Announcement: Here is some info on texturing backgrounds

[Weldon47]

I was asked about the "burlap" background texture so here goes with a little info:

I'll be focused on silver (or sterling) however, these ideas can also be utilized on steel. I won't go into the actual making of a punch (shaping/texturing/annealing/hardening) as that has been covered elsewhere. For a punch used exclusively on silver you might get by for a little while without it being hardened but, if you use it on steel it will definitely need to be properly hardened!

I use several different techniques for background texture with the selection usually being dependent upon the style of scroll or pattern I'm working with on that particular project.

Round or punch dot. Useful for American/Nimschke/Helfricht style work and can be used with either standard background or, relief engraving. For this style I use a round dot punch either purchased from the Ngraver Company or, a shop-made one, whichever is handy at the time & the right size for the job (generally, larger pattern = larger dot size& smaller pattern = smaller dot size). Nice when used with the right style but not so good when you want a really dark background.

Matt texture: Usually in conjunction with relief backgrounds (moderate, deep, etc, etc...). For this on I use a shop-made punch with a heavily textured face. Once the background has been relieved (double outline with an onglette leaning into the background and then cut away with a flat) and is relatively smooth, I will use this punch to impart a matt texture to the background. This helps level or smooth the surface as you texture. For hard to reach areas like little corners, etc, I'll carefully use a single point to kill the light bouncing out of those spots. This is best when you want a dark grey/black background. Holds ink/paint well.

Single point texture: The most time consuming (IMHO) of the group mentioned here but should also result in the most light absorbing and therefore the darkest background. Holds ink/paint well.

Specialty textures: The "burlap" texture was done with a shop-made punch. The punch was made by cutting the working end with a large liner at right angles resulting in a checkerboard pattern. Once you've got a punch made up, it's then a matter of stamping the pattern into the carefully prepped background. This one can be pretty challenging but if correctly done, it looks nice. Haven't used it on a gun yet but it should work there too. Not the best technique to use if you want a dark black background.

The relative darkness of a background is dependent on several things a couple of which are the texture, the antiquing agent (ink, flat black paint, etc, etc used) and the surface prep of the rest of the piece.

I have attached a few pics with a variety of background textures for you to take a look at.

Hope the info is helpful,

Weldon

 

[silverchip]

Thanks Weldon,Just what I was looking for.I am doing a copper practice piece for my project and am single point cross hatching the relief out.I"ll try to post a pic when it's done.

 

[Weldon47]

Hi Silverchip,

I should clarify that by "single point" texturing I meant using a pointed punch to stipple the background, not a single point graver to incise lines. In no way am I implying that your chosen technique is either wrong or, won't work. It is a viable technique that is widely used to achieve your desired effect, namely to produce a dark background! I simply failed to address it in the post above.

By testing your ideas on copper first you can try the options & see what gives you the effect you are looking for!

Good luck with it & looking forward to the pics,

Weldon

 

[rod]

Weldon,

Thank you for that overview of your various options for background space, very nicely illustrated!

Another possible option I have been experimenting with, once the background has been recessed, is to use, say 1/8 carbon steel rod of punch size length, say, 2 or 3 inches, hammer the rod end into a diamond lap of about 180 grit. There is no need to hammer it with heavy blows, just enough for the end to take on the texture of the diamond grit. Then harden and temper in the usual way.... (for those who have not done this ....cherry red, water of oil quench, temper by heating to light straw and quench). Actually it does not harm the diamond lap plate, but if you feel nervous about this, then hammer it into one of those $2 small diamond 1 inch dia cut off discs that have a diamond face.

Now why bother with all of that? The advantage is that you can make stippling punches of any shape, large and small, Vee shaped to get into tight corners, etc. They will all give exactly the same texture to the surface ... the texture of the 180 diamond grit. If you ever feel that they are wearing out, just give them another tap on the diamond lap to refresh the texture. Tiny objects can be done with finer lap grits.

I can't quite remember, but I think I was also able to use already hardened 1/8 in HSS drill blanks and the diamond lap would texture these, but the 'drill rod' unhardened stock is the best way to fly, then harden later.

They will work with hand hammer blows, or for those who prefer air assist they work equally well.

I prefer to rock the punch as I am tapping it into the lap, much like a spinning top that is winding down and about to fall, that way the stippling texture works its way a little upwards, and rounds the corner, so when in use here is no danger of a sharp edge marring your work.

I hit upon this on my own, but for all I know many others might be using it? I believe Sam A did say he had used it?

Rod

 

[Andrew Biggs]

Hi Rod

That's a very old technique and been around a long time. You can use various grits of diamond lap, rough concrete, brick or just about anything that is harder than the steel punch to get that initial impression in the metal. Certainly this method gives a lovely satin finish.

Most people just go to the single point punch because they want a high contrast but it's well worth playing with other textures..................because it's all part of the overall engraving. One is not divorced from the other.

Cheers
Andrew

 

[Marrinan]

Thanks Weldon. That'sm the info need I think-Fred

 

[rod]

Quote: Hi Rod

That's a very old technique and been around a long time.

Thanks, Andrew!

I figured almost everything under the sun had been tried and either discarded or included in our millennium old craft.

Gotta go, I am currently working on a new mouse trap...

best

Rod

 

[mtgraver]

I needed a special texture punch for a project some years ago so I tried an old gunsmith technique and that was to harden a piece of steel, in this case a cut nail, heated cherry and quench in water. Then score the dia. or four sides of the hardened end at the size punch you want, once scored then snap off the end in a vise, there should be a fine grain structure that is fairly even. You can then grind the edges around the face with a slight bevel to whatever shape you want but keep it cool. I would use normal heat treat for more known steels but this worked well in this instance. If I were to use this as a long term punch I would use a better steel than a nail. Put a rag over the hardened piece when you break them on the score lines and is always a wise practice to wear safety glasses when grinding and snapping.
Mark

 

[Robert Jobe]

Thank you for the info. I can use all the help that you can post.

 

[Sam]

A great post and Tips Archive addition. Thank you Weldon!

 

[monk]

mister lister, thou dost certainly rule !

 

[silverchip]

copper practice plate

Well my camera battery died before getting a good shot but all of the background on this piece was removed by crosshatching by hand and 90% or so was cut by hand too. Finally I used black printers ink for darkening the background and lines.I will charge up my bats and try again tomorrow for better picture:beatup:.