Spring  Box

                                                                                            

This frog was made using a combination of techniques to both move the metal to obtain the basic form, and carving or stock-removal to refine the form. As with most of my work I drew on both European and Japanese methods of forming, namely repousse, which forms from the back and uchidashi which forms from the front.

In this case, the initial volume was started by punching from the back with a wood punch, for minimal thinning. All of the rest of the forming, deepening and shaping was done from the front except the one rear leg that is away from the body, and also the eye bulges,which were punched from the back.

While having the utmost respect for all traditions, it has never been my intent to conform strictly to any one, and I utilize whatever combination of technique seems appropriate to realize the result I am seeking. I believe it is always the final result that should be judged on merit. The use of terms to describe physical processes, can be helpful, but also potentially distracting. These photos should be, I think, more revealing than anything. My use of Japanese or European terms will always be toward the end of clarification and conciseness, rather than implying that my work conforms to a strict traditional European or Japanese mode.

 

 

 

 

                                                                                       

 

 

 

 

 

 

 

Sheet copper and mylar pattern. The frog is 25mm long and the copper is 1.5mm thick.

 

 

 

                                                   
 

 

 

Initially, a slight doming can be done from the back using a broad wood punch that does not thin the metal.

 

 

 

 

 

                               
 

 

The general outline of the frog is penciled on to the form and in the second photo some definition is being defined by punching. In the lower photo the left hind leg has been punched from the underside.

 

 

 

 

 

 

Further definition by punching seen below. I would recommend using larger ovoid punches which I have made subsequently. Having an array of punches is definitely an advantage.

 

 

 

 
 

 

Deepening and defining continuing below with some punches nearly penetrating.

 

 

 

 

 

 

 

 

 

 

 

The frog is sawn from all the background material.

 

 

 

 

 

 

 

 

The frog was further shaped with filing, engraving, and the eye sockets were punched from behind.

 

 

 

 

 

 
 

 

 

Texturing was added with punches.