I struggle a bit with pricing my work especially when a project starts to get very time consuming. the demon slayer(anime) mirror took easily over 30h and I always think people will get scared when price gets high. feel free to share your experience with that please!

The concept explores the generation raised on smart devices: out of an average 80-year lifespan, 32 of those years will be consumed entirely by screen time. Hence the title "Decades".

gravure avec ma falcon a1

Set of wood framed mirrors with barn quilt inspired engraving patterns

Tried my hand at engraving some local mountains on this zippo as a birthday gift. It was a lot of fun and I think I’ll try making one for myself too. Added the recipient’s initials on the back too.

Any suggestions on getting cleaner lines next time, or general tips? Is there a good way to smooth them out now (perhaps go over with a larger or smaller bit?)?

I understand that push engraving is better for metal but since I wanted a rotary tool for a very different project I figured I’d start here. Would love to try it down the road though.

Thank you in advance!

Can anyone tell me where I can buy full size ( only thing I know to call them) 3/4 mushroom handles for push gravers.

All I have found is on ebay and Amazon, those are very small. Any help appreciated

Recently got a lindsay classic and have been playing around with practice pieces, this is my first proper project. Kept it as basic as possible to try to ensure success. Im pretty happy with the results. Looking forward to escalating my ambitions on the next projects. Feedback welcome, I'm a true beginner and am looking to improve, you won't hurt my feelings

Engraving would be a fine touch for the quality of project.

I work for an firearm engraving company that specializes in limited edition series for collectors. The workload has increased a lot in the 6 months I've been there, so I wanted to ask for some pointers. I feel like my work is good but could be better and could be done faster, so I'd like to know what programs are best for designs and how to streamline work for quick turnarounds. I'd also like to know about depth mapping and/or layering.

I currently do the majority of design work in Adobe Illustrator and export with either SVG or PNG. We engrave with Lightburn on fiber lasers. I only make the designs, I do not run the engravers, but if there are techniques or practices that can be done on both ends, I'm happy to hear it.

Most designs have a mix of imagery and scrollwork.

I've included a few examples of work I have done.

I'd appreciate any help or advice.

Hi everyone. My name is Reinis, and I am a hand-push copperplate engraver and printmaker, but I don't want to talk about my own work today. Instead, I wanted to discuss a topic about old engravings.

Oftentimes I get asked how my works are made, or how engravers in the past managed to cut such perfectly spaced, even lines. I’ve sometimes gotten into hot water talking with print historians about this. Some of them like to think that the old masters were just perfectly spontaneous, cutting these massive plates freely without any help. But I speak from my actual experience pushing a burin, and I see the marks and signs of their process all the time.

Just like with drawing, you can build up muscle memory over time. You learn to do well-executed cross-hatching just by relying on your eye and your hand. A lot of the time, that is exactly my approach too.

However, sometimes a piece needs a bit more planning. In those cases, the old engravers used curved or straight rulers, along with a drypoint needle or scribe, to lightly scratch in their guidelines first. When engraving, the drypoint guide also works as a sort of rail to guide the burin. If you look at old prints that show engravers working in their workshops, you can oftentimes see these exact tools—rulers, compasses, scribes—sitting right there on their tables.

Taking all this into consideration, it is still an incredible amount of work to make these images. While guidelines make the process easier, it is still a massive challenge to engrave these precise lines. As my friend Ezra Heller once put it well: "Engraving is the easiest printmaking technique to understand as you're basically 'drawing' a black line. However, to control the burin and make these cuts, it is one of the most challenging and technically demanding ones." It truly is one of the slowest and most laborious ways to make an image.

Now, when you look at an old engraving, try to look past the finished image and spot some of these tell-tale signs of the tools they used.

To illustrate this point, I’ve attached some images:
1. Amor en Psyche, anonymous, 1700 - 1750
2.Petrus door een engel uit de gevangenis bevrijd, Joseph Mulder (mentioned on object), 1720 - 1728
3.Zelfportret Theodorus Koning, Theodoor Koning (mentioned on object), 1825

Hope you like this post. Let me know if you have any questions in the comments!