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various chasing and repousse methods
walker -
Tuesday, October 2, 2007 - 4:41pm
Repousse & Chasing chasing | repousse | repousse-chasing I'd like to kick off some discussion about the various methods of chasing/repousse. I've read about there being different methods and heard various styles mentioned, but never have had anyone explain the differences. Names I hear are Eastern style, Western style, Japanese style. The simplified description of the way I've been learning is: 1) transfer image to front of copper sheet I just purchased a UMBA video of Kirsten Skiles doing a "high relief" chasing/repousse at the 1999 Metal Madness. She started on the back by creating the relief by pushing from the back about 1/2" outside the design all the way. In doing so, she said she could get much higher relief without stretching metal too much. Then she turned it over and chased the design on the front. What are the other methods? Which methods are these (western, eastern, etc.)?  Marilyn, I believe Marcia
Fred Zweig -
Friday, October 5, 2007 - 2:10pm
Marilyn, I believe Marcia was one of the priviledged few who studied with Satuo Ando when he visited here in the 70's. The technique he taught is called Uchidashi by the Japanese and the metal is worked on a very hard pitch that is kept uncomfortably warm. If you note the texture around my beetle it is caused by these matted tools that Marcia showed you how to make. In Japanese these are called Dashtagane and the craftsman has to make them in a variety of sizes. Fred Zweig » reply  I don't recall her saying
marilyn -
Friday, October 5, 2007 - 11:48pm
I don't recall her saying anything about the pitch being hot. She the class use Seattle Pitchworks pitch which I already was doing. I wouldn't consider it hard but I don't have much to compare it to. The only other kind that I have used is the nasty black stuff. marilyn » reply |
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ArtMetal
Your description of pushing
Your description of pushing from the back to get a higher relief confuses me.Like you, I know that there are different styles but not much about them. Years ago, I took a workshop with Marcia Lewis and also had her book. The things that she brought to show were better than what I saw in the book. However, it's a good educational book . She had recently studied with a Japanese master and had adapted some of their techniques. We made tools and mated the working ends. That's right. Not shiny and bright but slightly textured. She told us that the Japanese work off a high mound of pitch.marilyn