Engraving
Bulino
This engraving technique has its roots in Italy. "Bulino" is simply the Italian name for a square graver, and has become more and more an international term for these fine engravings, executed using that tool.
This can either be done using very fine lines, fine dots or a mixture of them. I believe that lines and dots offers the widest possibilities for expression to the engraver. The effect of such an engraving depends on light refraction or/and light absorption. The unengraved surface reflects the light complete and therefore appears as to be white. With a large number of dots, the engraver can form a variety of gray tones in between white and black.
The dots themselves can be done very superficial or heavier in order to express different surfaces, colors and texture has to be transformed into gray tones. Often the quality of a bulino engraving is judged and evaluated by the number of gray tones in it. In my opinion this is only one aspect of quality, as the expression of the animals, the composition of the whole scene, the landscape, and the way the scenes are embedded in the shapes of the gun etc. are also very important features of a well done bulino engraving.
Using this technique an experienced engraver can reach very beautiful effects as regards style, detail and expression.
I personally do not consider it as the most difficult of all engraving techniques. One only needs a lens and a few gravers, but it is the one that require the best planning and a lot of time for a proper execution besides artistic imagination, a skilled hand, and of course much passion and devotion for engraving and nearly endless patience.
The disadvantage of extreme fine bulino engraving is that the customer also needs a lens or even a microscope to enjoy the engravers work fully.
Inlaying
The beautiful effect of inlayed work is the contrast in color between steel and gold. Only the difference in hardness of two metals make inlaying possible. The softer precious metal is hammered into the harder steel. Principally it is held in place by a dovetail, formed in the steel.
Basic Technique
The design must be cut out using chisel and hammer or graver. Undercutting is carried out with undercutting punches. See figure. During undercutting a dovetail is formed e.g. the cross section of a line is wider at its bottom.
The precious metal must first be annealed to make it soft. Then it is laid into the line and is hammered in step by step using a fine matte punch. The surface of the steel may not be touched by the punch. The gold wire must be large enough to leave excess material, which will protrude out a little after hammering it into place. This way the gold can be hammered without hitting the steel. Finally I file and polish the surface of the gun again.
Color can be achieved by case hardening, blueing etc. which makes the work look more spectacular. Such an execution is solid, noble and permanent.
It is classical to use pure gold and pure silver in steel, important is only the difference in color and hardness. Alloys always have a lower melting point than the pure metal. This is of great importance because the guns had to be heat treated upon engraving! Also if guns are blued after engraving the alloys in a non pure metal may react to the coloring agent.
Examples:
Fine english arabeque engraving.
Various
