Record Power 7417070, Инструкция по эксплуатации

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7.3 Metal Engraving
This type of work represents one of the most interesting and widely
used applications for the engraver in the hands of both the amateur and
professional alike.
The softer metals such as copper, brass, aluminium, etc. can be engraved or
otherwise marked quite satisfactorily with the A5 point but for the harder
types of metal, such as stainless steel, nickel, etc. the A2 point will be found
more suitable. For prolonged work on hard materials the A4 carbide tipped
point should be used.
It is generally best to lay out your design first in order to centre it properly
and keep your letters or design in balance. Then, after transferring the design
to the metal by the appropriate method trace over your outline.
If you are artistically inclined you could write or draw directly onto the
metal. Whichever method you adopt, a hand keep in mind that in this type of
work the slower the point moves over the metal the more even your line
will be.
Writing should always be done with a hand, rather than with an arm
movement. It is possible to vary your engraving from fine line marking to
deep etching by gradually lengthening the stroke and by changing your
writing angle.
All metal engraving should be done on a heavy metal base to prevent
vibration of the material being worked. For the engraving of a curved
surface, such as bracelet or a ring, the object should preferably be held in a
vice, the jaws of which should be padded to prevent the finish of the article
becoming damaged.
7.4 Wood Engraving
A good grade of hardwood such as birch, boxwood or maple should
preferably be used for this type of work. Sand the surface until smooth and
then transfer your design onto it. Go over your design with the A5 point,
with the engraver set to give a medium length of stroke. If you desire to
engrave a deeper or wider line, increase the length of the stroke. Sand again,
and your work is ready for varnishing or other type of finish. This procedure
is similar to wood block engraving for letterpress printing.
7.5 Plastic Engraving
This type of work lends itself to many variations. Jewellery, handbag clasps,
identification tags, trays and many other plastic items may be initialled
or engraved with intricate and original designs. Use any of the previously
described design-transfer methods and trace over the outline with the A5
point.
7.6 Metal Embossing
Use thin sheets (not heavier than 28 gauge) of malleable metals such as
copper, brass, aluminium etc.
Lay sheets selected for your work on a soft or semi-soft surface e.g. cork,
felt, soft wood or even layers of newspaper, to enable it to stretch as it is
worked. Using the smallest ball point (A6) transfer your design on to the
sheet until it is clearly visible on the underside. Turn the sheet over and using
the larger ball point (A7) hammer out those parts of the design that are to
appear raised in the finished article.
To add details to your embossed design, pad underneath with a tightly
wadded cloth to prevent it distorting when being worked. The details can
generally best be put in with the small ball point, working lightly and with a
short stroke (obtained by screwing down the stroke adjuster).
By embossing the metal as described above, using a resilient base, the
ball points will peen down the metal in U-shaped indentations of a size
dependent on the point used. If a flat smooth background is desired, the
metal should be worked on a hard surface such as a metal plate, hard wood
or stone.
7.7 Relief Wood Carving
Commence by tracing your design into the wood with the A5 Point. Then
insert the A21 V-shaped chisel and cut away the wood immediately outside
the pattern. Having done this, it is now possible to gouge out the remainder
of the background without fear of over-running the design itself. Use the
chisels that will leave the kind of finished surface you require.
It is best to take short, shallow cuts not more than 3mm (1/8”) deep,
finishing each cut with an up-swing of the chisel to leave a clean surface
for the next cut. It will be found possible to cut across the grain almost as
effectively as with the grain.
With your background reduced to the required depth, your work can be
finished off by the addition of a few details to the raised parts of the design
as required.
Should you wish to do a complicated relief carving where parts of the design
are at various levels, the best way to proceed is as follows:
First trace the highest spots on the surface of the wood then cut a smooth
background down to where the next lower part of the design will emerge.
On this new background repeat the previous procedure and continue in this
way until the final background level is reached, leaving all the surface details
to be worked in later.
By following this routine, whether in two-level work or more, you will find it
not at all difficult to carve the most artistic relief ornamentation.
7.8 Three-Dimensional Wood Carving
The Engraver is just as easily adaptable to such other three-dimensional
carving as sculpturing wood models, full figure work, etc. Always rough out
the general shape and outline before adding detail.
Please note that, for safety reasons the woodcarving chisels in the kit
are supplied with the cutting edge ground to the correct angle but not
sharpened. To create a razor sharp working edge, therefore, the carving
chisels should be honed on an oilstone.
7.9 Linoleum Carving
The technique to be followed is very similar to that of carving simple relief
designs on wood, and the same attachments should be used. First attach
your linoleum to a thick wooden block to provide a solid foundation then
after transferring your design, remove the adjacent linoleum with the A21
V-Chisel to safeguard your pattern outline. Next remove with the flat and
round chisels all parts of the design and the background which are not to be
printed. The procedure is similar to flat carving in wood except that it is only
necessary to recess the non-printing surfaces of your blocks to a depth of
3mm (1/8”).
7.10 Other Uses
The engraver, when fitted with the widest chisel, is an excellent tool for
removing hardened putty from window frames, without fear of cracking the
glass or straining the hinges.
Engraver Manual 3.4.indd 8 02/06/2014 10:25