33sarchives.evergreen.edu/webpages/curricular/2008-2009/materiality/handout...
TRANSCRIPT
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If you are using a new ~ o o l . or a fseqzlently used one that is
well maintained, you will notice that, as you tip it under B
light and look a t its face, there are no reflective hot spots.
T h e light is reflected evenly across the face of the tool. I f
thr tnal's facc reflects light in an even way. only the two
lower sides of thr shaft, or belly, need to be sharpened
while working.
The lower sides are the longest ones on the shaft, and thrv
thcc the tahle when the tool is resting on the flat s i d ~ of the
handle. Sharpen them one at a time, holding each one flat
against the stone and pulling and pushing hack and forth
from your bocly. The back-and-fo~h motion on the two
separate sides hones the two lower- planes. thr ones that do
the crztt i ng.
To sharpen the angled face. keep i t Rush against the stone
and rub the tool's face back and forth on a f ~ n e sharpening
stone moistened with 3- in-One oil. Keep the whole face
flush with the stone. If you can. use a jig for sharpeningthe
face in order to maintain the correct angle.
.1.11, Another option ifmajor surger;~ on a tool is needed i s to send
it toproJessionals,for rea lpment .
For major surgery to rework the angle of the face, I suggest
using a sharpening jig. Worthen, workingwithout a jig,
begins with the rough side of a standard sharpening stone,
moving the tool in a circular motion with the face flat
against the stone. As light begns to reflect more evenly
from the face. she switches to the fine-grained side of the
stone. Worthen finishes with an Arkansas stone. which 1s
very fine-grained. She uses this stone also for routinely
keeping the tool honed. If you sharpen your tool rep lar ly
and evenly, only very rareIy would you need to rework the
angle of the face.
,~.r~>Alwajs use lubricatingoil in sharpening. ISyou sharpen on a
dry sharpening stone, i t wil l wear unevenly and evenh~ally cause * c ' r h r ~ ' ' r hlNC: I L L .
your tool to shayen unevenly. Sharpen brieJty and $en. "lpve a
couple oflieksfomnrd and backward on the stone lo the belly every
few minutes while working." Worthen says.
rILAIiI'1:N V h h \ I tit: VI:'I'IIB L I I : I . L Y
AKD THEN THE OTHER.
SHARPRNIKT. TIIP. F,<CF WITH h JIG.
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'SXOOMU'~~~H:IW IY:~ '~K)IU.I~NI rl 111 I.M~I.U .AIYY 'L~NTAWIL~HB TTTI 1.11o.n AKV
As a tesr, try lifting the tool simply by squeezingyour palm,
pulling your h ngers back. Then fold the fingers apinst the 2001. Resisr thr tr?mptation lo put a finger directb on top of
the blade as it mav encouragevou to press down. therely
hanging the shaft up in !he metal and destroying the
fluidity ofyour linr. You can place your forefinge~ Iightly
on the side of the top angle of [he too1 to keep it steady, hut
do not applyanv downwarti pressurp. Keep the stem of the
tool parallel to the plate and your wrist and forearm down.
G. TIPSTI T T I ~ mnr , r T q r sc; a.or.1: H O I I Y . h n ~ YOU^ 'TIAND
Digthe angled tip of the tool into the plate slightly, just
enough to engage it, and then correct the angle, making
the tool parallel to the plate ancl table. Push the tool
straight ahead.
Keep your arm bent at 90 degrees, the f o r ~ a r m resting on
the table, the inside of the upper arm touching your body. Pretend your elbow is attached to yous rihs so your arm
won't move indrprndently ofpour torso. The force of fha
tool comes from the movement of your whole upper lrody.
-4s the hurin glides throtz~h the metal without grrfing
stuck. vnu will see a little curl of copper twirling out of the .- -
line. h v Worthen suggests that you think of ice-skating:
you glide along and are not on the tips of the skates. If you
are engraving correctly, a minimum of forward pressure
1 t I \ I 1 I IO 1~101: ~ T W J C H T t l ~ r should be nerrssanr. wirh no struggle at all.
.uo!lcuc~ .roj a19ut: jy3qs c av sang .~elna!puad~ad $u!qeru prre rzo!lnaa!p au!l qsea JOJ 33tr.r axts Icra.ta*U!p e
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auo 01 pllr~:~"d sau!~ Xucur anur9ua 'saujl ploq alpam o~
-.laIEl
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'saop uaqr.lomsF: *yu!ql ly$!ur noA' 'jr ql!~ leyarrr paAorrra.1
go pn3 alai
*ool slrps.
n that di,
I I I * AS n safetynl~nnr~rr,. r c h ~ n - ---. -. - 5i-~cing-01 mr~rplnte, keep
'he b r a c i r ~ , ~ or t u r n ing hand Itfteted
mb and
.I>I r b Tlteplnb~you nw ~mulrh-ing
on should hang over th e ~ d q c ofrhe worktable sownrd 1.011
at least art inch,. You T U ~ I I , be
steeringtheplnte with t h ~ ha,nd
that i s ROI holdin<qthe tool, and
the ~verhan,~~~+rrir~rsj~ot a bit qf
thepInr~ tngrclsp. Alwf i~s keep
your cn(p ving hand and tool
on a sr~pported section ofthe
p l a r ~ so it does not tiIt orflip.
the thui
e pla.te.
it i s liktltv to bepointed
'ront stab,
1-1 I, As ruath rlyuor nt. ,you can
use W F E ~ t~ng ort ~OUI-plate, pt1shin.g ~t ~ n t o t h ~ l~nesyou
rr re crea tin$ to rnake them more
vz.srhlr. Y D ~ L must remow th~s, of
corme, beforeyouprint.
8. H E M C ) V F . T W E I 1 U I t t ~ O R , 1 , P r \ ~ ~ 1 ~ 1 T O N T H F 1'IA'lE
The czlsF of metal removed by the burin leaves a trough
where ink will reside. Along tlze edges of the trough. o r ad
the spot where your tool exjts, a burr of metal might cling
irregularly. Et will print like a dtypoint mark and give a soft
character to your elzgravjng. It is conventional to remove
the burr in engravings. but Pllnv Worthen generally leaves
hprs in place as she likes the qualirr if pves to her work.
To remove unwanted burr, lav a sharpened scraper flat
against the plate and push it lightly against the line. You
will he shle to feel the burr under the ton1 as a I-ou~hness.
Simply nick and scrape it off, not pressing down into t h y
metal. W~rnemher that the burr is above the sul-face, u~hile
the lines veal have engraved are deep within the plate.