I haven't done any engraving for about 20 yrs now and I am getting back into it. When you haven't done something for a long time you forget...but it's like riding a bicycle..... I love your technique and patience to explain and videos to show how to do things. Some of these other people on youtube rush through everything and leave out a lot of details. Loved watching you do this. I will be following you closely in the other videos you do....thanks.
To fallow up on my question about not using a stencil I was drawing everything on white because it’s difficult to see the graphite on shiny surfaces So now i put my white coat on ,let dry ,dap my transfer wax on lightly, then smooth out a bit. It wil take some -most paint off but it leaves a very dull and easy to see finish once your graphite is down!
A very interesting video. I was lucky enough to live a couple of blocks away from Robert Valade, a well know engraver. We became good friends and he engraved a revolver and a couple of knives for me. He was a very quiet and unassuming man with a wonderful talent.
Beautiful work young lady,great choice of equipment.I love my Lindsay palm control.have you ever used a chap stick ,graphite mix and scotch tape transfer to do your repetitive work?? no get to do much fire arms work because of restrictions in Aus I concentrate mainly on knife work,even that is restricted.looking forwards to seeing more of you vids regards John
As I approach my 60th birthday this year, I appreciate being called "Young Lady" much more! Thank You! You have a fancier Lindsay than I do. I tried it a few years ago and liked it very much but chose the cheaper option to set up my studio. Someday I'll get one! I feel you on the restrictions. I know. I'm originally from Canada.
I have heard of the tape graphite transfer method but have found that I can draw pretty fast. Once I have the registration marks, which I would have to do anyway for a graphite transfer, I can sketch as fast as fussing with the graphite mix and rubbing. I don't know. I'm surmising but I think it's a draw (pardon the little pun 🙂).
Nice clean work, i can see some influence from Jim in your work Hay is there reason you draw every flute or is it just a personal preference to not use a stencil or block to pull copies from? Thank you for your informative videos
Yes! Jim is the voice in my head every time I cut! I use a method to copy animals or portraits from my pencil drawings, but flutes are more bother to copy than draw. All the fuss required to make a copy; I can draw it faster free hand.
Nice work Karri. Just curious though as to why you don't use transfer wax or some of the other duplicating methods. You'd still retain individual cut variances but duplication would be quicker.
Yes, you know how it is. You find short cuts and use the things available to get the angle needed. I don't have one of those shaping tools that gives you each angle to the decimal place. I have the shaping jigs, made by Steve Lindsay, and I do what I need to get the correct shape of the tool.
@@theartistengraver Me too, i learn english on school and each winter in Florida. I am from Quebec, Canada, i love your job and fire arms, sorry for my english, have a good day.
Do people maintain their engraving with the wax for a long term solution? How about oil as a long term solution? How would cold blueing do on the engraving, applied on top of the existing factory blue?
All of your suggestions are methods people use to maintain engraving, plus, clear Cerakote - a modern preservation method that eliminates the constant maintenance. It's akin to the bluing on top of the factory bluing but in keeps the contrast of silver on black. The thing I like about Renaissance wax is that it doesn't have a greasy feel when handling the piece. It even will keep visible fingerprints off. This wax can be a long term solution if applied after handling.
It's in the GRS catalogue. The stand is not attached and sold separately. I really like both items. I can raise and lower the stand to where I like and I don't have to worry about pieces hitting a table as I rotate the metal for engraving.
The graver tip does sometimes chip and break. I sharpen it every few minutes to keep a good edge. The trick is to have a harder metal in the graver than the piece being engraved. I have different hardness levels in the gravers. Thank you for asking!
