool will stay in the cut
naturally as long as the correct ang le is mai n-
tained. Also. raising the hammer end of chisel
a little higher than is necessary for the main
FtGURE 9
FIGURE 10
132
sign. before you finally comm it yourself to one lead is preferred (a 7 H pencil was used in this
plan. However. after you have put a great deal instance) since it will make a sharper. more
of time and thought into making your plan. do accurate line. The pencil is held a t an a ngle
not allow yourself to deviate from it. Any ex- as shown in figure 13. and an outline is made
temporaneous c uts or improvements are almost of the ou tside edge of the plate. Being taped
always regretted. Save your improvements down secu rely. the two ou tside edges are eas ily
for the next design. Nter you have gained ex- marked . At the two e nds. however. the con-
perience. there will develop an affinity between tours being different. the paper will need to be
your designing and your cUHing that will ma ke held down as the pencil traces around t hese
possib le the freehand cutting of certai n areas. edges. Also mark around the plate release hol e
with a n assurance that they will be well c ut. at the end of the plate. Figu re 14 shows the
But. in s tarti ng out, stick to you r design. fini shed tracing. actual s ize. Note th a t a center
line has been es tab li s hed. a nd several lines
d rawn a t right angles to it. On each s ide of th e
center line equa l parallel lines have a lso been
drawn to kee p the design centered. As ma ny of
these guide lines can be drawn as you think w ill
help you in your designing. Our design ca n be
drawn directly onto th is tracing of the plate
tha t you have just completed. However. I pre-
fer to keep th is tracing in tact fo r future use.
and by fasten ing this tracing to a piece of ca rd-
board it can be used repea tedly. Fig u re 15
shows a piece of t racing paper taped over the
original outline. and" design being finished.
Also shown are a number of pieces of tracing
paper that have been cut to size to be used in
the development of the design. If the design
FIGURE 11
FIGURE 12
134
FIGURE 15
FIGU RE 18
136
FIGU RE 19
137
along the edges of the plate or around the there is an order to the cutting. and as it was
plate release hole. These lines arc more easily with your designing. the main lines will be
and accurately done witll a pail" of d ividers by cut first. AIter you have become exper ienced.
placing one leg inside the hole. against the the dcsigning and cutting of these basic lines
outside edge. The inside. or guide. leg will will present no problem. However. the degree
follow around the edge of the hole. keeping the of perfection with which these main lines are
scribed line (outside leg) equidistant from the designed and cut will determine how you will
edge all around the hole. Nc.' " comes the actual be ruled as an engraver. so it is imperative
cutti ng of the plate_ Figure 20 s hows the trans- that your best efforts go into their execution.
ferred design with the main lines cu t. When the Just how diligenlly you have done your prac-
engraver makes his design. he begins with the ticing and how far you have come will be easily
o
fas h ion, and each small square has a punch
'1 C) I(
FtGURE 22 FIGURE 23
139
( b
FIGURE 26 FIGURE 25
-
140
FIGURE 29
FIGU RE 28
141
FIGURE 32
143
evident for thi s style of work. The two repro- will find you rself loosening up and using a
duction s of th e ChnrIes Daly trap gun show a combination of the tcchniqucs just described
customary treatment of this type of scroll work, Sometimes you will find yoursclf using the tool
and I have included two cnlargLxI shots 10 give with the thumb of your graver hand in contact
a closer look at some of the detail in the en- with the surface of the work. You might even
grav in g . Ob se rve the treatmen t of the line usc the gravcr with the indcx finger of the
forming the back of the dog. Thi s is not a hard, graver hand contacting thc work . and on occa-
solid line for the varialion in the treatment of sion you might have both the thumb and fore-
the line gives a good suggestion of the forms. fin ger in contact with the work. Experience
and reveals the artistic handling of the cutting will give you confidence and you will use these
by the engraver. You will also see some punch and some of your own mcthods with no con-
work that was used on both the dog and bird SctOUS effort.
sections \0 give added texture, and note the During the cou rse of their visits many be-
difference in the punches that were used in ginners have asked me about making simple
these two parts to gct the dfcct desired. borders that they cou ld do withou t too much
As you become accustomed to using the difficulty . One of the most troublesome borders
hand graver ,mel gain confidence with it, you for the starting engraver is cutting a simple
straight line. The trouble lies not only in
havin g to maintain a uniform depth (and con-
sequently width) of cut while at th e same time
havin g to keep the graver on an absolutely
FIGURE 33
144
mif$ntmn~
true course. The abi lity to cut a straight line
is, of course, a fu ndamental necessity and most
of your borders will eventua!ly be based on it. B
However, while you arc perfecting your straight
line cuts. a wavy line such as is shown in
c
figure 34a could be a good substitute. Small
deviations in such a line are less obvious than
they are in a straight li ne. [n doing the first
----------- ---------_..
trial cuts of this wavy line, y ou can layout
three pencil lines as well as marks to space
D
..----...
~:.:--:--------. ~ --':.
H
variations in the use of the scallop. You can
. .......... 40 ......................................... ....
devise many more embellishments of this old
motif which is one of the real fascinations of
ii j iiiiiti iii i iii iili j i iii this art called engraving. You may find later
on that a similar design has been used bdore,
J
but that first thrill of making an original design
~.
wilt always be yours alone.
K Figure 34e is made qu ite simply by spac-
6'SSSSSS~~ ing off do t s. whic h can be punch marks.
FIGURE 3 4 cont. Between each punch mark two cuts are made
with a square graver, each cut being made
toward the center between two dots. It pays to
be mcticulous wi th yo ur layout since it is
short and long scallops. You will also want to deceptively simple looking. With the dots
try cutling them as individual cuts with a liUle equally spaced, make all of the cuts with the
space between them. keeping oolh the Cli l S and square graver in one direction at the same time,
the spaces uniform. The last half of line 34c to main tain a closer uniformity from cut to
shows two opposing rows of interrupted scal- cut. Whcn they are all complelCd in onc direc-
lops. tion, turn the work and finish the opposi te
The first segment at figure 34d shows an cuts. Thc diamonds can be made wider or
application of the scallop wherein each sC<l llop narrower depending upon the angle at which
is connected to the next to form a contin uous th e square graver is driven into the work.
wavy line one s ide of which remains a straight Figure 34f shows the numerous short cuts
cut. A similar cut is made (moving the pattern that make up this border and is self explan-
forward one half of a scallop) opposite the atory. It is quitc simple to keep a short line
first wavy line. This border is quite commonly straight. The only difficulty here is to keep
u:.;cd. and is very effective. When seen in the your lines at the same angles and the lengths
white. the scallops calch the light and shine uniform with good connections.
like jewels on each side of the wavy. uncut Figure 34 g consists of CUIS made with a
center li ne. The last two segments of 34d show square graver. The finished border will be
that your basic experience is be~ take it down for you. When you arc making
you, no doubt you afC anxious your deal with him insist that you be permitted
plorc some of the more diffi - to observc the procedure and make notes. Don't
-and rewarding-jobs tha t can just watch him, but observe carefully and make
be done; for example. gold and other precious a step by SICp record of the procedure. A day
metal inlays. An engraving job tha t incorpor- or a week later when you wonder if he removed
ates such inlays always seems to be superior Ihis part firs t or that other piece firs t. you can
or morc distinguished than those jobs that lack refer to your notes of the sequence of dis-
t his extra effort in lime and ta lent. I am assu m- assemb ly and be su re. After you have beco me
ing. of course, that the job is accomplished in fam iliar with the a r m, you may feci capable of
a skillful manner, because if it is not the bright assembling the firearm yourself if you have
gold or silver only draws attention to the lack good notes. Whether the gunsmith disassem-
of craftsmanship. However, before becoming bles the g un or you do it yourself. you should
completely involved in this subject. there arc have a stout container in which you can keep
some general remarks I should like to make, all the parts of this particular gun toget her. It
and some observations or comments that [ is so easy to misplace or lose a small part. and
want to repeat. many times they arc difficult to replace. Not
When you start to engrave an ind ividual only shou ld you have a good container (or two
firearm, it w ill be d isa ssembled and the parts if necessary) but it should be clearly iden tifi ed
engraved separately as a genera l rule. The e x- as to make, mode l and even the serial number
ceptions are, of course, those parts such as the of the gun. For disassembly instructions, you
bottom plates of some double barrelled shot- will find a number of magazines ca r ry ing d ia-
guns where the design will carry through from grams and instructions covering a great many
one part to the next, or other guns where the guns. Over the years The Ame rica n Rincm a n
components to be engraved are connected in has carried many of these art icles. Gun Digest
the final assembly. In d isassembling these arms has also many such reviews. Start now and
be sure that your capabilities arc equal to the collect these art icles and file them so that th ey
task. If you are a carefu l mechan ic and have can be easi ly located; o th erwise they w ill do
a good clear, complete set of instructions on you no good. Bro wnells, Incorporated have a
the correCt procedure for the disassembly of huge book ent i tle d En cy cl o pe d ia o f M ode rn
that particular arm, then you should have no Firea rm s Parts a nd Assembly that will answer
difficulty. If there is any doubt in your mind, perhaps 95% of you r q uestions.
take the gun to a good gunsm ith and have him With the gun completely d isassembled,
148
F(GURE 1 a F(GUR E 1b
151
Ne:l:t. stone the heel to give about a 10 degree angle there would be no clearance. We
degree lift to the handle of the tool. sec figure Ie. do want a minimum amount of clearance so
\-\lhlle stoning the heel angle. the tool should be the main objective here is to see that the face
held so that the stoned angle is perfectly square angle of the tool to the surface of the stone is
across the thickness of the tool Stone this NOT LESS than 90 degrees. To pul il another
down until you have a measurement of approx - way. the angle of the tool face to the sides of
imately 3/ 64" across the flat at the front edge the tool must not be over 90 degrees and only
of the tool. Thi s will stil l give you quite a good slightly less than the 90 degrees to gct the
result that we arc striving for. see figure Id. At
figure Ie the finished tool is shown. The 3/32"
portion shown should have practically no taper
from the cutting edge to the trailing edge (wh ich
must not be wider than the cutting edge). You
wi ll note that while we were stoning the clear-
ance angle we were also reducing the width of
the cu ttin g edge of th e tool from approximately
3/64" to its final wid th of about 1/64". Your
tool is now completed.
In sharpeni ng the size 0 onglette for mak-
ing undercuts, the first step will again be to
stone the heel as you did the number 5 tool.
Stone the heel back until you have a heel length
of about 3/ 32'" and a 10 degree lift. see figure If.
In s ton ing the sides at the Ihlint you can fo llow
the instructions given for the number 5 (ool.
The only difference is that the si des are SlOned
down almost to the center line on each side.
This leaves only a small nat and the corners
FIGURE lh of this flat are stoned so that this bottom edge
at l he h(.'Cl has a vel)' small radius. This not
on ly gives the point of the tool a li ttte added
strength but also gives more strengt h to the
clearance angle even with the longer heel as is corners of the inlaid gold.
shown at rigure Ie at B. Figure ih shows the
tool that has been shaped with the protractor
showing the 60 degree angle that is the sum of
the face angle plus the 10 degree lift that was
given the tool in ston ing the bottom at the
point of the tool.
In order to reduce the clearance and the
width of the tool at the face. lay the ong[ette flat 105)
on the stone and by rotating the loot as shown
in figure Id at A. the angle of the tool face to
the surface of the stone can be changed. It is
obvious that if the tool were s toned at the 90
FIGURE 1 e FIGURE 11
152
FIGU RE 2
153
FIGURE 4 FIGURE 6
ping it lightly with the chasers hammer until stone. As it is pushed forward. drop the tang
the end of the punch shows a dull surface. This end until it is between 5 or 10 degrees above
textured punch transmits more of the force the stone. This gives a slight radius on the heel
from the hammer in selling the gold because portion ju st back of the cutting edge. By rai s-
the gold is held by the slightly roughened sur- ing or lowering the hammer end of the tool
face and is forced down into Ihe cut ins tead of this radius will raise or lower the cutting edge
being squeezed out as well as down as it would of the tool to remove just thc right amount of
be by a punch with a polished face. Figure 5 excess gold. It is better to leave a little too
shows the surplus gold being removed with a much gold than to gouge cuts into the steel.
number 42 flat graver. In stoning this flat Figure 6 shows the finished. inlaid gold along
graver on the bottom flat. the tang end of the with the two tools that made the cuts.
graver is held about 15 degrees above the You will find three photographs that you
can study which are fine examples of the a rt of
inl aying gold at figu res 7a and 7b. The two
pictures of the revolver cylinder arc by A. A.
White and are shown actual size (of the original
photographs. not necessarily of thc cylinders)
in an effort to convey the excellence of the de-
tail shown in the bird and the animal. Also
shown is a fine old German shotgun (16 gauge)
made by Emil Kerner. [t has the typical fine
stock carving and metal engraving. with a dec-
orative carved horn fil l-i n piece back of the
trigger guard but it was bought primarily be-
causeof the fine gold and silver scrol1 inlaying.
The thin sections of these inlaid gold lines
measure on ly .008' in width (only half the
width of our demonstration line). The photo-
FlGURE 5
154
FIGURE 7a
FIGURE 8
FIGURE 7 b
155
made. s hown at figure 14. Here, the last wire where the thin gold areas have been hammered
that was inlaid is s hown. with a punch being into the gold beneath. but they have not at-
used 10 square up the edge of the inlaid gold. tached to it. Qu ite often these imperfect io ns
This punch has the same textured face as the seem to occll r at critical areas of the modeling.
punch described earlier, however, the face is By squari ng each wire as it is inlaid, making
ground 10 H slight angle to t he body of the sure that each joint meets sq uare ly. the model-
punch so as to [cave a vertical face to the gold ing can be carried to any depth that is required
being upset. Also. the bottom s ide of the punch with the assurance th a t t he gold wi ll remain
solid with no fla king. It is also importan t to
kcep a ny impurities from ge lling between the
gold w ires. so be sure to clean away all steel
chips fr om cutting the dovetails. and to clean
each dovetail and adjacent gold w ire with a
brush dipped in lacquer thinner before pUlling
in t he nex t wi re. I fin d it al so hel pful to anneal
the gold w ire. and w ill describe the procedure
A B later.
After squaring up the edge of the las t in-
FIGURE 15
laid wire. th e next dovetail is c ut . shown a t
figure 16. Thi s cut can be made rairly close to
the last inlaid wire. Naturally. the cut must not
be made so close that the tool enters into the
previous cut. If however. you find that the
has a flat ground on it which contacts the steel. pa rticular area that is be ing inlaid will require
This gives broader coverage. see figure 14. The less thickness in modeling the figure, then the
squaring-up is done so that the next piece of dovetail cu t can be placed sl ig h tly farth e r
w ire will have a square edge against which to apart. Nothing is gained by build in g up a thick-
form itself. At figure 15 a re shown two dia- e r inlay than is needed .
grams illustrating this point. At figure 14 you
w ill notice that the punch has upset the gold so
thaI it is a little thicker than th e level of the
rest of the in lay. As the next wire is inlaid up
against it. and the two wires arc punchcd dow n
together. th ey mee t and form a solid joint from
top to bottom. In looking at the drawing in
figure 15 where the wire is not squared up. the
wire thaI is being punched down must form
itself over a rou nded shape. as shown at th e
arrow. 11 can be seen that as the punch drives
the gold down over this rounded shape. one
side thins o ut to nothing when the two surfaces
are level w ith each o ther. You will find that
when you co me to finishing and model ing t hese
joint s . the gold in these thinner areas will te nd
FtGURE 16 FtGURE 17
to flak e off a nd there will be s mall pock marks
159
Fi gure 17 shows the gol d wire laid in sired and it is usually avai lable by the square
place and a s ingle punch mark has set it. You in ch. You might want to try some flat inlays
will observe that the wire was set so that the on your fir s t attempts. For th is a thickness of
end of the wire was slightly beyond the under- .01 0" (30 gage) is plenty thick and in si lver it
cut edge of the figure. After the wire is set into is qui te inexpensive. Another ad vantage of t he
the dovetail eut. the end Ihat overlaps ean be silver is that on a flat inlay. the draw ing of the
upset the same as was done along the lengt h 01 detail can be engraved much as a pen drawing
t he wire. This will make sure that there is would be made. After th e lines are cu t , the
plenty of gold locked securely into the undercut silver can be treated wi th a liver of su lphur
along the outside edges of the figure. As each solution (buy the lumps at your local drug
w ire is laid in place. the excess gold that pro- store and dissolve in water) to oxid ize the sur-
jects beyond the figure is trimmed back to the face. This of course oxidi zes the incised lines
original outl ine of the figure. making it easy as well. When the oxidi zed surface is poli shed.
10 end up with your gold inlaid to the exact the lines being below the surf'lce are protected
outline of your original figure. At figure 18 is and they show up as deep black lines on the
s hown the finished figure at approximately brig ht silver.
tw icc ovcr size. T he fini shed receiver, at fi gure Fo r our demonstralion he re I shall inlay
a gold figure on .1 Sp ringfield floor plate. Once
FIGURE 18
FIGURE 19
19, is shown approximately 75'70 of its actual again the exact del ai ls will be given for COlll-
size. plete understanding. The inlay is made of 18k
The usc of precious llletais in sheet form gold in sheet form. and is .031" thi ck. I pur-
to make inlays is another common practice . chase Ihi s malerial in 2 inch squares which
The material can be inlaid so as to be flush makes for easy handl ing when sawing out the
wi th the surface or it can be inlaid to achieve a small figures. This piece is th icker than is
high relief figure. Gold. platinum and silver needed, but with this thickness much of your
ca n be purchased in almost any thickness de- modeling can be carried below the surface of
160
FIGURE 24
163
FIGURE 31
167
FIGURE 32
FIGURE 34
FIGURE 33
168
:\
169
FIGURE 36a
place to make your changes. On ce an ill study for the design. As a c hange from the
considered cut has been made in steel. il is most customary animal figures. I thought that it
dirficult to conceal. would be fun 10 do a conventionalized face of
For the demonstration of a high relief job, a girl. For the trigger guard. ns a contrast to
a Mauser 98 noel" plate and trigger guard was the pretty girl. I did a head in the manner of
chosen. The pencil drawing at figure 37 is a of the old grotesque masks. l'vlany ancient arti-
S<lllS used this contrast of "beauty and the
beast" in th eir decorations.
Afler the design is transferred. the next
s tep is the same as in any relief engra\'ing; the
background is ClLt away first. At figure 38 Ihis
step is shown. On this particular plate. the
bulk of the backgroun d was removed with an
ongktte. After this was completed I used a
number 6 six-line graver to level the small
ridges left by the onglette. Thi s graver is a
little over 1/ 64' wide (approximately .020"). A
flat graver may be used but I like the line
graver as it seems easier to control in attain-
ing a flat surface. A number 6 two-line graver
was used to get into tight places and corners
in com pleting the levelling of the bottom With
the bottom levelkxl. a number 38 flat graver
was used as a wiggle tool to give the bOllom a
textuI"C. An advantage of using the lining tool
to finish the bOlloming cuts is that the wiggle
tool lakes hold easily and the background can
be given a uniform texture in a very short time.
At figure 38 on the left side above the head. the
background has been cut away with the ong-
let Ie. On the right side of the plate (same figure)
Ihe background has been levelled with the line
graver. The bottom half of the plate has the
background finished. There has also been some
of th e modeling started on the face.
Figure 39 shows the completed trigger
guard and floor plate. Rather than go int o de-
tail on the entire job w hich contains a number
of moti fs such as leaves, flowe rs and figures, [
shall take a single motif to execu te in detail.
FIGU RE 38 Thi s will give you all of the techniques used in
executing a subject containing inside and out-
s ide concave surfaces as well as convex sur-
faces.
The professional wood carver has many.
FIGURE 39
The following is from a leiter ll. Col. the work, and that it was his last job. ball -like object . That is his toy and
F. B, Conway, (Re!.), wrole about He had gone inlo the hospital about to be correct. the metal work should
the above gun- two weeks later, where he had died, have a gold toy to match the golden
dragon. We lound that particular
"The wood carving was done for a "Now to Ihe real pain!. About the
design several places in the engrav-
Marine lieulenanl in Mainland China second person that I showed the
in 1934, and Ihe stock was inletted ing but not related to the dragons.
gun towhen I brought it tothe Stales
for a 1903 Springfield . I carried it was Lt. Col. Frank Palmer, Military "The point 01 the whole thing is that
around for some years w ith many Police Officer, who was in charge 01 a craftsman, regardless of his tech
ideas of whal 10 do in the way of securily lor the War Crimes Trials in nical ski lls, would have to study the
engraving for it. but did nothing the Far East following World War II. customs and habits of an area in
until I was senllo Germany . I finally He looked at it and said, 'Very Nlce l order to produce a correct piece of
look it to Kurl Jaeger's engravers in But how come you have happy dra art work . How could we e)(pect an
Mainz, gons on the wood and unhappy old and Ski lled German engraver to
"I told him I wanted the items on the dragons on the metal?' know anything about Chinese my-
thology when myoid Hawaiian
stock represented in Ihe metal with "That floored me. so I said, ' How friends of Chinese, Japanese and
the junk and dragons in gold. The do you tell them apart?' He replied , Phi!tipine descent don', know any
gun was there about five months. 'A happy dragon has a toy to play thing about it either?"
When I wenl to piCk it up, I was told with, If you look in Iront of the leel-
an 82 year old engraver had done ers 01 each dragon you w ill see a
many chisels and gouges ranging from small form that he wishes to make. The engraver's
half ci rcle ones to la rge fl at ones .. and in a ll select ion of tools need not be as e xtensive as
sizes. Thus , he has a big selection fr om w hich a wood carver's coll ec li on of c hi sels , Gl ardon's
to choose the tool w it h wh ich to Cllt the exac t die sinkers chisels arc excellen t tools for the
172
engraver. Numbers 1, 2. 3, and 4 arc flat chisels more simple engraving, a design or pattern is
of varying widths . Chi sels numbers 5, 6, 7 and the fir st requirement. Do not slight this step in
8 afC round chisels that have progressively }'our impatience to start cutting. Try to draw a
larger radii, and are a lso wider as they get design that yOll feel qu ite sure you w ill be able
larger. Nu mbers 9 and 10 arc o ngktlc gravers. to cuL For the plan or design there is a wealth
Number! I is a bevel graver and n u mber 12 a of material that can serve as models [rom wh ich
k ni fe graver. '111cse a rc not absolutely necessary to develop an idea. The fine silverware m akers
if you have a set of the round gravers (50 to 63) publish brochures w ith excellent reproductions
a nd a set of flat gravers (36 to 49). If you arc of their various patterns , Furniture m akers
begi nn ing, and doo't wish to invest any morc have developed decorative carved panels using
than necessary, a vcry good job can be done new molded materials and plastics that defy
with onl)/ a few of each ki n d. The regular grav- detection from original wood carvings. The
ers would, of course. have handles made for meta lwork that the carpenter and cabinet m aker
them, so t hat your chasers ha m mer could be now use in the way of drawer pulls, escutch-
used. eons. hinges, et cetera . is the result of new
The begi nner who is starting the study met hod s of die casting and injection molding.
and practice of this fascinat ing phase of t he and can be seen at t he suppliers a nd in cata-
e ngrave r 's a rt may have some doubts when it logs. The electrical industry also has a large
comes to getting started . As it was with ou r selection of decorative outlet plates in high
re lief. molded in different metals and plastics,
making them very attractive . From all of this
material. along with the books and magazines
on design a nd engrav ing that you w il l have
collected , your high relief design requirements
should be well taken care of. Eventually. one
of your main satisfactions wi ll be develop ing
your own designs fro m a ll of t his mate rial that
you have gathered. You may even want to go
back to the original source of most of our de-
signs. nature. Designs from animal life, plants,
flowers and leaves can su p ply an endless
source of ideas for designs.
I-I ----
b egi nning. sldrt ca r ving an car or nose. Th is
wou ld be done on ly after you had es tabl ished 1-
the action. the proport ions and character so Pi 4$4
I, I
thm you we re sure th at each part woul d fal l
----
into ils proper position Removing this excess i
II ':
materia l or p lanning your draw ing or pai nting
is somet imes referred to as "roughing o ut " the
s ubject. After you have gained some experie nce I
- ,
,
.. a
"-,
in h igh relief engraving. you will find that m uch
time can be saved in l'Oug hing out you r design .
i
i
f - ----
By knowing your subject. the surplus ma terial
can be attacked vigorously . As you approach
the finished surface. the time thaI you have
saved can be used to belle r advanwge in t he
---
accurate completion of the fin a l form This
F(GURE 43
175
Tht: fi ner cu t s, o f courSt:, leave <l smoother you feel represents the subject. a ll th at is left
finish so a cui no COClI"Scr than a number 4 is is the final finishing and polishing. This will
recommended. The eUls arc usually numbered do nothing 10 alter the form. If you feci t hat
from 00. 1. 2. 3. 4, 5. 6: number 6 being some changes arc needed. make them with the
the finest. You may occasionally encounter one gravers. scrapers and files. After the files.
numbered 8. In cCl'lnin shapes. number 4 is as stones arc used to rcmove the file and scraper
fine as they <lfe cut If you cannOI locate sLlch marks. I prefer Scotch stones which arc soft.
rilcs in your local h,lrdware or ll1<lchincry slate-like material that brcaks down casily and
supply Slores. you can gel them at Southwes t adapts itself to the contours. Thcsc stones are
Smelling and Refin i ng Com pilll}', In corpo r ated so me tim es cal le d ;' Water of Ay r " or " Ta m
or from Gesswcin. Finer Culs <llso recom- O'Shantcr" s tones, and are usually ava ilable
mended on t he nc,,:dJe filcs . You are not inter- in sizes from 1/8" to 3/ 4"' square and from y'
ested in removing any gr..:;)l <lrnount of mewl, t06long. They arc used moistened with watcr.
but arc more concerned with the finish they Figure 46 shows a Scotch stone being used.
will Icave. Figure 47 shows the use of an engraver's chuck
After you have atlaincd the modeling that and point s tonc. Whenever I break a small tri-
angular oval or square stone on the bench, I Burnishing s hould leave a bright. shiny
keep th e larger of the broken pieces to use in a finish. \"'hen you feel thftt the burnishers can
corner. the point or a s ide to stone out unusual no longer improve th e finish, pol is hing ca n
configurations, Stoning is continued until the begin with 600 grit Crystolon abrasive flour.
file marks arc all removed. Shape the ends o f small, round hardwood
After stoning, burnishers tire used. With st icks to fit the areas to be polished Apply a
a well-polished burnisher. the surface can be lubricant such as gun grease or oil to the shaped
brough t to a very smooth finish. H you arc us- end you wish 10 use, dip it into the abrasive.
ing a bu rnish er thaI is qu ile round . you will a nd begin poli shi ng. vVith most of the final
soon nnd out that it doesn't work too well on a finish put on by the burnishers. this final
flat surface for with a little too much pressu re pol ishing is a minor endeavor. and can be ac-
it tends to leave rounded impress ions. So, in complished qui ckly. Som etimes instead of us-
addition to the rounded burnishers needed for ing Ihe oiled stick dipped in the abrasive, a
inside scrolls, you will need some that have an small amoun t of abrasive is mixed w ith the oil
almost nat area on th e bottom. This "'a lmos t or grease to make a paste wh ich is s pread on
flat" area should be led into with well polished the engraved part to be polished. and I he Slicks
radii. and can be shaped to get into corners or used ftS before. After poli shing with the sticks
fil a variety of contour s. I som etimes alternate and abrasive, a clean soft cloth is used with a
stoning and burnishing, because a very sm all minute amount of abrasive to polish Ihe en
scratc h may be eliminated quicker wit h the graving lightly. Crocus and rouge can also be
burnisher than with a stone. used in the final polishing. However . this
polishi ng wi ll leave a very shiny surface which
some may not like - myself included. This can
be dulled slightly with a plain pencil eraser or
given a s til l more sat iny finish by rubbing with
an abrasive pencil eraser. which has been men
tioned be fore. Th e finished plate is shown at
actual s ize al figure 48
As you work on high relief engraving, you
w ill undoubtedly devc!op some methods of
yo ur own that will s uit your way of \\!orking.
It is a good practice to be continually on the
alert for betler methods to improve your tech
nique. ] have tri ed poli shing wheels for final
]>olishin g. hoping to cUllhe timc. but they were
FIGURE 48 difficult to control in many places. The method
just described has worked well for me, and as
a bcginner I don't think you will find it too
difficult.
As a fitting finis h to the chapter. let us
take a brief look at some English style engrav-
ing. The words "English style" immediately
There are still Springfield floor plates
available. and they make fine plates brings to mind many small scrolls cut with
on which to perfect your engraving restraint. I presume th a t this is the result of
skills. The Springfield pla te shown
here is done in high relief . hand engraving as opposed to the use of the
FIGUR E 49
FtGURE 51
their early catalogs were good. Many of these of engraving, lettering. lining and scrolls are all
have been reproduced in the Shooter's Bible cut to a lesser depth than the larger scrolls.
Treasury. In the 1963 issue that I have. the Square or onglelte gravers are used, and I use
reproductions arc not too clear but they give a an onglette that haS been stoned on each side,
good resume of the number and quality of guns at the bottom, so that there is an included
that were available. Of course. there were other angle of from 90 degrees to 108 degrees. The
fine English guns such as the Rigby and the ong[clte is preferred because of t he narrow
current Webley and Scott. Over the years it has width of the face. The comparatively \Vide face
been possible to build up a fairly good collec- of a square graver is some\V hat distracting,
tion of rept oductions of fine English-style en- unless the face is narro\Ved by grinding which
graving from magazine covers and articles that is an extra effort and a little d ifficul t to do
have appeared.
Practicing the English-style scroll w ill
defini tely increase the range of your capabili-
ties, for there arc many places that large scrolls
are unsuitable because they are so overpower-
ing that any sense of ri chness of des ign is lost.
The only comparison that occurs to me is that
of a Coarse, loud, over-dressed woman com-
pared to a lady of quiet elegance. In each case
the quality (or lack of it) is evident at a glance.
You will do well to develop your small scroll
and tool handling abilities so that you can exe-
cute those jobs well that require a fine r treat-
ment.
Figure 51 shows a simulated side lock cm
to shape from a piece of cold rolled steel and
engraved as an example. This piece is shown
aClUal size. Notice particularly that \Vorking
with smaller, finer designs ca ll s for closer atten-
tion to de tail s. This effort will not be lost when
you return to culting larger scrolls. In this style
A splendid example of Lynton
McKenzie's very fine English
scroll work .
180
evenly. The heel of the ongiclic is kepi quite making every cut to the best of your capabili-
short and is given about a 12 degree lift. By ties. yOll are bound to improve. Jf you find
mounting the onglctte in the sharpener (pre- yourself ell t ti ng scroll s or designs in an ai mless,
viously described), the anglcs can be set and hit-or-miss fashion, quit and do something else.
stoned accurately with clean sharp edges. The Come back to it when you can concentrate and
time required is minimal because only a small give it your best eHort. [n this way you will
amoun t of metal is removed. The graver shar- become a fine engraver. As an engraver you no
pener is calibrated in 4 degree increments, so doubt are of an artisti c bent. so anything that
by mounting the onglctte in the holder and will improve your artistic talents will benefit
setting it to 44 degrees, the heel can be set and your engravmg. I have found the magazine
stoned to the correct included angle in a few The American Arti st a real help for it has ar-
moments. By loosening the mount and turn ticles each month on the works of practicing
ing it 10 44 degrees the other side of zero, the artists in var ious mediums, plus many adver-
opposite anglc is stoned. Seuing the holder at tisements for sources of supplies and materials .
36 degrees will give the morc obtuse anglc of The printing and detail is excellent in both
108 degrees. Of course, any angle in between black and white as well as color.
that might be wanted can be stoned just as Before going on to the last chapter. I would
easily. By the same token, a tool with an in- like to take a moment to especially thank the
cluded angle of less than 90 degrees can also engravers who have so generously permitted
be obtained. me \0 show the many beautiful reproductions
By giving close attention to detail and of their \vork in the pages of this book.
'181
I~I enjoyment
hen one gelS a lot of " t;,fact;on
from an experience. it
DC
regardless of how the job was accomplished.
I had been engraving by hand and with
. add s to IhM appreciat ion if it can c hasers hammer and chi sel for thirty-two years
be shared. This is the reason for when [ had an opportunity to try a Graver-
Ihi s short chapter on the Gravermeister which meister. It was a revelation. Th e speed and
has given me both . I h<lve been using my Grav- case with which [ cou ld cut a scroll told me at
ermeister for a little over five year"s now. and it once that this was a very practical and useful
has given mc thousands of hours of service. tool. This short cha pter is not intended as a
Wit h reasonab le care, simply following the sales pitch _ [t is simply that I am using the
manufacturer's maintenance instructions. there Gravermeister; I like it. and feel that [ can
ha\'e been no repairs needed during that time. safely recommend it to anyone whose situation
John Hohner. partner in GHS Corporation can justify such a machine. And. as far as [
which manufacturers and sells the Graver- know. this is the only machine of its nature on
meister. remarked during one of our many con - the market today.
versations that they have encountered some The Gravermeister was developed by John
sales resistance to the machine. It seems to Hohner and his brother-in-Inw and good friend
have corne mostly from a few of the older crafts- Don Glaser, a mechanical engineer and machine
men who have spent a lifetime mastering a designer who holds over 100 US and foreign
hand cra fl. and are relucta nt 10 throw it away patents in the graphic arts ind ustry with many
lOclimbon the machine-age band wagon. There related to pneumatic systems such as the one
isthat pride that comes from "doing it by hand'" used in the Gravermeister. T hey primarily
which they seem to feci they might lose. How- wanted to speed up their own engraving, but
ever. it is hard to imagine the extraordinarily they also wanted to make it possible for a begin-
gifted and inventive master-sculptor Michel- ning engraver. who does not have a [ifelime to
angelo nOI using an <1ir-powered ch isel to speed devote to learning precise hammer control. to
up his work. if it had been available to him. for be able to learn the art of engraving faster. (By
it would have saved him counlless hours chip- the way. both of these men's works have been
ping away at those 11uge blo c ks of marble sllOwn in recent iSSLles of Gun Di ges t ). The
After all, it is the master's hand gu idin g the machine is quite compact. measuring 16" long,
tool - whether il be mechanically powered or 9" high and about [r wide. including the oil
hammer-powered - that controls the quality of mter and murfler jars. Two nexible hoses lead
the finished job. and in the end it is the fin- from the machine body. one to the handpiece
ished job t hat will receive the critical appr<lisal. and one 10 the foot controlled thrOtlle. These
182
arc shown in the photograph at figure I. Jnci- 10 your specific use from John Rohner, GRS
dentally, this is a photograph of my own ma- Corporation, or from I3rownell s, Incorporated
chine wh ic h has been in usc for over five years. I wou ld like to cover a few of the main com-
The operation of the G r ave r meister is ponents here to give you some idea 01 their
amazingly simple. for what yO ll have actually functions. The Gravermeister has four main
is a miniature pneumatic chisel that operates parts: Pump, Handpiece, Throttle, and Speed
on the sam e principle as a jack ham m er, but Control The Pump is the hean of [he machine,
with the important addition of precise control and is a special rotary-vane type vacuum and
of the power of the impact strokes by manipu - pressure pump/ motor com bination that has
lation of the foot throttle. As the machine is been made especially lor t his purpose by one of
being used. (he weight or forward thrust of the countr}"s lead ing pump makers.
(he stroke can be adjusted from light 10 heavy
with the foot ihrottle. The number of strokes
per minute can be controlled between 800 and Two examples of John Rohner's use
of his own Gravermeister.
FIGURE 1
AFTERWORD
those who p r acticed it. T he re is vcry li ttle new knee. and occasionally knowing that yo u have
today (h al has n o! been done sometime by the done something better t ha n you had heretofore
craf t smen of the past. Man is an ingeniou s been capable of. that is in itself rewa rding.
cha r acter and it doesn't take long. generally. It is hoped t hat many of ou r fine engravers
to unravel a secret. Then 100. revealing a proc- can be encouraged to \vrite of t hei r engrav ing
ess does no! mean that everyone who is aware beca u ~e of their ack nowled ged excellence and
o f it is going to use it Some arc actually in- years of experience . The old saying "You can
capable. others arc too lazy and many are lead a horse to water. but you ca n not make him
simply n ot interested. dri n k' and its paraphrase "You can stuff a man
There ha ve been co un tless nu m b ers of with knowledge . b u t yo u can n ot ma ke him
painters, but there was only o ne Rembrandt, thi n k'. is as tr ue today as it ever was. In shar-
one rvlichelangelo. and One Leonardo da Vinci. ing processes and techniques. just remember
Ir yo u get an intense enjoy ment <lnd satisfac- that it is hard to beat a man at his own game.
tion o u t of your engraving. what others do So. to you the beginner. my "Bes t Wishes'
should no t CONCER N you, only interest you . for a long and p leasant affair with the art of
\Nh o is to know, you may be t h e next Rem- engravlllg.
brandt of the engravers. [t is strivi n g for excel-
187
Even though a tools. materials and supplies Catalogs are usually very informative and
listing is included. it is morc important that much can be learned from a careful study of
you be able 10 locate such materials and sup- them. Several catalogs supplying the jewelry
pliers as you may need for yourself. We have trade are full of tables of weights and measures.
all seen lists of suppliers in books that have be- co nversion tables fr om decimal to metric meas-
come obsolete because some had changed their ures. and t he Brown and Sharp gage numbers
address while many others were no longer even with their various thicknesses shown in deci-
operating. Below is the listing that i am cur- mal and metric equivalents.
rently using. plus a few pointers on how you Machinery catalogs are anot her example.
can locate sources of materials and supplies . In one such catalog I found a description of a
Almost every craft. hobby or profession lathe bit that sounded as though it should make
has allcast onc magazine that is published for an ideal engraver's tool. I ordered two dozen
its following. For example, The Lapidary Jou r- bits, and I have found them to be extremely
nal is one of the magaz:ines published for the tough. The description read as follows: "liS"
rock hounds . It is full of the advertising of square tool bits. Rex 95. SAE TS. approximately
suppliers of materials for creating polished 2 l/2" long. high red hardness. superior abra-
rock s. gems and jewelry. Among these you can sio n resistance and good toughness. Contents.
find sources of silver. gold, casting materials carbon .SO'70, tungsten 14.00'70. chrom iu m
and even engraving lools. The magazine's book 4.00'70. vanadium 2.00'70. molybdenum .75'70.
department has many manuals and texts on cobalt 5.25'70." These bits work very well in the
silversmithing. creative casting. stone setting Gravermeisler and I have been using them for
and almost a ny subject related to gems and a number of years.
jewelry. Many of these books have lists of sup- Many books on crafts such as Oppi Un-
pliers in the back. tracht's Metal Techniqucs for Craf t sme n
If you have a fr iend who is in manu fac- (Brownells. Inc.) have li s tsof suppliers of many
turing or merchandising. he will quite likely materials from precious metals to rare woods.
have Thom as Regis ter of Ameri can Manu fac - Check your library for such OOoks that may
turers which is a complete listing of all U.S. help in locating matcrials you need. Don 't hes i-
manufacturers and their addresses . Among all tate to ask your dentist if he can help you
of these II volumes of listings. you will find locate a source of gold , or your jcweler to let
those who deal in whatever it is that you cou ld yOll see his catalog or tell you where you can
ever wanl. get saw blades. e tc.
188
E.C. Prudhomme
Digest Books, Inc. (OBI) 513 RicouBrewster Bldg.
One Northfield Plaza Shreveport, Louisiana 71101
Northfield. Illinois 60093
Publishers Central Bureau
Dover Publications, Inc. 3320 Hunters Point Avenue
180 Vanek Street Long Island City, N.Y . 11101
New York, N.Y. 10014
Reinhold Book Corporation
Paul H. Gesswein & Company, Inc. 430 Park Avenue
255 Hancock Avenue New York, N.Y .. 10022
Bridgeport, Connecticut 06605
Thomas Register
GRS Corporation Thomas Publishing Company
P.O. Box 748 461 Eighth Avenue
Emporia , Kansas 66801 New York, N. Y. 10001
INDEX
A texture, 137
Achil les tendon, 52 Backstroke of hammer, 129
Afterword, 185 Bands, chain , 18
Alphabe t s , basic , 89 fret, 18
Akanthos leaf, 11-12 inte rlacement, 18
Anatomy, human Basic alphabets, 89
arm, 60-61 Beading d ie , for punches, 44
biceps , 50 Bear , brown, grizzly, pola r, 80
bones, skeletal structure , 50-51 , 60-63 skeleton , 80
carpus, 52 Biceps , 50
clavicle, 52 Black, ivory & lamp, 115
drawing the masses , 51-54 Bl uebell, 13
ear 56-57 Bones, ske letal structure, 50-51, 60-63
eye, 54-55 Borders , cresting, 19
femur, 52, 56 designs , 144-145
foot, 63 link, 18
hand, 62 palmette , 18
head, 53 rosette, 18
high light, halftone, shadow, 54 undulate , 18
humerus, 52 ver tebrate , 18
iliac crest , 60 Brass punch for setting gold w ire, 152-153
leg, 62-63 Breakage of point, 122
levator of t he scapula, 57-58 Brush for applying Chinese White, 135
lips, 56 Buffalo , 81-82
metacarpals , 52 Burn i shing high relief , 177
mouth, 56 transferred designs, 116
muscles, diagrammed, 53 Butane torch, for annealing gold in lays, 166
neck , 57
pe lvis, 60
p ronator rad ii teres , 61 c
radius, 52, 61 Camera, amateur use , 118
sartorius (tailor's muscle) , 60 determinng correct side of negative to
scapula, 52 trace, 115
sku ll, 54 engraver's use, 111
spine , movements of , 59 enlarger, for traCing, 112
ulna, 52-61 enlarging outlined area, 112
Angles , for gr ind ing tools, 33-36 film for making photos, 114
lor script leiters, 91 finished drawing , reduced to size, 114
Annea ling gold in lays, 166 ground glass, 117
Antelope. anatomy of, 70-71 its use, 110
Antlers , 67 negat ive & positive film, 114-115
Arm , 60-61 outline, photographed , 114
Artif icial foliage, 13 parallax of ground glass, 117
Artwork for engravers , 112 persons the camera can he lp , 119-120
Assyr ian lion, 15 pictures , prepared for tracing , 118-119
possibi lities in using the camera, 120
subject material sources, 113
B tracing an out line , 119
Background removal, 137 di rectly on ground glass , 117
191
Designs for bo rders, 18 , 144-145 Filling go ld t o cut out figu res, 162
Die, beading, 44 Flowers , bluebe ll , chrysanthemum, engraver's
Directions of cuts , scri pt , 93 flowers , rhododendron, wild rose , 13
Disassemb ly o f firea rm s, 147 Foo t , deer , 67
Dividers, for border line , 137 human , 63
Dog muscles , 75 Fox, 77
pose , be nch show or hunt ing , 75-76 Franchi shotgun, 14
photographing the hun ting dog , 75 Fret band, 18
ske le ton , 75
Dolphin , 9 , 16
Double cuts , sc ript, 92-93 G
Drawing, materials used to make, 113-1 14 Geese, sketches , 85-86
the m asses, 51, 54 Geometrical des igns , 10-11
Draw plate. to reduce wire size , 47 Go ld, 49
Duck , skeleton of . 83-84 annealing inlays , 116
ske tches , 84-86 figure fit to cut-out , 162
wing construction, 84 inlays, cleaning , 166
Dykem, s teel blue, 25 ove rlay , 164-168
w ire inlaying, 152, 157-158
Gothic alphabet , 90
E italic, 96-97
Eagle, 16 , 83 , 87 leller , construction of , 94-95
Ear, deer, 68 letters, cut with round & flat tools , 96
h uman , 56-57 Grapevine, 13
Egyptian lion , 15 G rave r handles, 30
El k , 70-72 ho lder, fo r tools , 124
Ellipse, drawing , 10-11 Gravers , bevel, 30
En field , floorplate desi g n , 139 chise l, 31
Eng li sh s ty le engraving, 178 d ie sinkers chise ls, 29
Engraver's cemen t , using , 148 f lat gravers , 30
Engraving, camera use i n , 111 knife, 31
different grades, 22-23 lining gravers flat & bent. 31
hand , 139-1 42 onglett e or po int, 30
vise , making your o w n , 38-40 oval , 31
Enlarger for trac in g, 112 roun d, 30
Enlarging out lined area , 112 square, 30
Entering tool into cu t , 131 Graverme ister , 181 -184
Eye , 54-55 , 67 Grinding the tool , 33-34
Grizz ly bear , 80
F Grotesques , 17
Ground glass , parallax, 117
Feathers , primar ies , primary coverts , scapu lar
tracing on, 117
coverts , secondaries , tert ials , 84
Ground, for the design, 24-27
Femur (upper leg bone), 52, 62
Grouse , 87-89
Fibu la (lower leg bone) , 52 , 62
Gu ide l ines for old English lett ers, 98
Figures , g rotesque, 17
in laid with gold wire , 156-158
Files, cut numbers , 176 H
for f inishing high re lief , 175-176 Hairl ine cu t s, scr ipt, 92
Fi lm , for making pho tos , 114 Hal f figure , 17
positive & negative , 114-115 Hamme r, baCkst roke, 129
Finial knobs , 19 chasers , 37 , 123
Fi nished d rawing reduced to size, 114 how to grasp , 129
Firearms disassemb ly f or engraving , 147 st rokes pe r minute, 128-129
193
o
R
Oak leaf , 12
Octagon , in design , 10 Radius, 52, 61
Old Engl ish alphabet , 90. 98-99 Rake angle, 32-33
initials , 99 Rectang le, in design , 10
printer'S alphabet , 99 Reducing fin i shed drawing, 114
195
U
Ulna , 52 , 61
Undulate borders , 18
Using camera, 130
chasers hammer, 128
jeweler's saw, 162
negative to transfer draw ing, 114
punch to set inlays, 163-164
scrapers, 175
scriber to fix design, 26
V
Varnish , Damar, applying, 116
Vertebrate borders , 18
Vises , 38-41
Vi sua lizing the design , 4
W
Water of Ayr stones for burnishing, 176
White , Chinese , 24-25
apptied with brush, 135-136
Wiggte cut , 100
Wild rose, 13
Wing covers (bird), 84
Wo lf,77
Woodcock, 8, 87-88
Working oversize, 111 , 113
Wrist, 52
Wrist and arm action, using hammer, 130
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