Gaeira's Anvil...Blog

Riveting or...drill, hammer, repeat. Part 2

Riveting: Using a Nail Set Tool
and Escutcheon Pins

This is Part 2 of my series of blog posts about the different types of drilled holes and Rivet styles.

Part 1 was about my two days of experimentation and practice with riveting; I worked on three different methods of using annealed, solid Brass Escutcheon pins as well as learning to use a Nail Set tool instead of a ball peen or riveting hammer as I was use to.

Several months ago I posted about my two days of experimentation and practice with riveting; I worked on three different methods of using annealed, solid Brass Escutcheon pins. Three things were new to me: method #3, using a Nail Set tool, and using Escutcheon pins as rivets.

Usually I use a length of annealed wire to make my rivets and hinge pins. Using a Nail Set tool and hammer was easier and faster for me to form the rivet head compared to using either a ball peen or riveting hammer. It was fun experimenting and the results were very satisfactory.

Several people asked me how I riveted the Baronial coronets so I decided to write additional blog posts about the techniques and tools. I've created several 'Info Sheet' images to better illustrate how they look from different angles and I added some key details as bullet points.

General Information:

Usually during the riveting process I use plain wire and create the rivet heads on both sides myself using a ball peen hammer. A rivet head can be formed by hammering each end of the wire a bit before flipping the piece over and hammering that side a bit as well, this back and forth, from one side to the other, slowly creates a tight rivet.

One method of hammering a rivet head with a ball peen or riveting hammer is by using a striking motion that starts at the center and slides outward. Hammer several times in all 8 directions in opposite pairs, for example: north, south, then east, west, then NE, SW, and then SE, NW. This will spread the force of the hammer blows so the wire end is evenly reformed.

If the mouth of a drilled hole is not counter sunk then a rivet head, usually domed, is needed to secure the ends. These large domed / 'mushroom' head / champagne cork shaped ends prevent the rivet from moving or falling out like a tight plug, and they secure the pieces of metal together.

If the opening of the hole is counter sunk then it can be filed in with metal from the wire and filed or sanded down to leave a flush surface which is difficult to see. The counter sunk area creates a space within the surface of the metal and acts like the dome does, as a plug. These can be referred to as 'Flush Rivets' or invisible rivets. Better yet, before filing/sanding it flush one can delicately solder the end secure with a very tiny piece of solder. Once sanded it can be nearly invisible and stronger. I like using these soldered ends for certain hinges, when done properly the hinge still moves freely; too much solder risks it flowing past the dome and immobilizing the hinge.

Instead of using a wire or pin as a riveted one can use a tube. A slightly different hammering technique is required since there's only metal lining the drilled hole. We want to keep the tube rivet open and hallow. In this series of blog posts I will not be covering the methods of using a tube as a rivet.

Choose the style of rivet ends that best suit the needs of your piece and the materials that are being used. Rivets can add visual texture since some styles stick out from the surface.

Nail Set tool:

These are two of the main advantages of using a Nail Set tool that's struck by a hammer to form a rivet head, instead of using either a ball peen or riveting hammer:

to leave a rounded button end which is consistent in shape and size
there's a much lower chance of damaging or marking up the surface of the piece around the rivet head

I used the following sized Nail Set tools when striking the 'Front' end of the wire to form a dome:

a 2/32nds inch Nail Set tool for a 18 gauge (1 mm) wire end
a 3/32nd inch Nail Set tool for the dome of the 18 gauge Escutcheon pins. The pin's shaft is 18 gauge (1 mm) so the diameter at the base of the dome is wider.

Drilling Holes for Various Rivet Styles

Drilling Holes for
Various Rivet Styles

With these 3D images that I created you can see a close up of both style of rivets, #3 and #4, in a cross section view.

My 'Little Project', a.k.a. Coronets

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.

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.

Experiment: Champlevé, Vitreous Enameled Copper Alloy Medallions

EK, Order of the Golden Rapier (OGR)
Etched, Champlevé Enamel, High Polish

Last year I etched these Copper Alloy designs and used them in an experiment by enameling them with Thompson Enamel's opaque vitreous enamels to see if they interacted well enough to use in future projects. Since I wasn't sure what the results would be, I didn't want to risk a good piece, so I used several failed etches.

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.

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.

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.

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.

East Kingdom, Order of the Silver Brooch
After polishing. I have already tweaked the artwork after it was etched.

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.

Links
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.