John Schippers' Engraving Historical Firearms

[D. Taylor Sapergia]

This is an unsolicited plug for the above mentioned text.  BTB (before this book), I'd describe my engraving as adequate and amateurish.  Everything I knew, I learned from Meeks' book on engraving, and from trying it myself.  Since I bought his book and studied his 'ways' my engraving has improved in leaps and bounds, and my satisfaction from it has soared.
One thing that has really contributed to my enjoyment of the craft, and the quality of the work, is a photo of John's chasing hammer on one of the first pages in the book.  I made my own hammer from a trailer pin and a piece of wooden hockey stick...what would you expect from a Canuck?  But I made it too light, and too long.  John's picture has dimensions which amazed me at the size, but I made it anyway.  I have so much more control, power, and delicacy with the new hammer.  I silver soldered a ball bearing to the other side of the hammer, and the added weight feels lovely.  I'll see if I can muster up a picture.
My efforts to invent designs of my own have resulted in pretty blah engraving, so I'm pretty excited to see some good stuff, which I 'borrow' from heavily.
In the engraving below, which is on the butt plate of that Pennsylvania fowling piece I have currently on the bench, is not exactly like the one pictured in his book, but it certainly used it for inspiration.  Historically correct:  I doubt it, for an American working gun.  But I could care less.  I wish I owned such a gun!!

[P.Bigham]

Excellent very clean. I took Johns class a few years ago good teacher and the book is the best.

[Elnathan]

I finally got a copy a couple weeks (a month?) ago when the NMLRA had them discounted to about 60% their usual price. Definitely a great book, but I really wish he had more pictures and analysis of original engraving and less contemporary work. One can, of course sit down with the book and a copy of Kindig, Shumway, etc., and figure out what techniques were used on which pieces, but I really wish there was more emphasis on original American work of the sort that most are trying to recreate and less on the contemporary stuff that leaves me, at least, pretty cold even if it is technically better.

[D. Taylor Sapergia]

Elnathan:  I can understand your point of view and direction, but don't agree at all.  This stuff leaves me anything but cold...warm and fuzzy comes to mind.  And there are a couple of examples of original longrifles in the book.  For the most part, he is dealing with technique, and has shown examples of what may be accomplished.  To understand original American engraving, one simply needs to study original rifles if they're available, or images from reference texts, if not.  He emphasizes several times, that his style of engraving is definitely not historically correct for American guns.  I'm fine with that.  If you practice his style, early American style will fall nicely into place.  The truth is that most American gunmakers from the centuries we love, were not accomplished at engraving.  Unless we're replicating a piece from history, as Rich Pierce recently demo'd, there is lots of room for expression from a contemporary point of view.
I just wanted to say thanks to John for sharing so much of what I'd never accomplish on my own.  Jerry Huddleston, Judd Brennan and David Price are three American contemporary artists who have styles of their own, yet rival what Schippers has demonstrated.  We build contemporary guns, based on our experience and skill, but why replicate mediocrity?

[bama]

i bought this book a few years ago and it is a great book with lots of good info.

[Randall Steffy]

Your engraving on that butt plate is awesome, work to be quite proud of and leaves me with my mouth agape. So this is what practice and more practice, study and determination, and native skill can get you! Keep it up!

[Elnathan]

Taylor,

It is a great book and now that I have it I really want to learn to engrave and build a proper Golden Age rifle. And I will, someday.

However, given my druthers, given that I paid a day's wages for a book (and that when it was on sale!) I'd have preferred a bit more detail on what techniques were used by which historical makers, instead of the generalities he gives, and less contemporary eye candy. The first third of the book  - the part that explains how to do the work - is awesome. The hundreds of pages of contemporary work that follow isn't nearly as interesting to me.

I'm still happy to have the book. I was just mildly disappointed in one particular aspect of it, and given that it is apparently universally praised I thought I'd mention it.

We build contemporary guns, based on our experience and skill, but why replicate mediocrity?

I'd make a distinction between "simple" and "mediocre." I like simple, even folksy, and rather prefer it to high-art engraving of any kind, be it original European work or contemporary. I will admit that contemporary engraving tends to look better in person than in photos, though.

Of course, I like rock art and cave painting, too.

[Dave B]

Taylor, I am in total agreement with you with regards to the resource we all have been given in Johns Book. I am so grateful for the addition to my library. I have considered getting a bench copy  and have one just for the fire side cup of tea and easy chair for study.  I was told by one of the FEGA engravers that when you are learning it is helpful to study other masters work and try to emulate what they have done.Cut it line for line how they did it. Each master has a way of doing things and you can learn much from the study of their work. My trouble has been most of our books do not let you see the detail you need to do this. So it is refreshing  to see pictures that clearly show the cuts and layout. His book has helped my engraving a lot.

[alacran]

I received my copy about a month ago. The NMLRA has it on sale right now for $69.95 plus shipping. I really believe I will be able to teach myself to engrave with the help of this book. The photos of guns in this book alone is worth the price,
Imagine if RCA 1&2 had this quality of color photographs.

[Robby]

Well Taylor, I thought your engraving was already pretty doggone nice, but then, we are all our most severe critics, and I guess that's as it should be. Very nice!!!!
Robby

[Daryl]

Looking good. You've got the scratching going in cool directions on that butt plate.
Nice!
I expected a picture of your hammer, too.
Also - I suspect that Robertson "butt" screw is merely to hold the butt plate against it's engrving support.

[D. Taylor Sapergia]

I'll create a new thread when I finish up the gun Daryl.  I just wanted to create a thread honouring John Schippers.
It butt plate is attached to a wooden block and Auto Body Filler, with a Roberson sheet rock screw.  This way, I can hold it in the jaws of my engraving ball's vise, and move it to any position I like, for engraving.

[yellowhousejake]

I took John's class recently and when I got the book it scared me a bit. I was wondering if I got in over my head. I did not need to worry. He does everything he can to demystify the art of engraving, is more than willing to share any knowledge he has, and will give an honest critique, which students need in order to learn.

He also spoke multiple times about his engraving vs original vs English vs German. He offered no apologies for doing what he called fantasy designs. He also thought anyone wanting to mimic or outright copy original engraving should do so, his style was what sold well for him and he liked it. Enough said. As far as why original engraving was not of English standard, he explained why in a matter of fact way and did not deride the builders for it.

I would highly recommend the class, I had a great time and met many fine folks. Here is a picture of my last practice plates. One from the last day of class and one since getting home. I am practicing when I can. I can say without a doubt that the hardest part of engraving, is learning to sharpen properly.

DAve

[smokepole45cal]

The classes and flat practice blocks on soft brass are well and good but to progress you have to be able to overcome realistic problems to engrave rifles and pistols... concave surfaces, convex surfaces, how to draw a design on your gun, how to hold a rifle steady while you're engraving the patchbox, how to anneal belligerent lock plates that keep breaking your graver points...i could go on and on from my own frustrations and challenges after 2 classes. Schippers does emphasize fundamental techniques namely plunge cuts and borders. He writes in an easy to understand way. Would somebody please teach an advanced class beyond flat blocks?

[Curtis]

Schipper's book is an absolute gem!  Chock full of ideas, concepts, examples and methods to achieve the desired results.  My copy is full of book marks.  It is a great resource in my opinion!

Curtis

[Ed Wenger]

Taylor..., I have the book and love it as well.  It’s probably the most “used” looking book in my shop.  A couple of years ago at the CLA show, I met John for the first time, and thanked him for teaching me how to engrave.  He got a kick out of that since we’d never met before.

I understand the sentiment about not being historically correct, and agree to an extent, but I do really like his designs.  To me, the whole “historically accurate” thing is immaterial.  Once you learn about sharpening gravers, and how to make various cuts, you can produce any design you want, you’re not locked into Johns style.  Great book, in my opinion!


           Ed

[TommyG]

Taylor, I totally agree about John Schippers book.  It really has help me understand some of the techniques as well as offering some great designs that can be incorporated into engraving as well as carving.  I am just curious though, do you hold your graver as John recommends between your thumb and forefinger?  Also, I'm right handed and John recommends changing up - holding the graver with the right hand and chasing hammer with the left.  I've tried and do use his thumb/forefinger technique from time to time with some success.  But the switching my hammer hand thing I just can't seem to get comfortable with. 

[yellowhousejake]

The classes and flat practice blocks on soft brass are well and good but to progress you have to be able to overcome realistic problems to engrave rifles and pistols... concave surfaces, convex surfaces, how to draw a design on your gun, how to hold a rifle steady while you're engraving the patchbox, how to anneal belligerent lock plates that keep breaking your graver points...i could go on and on from my own frustrations and challenges after 2 classes. Schippers does emphasize fundamental techniques namely plunge cuts and borders. He writes in an easy to understand way. Would somebody please teach an advanced class beyond flat blocks?

The idea of the flat practice plate being just as you do not want to inlet a patchbox the first time you pick up a chisel in your life, you want to master the fundamentals of how the graver works before you attempt a buttplate or a triggerguard. Once the tool and technique are mastered on a flat plate, you will know enough to identify problems and find solutions when engraving shaped surfaces.

I inlet my first lock over ten times on a practice board. When I finally did the lock inlet on my first rifle, it was perfect. That is something I have always taught students, the boring repetition is not glamorous and it is not fun, but it is important if you want to go beyond just satisfactory.

Like any skill, learning the fundamentals first is key to mastery later.

DAve

[tim crowe]

Taylor,
 I am one who would pay for quality price doesn't matter , if Schipper's book was $250 I would pay it. For that matter John's class would be worth double, a lot of good content there. For added bonus he gives good martial advice.
Tim
PS I saw a English fowler made with square drive screws , Clark or Simpson, I think? When I locate the pictures will send you some.
T.

[D. Taylor Sapergia]

TommyG:  Years ago, when I first tried my hand at engraving, I was using die sinker chisels.  Never having had any instruction, and being left handed, I picked up the chisel with the right hand, and tapped it along with my left.  But I do not seize the chisel in my first, like he pictures in his book...I hold it delicately with my thumb and three fingers.  Sometimes, it is necessary to hold it upside-down - thumb on top and fingers under, and cut towards oneself, when trying to get the chisel close to the bow of the trigger guard, for example.
Here's the side plate I finished up for this build...

[Bob Roller]

Elnathan:  I can understand your point of view and direction, but don't agree at all.  This stuff leaves me anything but cold...warm and fuzzy comes to mind.  And there are a couple of examples of original longrifles in the book.  For the most part, he is dealing with technique, and has shown examples of what may be accomplished.  To understand original American engraving, one simply needs to study original rifles if they're available, or images from reference texts, if not.  He emphasizes several times, that his style of engraving is definitely not historically correct for American guns.  I'm fine with that.  If you practice his style, early American style will fall nicely into place.  The truth is that most American gunmakers from the centuries we love, were not accomplished at engraving.  Unless we're replicating a piece from history, as Rich Pierce recently demo'd, there is lots of room for expression from a contemporary point of view.
I just wanted to say thanks to John for sharing so much of what I'd never accomplish on my own.  Jerry Huddleston, Judd Brennan and David Price are three American contemporary artists who have styles of their own, yet rival what Schippers has demonstrated.  We build contemporary guns, based on our experience and skill, but why replicate mediocrity?

Mediocrity has been replicated because it has become a goal or a standard unto itself.

Bob Roller