A page out of the Lindsay book

[Brian Hochstrat]

Here is one that went out the door this morning, it is headed to the Chicago show. I have been trying out new techniques to increase my bag o' tricks, and also to get more diversity in the work I am doing. My work is predominately arabesque scroll and bulino work, which I do prefer, but a change up is nice after a while. So, on this piece I decided to go with some raised gold. Which I have never done before, and which I found is not easy. One problem among many others, is finding your edges,even when you have lines to follow, it is like finding the light switch in the dark, you know it is there somewhere, but you are not sure exactly where. Steve Lindsay had done a few off these and I always wanted to give it a try. It was not long into it that I gained more appreciation for his ability. I have done some complex work, but this by far was the most difficult engraving I have done yet. Even though it looks deceptively straight forward.

Being it was my first go at it, and I don't waste gold or time on many practice plates, I did this on a spec knife, a 2 3/4" Genovese. So just in case my best laid plans went south, it would not be on somebody's prized possession. As with any new technique, I got better as I went, and although I am pleased with this first try, the next one I know will go much smoother and cleaner. There should be fewer tools going airborne, anyway. Thanks for looking. Brian

[Dave London]

What can I say except SWEET

[ron]

Brian . I think and I know you did well , I too have tried raised inlays with the same problems that you have and when I cant find the edge I just sand it flat ,, there is some way out there that is easier the hunt and peck .. thanks for showing what you did ,I think it looks great .. ron p

[joseph engraver]

Just a suggestion, Take a smoke pull before inlaying the gold and use it to help you relocate you edges. Great stuff Brian.

[WVEngraver]

That turned out excellent Brian.

I don't know if it is expending gold or time on a practice plate as much as it is the "thrill of the practice plate" itself. "Spec" or not, the pressure associated with the price of the canvas can certainly help one achieve great goals that might not otherwise be realized in such a short amount of time. Assuming there isn't a frequent breach of sanity in the process, it's a perfectly sound philosophy.

[Soco]

I love the look of that style.

[Peter]

It looks EXCEPTIONALLY nice to me. Well done Brian.

Peter

[Steve Lindsay]

Hey Brian, It looks super to me. Very nice one!

[Brian Hochstrat]

Joseph, I may try the smoke pull, next time I did try the ink pull with medocre results, I had best luck reapplying my transfer, but I always change them up a bit when I cut them so it is not as accurate as I would like. Will the smoke pull transfer at all or do you have to punch dot the edges, how do you get the image onto the gold?

Chris, Yup, if you want results, raise the stakes. But also, a practice plate, is not a knife, which is a delicate, precision made object, and so even if you do spend time on the plate, you are not finding all the pitfalls that await when you do it for real.

"Disclaimer" One thing I should mention, mostly to the beginners, is that I had a solid plan and two backup plans for success. I am a professional knife engraver and would never go into a job blindly and expect results. Practice plates are the way to go if you do not have a plan of attack.

Steve, I am glad you approve. Being, it was inspired by your work.

Thanks all for the compliments and for taking a look. Brian

[Tim Wells]

Brian,
If you put some transfer magic on the gold it should pick up the smoke from the tape and transfer well enough.