…“tzinqua ~ dragon ~ bracelet/cuff”…22k gold…luke marston ~ ts’uts’umtl…canadian…stz’uminus ~ chemainus multimedium artist…carver…known for blending traditional styles into bold and dramatic works of art in wood…gold…silver…bronze and paint…ladysmith…vancouver island…british columbia…canada…born 1976…
This beautiful cuff appears to be in the design vein of…Haida Art…First Nations…Northwest Coast Indigenous Artists…
i would venture to say it could also be created using a technique called high relief eastern repousse.
Victoria Lansford is renowned for her mastery of this technique. She has created her own set of reposse tools as well as a great tutorial dvd.
i have them both and highly recommend!it is amazing how much the metal “moves” and the height and crispness that can be achieved with just her set of 8 tools.
I looked at many different sets, and then decided upon hers. Other sets can be very large…some seem to focus more on planishing and chasing tools (from the front surface) over high relief/ embossing (from the back surface)
Once you understand how each category of tool moves the metal, you can better select what additional tools you might want. personally, I find her 8 pc set to be exactly what is needed for most applications.
She has great videos on youtube as well…fir both repousse as well as russian filigree.
one way to create it would be in the planishing/ matting phase of the repousse process…using a very small planisher or textured matting tool and chasing hammer to create the small hammered/ textured effect…
basically one is imparting a crisp texture/ shallow depression to the surface of the metal…with a chasing hammer and a planishing or matting tool…or whatever else will get the job done…i am assuming a chasing hammer and planisher or matting tool because the pitch support is probably neccessary to maintain the embossed shapes as the texture is being imparted…
i am sure there are other ways to create this effect, and I am also interested to hear…this is just one way that comes to mind based on the piece being shown.
Julie…I think that what you are describing is certainly one way to create this texture. I do it on a much smaller scale than in the video using different sized chasing tools made for the job and a small hammer. I have a Walley hammer that I bought for this purpose and have made tools that will fit into the cylinder of the hammer. You need to secure the work in pitch just as you would do using a traditional tool and hammer. Victoria Lansford’s work is amazing. I appreciate all the research that you do. Thanks…Rob
I have made a similar texture in flat surfaces by rolling two sheets of annealed silver through through a rolling mill sandwiching a piece of scotchbrite pad. The buzz word here is similar.
I realize the question is about the texture, but as there have been several resources mentioned regarding teachers of Chasing and Repousse, I’d like to add three more Masters of these techniques to the list.