Boker -engraving .

[Kevin P.]

Peacemakers & Translators

Kevin,

Ahh Kevin… Kevin… You have made me work a bunch! (Just kidding!)
I am glad that all is fine now and we all have fixed the mistake. This kind of things simply happened. The central point is that we are all happy now!

Cheers, Leonardo.

God blesses the peacemakers. Sorry that my ungrqcious outburst caused you so much work.
A mild case of 'tourettes'; in future I will try to measure my words more carefully.

When next in the lovely city of Barcelona I hope I can get you to be my guest for dinner.

Muchas gracias y à dio
Kevin P:

 

[Leonardo]

Kevin,

You are welcome. It will be a plasure meeting you some day. Thank you!

Best regards, Leonardo.

 

[John B.]

Leonardo, thank you for all your work and effort as a translator and peacemaker.
If you have 500 words of English you are 200 ahead of my Spanish.
And thank you for your gracious understanding and fine words, Antonio.
We value this large pool of people of good will that have a willingness to share their knowledge.
And both of you are Masters in that as well as in your own field.
Best. John B.

 

[Montejano]

Leonardo, thank you for all your work and effort as a translator and peacemaker.
If you have 500 words of English you are 200 ahead of my Spanish.
And thank you for your gracious understanding and fine words, Antonio.
We value this large pool of people of good will that have a willingness to share their knowledge.
And both of you are Masters in that as well as in your own field.
Best. John B.

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Friend John :
Thank you for participating and for your friendship. Thanks to Leonardo.

Antonio

 

[Arnaud Van Tilburgh]

Antonio, as I try to understand how your fine etching is done, I think you do it in different steps.
The first design you etch is the one with the less dept.
After that you cover everything with an acid protection and remove other parts from the acid protection and so on.
So I suppose you have to draw on the surface, both the inner as the outer space of the design.
I mean, if you remove the contour of a human for instance, you have to redraw it to go deeper.

Probably I’m totally wrong, but it can’t be done unless in different steps.
So my question, just because I’m interested, the deepest last?

arno

 

[rod]

Leonado, Antonio, Kevin, and other contributors,

Thank you, Leonardo, for your good energies in keeping our communcations accurate and clear. You are a good and willing friend to all of us. Maybe some day Barcelona will host a show, and we can all come over and share a few bottles together!

Kevin, I admired what you wrote in your last postings, and thank you! The readiness of our new internet efficiency to put postings out before the "ink has time to dry" is a double edge sword. I certainly wish I could reach out and pull some of my remarks back out of cyberspace, so well done Kevin!

Antonio, with Leonardo kind translations, I now seen clearer your communications and thank you. We will all be delighted to see more of your work!

This very interesting thread is in fact showing some of the many ways iGraver, and probably other forums, can function for the common good in a civilized manner, presenting wonderful art, and good civilized discourse across many nations.

Well done y'all

Rod

 

[Montejano]

Antonio, as I try to understand how your fine etching is done, I think you do it in different steps.
The first design you etch is the one with the less dept.
After that you cover everything with an acid protection and remove other parts from the acid protection and so on.
So I suppose you have to draw on the surface, both the inner as the outer space of the design.
I mean, if you remove the contour of a human for instance, you have to redraw it to go deeper.

Probably I’m totally wrong, but it can’t be done unless in different steps.
So my question, just because I’m interested, the deepest last?

arno

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Use two translators to try to understand the message.

Friend Rod:

Thank you for your participation and willingness to be serene and we can all participate in a post.




Friend Arno:

I understand the general thrust of his message, but I regret not understand the question needs used to want to know.
I will answer in general and try to express in simple terms the "heavy water" for better understanding. But I'm convinced I will not be understood by the majority of my friends, because language is a different problem.

The "heavy water" is the acid attack on metal. Was used in the nineteenth century with artists of engraving. My technique is traditional XIX century. The materials used are traditional.
Currently products are sold to acid etching on the web (inks, acids, etc ...).
You can make prints and engravings special commodities. The core prints are high quality, but lack the necessary precision (with increasing). The special if done often increase with metal inlay or complex designs. Not in my job transfer prints, makes it difficult to use because of the ink antacid. But sometimes in complex tasks, I use a template to make the edge of design.

An engraving of the "strong water" in the traditional way, requires a mastery of certain skills such as drawing or draftsman. It is a technique that is very complex because there are parameters that must be borne in mind.
There are factors such as:
Ambient temperature, temperature, acid, drying the ink, type of ink, type of metal, ... ... ... .. and many other factors that the recorder must be present. The experience is very important, but there is always the possibility that something beyond our control and affect the quality of the engraving. Not all metals are equally with the acid and are better steels are more carbon. other metals such as brass, alpaca, copper, bronze, etc ... .. are written to the "hard water" with a surprising accuracy. Of course I am talking about a recording, made by a recorder with a very refined.
If one has no technique, no one can andalusia acid etching, with enough quality that I have shown.
You can use different ways to make a recording. "Engraved in low relief, high relief engraving or mixtures thereof. It also can be plugged into the partial etching to create different depths in the metal. To create a good depth, it is not necessary to make several attacks, with a very slow attack, you can make a good depth. I would comment that for an acid-etching is beautiful, there is no need for a great depth. More important is the quality control and shading, which make a good depth. Quality is given the precision and depth of shade is in the background. Of course if you get both, the engraving may be more surprising.
I have some pictures of some pattern, which can be seen as drawing by hand and the end result. With the permission of the Sam could show. Although warned not to show a complete and acid etched in the process. Serve to assess in general as a "heavy water".
But if Sam can always show a series of pictures in this forum. Would have to choose a recording that I find interesting and takes good pictures.

Thank you.
Montejano
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Friend Rod:

Thanks by the participation and by his good disposition so that all be calmed and we can participate of a good one post.

Friend Arno:
I have understood the general idea of its message, but lament not to understand the question I need that used desires to know.

I will respond him in a general way and I will try to express in a simple way the "strong water" for a better comprehension. But I am convinced that very will not be understood by the majority of the friends, therefore the different language is a problem. The "strong water" is the atque of the acid on a metal. It was employed in the 19th century with artists of the engraving. My technique is traditional of the 19th century. . The materials used are traditional.
At present products for the engraving to the acid in the web are sold (ink, acid, etc ...). Special engraved and basic engravings can be done. The basic are engravings of a lot of quality, but they do not have the necessary precision (work with increase). The special if they are used to doing with increase, with inlay of metals or complex designs. Not employment the transfer in my engravings, therefore complicates the utilization of the ink antiácida. but at times in complex works, I utilize some staff to do the edge of the design.
An engraving to the "strong water" in a traditional way, he requires a control of the drawing or certain attitudes as the sketcher. Is a technique that turns out to be very complex, because parameters exist that should have very present.

Factors exist like: Room temperature, temperature of acid, dried of the ink, type of ink, type of metal, ………..y other many factors that the recorder should have present. The experience is very important, but always the possibility exists that something escape to our control and affect to the quality of the engraving. Not all the metals act similarly with the acid and they are improve the steels that have more carbon. other metals as the brass, alpaca, copper, bronze, etc …..se they record to the "strong water "with a surprising accuracy. Of course I am speaking of an engraving, carried out by a recorder with a technique very purified. If itself does not it have a technique purified, not an engraving to the acid can be done, with the sufficient quality as the ones that have shown.

It can be utilized diverse ways to do an engraving. "Engraving in bas-relief ", "engraving in highly relief "or mixes of both. Also they can cause covered partial in the engraving, to create different depths in the metal. To create a good depth, is not necessary to do various attacks; with a very slow attack, a good depth can be done. Desire to comment, that so that an engraving to the acid be beautiful, is not necessary to do a great depth. It is more important the quality and control of the shaded, that to do a good depth. The quality will give it the precision of the shaded and the depth remains in the background. Of course if both things are obtained, the engraving can turn out to be more surprising. I have some photos of some engraving, where can be appreciated like draws by hand and the final result.
With the permission of Sam would be able them to show. Although I notify that itself does not intend to show an engraving to the complete acid and in all the process. It would serve to appreciate in a general way as is done a "strong water ". But always if Sam permits to show a series of photos in this forum. It would have that to choose some engraving that seem me interesting and that have good photos.

Thanks. Montejano
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Amigo Rod :

Gracias por la participación y por su buena disposición para que todo se serene y podamos participar de un buen post .
Amigo Arno :
He comprendido la idea general de su mensaje , pero lamento no entender la pregunta precisa que used desea saber .
Le responderé de manera general e intentaré expresar de manera sencilla el "agua fuerte " para una mejor comprensión . Pero estoy convencido que no será muy entendida por la mayoría de los amigos , pues el idioma diferente es un problema .
El "agua fuerte " es el atque del ácido sobre un metal . Se empleaba en el siglo XIX con artistas del grabado . Mi técnica es tradicional del siglo XIX . Los materiales enpleados son tradicionales .
Actualmente se venden productos para el grabado al ácido en la web ( tintas , ácidos , etc ...).
Se pueden hacer grabados básicos y grabados especiales . Los básicos son grabados de mucha calidad , pero no tienen la precisión necesaria ( trabajo con aumento ) . Los especiales si suelen hacerse con aumento , con incrustación de metales o diseños complejos .No empleo la transferencia en mis grabados , pues dificulta la utilización de la tinta antiácida . pero a veces en trabajos complejos , utilizo alguna plantilla para hacer el borde del diseño .
Un grabado al "agua fuerte " de manera tradicional , requiere un dominio del dibujo o ciertas actitudes como dibujante .Es una técnica que resulta muy compleja , porque existen parámetros que se deben tener muy presentes .
Existen factores como :
Temperatura ambiente , temperatura de ácido , secado de la tinta , tipo de tinta , tipo de metal , ………..y otros muchos factores que el grabador debe tener presente . La experiencia es muy importante , pero siempre existe la posibilidad de que algo escape a nuestro control y afecte a la calidad del grabado . No todos los metales actúan de igual manera con el ácido y son mejore los aceros que tienen más carbono . otros metales como el latón , alpaca , cobre , bronce , etc …..se graban al “ agua fuerte “ con una exactitud sorprendente . Por supuesto estoy hablando de un grabado, realizado por un grabador con una técnica muy depurada .
Si no se tiene una técnica depurada , no se puede hacer un grabado al ácido , con la calidad suficiente como los que he mostrado .
Se puede utilizar diversas maneras de hacer un grabado . “ grabado en bajo relieve “ , “ grabado en alto relieve “ o mezcla de ambas . También se pueden hacer tapados parciales en el grabado , para crear diferentes profundidades en el metal . Para crear una buena profundidad , no es necesario hacer varios ataques ; con un ataque muy lento , se puede hacer una buena profundidad . Deseo comentar , que para que un grabado al ácido sea bello , no es necesario hacer una gran profundidad . Es más importante la calidad y control del sombreado , que hacer una buena profundidad . La calidad la dará la precisión del sombreado y la profundidad queda en su segundo plano . Por supuesto si se consiguen ambas cosas , el grabado puede resultar más sorprendente .
Yo tengo algunas fotos de algún grabado , donde se puede apreciar como se dibuja a mano y el resultado final . Con el permiso de Sam las podría mostrar . Aunque advierto que no se pretende mostrar un grabado al ácido completo y en todo el proceso . Serviría para apreciar de manera general como se hace un “agua fuerte “ .
Pero siempre si Sam permite mostrar una serie de fotos en este foro . Tendría que escoger algún grabado que me parezca interesante y que tenga buenas fotos .

Gracias .
Montejano