Question: Stippling background for simple brightcut script

Yossi

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Hi Guys!
:tiphat:
Looking for some tips on stippling the background of a simply cut word. When I stipple before cutting, it makes for an extremely unpredictable surface to engrave on. Additionally, I cannot find a decent way of clearly marking out the letters, as the stipple really camouflages them. Therefore, I cut first, then stipple. Trouble is that it is extremely difficult not to slip into a letter every now and then. I admit I'm using only an optivisor at the moment, but I'm looking for a trick.
Also, what is the technical name for this type of engraving. Here's a pic of what I mean.
IMG_3516.jpg
 

mitch

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ideally, the letters should be outlined with a fine line you could stipple up to and even into, without disturbing the main letter cuts. but i realize that's not often a practical solution.

maybe use a not-too-rough/coarse Florentined finish that you could transfer the lettering over then cut thru, leaving the textured background undisturbed?
 

diandwill

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Most of the time I cut the design, stipple and then recut. It gives a beautiful, crisp and finished look to the engraving. It takes more time, to be sure, but final results are what count.
 

silverchip

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Maybe a matting punch would work better. If you make it out of drill rod and harden it then snap it off , it should break off plumb and give you a wider surface that will produce a frost finish on the piece.
 

BrianPowley

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If I may:
I always stipple first and then engrave. Saves a ton of time and makes for a "clean" job.
Now...if you can take this as constructive criticism and not an uppercut:
Your stippling needs to be better than what you're showing. You have a lot of areas that appear to not have been touched with the stipple point.(That could be as a result of fine sanding or polishing after the engraving...and that's a big No-No with stippling.)
I "mix it up" when stippling----straight lines,circular, zig-zag, etc.,etc. to get that surface super matte.

When the surface becomes a smooth matte, it isn't difficult to draw the lettering on it.
Polish that graver up like a mirror. These cuts should "sparkle". Make your exits smooth and you won't need to sand or polish off any burrs.
Yes...it does take more time and tenacity, but to become "the best of the best", you'll appreciate the leverage you put on yourself.
Looks like you're on your way!
 

Yossi

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Thank you Mitch, Diandwell, Silverchip and BrianPowly. I very much appreciate your care for my problem. Bottom line seems that there aint no trick that I'm obviously missing, it's gonna be down to extra patience or find another smoother type of matte background. Seems like patience is the real way to go.
Brian, thanks for the constructive crits and encouragement, I always love it. I do say that it looked a lot better under the optivisor, but the screen obviously tells the truth. This was actually my third ever job with the gravermax. I had handpushed a few jobs before that, to get the feel of whether it was worth changing over from professional woodcarver to metal engraver. So I'll let myself off the hook for the bad quality, for now, until I get there. Three questions though please:
What do you use to successfully draw with on the stipple.
And do you not find that your crisply cut letters are mottled with pin pricks in the shallower parts of the letter?
Thirdly, have you not found the stippled surface to be precariously unstable and inconsistent, especially on tight curves?
Thanks again guys!
 

BrianPowley

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1.) A pencil with hard lead...like a 9H
2.) No.
3.) No again.....Stability and Consistency comes from experience. If it (stipple) doesn't look "perfect", then don't go any further with the engraving. It will only amplify the inconsistencies.
I'm sure you can find a few that will tell you about what an engraving apprentice must go through to get to the next level. We don't have such apprenticeships in the U.S., so you must take it on your own to look at your work and see if it measures up.
...and don't go any further until it does.
That's why the work of the "Masters" looks so much superior. The foundations of the job are carefully, painstakingly put in place first.
An example in another profession would be the autobody industry.
Think about the guy that put on the perfect coat of paint over the surface that was left with bumps, dents, and scratches.
That perfect paint job won't hide the poor quality of the preparations.
 

Chujybear

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If you take time around the cut area. Carefully outlining everything with a mm or two stippled, then you can work the rest with a little more abandon. Keep your movements random.

If you go with a matting tool (and that is a good trick for increasing your coverage) then you will want a few shapes. Triangle, round, maybe square, and a thinner rectangular shape to get you in long tight spaces. Shape more as you need the. A few thin ones with a radius will eventually be necessary.
 

Yossi

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Thank you again Brian. I think I'm being a bug, but theoretically, I can't really understand how come your stipple doesn't poke through beyond the depth of the cut letter to be. Maybe it's a gentle but super-even stipple you refer to, unlike the rougher deep-cut background styles. I'm trying to get the best of both worlds. Unless somehow, the cutting action burnishes the little prick-holes closed. I've felt that happen a little, but something tells me that if my graver was as sharp as it should be, it just might not have done it.
 

Yossi

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Thanks Chujybear for your insight. I've tried that a little before, but that's what seems to give this uneven stipple effect. Like Brian says, unless I give it an all over, all out, it's gonna have differently reflected areas in every different position.
I like the matting tool-shape idea. Silverchip wrote that I should make them myself from snapped hardened drill bits. How are they used, in the handpiece or with a chasing hammer?
 

bronc

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Another approach: instead of stippling you could bead blast the piece, and then cut your lettering.

Stewart
 

BrianPowley

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Well....I "SUPPOSE" there probably are one OR even two teeny-tiny, uber, microscopic, miniscule, nanoscale, hardly recognizable at arms length prick-holes in my bright cutting.
Me thinketh you have "paralysis of the analysis".
LOL!
 

Yossi

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Whew! Brian, thanks! I'm already feeling better!!!!:)
Gonna try. I'll start with a decent stip.
 
Last edited:

Yossi

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May 24, 2016
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United Kingdom
Hi Bronc, thanks for the tip. I'm usually aiming to leave some parts polished though, so either I'd have to mask them, or file/polish them back down. I don't know of a foolproof masking solution.
 

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