Some time ago I began a project to fabricate two Baronial coronets for my Barony as my largesse. The materials were paid for from various fund raising activities and I would craft them.
Just one of them is multiple times larger than anything I fabricated before as a Goldsmith and an entirely different design than body jewelry. I've been learning a great deal since starting this project: etching, different ways to rivet than I originally learned years ago, and working with Nickle Silver.
Once they are presented in early March I will be able to published my progress pictures as well as final pictures of them.
UPDATE: Both coronets are now complete.
My 'Little Project', a.k.a. Coronets. Part 2
Experiment: Waterslide Decals on Vitreous Enamel. Part 1
Several months ago I purchased two packages of waterslide decal paper that can be printed on using a laser printer (black toner cartridges) then applied onto a vitreous enameled surface and fired. It is not too dissimilar to how you apply temporary tattoos.You can add layers of vitreous enamel, vitreous enamel paint, china paint (as used on china plates), etc. to color your pieces. This is a simple way to add designs to your artwork.
I plan to experiment and try out the two different brands of waterslide paper. I will apply these onto copper disks that I will cut out using a disk cutter.
I plan to experiment and try out the two different brands of waterslide paper. I will apply these onto copper disks that I will cut out using a disk cutter.
Steps:
- Prepare the piece for enameling.
- Sprinkle a thin layer of enamel, either clear to seal the surface or colored. Fire.
- Use a laser printer that uses toner cartridges to print the design onto the correct side of the paper.
- Cut around the outside of the design leaving a couple of millimeters of space as suggested in the instructions.
- Follow the instructions on how to transfer the decal onto the enameled piece using water. Let dry completely.
- Sprinkle a thin layer of enamel, either transparent or opaque into the section you want to color. Fire.
- You can add additional layers of decals or enamel. Do make sure that the entire decal is covered in enamel in order to protect it.
I purchased my packages online from Decal Paper, but their website no longer seems to function. There are a variety of brands and companies that sell something like this, Goggle: waterslide decal paper laser printer. Make sure they say it can be applied and fired on Enamel. You can try Fired-On.com
I will post my progress pics and thoughts about this technique as I work with it.
Research Progress (a.k.a. ‘Rabbit Holes’)
I started researching Byzantine and Georgian Enameling for a project, got briefly side tracked by the Limoges pieces at the MET, which I was fortunate enough to see in person, then I came across Late Anglo-Saxon enabled brooches and fell hard for them. This opened a new rabbit hole.
I wanted to know how they made their enamels and if they used the same glass as they used in their glass beads, which there a lot more extant examples of than their enameled items. I started researching glass and found that there wasn't much at all mentioned in Late period publications about it, I would later figure out that there is only a fraction written about Late Anglo-Saxon compared to Early or even Middle period.
I noticed it mentioned in several publications that Byzantine enamels, and those made in Britain after the fall of Rome, were made from scavenged Tesserae, glass tiles used in mosaics, found in many Roman buildings. So they weren't making their own glass or enamels from scratch, but scavenging used pieces to either remelt to make beads or crushed them to make their enamels.
This led to researching Roman glass production, shipping, as well as glass made at the time outside of the Roman Empire and earlier, to glass chemistry and sources for the components. Also to the practice of recycling Roman glass after the fall of Rome.
I looked for modern makers of Roman glass that I could purchase to experiment with my making glass beads and my own enamels. I found a small handful that say it's Roman glass, but my concern is the source of the main component, the sand source. Every beach or area that sand is found is made from a different rock or combination or rocks. The type of rock makes a great difference in the characteristics and properties of the glass made. So I wanted to try and make my own especially if I couldn't purchase their Roman glass or if I found it wasn't chemically the same. So I looked into period methods of glass production and current Experimental Archaeology being done.
I asked my friends on Facebook if they lived near a beach or source of sand and where they were. It turns out a great number of them are near a source and it covers the continental US, minus Alaska. I even have a couple of friends in different parts of Canada then where live that could send/bring me sand. I researched current shipping laws about importing sand into Canada and fortunately I can bring in anything from the continental USA. Sadly not from my European friends which are in great locations. I need to look into anywhere here in Canada or the US that imports sand from Europe and if I can get sand from the same sources used by Rome.
If I can put together a kiln that could melt the ingredients to make my own glass then I can make a variety from all the sand my friends will give me and any I can purchase.
I wanted to find out why there weren't any grave finds of these Late Anglo- Saxon enameled brooches and why they were all found with metal detectors. I found out that grave and burial practices changed (Christianity) about this time or earlier leading to not burying their prized possessions with them as they did for centuries before.
I'm still trying to find Late Anglo-Saxon research on their glass and enamel, but there's very little and it's not exactly what I need.
After I find enough about glass and enamel I will start in deeper on Anglo-Saxon metalwork, sources for their metals, and their production methods. I've found a bit so far, but not as much as I'd prefer.
I'm a Goldsmith and plan to make my own sheet metal from melting the metal (Red Brass CDA#230), pouring an ingot, and rolling it into sheet using my rolling mill. The joint issues that I have, especially those with my hands and arms, don't allow me to hammer the Copper Alloy out into sheets since it would be too harsh on them, so I will use a modern rolling mill which has replaced hammering out sheet. If I was using a high Karat Gold or even Fine Silver, both of which are far more malleable than Brasses, I might be able to hammer them into sheet without injuring or causing inflammation to my hand and arm joints. I would like to try to make my own Gold and Silver Leaf at some point.
I'm going to experiment with modern glass bead rods, which are uses in modern bead making, Flameworking, to make my own enamels from them to get the feel of making them myself from pieces of glass even though it's not Roman glass. If I manage to find Roman glass I'll experiment with it as well.
With the help of my Laurel I'll be making an amalgam of Mercury and Gold to try a period Gilding method used by the Anglo-Saxons and several other cultures. I won't be Gilding an entire brooch due to the costs and health concerns, I just want to try making and using a small quantity for the experience.
After this research and project is complete I plan to research and make cast Roman enameled brooches.
I wanted to know how they made their enamels and if they used the same glass as they used in their glass beads, which there a lot more extant examples of than their enameled items. I started researching glass and found that there wasn't much at all mentioned in Late period publications about it, I would later figure out that there is only a fraction written about Late Anglo-Saxon compared to Early or even Middle period.
I noticed it mentioned in several publications that Byzantine enamels, and those made in Britain after the fall of Rome, were made from scavenged Tesserae, glass tiles used in mosaics, found in many Roman buildings. So they weren't making their own glass or enamels from scratch, but scavenging used pieces to either remelt to make beads or crushed them to make their enamels.
This led to researching Roman glass production, shipping, as well as glass made at the time outside of the Roman Empire and earlier, to glass chemistry and sources for the components. Also to the practice of recycling Roman glass after the fall of Rome.
I looked for modern makers of Roman glass that I could purchase to experiment with my making glass beads and my own enamels. I found a small handful that say it's Roman glass, but my concern is the source of the main component, the sand source. Every beach or area that sand is found is made from a different rock or combination or rocks. The type of rock makes a great difference in the characteristics and properties of the glass made. So I wanted to try and make my own especially if I couldn't purchase their Roman glass or if I found it wasn't chemically the same. So I looked into period methods of glass production and current Experimental Archaeology being done.
I asked my friends on Facebook if they lived near a beach or source of sand and where they were. It turns out a great number of them are near a source and it covers the continental US, minus Alaska. I even have a couple of friends in different parts of Canada then where live that could send/bring me sand. I researched current shipping laws about importing sand into Canada and fortunately I can bring in anything from the continental USA. Sadly not from my European friends which are in great locations. I need to look into anywhere here in Canada or the US that imports sand from Europe and if I can get sand from the same sources used by Rome.
If I can put together a kiln that could melt the ingredients to make my own glass then I can make a variety from all the sand my friends will give me and any I can purchase.
I wanted to find out why there weren't any grave finds of these Late Anglo- Saxon enameled brooches and why they were all found with metal detectors. I found out that grave and burial practices changed (Christianity) about this time or earlier leading to not burying their prized possessions with them as they did for centuries before.
I'm still trying to find Late Anglo-Saxon research on their glass and enamel, but there's very little and it's not exactly what I need.
After I find enough about glass and enamel I will start in deeper on Anglo-Saxon metalwork, sources for their metals, and their production methods. I've found a bit so far, but not as much as I'd prefer.
I'm a Goldsmith and plan to make my own sheet metal from melting the metal (Red Brass CDA#230), pouring an ingot, and rolling it into sheet using my rolling mill. The joint issues that I have, especially those with my hands and arms, don't allow me to hammer the Copper Alloy out into sheets since it would be too harsh on them, so I will use a modern rolling mill which has replaced hammering out sheet. If I was using a high Karat Gold or even Fine Silver, both of which are far more malleable than Brasses, I might be able to hammer them into sheet without injuring or causing inflammation to my hand and arm joints. I would like to try to make my own Gold and Silver Leaf at some point.
I'm going to experiment with modern glass bead rods, which are uses in modern bead making, Flameworking, to make my own enamels from them to get the feel of making them myself from pieces of glass even though it's not Roman glass. If I manage to find Roman glass I'll experiment with it as well.
With the help of my Laurel I'll be making an amalgam of Mercury and Gold to try a period Gilding method used by the Anglo-Saxons and several other cultures. I won't be Gilding an entire brooch due to the costs and health concerns, I just want to try making and using a small quantity for the experience.
After this research and project is complete I plan to research and make cast Roman enameled brooches.
Experiment: Champlevé, Vitreous Enameled Copper Alloy Medallions
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| EK, Order of the Golden Rapier (OGR) Etched, Champlevé Enamel, High Polish |
Last week I set up my new polishing station with my 3M Radial Bristle Disks and polished them up. Here are the results which I feel are a success.
I did wet pack the pieces with enamel by adding a bit of distilled water. Since I was in a bit of time crunch I didn't add a bit more water and pull the solution into the corners to try and take advantage of Capillary Action. My Laurel brought his kiln to an event and we only had the space for a short while for our tests. In future I will definitely play with capillary action to get into every tiny area.
A quick way to remove a bit of water from a wet packed area is to gently touch a corner of a paper towel or tissue to soak up a bit of water. The piece must be completely dry before placing it in the kiln otherwise there's a risk of the water boiling off and popping/shaking the enamel off the piece.
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| Above, Right: Pieces sawed out Above, Far Left: After they've been filed and sanded, but before polishing.
Bottom: The 2" × 6" plaque with both resists still on and after being removed
from the etchant and neutralized with a solution of baking soda and water.
The Black areas are the TTP resist once it's reacted with the etchant, you can
remove it either with Acetone or sanding it off. |
Metals Etched: Red Brass (CDA#230) and Nickle Silver (CDA#752)
Plaques: 16 Gauge, 2" × 6" plaque
Etchant: Ferric Chloride, at room temperature
Resist: Toner Transfer Paper (TTP) and nail polish
Polishing Tools: 3M Radial Bristle Disks
Disk diameter: 1" and 3", both using 6 disks on a spindle
Grits: 80, 120, 220, 400, 6 micron, and 1 micron
Please Note: I found that the 80 and 120 grits damaged the surface of the enamel. I suggest using 220 and finer.
Artwork: Except for the Order of the Laurel medallion everything else that is within a circle is an award of the East Kingdom. The small rectangles are Populace Badges for the Principality of the Mists, Kingdom of the West.
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| This is how it came out of the kiln after it was enameled, you can see the oxidation that needs to be removed using a mild acid referred to as pickle in the jewelry industry. |
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| East Kingdom, Order of the Silver Crescent The same enameled piece after it's been pickled and neutralized. It requires to be polished before it is complete. |
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| East Kingdom, Order of the Silver Brooch After polishing. I have already tweaked the artwork after it was etched. |
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| Order of the Laurel, After polishing. I will tweak the artwork to reduce the number of leaves and spread them out a bit. This should increase the recessed areas and allow for easier wet packing which will also let the design pop more. |
My Copper Alloy Table on my A&S website with information on the last row about which Copper Alloys work best for Vitreous Enameling.
MY Class Handouts on my A&S website with a handout for my etching class.
Metals Suitable for Enameling by Woodrow Carpenter © Glass On Metal, Vol. 5, No. 6, June 1986
Vikings! Exhibit Photographs on Flickr
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| Vikings! Exhibit on Flickr Web Page |
I was fortunate enough to be able to travel twice to Gatineau, Quebec to see the traveling exhibition, Vikings! which took place at the Canadian Museum of History.
These pictures were taken at the 'Vikings' exhibit held at the museum from 3Dec2015 to 17Apr2016.
This was the largest exhibition of Viking Age items to travel to Canada, and probably worldwide, that I have heard of.
These pictures were taken at the 'Vikings' exhibit held at the museum from 3Dec2015 to 17Apr2016.
This was the largest exhibition of Viking Age items to travel to Canada, and probably worldwide, that I have heard of.
My Academia.edu Page
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| https://independent.academia.edu/GaeiraAggadottir |
If you haven't already discovered this wonderful community of researchers please take the time to go over and see how it is set up. The basic membership is free and that gives you a profile page and the ability to upload files as well as download files.
Since I am not affiliated with a college or university I am considered an independent researcher.
Link: https://independent.academia.edu/GaeiraAggadottir
Egyptian Paste, Part 1
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| These dried Egyptian Paste beads are slowly developing their effloresced “scum” layer. Once enough has formed they will be kiln fired. |
Egyptian Paste, also known as Egyptian Faience or Fayence, has been described as “the first high-tech ceramic”. It is a self-glazing ceramic body, which means that the glaze material/components are already included in the clay body, so there's no need for a glaze layer/coating, instead it slowly moves to the surface and develops. It is unlike ceramic clay which requires a bisque firing then a glaze layer to be painted/poured/dipped before being glazed fired to develop a glossy or matte surface.
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| I am forming a bead from moist Egyptian Paste. |
It is not like conventional, clay-based ceramics, the ingredients of Egyptian Paste is a mixture of silica, soda, and lime which react together during the kiln firing to create a new medium, which ends up being very different in nature to the ingredients individually. The Egyptians have referred to it as tjehenet, “that which is brilliant or scintillating”, because of how it reflects light once fired and reminded them of the semi-precious stones they admire most.
On the surface of the object an effloresced “scum” layer develops as it dries and this forms the colored glaze once it is fired due to being fused together.
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| The packaging has the instruction of the first mixture we purchase from our Pennsic Instructor. |
Silica makes up the bulk of the dry ingredients, but there isn't enough soda and lime to completely melt the silica at the temperatures the dried paste is fired at, instead they react with the silica to form a little bit of glass to bind the silica grains.
Hands-On Projects
There are a wide variety of recipes and firing directions for Egyptian Paste. We started off by trying a mixture that we purchased from our Pennsic Instructor, we do not know the exact ingredients, the firing instructions are on the back of the packaging (see 3rd photo; from the "Getting Started" Facebook Photo Album).
After we made and used up this mixture we looked online for a recipe and ordered the needed ingredients which arrived very quickly. I mixed 1.185 kilograms (1185 grams) or 2.612 pounds of the dry base fore Egyptian Paste that it the plain color. I divided it into 11 batches of 100 grams each of the basic dry ingredients and then added different amounts of colorant to each. The remaining amount, just under 85 grams, will remain uncolored for plain beads and to experiment with. (see 4th photo; from the "Group Project" Facebook Photo Album).
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| Our group project day making beads from the 2nd recipe that we tried. |
Distilled water still needs to be added to each mini pouch of dry ingredients and kneaded well to form into balls of paste that are a little 'clay' like. The ingredients were purchased from The Ceramic Shop]
For more information and a look at my photo tutorials please visit:
Getting Started: Egyptian Paste (a.k.a. Egyptian Faience)
Group Project: Egyptian Paste (a.k.a. Egyptian Faience)
Late Anglo-Saxon Disk-Brooches. Part 2 (Enamel)
This is Part 2 of my series of blog posts about my Late Anglo-Saxon Disk-Brooch Project. In this part of the series I talk about my reasons for experimenting with Flameworking glass rods and turning them into a fine powder which can be used as Enamel.
Part 1 is a general history of the disk-brooches that my research and fabrication project centers around.
I purchased several end bits of Lampworking glass rods, which are used in bead making, in several of the colors used in Anglo-Saxon glass beads, in order to make my own vitreous enamel. Full, new rods aren't necessary since I will be crushing them. I also like the idea of recycling in this way, something I'm certain was done in period.
I only needed the end bits since I will using the technique discussed by Theophilus in, "On Divers Arts" to make my own vitreous enamel. Using thermal shock I will shatter them into smaller pieces, then crush them with a pestle with some distilled water, to reduce the dust in the air and as a bit of a lubrication, until they are finely ground. I will be wearing a good quality 3M respirator for fine particles and eye protection.
The bottom, horizontal rod is Marshmallow white which is the only full rod that I purchased that day. I have a couple dozen rods I purchased at previous EK Metalsmiths' Symposiums for making Viking Age beads, some of those rods might be the needed colors.
The dark looking rods between the white and turquoise, as well in the second picture, is actually a transparent, dark blue which is lovely.
I've been researching the sources for Anglo-Saxons enamel and so far it seems to be the same glass used for Anglo-Saxon beads. I will be writing a separate Blog entry about this section of my research.
I will also be using Thompson's lead-free enamels on several of the Anglo-Saxon brooches, though I will not mix these on the same piece with the enamel I will make. The glass rods have a CoE* of 104 and the Thompson lead-free enamels have different CoEs depending on which series they are from.
* CoE = "Coeffecient of Expansion"
Many thanks to the discussion and helpful information from Mistress Elysabeth Underhill, O.L. during EK Metalsmiths' Symposium 17 (MSS) this month. She was generous with her time to help pull out these color rods from a large container of them to aid me in my project. I greatly appreciate it.
Links:
Late Anglo-Saxon Disk-Brooches, Part 1
My Facebook Photo Album of this project
Part 1 is a general history of the disk-brooches that my research and fabrication project centers around.
I purchased several end bits of Lampworking glass rods, which are used in bead making, in several of the colors used in Anglo-Saxon glass beads, in order to make my own vitreous enamel. Full, new rods aren't necessary since I will be crushing them. I also like the idea of recycling in this way, something I'm certain was done in period.
I only needed the end bits since I will using the technique discussed by Theophilus in, "On Divers Arts" to make my own vitreous enamel. Using thermal shock I will shatter them into smaller pieces, then crush them with a pestle with some distilled water, to reduce the dust in the air and as a bit of a lubrication, until they are finely ground. I will be wearing a good quality 3M respirator for fine particles and eye protection.The bottom, horizontal rod is Marshmallow white which is the only full rod that I purchased that day. I have a couple dozen rods I purchased at previous EK Metalsmiths' Symposiums for making Viking Age beads, some of those rods might be the needed colors.
The dark looking rods between the white and turquoise, as well in the second picture, is actually a transparent, dark blue which is lovely.I've been researching the sources for Anglo-Saxons enamel and so far it seems to be the same glass used for Anglo-Saxon beads. I will be writing a separate Blog entry about this section of my research.
I will also be using Thompson's lead-free enamels on several of the Anglo-Saxon brooches, though I will not mix these on the same piece with the enamel I will make. The glass rods have a CoE* of 104 and the Thompson lead-free enamels have different CoEs depending on which series they are from.
* CoE = "Coeffecient of Expansion"
Many thanks to the discussion and helpful information from Mistress Elysabeth Underhill, O.L. during EK Metalsmiths' Symposium 17 (MSS) this month. She was generous with her time to help pull out these color rods from a large container of them to aid me in my project. I greatly appreciate it.
Links:
Late Anglo-Saxon Disk-Brooches, Part 1
My Facebook Photo Album of this project
Cloisonné, Vitreous Enameled Award Medallion Photo Tutorial
I made myself this Cloisonne enameled medallion last week at Pennsic during War week in my camp, S.O.R.D.. This is my Order of the Maunche medallion which is an Award of High Merit for Arts and Science in the East Kingdom of the Society for Creative Anachronism.
See: Getting Started: Vitreous Enameling Pennsic 2018
Late Anglo-Saxon Disk-Brooches. Part 1
This is Part 1 of my series of blog posts about my Late Anglo-Saxon Disk-Brooch Project. In this part of the series I talk about their general history as part of my research and fabrication project.
The Anglo-Saxons inhabited Great Britain from the 5th to the 11th centuries, from the end of Roman Britain, about 450, until the Norman conquest in 1066. They made a variety of disk brooches which included both inlayed garnet and glass Cloisonné pieces as well as Cloisonné enamel brooches. During the late 10th and 11th centuries the Anglo-Saxons made a variety of rarely studied Copper-gilt disk-brooches with Cloisonné enamel centerpieces, these fell into two categories:
- the Saunderton type, with several lobes and Cloisonné enamel centerpiece
- the Colchester type, with a flange and Cloisonné enamel centerpiece
The Cloisonné enamel centerpieces have a wide variety of designs, the majority of which are geometric. The brooches are under an inch in width (< 25 mm) and usually made of a Copper alloy or Copper, most were Mercury Gilded (a.k.a. Fire-Gilding), though several have been found without any traces of gilding.
Over the following year I will be continuing my research on these rarely studied disk-brooches and will make a variety of ungilded pieces. I will be using a Copper alloy, Bronze* a.k.a. Grade "C" Phosphor Bronze (CDA#521) [8% Tin (Sn) and 92% Copper (Cu)] and Copper in sheet form, and making my own Cloisonné 'wire' from sheet.
* The Anglo-Saxons used Bronze that was on average about 10% Tin (Sn) and 90% Copper (Cu). Tin was available in Great Britain through mining, but Zinc (Zn) needed to be imported, this means that they rarely used any of the Brasses which are a Copper Alloy of Copper (Cu) and Zinc (Zn).
My enameling will be done using an enameling kiln and mainly Thompson lead free enamels for both the centerpieces and the cabochons set in the lobes. I will also be fabricating a piece using the Flameworking glass rods that I will process into powder to make my own enamel, see Part 2 , Part 3, and Part 4 of this blog series for my process and results.
My Facebook Photo Album of this project
The Anglo-Saxons inhabited Great Britain from the 5th to the 11th centuries, from the end of Roman Britain, about 450, until the Norman conquest in 1066. They made a variety of disk brooches which included both inlayed garnet and glass Cloisonné pieces as well as Cloisonné enamel brooches. During the late 10th and 11th centuries the Anglo-Saxons made a variety of rarely studied Copper-gilt disk-brooches with Cloisonné enamel centerpieces, these fell into two categories:
- the Saunderton type, with several lobes and Cloisonné enamel centerpiece
- the Colchester type, with a flange and Cloisonné enamel centerpiece
The Cloisonné enamel centerpieces have a wide variety of designs, the majority of which are geometric. The brooches are under an inch in width (< 25 mm) and usually made of a Copper alloy or Copper, most were Mercury Gilded (a.k.a. Fire-Gilding), though several have been found without any traces of gilding.
Over the following year I will be continuing my research on these rarely studied disk-brooches and will make a variety of ungilded pieces. I will be using a Copper alloy, Bronze* a.k.a. Grade "C" Phosphor Bronze (CDA#521) [8% Tin (Sn) and 92% Copper (Cu)] and Copper in sheet form, and making my own Cloisonné 'wire' from sheet.
* The Anglo-Saxons used Bronze that was on average about 10% Tin (Sn) and 90% Copper (Cu). Tin was available in Great Britain through mining, but Zinc (Zn) needed to be imported, this means that they rarely used any of the Brasses which are a Copper Alloy of Copper (Cu) and Zinc (Zn).
My enameling will be done using an enameling kiln and mainly Thompson lead free enamels for both the centerpieces and the cabochons set in the lobes. I will also be fabricating a piece using the Flameworking glass rods that I will process into powder to make my own enamel, see Part 2 , Part 3, and Part 4 of this blog series for my process and results.
My Facebook Photo Album of this project
Hot Work Workstation PDF
I spent some time researching and putting together a resource PDF sheet for the fb metalsmithing group I run, Gaeira's Bench and is located in the File section of the group page. I found a variety of tutorials, etc. for hot work: soldering, casting, enameling,
I
workstations, etc. that can be easily constructed out of bricks, kiln bricks, steel sheets, steel rods, and/or compressed charcoal blocks, etc. The collage includes the URLs next to each set of images and I added them to the comments section as well for easy access.
Links:
https://www.facebook.com/groups/GaeirasBench/
https://www.facebook.com/groups/GaeirasBench/permalink/1091437530995621/
Links:
https://www.facebook.com/groups/GaeirasBench/
https://www.facebook.com/groups/GaeirasBench/permalink/1091437530995621/
Riveting or...drill, hammer, repeat. Part 1
For a couple of afternoons this week I practicing several different riveting techniques. I used 18 gauge, solid brass escutcheon pins as "rivets" with two 26 gauge sheets of copper. For all of the techniques I either used a 2/32nds Inch nail set (when striking the 18ga wire) or a 3/32nd Inch nail set (when striking the dome of the 18 gauge Escutcheon pins), to leave a rounded button end instead of using a riveting hammer directly on the rivet's head. Using a nail set ensured there was much less chance of damaging or marking up the surface of the piece/sheet.
The first afternoon I used the Escutcheon Pins as they came from my supplier, work hardened, most likely half-hard. I found that it took many more hammer blows than I thought I'd need especially for brass. This had me thinking about the hardness of the pins so I decided to test out my theory by annealing a dozen plus pins as an experiment on my second afternoon. I had much better results with my annealed escutcheon pins.
The three riveting techniques I tried, all using annealed solid brass escutcheon pins (18ga/1mm) and a nail set:
- pin dome on the bottom, touching the anvil (hidden from sight inside/underside of the piece)
- pin dome on the top, struck by the nail set (seen from the outside of the piece)
- just the wire section of the pin, the dome was removed with end-cutters
I cut the wire using end-cutters so that the top surface of the cutters were held firmly against the surface of the copper sheet and the butt end of the wire or the dome was pushed up flush against the bottom of the sheets I am riveting.
All work and look good though give a different look on both sides. I will be using the method that works best for the strength of the section I'm riveting, #1 or #3 mainly.
1B: The bottom row of rivets and the two rivets on the top left corner are the solid brass escutcheon pin that have the domed heads left on the back/bottom/inside of the piece. The closing of the rivet is done on the front/outside using a 2/32nds Inch nail set. The pins were annealed before hand.
The other rivets...are the leftover lengths from using the end with the dome as a rivet. I flattened the cut end using a snap-on sanding disk to grind/sand it flat. This removed the V left by the end-cutters and I found that this extra step gave me better success and a better looking rivet. They look flat and just about flush with the sheet's surface.
The flattened circles are the squashed pin heads/domes that are the anvil's surface when the wire is hammered from the top. The force of the hammering flattened the dome a bit.
TOOLS:
- Solid Brass Escutcheon Pins at least 3/8" or longer. Choose the Gauge/diameter you prefer.
http://www.leevalley.com/us/hardware/page.aspx?p=40385&cat=3,41306,41325
OR use wire of the Gauge/diameter and metal type that you prefer
- Center Punch, to make a dimple for the drill bit
https://www.riogrande.com/product/european-fine-center-punch/113329
- Drill Bits, the same Gauge/diameter as the Escutcheon Pins or wire. It is vital that the wire fits snugly in the hole and that it doesn't have wiggle room. The better the fit, the better your results.
- (optional) Round Bur, 2-3 times wider than the drill bit's diameter, to debur the drilled holes
https://www.riogrande.com/product/lynx-round-burs/344338gp
- Nail Set, 2/32nd Inch (when striking the wire) and 3/32nd Inch (when striking the dome) of 18 gauge Escutcheon pins. You might need different sizes based on your wire gauge choices, experiment to find the correct match.
- Anvil
- (optional) Rubber Bench Block, larger than the anvil
- End-Cutters
http://www.canadiantire.ca/en/pdp/maximum-high-leverage-end-cutter-8-in-0584311p.html#srp
- Hammer, I used a 8 oz. Stubby Ball Pein Hammer, Pittsburgh
https://www.harborfreight.com/hand-tools/hammers/8-oz-stubby-ball-pein-hammer-95930.html
- a torch and proper set up for heating/soldering metal for safety due to heated pins. I didn't pickle or polish them before riveting, they will get polished once I do a final touch up polish on the whole piece.
For filing the wire ends you have a choice between using a file OR
- medium or course, E.C. Moore Brass-Center Snap-On Snap-Off Paper-Backed Aluminum Oxide Sanding Discs
https://www.riogrande.com/product/e-c-moore-brass-center-snap-on-snap-off-paper-backed-aluminum-oxide-sanding-discs/337823gp
- Snap-On Mandrel for the sanding discs
https://www.riogrande.com/product/snap-on-mandrel/333127
Interview by Out of Time Radio (Podcast)
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| Out of Time Radio (Podcast) |
On June 21, 2017 I was interviewed by
the great folks at the podcast, Out of Time Radio.
This was my first interview and is was a fabulous and fun experience. We spoke about my work and Etching jewelry process. You can get a quick overview at the steps involved in etching using Ferric Chloride. It starts at the 11m10s mark.
Link: Episode 17 – Interview with Lady Gaeira Aggadottir
Viking Age: Jewelry
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| Viking Age: Jewelry Web Page |
Links to Viking Age related published papers, thesis, articles, tutorials, museums, databases, etc.
Viking Age: Jewelry Links
Metallic
- Construction
- Brooches
Non-Metallic
- Lampwork, Glass Beads
Icelandic Vikings
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| Icelandic Viking Web Page |
There are also several dozen Viking Age related links in my "Viking Age: Jewelry" and "Viking Age: Textile" sections, located at the top of the left-hand menu on my A&S website, Gaeira's Anvil.
ICELANDIC VIKINGS Links
- Research: Articles, publications, theses, dissertations, and other sources.- Textiles: Nålebinding, Warp-Weighted Loom, Tablet Weaving, etc.
- Icelandic Wool: Wool from Icelandic Sheep.
- Buriel: Buriel practices and research.
- Animals: Icelandic animals.
- Icelandic Wool: From Icelandic Sheep
- Miscellany: A mix of topics: music, etc.
Viking Age: Vikings, the Norse
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| Viking Age: Vikings, the Norse Web Page |
There are several dozen Viking Age related links in my "Viking Age: Jewelry" and "Viking Age: Textile" sections, located at the top of the left-hand menu on my A&S website, Gaeira's Anvil.
Anything that doesn't fall between either category can be found in my section, Viking Age: Vikings, the Norse.
VIKINGs/Norse Links
They highlight a wide range of topics, with a bit more attention to metalsmithing and textile arts related to Vikings and Medieval Europe:
- Arts: Viking Age Arts and Crafts.
- Buriel: Buriel practices and research
- Clothing: Resources and links related to Viking Age clothing except for "Female Viking 'Apron' Dress (VAD*)"
- 'Heraldic' Display: Boat 'weather vanes', other displays and sailing.
* Viking/ON Names: Links to resources to help find period Old Norse / Viking Age names.
- Runes: Resources and links related to Viking Age Runestones and Picturestones
- Conferences and Organizations
- Voyages: The expansion and travel by the Vikings/Norse
- Miscellany: A mix of topics: the Sagas, Scandinavia(ns), Rus Vikings, etc.
Known World Heraldic Image Resource
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| Known World Heraldic Image Resource Web Page |
Currently it is called, Known World Heraldic Image Resource on my A&S website, Gaeira's Anvil.
Link: Known World Heraldic Image Resource
Crimson Kraken on Pinterest
Pinterest is a beautiful rabbit hole and one of my homes...with well over 10,000 pins on my board, CKraken, covering jewelry and textiles the Viking Age and beyond. I've posted inspiring images, links to tutorials, research finds, and a variety of resources. Jump in!
Link: CKraken
Link: CKraken
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| CKraken on Pinterest |
Metal Alloy Table
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| Metal Alloy Table |
This table helps to organize the variety of information I found online about Copper and Silver alloys which are spread over many sources and can be confusing. From several years of online searches I found that jewelry and metal supplier rarely used the same name for an alloy, they often used different terms which can lead to confusion and potentially purchasing an incorrect metal alloy than what one wanted.
CDA #: Copper Development Association's standards ID number can be written in many different ways and yet mean the same thing.
For example CDA #752 or CDA 752 or Alloy 752, etc., can be referred to as Nickle Silver, German Silver, Nickle Alloy, or another term, each is a mix of: 17% Zinc (Zn), 18% Nickle (Ni), and 65% Copper (Cu).
Copper Development Association (CDA) "is part of the Copper Alliance, a global network of Copper Centres, with headquarters in New York (International Copper Association, Ltd) and a regional office in Brussels (European Copper Institute). (...) resource for technical and professional information regarding copper and copper alloys.":
Canadian Copper and Brass Development Association
Copper Development Association Inc. – USA
European Copper Institute
Information pages and Publications from the CDA:
Alloys on Copperalliance.org.uk
"There are more than 400 copper alloys (Brass, Bronze, Nickel Silver, Gunmetals, etc.), each with a unique combination of properties, to suit many applications, manufacturing processes and environments." SOURCE
Copper is a Family of Alloys: "For many applications, properties of copper can be readily customized. This is achieved by alloying: making a new metal out of two or more different metals. The most well-known copper alloy families are brass (copper-zinc), bronze (copper-tin) and copper-nickel. These actually represent families of alloys, all made by varying the amount of specific alloying elements. Alloys can be made to achieve certain colors, improve strength or corrosion resistance, improve forming or joining properties, or achieve any number of specific demands that the individual elements can't achieve on their own. By combining copper with other metals and adjusting the percentages, alloys are made to fit almost any application."
The Copper Alloys Tree (graphic)
Copper Alloys Color Chart & Copper Alloy Table
Copper Education (also Copper Facts)
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