Red kites returned from their winter vacation south and are circling our house daily. Regularly staying in one place just long enough that I manage to fetch my camera, but not long enough to take a picture. So this is a so-so picture from a few weeks ago. I also hear daily their typical cries, so even when I do not see them, I know they’re there, somewhere.
© Charly, all rights reserved. Click for full size
Not my window, but rather a window belonging to Avalus, who says,
Now I can finally make a tit-joke posting.
The pair just would not want to get close enough to each other. Cute little critters they are.
Also, a blackbird got in on the action.
©Avalus, All rights reserved.
©Avalus, All rights reserved.
©Avalus, All rights reserved.
©Avalus, All rights reserved.
At about the same time that I have decided to leave my job and try to make a living as a knifemaker, I have also decided to number the blades that I make. And since my logo is my initials in Glagolitic script, it seemed only logical to use Glagolitic numbering too. Almost nobody will be able to read the numerals without aid (including me), but I do think that arabic numerals would look a bit odd in combination with my logo, so I have decided to go through with the use of Glagolitsa.
The numerals consist mostly of straight lines and dots, so it is kinda easy to cut them in adhesive tape with a scalpel tip. But it costs relatively a lot of time – I have spent about ten minutes per blade since I have moved into two-number digits and things will only get more and more complicated after that. So for a long time, I was thinking about how to make stencils.
I could not use the same method that I use for my logo, because the numerals are so tiny that even if I were able to cut them into the 1 mm silicone sheet, the etching solution would have trouble reaching the surface through such a narrow, water-repelling, canal anyway. I needed something thinner. Like a sheet of paper. But how to waterproof a sheet of paper? I have tried it with wax in the past, and that did not work. Beeswax contaminated the surfaces and paraffin wax is not elastic enough. It would be ideal to infuse the paper with silicone, somehow, but how? I was thinking about trying to buy pouring silicone for forms, but I was reluctant to spend money on it not knowing upfront if it will be of any use.
And then I got a much simpler idea, so simple that it does make me wonder how come I did not come up with it sooner – linseed oil. I have printed my numerals on a sheet of paper, soaked it thoroughly in linseed oil, and left it harden for a few days. The resulting sheet was repelling water and bendy enough to adhere reliably to the blades, whilst stiff enough for me to be able to cut the numerals.
© Charly, all rights reserved. Click for full size
Each stencil has two parts – one for vertical lines, one for the rest, since oftentimes it is not possible to cut the whole number at once for obvious reasons. The oiled paper is also transparent enough to be able to place the second part over the first reliably-ish enough.
© Charly, all rights reserved. Click for full size
Since the stencils are so small that some unwanted etching around the edge of the stencil is a real risk, I have made a round shield from silicone to protect the surrounding area and also to provide a better seal for the stencil itself. And when I was at it, I have made two new graphite etching electrodes with the felt permanently attached to the graphite. One with big rectangular felt (left) for the logos (not used yet) and one with a soft, round tip specifically for the numerals.
And I am pleased to say that it all works. I was numbering blades 40-48 just a few days ago and it took me a lot less time than before – and this time I still had to cut the numerals into the paper. Next time I should be even faster because the stencils are already cut and I see no reason why they should not last until the next batch of blades is ready for etching. Here you can see one test-etch of the number 40 on the tang and the number 41 on the blade.
© Charly, all rights reserved. Click for full size
The numbers are not perfect, but they are not worse-looking than they were before. Indeed it could be argued that if the numerals were perfect, it would undercut the handmade look of my knives which always have some minor irregularities in them no matter what I do. Or it could be argued that I am setting my goals too low, well…
We shall see what the public decides once the pandemic is over and I can go and sort out all the necessary paperwork to be able to actually sell them.
My first attempt at big blade ended up in a disaster and after several years of procrastinating the issue ended up as a smaller (though not small) knife. I gave it a second shot because 1) I really need a machete 2) I want to learn to make these big blades for I have big plans for the future, that will no doubt never come to fruition.
And as the title says it, I almost didn’t fail this time. At least, I do have a serviceable tool to use in my garden.
© Charly, all rights reserved. Click for full size
Spring steel, blackened with oak bark. 4-6 mm thick, 51 cm overall length. Fully hardened, spine tempered to spring.
This time things went reasonably well, but I was suspecting that I have ground the fullers too deep. At least they were passably symmetrical – there was no trouble in the quench. The blade came out hardened and mostly straight, and the very slight bent it has developed (circa 1-2 mm over the whole length) was easily corrected with my unbender after heat treatment.
However, when I was trying to polish the blade and smooth out the fullers, it turned out I was right – I made the fullers too deep and near the tip I have thus ground through. But it might not be a functional issue, just an aesthetic one, so I have decided to finish it, albeit with less attention to detail than I would had it been a complete success. I have filed the hole bigger and oval with diamond-coated files (to remove any stress-risers) and I have stopped polishing the blade, especially the insides of the fullers. I just gave it a few buffs with scotch brite discs for angle-grinder and then it went into the oak bark tee for a nice night-long bath.
Handle fittings are from bronze and handle scales are from pickled black locust. I did want the blade to complement the previous one since they will both be used by me in my garden. This handle is specifically fitted to my hands, so nobody with different-shaped hands would probably feel comfortable using it. I have no idea yet how it will work out in the long term, but it did feel perfectly fine when I gave a few whacks to an old wooden board with it.
I might make a scabbard or a sheath for it too. I am currently thinking about whether to make a double-sheath for the pair or a separate sheath for each item. Both options have pros and cons. Not that I do actually need a sheath for wearing them, they are unlikely to ever leave the house further than the 60 or so meters that is my backyard long, but they are both sharp and big and dangerous and could get rusty, so I need an option for safe storage, both protecting them from elements and me from injuries when they are not used.
… impressionism, by Camille Pissarro
The Tuilleries Gardens Morning, Spring, Sunshine, Camille Pissarro. Image from Wikiart.
I will post some pretty birds from this winter in due course. So the weather in the pictures will not always correspond to the actual weather out here.
However, these pictures were taken today. The winter tried to reclaim the land and we had several days of wind, snow, and freezing temperatures. I do hope that the seeds that I have planted in the greenhouse survived.
© Charly, all rights reserved. Click for full size
© Charly, all rights reserved. Click for full size
© Charly, all rights reserved. Click for full size
© Charly, all rights reserved. Click for full size
© Charly, all rights reserved. Click for full size
… the dog, by Mary Cassatt
Elsie Cassatt Holding a Big Dog, 1880. Mary Cassatt. Image from wiki art.
… Landscape in Spring, by Vincent van Gogh
Fishing in the Spring, 1887, Vincent van Gogh. Image from Wikiart.
Nuff said.
© Charly, all rights reserved. Click for full size
… ageing body positivity in portraiture, by Joan Semmel
The pictures are below the fold because they are nudes and are NSFW. They are unusual because they portray the ageing female body in a positive light. The story is from HuffPost, and the artist describes her work thusly,
“I painted in layers so that the evidence of age would not be erased by virtuoso paint handling. The sensuality of the flesh permeates these paintings, a sensuality that is not confined to youth. I had entered into a relationship with artist John Hardy, with whom I lived for 21 years before he passed away in 2014. These late years were empowering and rewarding in every sense, something I hoped to communicate through my work.
“The issues of the body from desire to aging, as well as those of identity and cultural imprinting, have been at the core of my concerns. The carnal nature of paint has seemed to me a perfect metaphor, the specifics of image, a necessary elaboration. The last 45 years of work, I think, reveal my ongoing interest in both process and relevance.”
I’ve been slowing down a little, needing some more inspiration on the one hand, and also being too damn tired on the other, but I did get some things done and started a new batch heading in the “cute” direction. I also <i>almost</i> managed to get your stuff shipped. Then the automatic post station refused to accept one of the parcels and I noticed at literally the last second that I had mixed up the labels on two other envelopes… Next try on Tuesday…
©Giliell, all rights reserved
I got some new pigments and used them to stencil flowers on a black blank. I like it very much and attached an elastic.
©Giliell, all rights reserved
Part of a straw flower set on brass bezels.
©Giliell, all rights reserved
This one’s rather large and set into wire. it glitters nicely in the sunlight with its back being crinkled tinfoil.
©Giliell, all rights reserved
Same technique as above, with crinkled tinfoil, but it looked a bit boring, so I put a lot of plastic “gems” on top to refracture light.
©Giliell, all rights reserved
Some stuff I’d ordered finally arrived. 2021, when the most exciting thing is watching a parcel with llama moulds travel all the way from China.
©Giliell, all rights reserved
I need to finish the matching necklace, though.
And last but not least, my upcoming project:
©Giliell, all rights reserved
You gotta resin them all… Whoever owns the rights to Pokémon seems a lot more relaxed about trademarks than Disney, because you can get a lot of Pokémon themed craft supplies. There’s this guy in Thailand who makes excellent Pokémon themed moulds, so when I saw the heads and tails Eeevie moulds I had to get them. Shipping from Thailand was extremely fast, btw.
©Giliell, all rights reserved
This is what they look like, ready to be painted, only that painting is a pain (ting) in the ass, because it’s so tiny and I’m no good with a brush. the Eevies got too dark, so I had to recast them.
… Art Deco Sculpture, by Marcel A. Bouraine
I love fish tanks, and I’ve finally found one that I could manage to keep alive.
Fish Tank, circa 1930, Marcel A. Bouraine. Image from Modernism.com
This came in from Avalus and I was so excited that I didn’t want to wait until next week to post it, so it’s Tree Wednesday.
©Avalus, All rights reserved.
©Avalus, All rights reserved.
©Avalus, All rights reserved.
