Techniques

Chasing and repoussé
The terms repoussé and chasing are two techniques often worked together. Repoussé is primarily a relief processes that creates relief without significantly altering the thickness of the starting sheet of metal. The metal is pushed and pulled but its thickness remains the same. This differs from chasing where the metal is worked with metal tools to define line, and reform the images.

Reticulation
Reticulation produces beautiful textured surfaces that appear very topographical. Reticulation can be controlled to produce specific patterns with practice. This technique works best when you have a lower melting core and higher melting exterior. Then I heat it to the point that the center starts to be mobile or liquid and the pressure of the torch across the surface which causes the exterior shell to buckle and move like the earth or the beach.

Lost wax casting
This is where you take wax or model and then once done carving out your model you use wax rods to connect and set your model up in the investment mold, or waste mold. This mold is contained within a metal sleeve, and is made out of plaster poured around the model and placed in a burn out oven. The wax model is then melted or "burned out" and a hollow cavity is left. Then the metal will be melted to a molten state and the metal is driven in or gravity fed into the cavity. Once the mold has been cast you take the metal sleeve and quench it in water, which breaks apart from the new metal form. Models don't have to be made of wax. I use organic forms, as well as toys.

Cuttlebone casting
Cuttlefish casting is a quick, fairly accurate, odor-filled casting method. Within the cuttlebone shell there is a rich wood grain or desert sand texture. The shell can be carved to create the casting cavity or a model can be pressed into the porous material causing an indentation when two shells are compressed around the model. The two shells are bound together. Then metal is heated and melted and gravity poured into the shells cavity.

Fold forming
Fold forming is achieved by taking a sheet of metal and folding it like origami papers. Then a mallet or hammer is used on the crease or the salvage of the metal and it causes movement and stretching where the hammer blows make contact. This thins out the sheet and causes beautiful textural patterns on sheet metal. There are many shapes and techniques employed in fold forming.

Granulation
Granulation is achieved by melting tiny pieces of metal into round balls. Then the balls are accurately secure and fused to a design.

Keum-Boo
Keum-boo is a Korean technique for applying a thin sheet of 24k gold to silver. The Korean method is also spelled kum-bu. I take fine silver or sterling that is heated and cooled many times, called depletion gilding. I then heat the piece with a hot plate. Then I apply a thin gold foil on the object and a polished steel burnisher tacks it down and then presses it over the surface fixing it permanently in place.


	Techniques Chasing and repoussé The terms repoussé and chasing are two techniques often worked together. Repoussé is primarily a relief processes that creates relief without significantly altering the thickness of the starting sheet of metal. The metal is pushed and pulled but its thickness remains the same. This differs from chasing where the metal is worked with metal tools to define line, and reform the images. Reticulation Reticulation produces beautiful textured surfaces that appear very topographical. Reticulation can be controlled to produce specific patterns with practice. This technique works best when you have a lower melting core and higher melting exterior. Then I heat it to the point that the center starts to be mobile or liquid and the pressure of the torch across the surface which causes the exterior shell to buckle and move like the earth or the beach. Lost wax casting This is where you take wax or model and then once done carving out your model you use wax rods to connect and set your model up in the investment mold, or waste mold. This mold is contained within a metal sleeve, and is made out of plaster poured around the model and placed in a burn out oven. The wax model is then melted or "burned out" and a hollow cavity is left. Then the metal will be melted to a molten state and the metal is driven in or gravity fed into the cavity. Once the mold has been cast you take the metal sleeve and quench it in water, which breaks apart from the new metal form. Models don't have to be made of wax. I use organic forms, as well as toys. Cuttlebone casting Cuttlefish casting is a quick, fairly accurate, odor-filled casting method. Within the cuttlebone shell there is a rich wood grain or desert sand texture. The shell can be carved to create the casting cavity or a model can be pressed into the porous material causing an indentation when two shells are compressed around the model. The two shells are bound together. Then metal is heated and melted and gravity poured into the shells cavity. Fold forming Fold forming is achieved by taking a sheet of metal and folding it like origami papers. Then a mallet or hammer is used on the crease or the salvage of the metal and it causes movement and stretching where the hammer blows make contact. This thins out the sheet and causes beautiful textural patterns on sheet metal. There are many shapes and techniques employed in fold forming. Granulation Granulation is achieved by melting tiny pieces of metal into round balls. Then the balls are accurately secure and fused to a design. Keum-Boo Keum-boo is a Korean technique for applying a thin sheet of 24k gold to silver. The Korean method is also spelled kum-bu. I take fine silver or sterling that is heated and cooled many times, called depletion gilding. I then heat the piece with a hot plate. Then I apply a thin gold foil on the object and a polished steel burnisher tacks it down and then presses it over the surface fixing it permanently in place.

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