Glossary

Silversmithing

Anticlastic Raising
Hammering curves in opposite directions.

Blocking
The first process of forming silver shapes. A ball-faced hammer is used to sink a disc of silver into a depression in a wooden block which in turn begins to break the flat disc into a form with a third dimension.

Deep-Drawing
Sheet silver is pressed through steel dies with a male form to create a straight sided vessel. This process is repeated a number of times using smaller dies and formers to raise the silver into the required form. The desired form is then finished using the traditional techniques of raising and planishing.

Forging
Hammering metal to change its form and shape.

Hydraulic Press Forming
Hydraulic press forming is a manufacturing process which is new to the silversmith. Dies are made from steel or hard plastics and a male form is used to press the silver through the die.

Planishing
The next process after raising, is a smoothing process for finishing raised shapes by the use of special highly polished faced planishing hammers on a highly polished steel anvil or stake. The entire surface is hammered systematically.

Raising
The next process after blocking for making a hollow form. It is the method by which you bring the sides up gradually in stages by hammering the silver onto steel anvils and stakes.

Enamelling

Basse Taille
The metal background is textured to give tonal variation to transparent enamel.

Champleve
The enamel is held within cells created by etching away areas of the metal background.

Cloisonne
Wires used as a decorative element are fused into an enamel surface.

Enamelling
Enamel is a form of glass; metal oxides determine colour. Enamel has been fused to metal for at least 4,000 years. Transparent or opaque enamel is applied to a metal base and fired in a very hot kiln. The most commonly used metals are copper, gold, silver and steel.

Painting Enamel
Finely ground metallic oxides (painting enamel) are painted and then fired onto a pre-prepared enamel background.

Printimaking

Aquatint
The plate is covered with a fine mist of acrylic spray which creates an even texture of closely spaced pits that, when inked and wiped, give fine tonal areas to the printed impression.

Carborundum
Abrasive grit is mixed with PVA and painted onto a plate to form a tooth on the plate to hold ink.

Chine-collé
A technique in printmaking in which the image is transferred to a more delicate paper that is bonded to a heavier support in the printing process.

Etching
An intaglio process in which a drawing is made onto a metal plate through an acid-resistant ground. The exposed areas of the plate are then ‘bitten’ in an acid bath, creating incised lines that will hold ink when the surface of the plate is wiped clean.

Monotype
A unique ‘one-off’ print. Usually ink is painted onto a plate and then transferred to paper through an etching press. With a monotype there is no fixed matrix (such as an etching plate) making it impossible to achieve an exact duplicate.

Original Print
Original prints are original works of art for which the matrix has been conceived and executed by the artist. At all times the artist is in control of the outcome. Because they are often printed in multiples more than one of each image may be available. The edition number is indicated on the print , e.g. 1/10, and each impression is signed by the artist.

Photo-intaglio
An intaglio process whereby a photo-sensitive film is adhered to a plate and exposed by light to a transparent or transluscent positive. The photo-sensitive film is developed, revealing the image on the plate. The plate is then inked and printed as an etching. The plate can also be ‘bitten’ in an acid bath.


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