A shading tutorial by Martin Strolz

Sam

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A Little Shading Tutorial
by Martin Strolz

Classic Shading Technique

Engraved scenes and animals require a lot of shading. Cuts typically are
short and often tapered toward both ends. The advantage of such lines are
that they are best suitable to create variations of gray tones as well as to
depict different surfaces.

Mostly such lines are arranged in rows, starting short at one end, then
getting longer towards the center and becoming shorter at the other end too.
Crossed shadings have additional layers of such lines, executed in another
angle, depth or length.

For engraving such lines the graver must be moved along the thumb in
vertical ellipsoid path. On its lower pass it will cut into the steel.
But there must be a second movement sideways, transforming the tool path
into a spiral movement. This can be done either by rotation of the vice
and/or hand. It is important, that the thumb is firmly pressed down on the
workpiece staying stationary. That makes the thumb resting point be the pivot.

For a second layer of lines change the placing of the thumb. Select the spot
perfectly in order to get the correct angle between shading lines. Always
carry out the whole layer at one time. It is quite difficult to continue
once the thumb has been relocated.

Another Shading Technique

Often it is necessary not to get a smooth line or uniform looking surfaces,
for example in backgrounds. Using the graver very steep, -much steeper than
normally- can help create new and different expression. If the graver is
used in an angle of attack far beyond its normal angle of attack, it is not
be possible to regularly cut lines. By positioning the thumb behind/under
the graver, the graver can be levered forward with the index finger. This is
not possible if pushed down too firmly. As the graver is moved forward
stick-slip will occur. Thereby interrupted lines will be created. Properly
done the small chips are removed perfect.

The examples shown are the work of Johann Singer, which he did during
his lessons in school in Ferlach. The red stag is 25 mm in size.
 

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Sam

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Martin: THANK YOU for taking the time to share this with us. You possess a wealth of information and help make the Cafe a great place for all to learn. / ~Sam
 

Dave London

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Martin
Thank You for the information. I appriciate the time that you are taking to help others in the lifelong study of engraving . Thanks again Dave
 

Mike Cirelli

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Martin if you could elaborate on this. This was a portion of a print Sam posted. Is the face and neck of the lady done by the classic manor in which you describe. Are all the shade lines lightly scribed or penciled in. I ask because the path of the broken line seems to be very accurate.
The cutting method described is very much like I used when setting in the bright cut bead and Pave' style when not using power assist.
Thank you for sharing your knowledge
Mike
 

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KSnyder

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Thanks Martin, still a technique (game scenes etc) I haven't tried yet but in the future, who knows.
great explanation.
Kent
 

Bill Brockway

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Sam -

In the thumbnail showing Martin's fingers holding a burin, the point appears to be held upside down from the way most of us would hold a typical push graver. The long bevel (face bevel?) appears to be on the bottom side of the graver. Could you ask Martin to discuss his grind for this sort of work? Or maybe you can explain what I think I'm seeing? Thanks. Bill
 

Sam

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Bill: I'm sure Martin monitors this thread and would be happy to explain the graver. I can tell you that it's similar to what the Italians use (from what I can see), and the long facets you see on the bottom are actually heel facets. Compared to American gravers it might appear to be upside down, but it's not. / ~Sam
 

Frank P

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graver

hey Bill, Martin already explained the graver on the first page of dog engraving thread, 2 types...
Thanks for this tutorial Martin, as well Sam for all his, this means a lot for us, more than all the gold in the world to me
Greetings Martin from everybody in the workshop here
Have a nice day you all!!
 

Martin Strolz

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Mike,
The techniques I described are suitable for firearms engraving or other decorative purposes. Shading carried out in this manner offers much freedom to an engraver but is accidentally to a small degree.
However, if an engraver produces a plate for printing, he has a different goal. The goal is that the print must look good! This includes that the engraving is done meticulous as regards planning and execution. The cuts have to bee extremely clean, sharp and well separated. You might also have noticed that a lot of the cuts have been cut back (no pointed end), even short ones! The length of the cuts goes together with the negative space and gives an impression as if there are white lines too. Not to forget that the cuts also must be cut quite deep. The reason for this is that the cut must take enough color for printing.
Martin
 

Mike Cirelli

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Thank you Martin I understand that. What baffles me is how they got all those broken lines and so exact, they couldn't cut each little dash there's no entry point on them. If they back cut each dash it would take a month of Sundays to do a square inch. I see it on all print made from plates. It seems to me that the technique could be utilized into bulino somewhat or maybe not. My theory is and correct me if I'm wrong. They either use a liner and some how burnish them into dashes or cut the lines individually nice and neat side by side and burnish. Sorry for bugging you about it, but when I get curious about something lookout. Thanks for the great information you posted.
Mike
 

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