That’s from Brad Angus. As well as repairing God knows how many woodwinds over the years I figure he’s rolled at least 750 tubes by now, so I took it as gospel. He files down the extra thickness of metal when he’s soldered the seam, to remove the worst of it, then buffs the ferrule.
I just talked to Kirk and he told me about this forum. I would like to express my thanks to all who have posted comments on my work. It has been a labor of love occupying my free time, on and off, for the last five years. It has taken so long because I do this for a living and could only work on them as time and interest allowed. It is very gratifying to know that others appreciate my efforts.
Welcome to C&F !!
Welcome, Gil. If only you knew how many pipers (and non-pipers!) I’ve been talking to about your set…IMHO it is an historic piece; its presentation-quality beauty is nonpareil, and I expect that its wanderings through time will be followed. My hat is off.
Greetings Gil, and welcome…
Yes indeed, you are a tremendous craftsman. What a great idea too! Are those Wolfhounds or Griffins around the triskele on the mainstock? Looks like a variation on the Amphreville Triskele. Just wonderful…
Gil, I don’t know anything about how you did this. If I may make so bold, could you say how this was done, e.g. was this carved or etched into the metal? What sort of tools/processes are involved?
Thx,
djm
In response to elbogo’s question, I’m not really sure if they are a direct representation of any specific breed, I only know that they are described as “dogs” in any of the books or articles I have read concerning Irish metalwork or illustration in the 8th and 9th centuries A.D. Also, if you look carefully, you will see that there are two dogs, interlaced, on either side of the triskele.
In response to djm’s inquiry, the work is all engraved by hand. I first worked out the design for each piece, then coated each piece of brass with white watercolor and drew,carefully, the design on with pencil, then sprayed the item with artist’s fixative to stabilize the drawing and prevent smudging during the actual cutting. The engraving then begins. I used high speed steel gravers, esentially small palm sized chisels ranging from .25mm to 2mm in width. I cut away the background to a depth of about .5mm, then stippled it with a punch. After cleaning and polishing the piece, I then used an oxidizing solution to darken the background, then cried,at the top of my lungs, “hallelujah, only 420 hours left to go!”
Gil, thanks for that. The reason I asked is that I have purchased a couple of brass plates in the past with Kells-style carpet patterns done in them. The work is extremely precise, and I always wondered how it was done. I can do the knotwork. I’ve been drawing it for years based on George Bain’s work. But where do I learn to etch - tools, materials, methods, etc.?
Thx again,
djm
Those are the Wolfhounds for sure. I’d like two of those on my chanter top.
One way you could get a similar result would be to acid etch the patterns into the brass. Mind you, it will never be as crisp or precise as the engraving you see here(yes I’m fawning) but you can get attractive results with acid etching. Etching is relatively simple and I’ll post some good sourcebooks later. You can also get some soft painterly images in metal with the right application of acid resists. Learning to engrave is a noble pursuit, but there will be a lot of swearing, sharpening, throwing things and the occasional natsy cut to your hands when learning.
Marc
In response to djm, you can get the equipment through several reputable dealers, Gesswein or Rio Grande to name two. As for where you could find someone to teach you, I do not know of very many places left to go which offer much in the way of instruction, other than the GIA and GRS. These two offer some good courses which last about one week; however, you will still have much practise left to do. Marcpipes is quite correct in his response, etching is much quicker to learn and one can achieve some very nice results. Look for his posting on books, equipment and such.
elbogo, check your e-mail.
Gil, do you have your own website or displays of any other works?
Tony,
Unfortunately at the present time I do not have a website. However, you may e-mail me through this link if you’d like additional information.
Sorry to delay so long on the acid etching source:
The Design and Creation of Jewelry (Third Edition)
by Robert Von Neuman
Chilton Book Company
pages 129-130
You should be able to find it at Borders Books for around $20.00. It also has a lot of information about tube forming from sheet metal and a fair bit on engraving, espsecially Japanese techniques. Enjoy.
MarcP, Thanks for that.
djm
Just bringing this thread back to life. It should be read by anyone who has become a member of this site since October 2003 (when the thread was last active).
I’m gobsmacked at skill, patience, imagination, … (20 minutes later) … that went into this set. You couldn’t even begin to price it. Apart from the set itself, over 400 hours of engraving.
Truely one of a kind. Kudos Gil.
I just added one last new pic to the engraved series at Kirk’s website,
Kirk had Gil’s set in his shop a few months back and I got a pic of the final engraving for the mainstock cup.
I believe the set is officially finished now.
http://kirklynch.com/engrlast.htm
Jeff