It is so satisfying to watch the pattern develop. My brain says "Tuck that next one right there, and you do." Thank you so much for sharing your hard earned knowledge with us.
I am trying to contact some friends who may have the technical knowledge to troubleshoot the issues keeping the forum down. It's a shame I can't access it except through the wayback machine currently. I have just started following this craft and I feel we have lost more knowledge with it down than I ever stand to learn alone. There are so many references on this youtube channel alone where Ford instructs us to go to the forum for further information. Most recently I saw a patreon comment where ford mentioned a salt peter patina for shakudo or shibuichi and I would love to be able to read about that. Or even watch a video if he makes one. I hope ford can take his time and finish his book at his own pace, hopefully the internet drama and trolls have not tarnished that project for you. Thank you both for the incredible work that is present here on youtube. I wish you both health in the coming years.
First of all - my deepest thanks, Ford, for your videos. I'm doing my first (ugly) steps in making sword fittings and starting to study nanako. Can you, please tell me - in what order do you make nanako? Cover a flat sheet with nanako, then cut it, form into an e.g. fuchi, braze and then make 2-3 rows of dimples to cover the seam? Or is it first make a fuchi, then fix it in place with pitch and start punching nanako on a curved surface?
I actually mentioned earlier in the series that beading or graining tools as used for stone setting are in fact too deep for nanako. A nanako punch is only about a third of a sphere.
Just curious, what would you think of making a custom spring punch for this? Would you not be able to generate enough force? would it be slower than getting into a rhythm? Or just take too much of the artistry away for your taste? great video as always!
While I will never do this kind of work, I really enjoy watching as I know understand what went into my Tsuba.
It is so satisfying to watch the pattern develop. My brain says "Tuck that next one right there, and you do." Thank you so much for sharing your hard earned knowledge with us.
I am trying to contact some friends who may have the technical knowledge to troubleshoot the issues keeping the forum down. It's a shame I can't access it except through the wayback machine currently. I have just started following this craft and I feel we have lost more knowledge with it down than I ever stand to learn alone. There are so many references on this youtube channel alone where Ford instructs us to go to the forum for further information. Most recently I saw a patreon comment where ford mentioned a salt peter patina for shakudo or shibuichi and I would love to be able to read about that. Or even watch a video if he makes one. I hope ford can take his time and finish his book at his own pace, hopefully the internet drama and trolls have not tarnished that project for you. Thank you both for the incredible work that is present here on youtube. I wish you both health in the coming years.
thank you Ford
First of all - my deepest thanks, Ford, for your videos. I'm doing my first (ugly) steps in making sword fittings and starting to study nanako. Can you, please tell me - in what order do you make nanako? Cover a flat sheet with nanako, then cut it, form into an e.g. fuchi, braze and then make 2-3 rows of dimples to cover the seam? Or is it first make a fuchi, then fix it in place with pitch and start punching nanako on a curved surface?
Happy to help. Nanako is applied to the finished and formed object, so your second option.
@@FordHallam Thank you, Ford, for your advice. Then all I have to do is practice. Time and time again, I realize that "patience" is a Japanese word :)
Lmao, “I don’t know if they’ll find his body”
Hi Ford. I was just wondering why you don’t use beading punches, as these make similar marks
I actually mentioned earlier in the series that beading or graining tools as used for stone setting are in fact too deep for nanako. A nanako punch is only about a third of a sphere.
Just curious, what would you think of making a custom spring punch for this? Would you not be able to generate enough force? would it be slower than getting into a rhythm? Or just take too much of the artistry away for your taste? great video as always!
I'd be tempted to clamp a rail as a stop for the punch to rest against across the piece. Cheating. 😃