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Fine Embellishment Everything from hand engraving and scrimshaw to filework and carving. The fine art end of the knifemaker's craft.

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Old 01-21-2010, 01:20 PM
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Drac Drac is offline
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Acid etching help

Afternoon all,

I am working on a sgain dubh and what to etch a clan crest on it similar to this -



I know that Montejano covered in a past thread what he used used as a resist in his pins to draw on the blades and what his acid mixture was but I'm not really finding it.

Can anyone help out here?

Thanks,
Jim


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Old 01-21-2010, 03:41 PM
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DaveRuhlig DaveRuhlig is offline
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Jim-
Is this the thread you're looking for? I had this one bookmarked - the guy is amazing!

http://knifenetwork.com/forum/showth...ight=Montejano

-Dave


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Old 01-21-2010, 04:02 PM
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That one of the ones but there was one where he tells what chemicals he uses for his resist or the ration of nitric to water.

Jim

P.S. - I still gaze in awe every time I look at his work


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Old 01-22-2010, 01:52 PM
Ron Aggus Ron Aggus is offline
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Maybe this is the post you wanted.
Dear Julie,
congratulations on your work, just I wish the pictures were close-ups, to get a better idea of the technical details.
Regarding Ferric Chloride, it's really effective on most metals, but of course has its pros and cons. It respects the edges of the engravings and the thin shading of the motifs. Yes, it is a bit slow, but Julie, are you in a hurry? A good engraving takes time, as good wine does. When an acid "attacks" very quicky and aggresively it can destroy an engraving, or at least deprive it of good quality.
If you want Ferric Chloride to go quicker, prepare the solution with warm water, and if the solution is already made, you can heat the container with, say, a hair dryer or something. Hot acid is more aggresive, but warm is enough.
I use Nitric very often, but others too. I finished the first knife (with the word "ROLDAN") days ago, using Nitic, which is very aggresive for the "walls" of the drawing, but it doesn't mean you can't do a good and delicate work.
I don't know what kind of paint or ink you have used in your coronet. There are many acid-resistant products available, just try out and see which one(s) best fits with your work.
If you use ink, it should be fluid enough to work with a pen-nib. It must dry quickly (no more that 12 hours) and once dry, it shouldn't be so brittle so that you don't flake it off when working with the needle point when trying to get the thin shade lines.
If the ink is of a good quality, you can make engravings suchs as the one in Jim Small's kinfe or like the Quijote (it belongs to a knife I engraved last year, with a 2 meters blade and a total of 4 meters when unfolded: the largest "pocket knife" in Spain).
In the Quijote engraving, I started shading 10 minutes after the ink drawing, and allowed me to do shading work for one hour or so. After that time the ink becomes brittle and the point starts to flake the ink off. To avoid flaking off, some wax has to be added to the ink, but I don't like to overuse wax in inks.

For metals such as copper, brass or nickle-silver, the best acid is "Dutch Acid", thought to be used in Rembrandt times. It's good for thin and delicate lines. I have used it for plate engraving for printing, with exelent results. But it produces a lot of fumes. Its compossition: 20 gr of Chlorate of Potassium, 880 gr of water, 100 gr of pure Hydrochloric. Changes can be made in this blend to make it more or less aggressive. However, Ferric Chloride works pretty similar to "Dutch", and without the nuisance of the fumes.
The print shown on the pictures was made with "Dutch acid". It's 45 cm high (quite large). It took me long and had to work it in steps, applying the acid-resistand ink in parts (not the whole plate at the same time) and doing the drawing whit the needle point (removing acidresistant ink to allow acid to attack) in that part, before the ink became too dry.

Some members in this forum have talked about "Aqua Regia". In my opinion it is for high carat gold, since it seems to be the only acid attacking it.

Julie, if you can not get Nitric, go for Ferric Chloride, and remember to WARM it if you want to speed up a little.
thanks for your kind words and I wish you keep up, with success, with your engraving.


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Old 03-08-2010, 06:52 PM
bigaustin bigaustin is offline
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Jim

Maybe this will do some help to you.But I can not make sure what on earth this is .I can not read in Spanish. Is there somebody can ?

------------------------
El Bet?n de judea, es una resina mineral, su nombre viene dado por el primer sitio donde se obten?a, la antigua Judea. Se comercializa como un l?quido viscoso que se puede disolver con trementina, se suele emplear para dar p?tinas de color, dando un aspecto envejecido,y se le puede a?adir colorantes.

El uso en la historia es muy amplio, como por ejemplo el mordiente de resina se realizaba con 4 onzas de alm?ciga en l?grimas y bet?n, con una libra de ?mbar amarillo diluido en aceite, o el dorado denominado "sisa extranjera" o francesa, se obten?an as? colores dorados.

Un barniz negro para metales [1] es

Copal semiduro 12 partes en peso
Bet?n de Judea natural 15
Aceite de linaza 12
Esencia de trementina 21
F?ndase solo el copal , a?adiendo el bet?n en menudos trozos, despu?s el aceite y por ?ltimo la esencia, se termina secando al horno.

Es usado tambi?n en los or?genes de la fotograf?a por Joseph Nic?phore Ni?pce (1830).

Este art?culo de Cer?mica es un esbozo. Editandolo contribuyes a mejorar CeraWiki.


---------------------------------


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Old 03-08-2010, 07:12 PM
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Bear_Blade Bear_Blade is offline
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Here is the translation...

The bitumen is a mineral resin, its name comes from the first site that yielded the ancient Judea. It is marketed as a viscous liquid that can be dissolved in turpentine, is often used to give color patina, giving an aged appearance, and colors can be added.

The use in the story is very broad, such as the mordant resin was performed with 4 ounces of bitumen mastic in tears, with a pound of oil diluted in amber, or golden-called "foreign sisa" or French, is obtained and golden colors.

A black varnish for metals [1] is

Copal semihard 12 parts by weight
Natural bitumen 15
Linseed oil 12
Turpentine 21
Based only on copal, adding the bitumen into tiny pieces, then oil and finally the substance, finished drying in the oven.

It is also used in the origins of photography by Joseph Nic?phore Ni?pce (1830).

This article is a stub Ceramics. Editing help to improve CeraWiki


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