RAISING BY WRINKLING, SEAMING.

In chapters 14 and 15 instructions were given for "raising" bowls and other forms by the simplest method beating into a hollow in a block. The second method, raising by "coursing," was presented in chapter 16. The third method, raising by "wrinkling", is now to be taken up. This is the fastest method of raising any large and deep object, such as a vase, without seaming. This is a fast method, but at the same time it requires considerable practice and a higher degree of skill than the other methods.

Fig. 110

shows a piece of work that has been "wrinkled" for-the first hammering, with the hammer and the wrinkling block used in the process. The steps taken are as follows: Cut out a piece of metal, 18-gage, the size and shape required, and with the pencil compass mark a circle the size of the base. In this case a circular piece of metal was used, but the method is the same for square or oval objects. Get a piece of hard wood, about 2" x 2" x 8" , and make a wrinkling block of it by filing a crease in the end, as shown in Fig. 110. Place the block in the vise and with the thin hammer shown beat the metal into the crease. There are points to be careful of: the first one is to allow the metal to bend in freely when hammering the wrinkles ; that is. do not try to stretch the metal when driving it into the wrinkling block. The second point is to be sure to have the wrinkles evenly spaced and straight.
The next step is to beat down the wrinkles with a raising hammer, holding the piece of work upon a tee-stake the same as when "raising by coursing.'' By looking closely at the right-hand side of the piece of work shown in Fig. 110, it can be seen where the first course has been started. Care must be taken not to allow the wrinkles to fold over when beating them down, as this would result in the metal cracking. When the metal gets hard and stiff, soften it by "annealing" as described before.
Figs. 112

shows another vase raised into shape from a flat circular disk by the same method.
The three kettles, Figs. 114. 115, 117,

were raised into shape by the same methods, the patterns for the spouts and handles being drawn and laid out in the manner described for hollow pitcher handles, and soldered on to the body with silver solder. The knobs on the covers are hollow, being part of the cover hammered out to form the knob.
Art metalwork divides itself into four large divisions, namely: flat work, such as the paper knife; bent and riveted work, such the clock and the lantern; raised work, such as bowls and vases, seamed work, such as pitchers and vases that are not beaten up from a flat disk, but have a seam or joint that is soldered together with silver solder. It is this last division, "seamed work," that we are now to deal with.

Table of Contents  Next Page  Previous Page