Hi Cathryn,
I’ve been away (hundreds of Emails eek). I should not have been
so extreme in the above statement (check the ‘files’ article on
the Tips page for more) because when one is doing very fine final
filing one holds the file rather hard for accurate control and
does lift it off every time to check what you are doing, however,
most professionals keep the file on the work when removing
material rapidly because it is more efficient in time spent and
there is a better contact and tactile understanding of the
surface being filed. There is no pressure on the back stroke when
filing with the file pressed on. Many art school students are
however taught to lift the file off every time (ie perhaps to
check every strokes effect) and end up filing that way which is
slower and offers less control. I believe the real reason they
are taught to do this is that the art school buys and pays for
the files and don’t want their files used up so fast (8 months
or so for an industry approach, 1 1/2 years for an art school
one). But it is at least 30% more efficient in time and effective
material removal in the industry approach, this means that the
cost of replacing the file is nothing compared to the gain in
lower costs in reduced time spent. In North America art school
students are taught to ‘not load the buff’ when polishing. Whan I
am polishing I put tons of compound on and there are timew when I
aholding the compound on at the same time as I am polishing. IT
is the compound that does the work, not the buff. I believe this
too is a result of the art school having to pay for the compound,
they don’t want it used up so quickly, when, again the increased
speed and efficiency of working save far more in costs than
worrying about the amount of compound used.
Another art school one is pickling after every heating. This is
to ‘clean’ the metal. You have to scrape, sand, or otherewise
bare the contact surfaces of a join anyway for a good join, so
pickling does not help you ‘clean’ it for that. Soldering onto an
unscraped pickled finish will not be a strong bond, I’ve seen
such solderings tear right off. If working in gold with a
self-pickling flux a rinse in hot water may be sufficient to
remove all flux so gold workers (using 14k and over) often don’t
have to pickle much if at all. If using a thick paste flux as is
necessary with sterling silver and base metals then you need to
remove the glassy flux residues between solderings because if you
get metal filings stuck in them they may fuse down to the surface
in subsewquent solderings and the hard glass can wear your file
out rapidly. So, what I do is put the object in hot running
water for 30 seconds to remove the flux, sand or scrape for the
next solder join, reflux and go on soldering. Most professionals
don’t poickle unless they need to, this too speeds the working
process. Art school students may spend upt to 40 minutes a day
hanging out waiting for things to pickle and you just can’t
afford that in real life. You pickle at the end of your soldering
sequence, or because it is necessary, or because you need
everything the same color so you can make an aesthetic or design
decision. It is important to analyze a problem, see if it is
making sense to work a certain way and then choose. It is
perfectly all right to say ‘I like that 40 minutes a day because
I get up and move around and take a break’, just make a decision
on it. It if it makes you happy to do something that is not the
most efficient course that is fine, just do it consciously.
Also you may note I teach in an art school and firmly believe in
the value of art schools, it is just that often the teachers have
never had to make their living at it and don’t know these things.
This is happily changing a little as more people who are art
jewelers and also worked in industry are finding jobs teaching in
art schools. Students too (at least here in Canada) are demanding
more real life skills and thinking these days.
Industry has just as many if not more traditions (ways of doing
things) which are not efficient or recheked against current
knowledge for usefulness.
Charles
Brain Press
Box 1624, Ste M, Calgary, Alberta, T2P 2L7, Canada
Tel: 403-263-3955 Fax: 403-283-9053 Email: @Charles_Lewton-Brain
Metals info download web site:
Learning Center - Ganoksin Jewelry Making Community Product descriptions:
https://www.ganoksin.com/kosana/brain/brain.htm Links list hosted at
the Metal Web News:
http://tbr.state.tn.us/~wgray/jewelry/jewelry-link.html