My not so Plain Jane Plane !

Mike Dubber

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I have a class to teach next week in Franklin, Indiana The school is The Marc Adams School of Woodworking (www.marcadams.com) So, that's a great place to learn woodworking, huh? As it turns out Marc had seen some beautifully engraved wood working tools by Cloudy, had called her, and she recommended me as an instructor - thanks Cloudy!

Marc called early this year to see if I had and interest in teaching engraving to woodworkers. After some discussions we decided to offer the first engraving class to be held at the school. This will be an introductory class where students will learn the basics of hammer and chisel engraving. We'll be there for a full week to learn to engrave on brass furniture, i.e., brass corners and locks, knobs and backing plates for cabinets and other metal/woodworking projects. Late in the week we will also study the rather new art of hand engraving on woodworking tools (thanks again Cloudy).

Then, of course, I thought the students might want to see an actual project, so I bought one of the small Lie-Nielsen Manganese Bronze Block Planes and put my hammer and chisel to work. Hammering is slow, but fun and rewarding. I use my hammer and chisel every day, and I fear that practice of that essential skill is declining and out-of-favor - in favor of air!

It's been years since I engraved a complete piece with hammer and chisel - so back to my roots!

Please note::beatup:

This is not an effort to diminish or enhance the skills required for engraving with any tool or by any method...or to choose one over another. In my opinion whatever tool(s) one uses, it's all the same, and it all requires the same level of art and hand skills to produce Master Level engraving. Likewise, I believe every engraver should at least try - and could prosper by - understanding the basics of hammer and chisel work.


Additional Working Phos:

I've been asked to show the Palm Swell in more detail, and to describe how I held the Plane in my vise. Without necessary dialog, here are some photos showing those details:

 
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Mike Dubber

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The mag bronze cuts clean, but the graver does not produce a curl of metal. Instead, the material breaks and chips as you cut.
 

KCSteve

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Worrying about what drives the graver point is like worrying about whether your car is gas, diesel, or electric when you're trying to find your way to some new place. As long as it goes where you want it to who cares!.

That said, getting good with hand push or H&C takes more dedication than with pneumatic (IMHO) so it's good that you keep it up.
 

Sam

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Beautifully designed and cut, Mike. I especially like the clever way you've grown one scroll from another. Brilliant!
 

SamW

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The Cosmic Winds bringing together the right people at the right time at the right place! This should become a most favorite class Mike and I cannot think of a better person to teach it. You have our attention and our collective best wishes. Beautiful plane by the way.
 

don hicks

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Hi Mike;
Beautiful work on the plane, just wondering what kind of a jig you used to hold it while you did the cutting. This job puts me in mind of a lot of machine shop work, where half the battle is figuring out how to hold the item being machined.
Cheers
Don
 
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Mike Dubber

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Thanks to both Sams! Two of my favorite and most talented engravers.

To Sam A: thanks for noticing the way the secondary scroll grows out of the major scroll. I wish I could personally claim that special little detail. I had seen it before and it kind of haunted me over the years....just could not wrap my mind around how it was done. Then, recently, I rediscovered it in Larry Wilson's book of Colt Engraving. It was a Cuno Helfricht (late 1800's) creation. The old German and Austrian engravers had a multitude of tricky and subtle little ways to fill space with grace and style.
 

Sam

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Thanks to both Sams! Two of my favorite and most talented engravers.

To Sam A: thanks for noticing the way the secondary scroll grows out of the major scroll. I wish I could personally claim that special little detail. I had seen it before and it kind of haunted me over the years....just could not wrap my mind around how it was done. Then, recently, I rediscovered it in Larry Wilson's book of Colt Engraving. It was a Cuno Helfricht (late 1800's) creation. The old German and Austrian engravers had a multitude of tricky and subtle little ways to fill space with grace and style.

I sure like it. I might have to give that a try myself as it's quite a nice departure from the way I'd approach it. Those old fellas were certainly good in the art department, weren't they! They'd be pleased to see their influence on this beautifully engraved plane.
 

Mike Dubber

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I sure like it. I might have to give that a try myself as it's quite a nice departure from the way I'd approach it. Those old fellas were certainly good in the art department, weren't they! They'd be pleased to see their influence on this beautifully engraved plane.

I also used that "back reverse scroll" on my recent Sam Colt 200th Anniversary project - you'll see it just above the hammer and trigger screws on the side panel. It provided a graceful way to exit the main scroll and fill in a very tight space.


I'm suddenly thinking that there are entirely too many references to the name "Sam" in this Thread??

Eureka, Winston Churchill uses the same kind of return in some of his beautiful Arabesque :shock:
 
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Roger Bleile

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Several years ago, I used that concept on a '66 carbine. As I recall it was based on a Nimschke design.
 

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Mike Dubber

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Yes, great example, and you used it three times in the composition!! That kind of design was likely used by Ninmscke, Helfricht and many other engravers of the old school.
 

fegarex

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I always enjoy seeing your work Mike. I (like others) find that little extra flair in the designs yet they still remain classic. You've been an inspiration and great help to me for many years!
Rex
 

Mike Dubber

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Thank you Rex - we are mutual fans, and we have a few more out there who I am sure share the same thoughts. I have always thought of myself as a teacher, but from what I hear from your former students, I could take some "Rex lessons."
 

monk

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well, it looks as though your hammer knew what to do and where to do it ! i'm not the needed advocate for h&c, but am for push graving. i think all the "air newbies" have lost a vital ( to me) feel for what the graver is doing. i too, use air. but on most of what i do, i just shut the compressor off. when the graver slows to a crawl, that's when it becomes fun for me.
i think it's a very good thing you have chosen to do. i applaud you. btw: your work that you showed, should really put a spark in those attending your class. these students would certainly have a leg up on the competition in engraving the metal furniture. thanks for showing
 
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