Posts: 9,545 Location: Dayton, OH
Thu 10 Jul, 2008 8:39 pm
Re: I know better....
| Sam Haverkamp wrote: |
Chad,
All great points. I know how important being accurate is to the community. I don't mean to be callus to that fact. Truth is I really do want to make accurate pieces and am learning about whats acceptable and whats not.
Thanks for the tips on the Effigies. I have been looking at quite a few of them lately. Even put one on a scabbard :)
I was under the impression that not many scabbards survived other than whats been documented in drawings etc. (Im fully aware of all the Celtic examples) Is that not the case?
Thanks
Sam |
Actually, I believe that was a brass or incised slab you put on there, not an effigy. People usually use the term effigy in this context to refer to 3D sculptures of people. Brasses and incised slabs are 2D effigial carvings. If you want to get technical. :)
There are a handful perhaps of complete surviving scabbards. It depends on the era. There are fewer earlier survivors than later ones. There are a greater number of surviving fittings, sometimes rusted onto the blade.
So in addition to paintings/drawings (period art) and the surviving parts and complete scabbards, there are thousands of effigies, brasses, and slabs.
Posts: 142 Location: Pacific Northwest
Sat 12 Jul, 2008 9:23 pm
Stuff
Thanks Chad, I will continue researching and working at my craft.
Just an FYI, my metalworks are all 3 dimensional and not just engravings. The relief varies from piece to piece but the raised areas are up to 1/4 inch high in some cases. I also try to give a sense of depth differential, like the Arch around the Crusader sticks up twice as high into the Z plane.
Sam
Posts: 1,717 Location: Buffalo, NY.
Sun 13 Jul, 2008 12:12 pm
Hi Sam,
I can see the skill and passion that you put into your craft and there certainly is a market for more decorative metal fittings.
I do like the design of this particular piece and your push to provide more historically accurate pieces. I am one those with interest primarily in as much historical accuracy that can be realistically attained.
I do have one question about the different type of crosses used on the throat (normal straight, sorry don't know the technical term) and the chape which has a Celtic cross. Would historical pieces have had different types of crosses on the same scabbard? I guess this is a question for you and for the more knowledgeable than I. I understand if this is a matter that represents your keen artistic vision more so than strict historical accuracy.
Also was nickel used in period? Another issue I am ignorant of.
Thanks,
Jeremy
Posts: 425 Location: Portland Oregon
Sun 13 Jul, 2008 1:12 pm
Hi Sam
I love your work. I'm planning to commission you in the future if your still taking them them. I also love historically accurate pieces, too. But I'm not locked in to either one. I believe there are others like me out there, who wont hesitate to commission you for your exquisite talents, or someone like Aaron Schnatterley, or Russ Ellis, or Christian Fletcher for "historically accurate" scabbards. I'm looking forward to seeing what you create, so please keep us posted here.
Posts: 9,545 Location: Dayton, OH
Sun 13 Jul, 2008 1:45 pm
Re: Stuff
| Sam Haverkamp wrote: |
Thanks Chad, I will continue researching and working at my craft.
Just an FYI, my metalworks are all 3 dimensional and not just engravings. The relief varies from piece to piece but the raised areas are up to 1/4 inch high in some cases. I also try to give a sense of depth differential, like the Arch around the Crusader sticks up twice as high into the Z plane.
Sam |
Sam,
By 3D effigies, I meant "in the round" (aka body shaped). Brasses were only slightly 3D at best as they were an engraved piece (or usually pieces) of brass set into a slight indentation. Effigies are basically recumbent statues of people.
Posts: 8,310 Location: Montreal,Quebec,Canada
Sun 13 Jul, 2008 2:08 pm
| R D Moore wrote: |
Hi Sam
I love your work. I'm planning to commission you in the future if your still taking them them. I also love historically accurate pieces, too. But I'm not locked in to either one. I believe there are others like me out there, who wont hesitate to commission you for your exquisite talents, or someone like Aaron Schnatterley, or Russ Ellis, or Christian Fletcher for "historically accurate" scabbards. I'm looking forward to seeing what you create, so please keep us posted here. |
Sounds like there could be numerous people who could use Sam's pieces and work to embellish their swords, scabbards and maybe armour: The smaller production companies, individual custom makers and maybe individuals could commission work from Sam directly ? Anyway, I like the idea of talented people combining their talents on projects. In a way, stuff used to be made this way in period also: The blades would go to a cutler for hilting and probably an another artisan would be making the scabbards and another one making the fittings.
For a Prince and the period equivalent to custom work maybe one of these would be in charge of harmonizing the design features ?
Posts: 142 Location: Pacific Northwest
Sun 13 Jul, 2008 11:16 pm
Hi Jeremy,
| Quote: |
I do have one question about the different type of crosses used on the throat (normal straight, sorry don't know the technical term) and the chape which has a Celtic cross. Would historical pieces have had different types of crosses on the same scabbard? I guess this is a question for you and for the more knowledgeable than I. I understand if this is a matter that represents your keen artistic vision more so than strict historical accuracy.
Also was nickel used in period? Another issue I am ignorant of.
|
The Ionic cross on the chape is much older, and I don't believe it would be uncommon to see crosses from different parts of History as well as different geographical areas used in the same design. Knights and men at Arms came from all over Europe to join the Crusades.
Nickel has been in use since 20BC
I use it because I can get so many different finish textures out of it . It will not rust, and tarnishes little over time.
You can get just the right glow out of it without being too shiny. It really is a superior metal for the type of work I am doing.
R.D and Jean,
Thanks Much! I am working with Russ at Tritonworks on several projects. He has been great through my learning process. In fact if it wasn't for him, I would not even be working on scabbards at all. If you are on Russ's list just let him know you want me to work on your metal.
I am open to taking commisions but am filling up quickly.
:) Sam
Posts: 8,310 Location: Montreal,Quebec,Canada
Mon 14 Jul, 2008 2:23 am
| Sam Haverkamp wrote: |
R.D and Jean,
Thanks Much! I am working with Russ at Tritonworks on several projects. He has been great through my learning process. In fact if it wasn't for him, I would not even be working on scabbards at all. If you are on Russ's list just let him know you want me to work on your metal.
I am open to taking commissions but am filling up quickly.
:) Sam |
Good problem to have if you are getting TOO MANY commissions and this is where it's important to " manage " expectations as to delivery times and to not get yourself into trouble promising more than you can deliver.
At some point there is a balanced between time to make the work, how much you can ask for the work ( Dollars ) and how you handle orders that would swamp your ability to deliver in a reasonable time.
Also, the number of commissions can fluctuate wildly so giving up your day job should only come after a few years of consistent demand for your work. ;) :D If it's a secondary source of income you can survive periods of slow demands without getting stressed out.
General economic slow downs affect discretionary spending a great deal so living off a small business can be " variable "
In one way your " product " ( Well really ART but for income purposes it has to be called a product. ;) ) is " unique " and you have very few competitors who can do exactly what you do ( Talent & technology ) so I think that you can get commissions from many of the small makers out there and individuals: Si I'm sort of optimistic about your chances of success if you don't burn yourself out or overestimate how long it may take to make it into a viable business.
Oh, I also think that you are also doing work that you love so that the work doesn't feel that much like " WORK " in the negative sense.
( Disclaimer, again: The above might make me sound as if I actually " know " what I'm taking about. :lol: But I'm mostly just using " LOGIC " ..... I hope. ;) :D )
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