Lurking for awhile now, thought I'd join in the conversation.
Been engraving for some time now. When starting out, don't clutter your bench and your mind with alot of different tools. Keep it simple as others have stated. Actually a flat graver sharpened with just a touch of a heel on it will also double as a square point when set up on one of either of it's two edges. I cut with one like that for a long time.
For steel,,a 45 or 50 degree face and a 10 to 15 degree heel will yield good results.
Softer materials (brass, copper, silver, gold) a sharper angle on the face and less on the heel.
They shear much more easily and an edge usd for cutting steel, while it will cut the softer metals, will tend to push them along as well making for a furrowed/plowed looking cut instead of a clean one.
Too long of a heel on the bottom of any graver will kick out the side as you go around corners and leave those little kicks on the outside edge of the cut with each hammer strike. Shortest heel possible. A long heel is of a benefit in cutting long straight lines sometimes as it acts as a guide riding in the cut. Not usefull for much else though.
I learned to sharpen by the hand held method against an oil stone, then finishing the edge and putting the heel on by dragging the tool backwards accross an emery board. Usually 800grit. Later I used a diamond lap plate that knife sharpeners use. Still have one and still use it. A handy item.,,about 1.5" x 3.5"
Then I went to mechanical sharpening fixture & wheel when I changed to carbide tools from the HS and cobalt when I started cutting Winchester 21's by contract. They were the nastiest things around to cut and HS tools wouldn't get very far. Being a professional tool sharpener was not my goal.
The new production 21 from New Britain is easy cutting 8620 steel.
Little need to go to anything more than HS, cobalt, MoMax, etc for muzzle loading parts. Carbide tools need special diamond laps to sharpen ($$). You get longer point life if sharpened correctly,,much less if not done right.
I've always saved and transfered patterns from old work the same way. I take a piece of card stock,,a business card works excellently),,,rub a bit of your transfer wax on the side with the writing on it. On the blank side,,wet it just slightly. I give it a quick couple swipes of the tongue but if leaving a DNA sample troubles you, just very lightly dampen it with a wet cloth,,very lightly.
Now take the damp side and place it down onto the already engraved surface you want to save a print of. The wax covered back of the card is then burnished as the card is held securely in place with your other hand. I use a small curved steel burnisher to do the job rubbing back and forth over the back of the card. The wax coating will prevent the card from tearing. You can use any smooth hard piece of metal, plastic, bone, etc.
It doesn't take much pressure,,and you can see and feel the card embossing itself into the engraved (or stamped) impression. Then carefully lift the card from the work, carefull not to tear it, and let it dry for a few minutes. Now you have an imbossed reversed image of the work. If done right, every minor detail will show.
To transfer to another surface,,dot the surface with transfer wax (even a small ball of modeling clay pounched over the surface will leave enough 'tack' for the transfer). Then take the card embossed image you just made, rub the surface with a charcoal pencil to highlight the ridges (I flick the card to knock of excess charcoal powder),,lay it down on the metal (or wood if you're carving) and lightly rub the back again with the burnisher to transfer the charcoal to the tacky transfer wax surface. It takes very little pressure to transfer,,sometimes I just run my finger over the pattern to transfer it. Lift the card and inspect. If misplaced, wipe off and redo.
The cards can be used over and over and hold up very well. I have some patterns I took up to 40 years ago, patterns and lettering lifted from original pieces. They still see use in restoration work.
Some I've never used as they have never been brushed with charcoal. I collected them as they came by thinking they may be of use sometime. They may still be someday.
Makeing a smoke pull/print w/tape is an excellent way to save an almost photo image of engraving and I still sometimes do it along with an embossed pattern for transfering. But the smoke pulls are pretty much useless in themselves for transfer work.
I lay out scroll work with the transfer wax covered surface and draw right on that. Actually it started out being mutton tallow and bees wax concoction but over the years I've replenished it with other stuff like crayons, bow-string wax, etc. As long as it stays the right consistancy to do the job. It's pea green now from the last crayon.
I never cared for the Chinese White to draw on but alot of people do. Find what you're comfortable with and go with it. I draw only the main scroll lines,,no minor scroll, no detail within the scrolls themselves. I add all that by eye as I go along but some engravers draw everything out.
Again, everyone does it a bit different. It's the results that matter.
My engraving hammer is a craftsman 4oz(?) ball peen. I've used that for all those years. I have a couple of other chasing hammers but just feel they're too light for me,,never felt comfortable with them. I made a couple of hammers and different handles along the way but always came back to Mr. Sears.
Two years ago I had to give up the hammer and go over to an air assisted graver. I hated too, but it was either that or give it up all together. Injuries, arthritis & a nerve disorder just plainly catch up with you. At least the air power has allowed me to continue instead of watching from the sidelines.
Just recently back into BP and building a rifle. I finished one this past fall. My 4th rifle.
My first 3 were built before I was 19y/o.
I completed #4 at 61y/o,,,so I've been away from the 'game' for a while.
Good to be back.
