Knapped “Lascaux” Small Push Dagger Part 4 – Shishiaibori Technique

So, we’ve finished the three step engraving process of the outlines – wide graver, narrower graver, onglette graver.  Above are images of where we are now.

Next, I begin to round over the interior shapes, using a flat graver.  In the two images above, I’ve begun that.  In the first image, your can see how I begin cutting with the flat graver – leaning the graver over to the outside as much as I can WITHOUT touching the outside edges of the outline cut.  In the second image, the rounding cut has begun to the right of the blue arrow, with no cut yet to the left of the blue arrow.

Above is the completed first round of the flat graver rounding cut.

Next, I go back with the flat graver and begin cutting to remove the edge of the facet I just created.  Above, you can see the beginning of that second set of cuts to the right of the blue arrow.  I’ll continue doing this, removing subsequent facets until I’m satisfied with the rounding.

Above, I’ve completed the rounding process with the flat graver.  Note the areas where I’ve removed additional material to simulate the palm of a hand.  You’ve got a naked model right there at the end of your arm, so take a look and see why I’m doing that!

I’ve also used a carbide bur to excavate the hollow area of the palm

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, followed by using s small flat punch with slightly rounded edges in my Lindsay Nitro G20 Airgraver to sculpt (forge) the surface smooth.  Above, you can see the punch I used to sculpt and smooth the surface of the hand.

And, above, is the finished front side.  For the deer, I’ve used a thin tipped oblong punch to simulate the hair of the body, and a wider oblong tipped punch to texture the antlers.  Now, I have to solve the problem of what goes on the back scale…

Thanks for Looking!