In the moment it dose feel more natural to me to go from thin to wide, maybe that is because I been mostly western brightcutting.
I only drew the backbone on the practice plate and I must say it is more natural for me to start at the backbone and go out from there.
You do have to watch it getting out of the wide part of the cut but using a technique like you do with western brightcuting by dropping the band slightly and exiting in curve works for me, so far anyways.
I did try a few leaves going from the heavy part to thin and it was a lot easier using a square graver compared to a flat, going the other way I can do it with both a flay and square. Seams like if you use a square ( I been using a 116 universal point) the change of getting a rough edge when going deeper is not as great as with a flat.
But then as you said it is the end result that counts.
Thanks! I believe I saw the "hollowed out" effect on Ron Smith's work and liked it. I don't like leaving open spaces, it just looks flat to me. After watching Christian Decamillis' video on basics of bulino I have learned that anything left blank looks dimensionless....once pointed out to me (thru the video) it clicked and makes total sense to me. I started this flair cutting without using the round graver on leaves in areas like this and I didn't care for it.
Anyway, thanks!
Also, I have always admired Seth's engraving in this style.....
On another note some asked for people to post pictures of their engraving in this style and I have but received little "critique"-thanks to those of you that have commented.
I seen the hollowed out leaves on Ron's samples and Seth is using a round as well. Leaving flat leaves dose look empty for some reason, shading or some sculpting seams to be in order. I will have to grind myself some rounds I think and also experiment with some liners maybe.
Ive had a bash at transition. Its harder than I thought but the result is quite pleasing, as long as you dont look too close.
Thank you all for the incredible resource that is this forum
Ive started cutting little squares of stainless and using them as practise plates. Ive ordered some rare earth magnets to mount on the back and will give them away at Christmas to friends. The stainless will keep it's shine. Might even get some Ti from the welders and use that too.
Here is my first try on to this style. I made some errors on bevelling, but by giving it A try I now found out how it works.
Thank you Roger for the tutorial, I will have to practice a few times more to have it perfect.
I think it will work for “budget” engravings
It looks like you have the concept down. Just like any scroll design, no two people do it the exact same way.
We may think of flare cut scroll as a "budget" option but I would not present it that way to customers. When you do it on some kind of contrasting background it looks very impressive to many people and they often think it is your deluxe work.
Roger, when I call it “low budget†of course I don’t mean it is not valuable. And sure one does not have to tell customers it will be “low budget†It is just that it needs less time to execute, but sure when well done it has a lot of character in it, you could call it also more “artistic†:big grin:
And as we all experience, even I again today, you show one of your best engravings to a customer, and she does not have here reading glasses with here. Just saying, why always using fine cuts while engraving, as most of the time it is as we call: “pearls for the swineâ€
Isn't it Marcus Hunt (or his father) who always say that for budget work you reduce the quantity, not the quality? With flare cut you're getting a smooth, elegant design with a lot less time involved.
I would present it as "this style is less detailed and faster to execute so I can do more of it for the same price. This other style takes longer to do but you'll enjoy the little details you'll find over time."