Owen’s Heart
Trace-and-transfer silversmithing technique.
by Alan Korwin with Scott Owen

The key technique behind Scott Owen’s silversmithing is the creation of a template for each segment of the piece, on ten-box-per-inch graph paper, using a trace-and-transfer method he developed over a ten-year period. This is described in the article on Scott’s work, “Hot Rocks In Paradox,” on page 14 of the April 2004 Lapidary Journal. The next step took years to perfect, for the graph paper pattern must be perfectly glued to the silver sheet he will cut with a jeweler’s saw.

The first and largest of the silver pieces is called “the atmosphere,” and sets the tone and size for the finished piece. This term originated after Scott referred to the primary silver piece as the one that sets the atmosphere. We needed a unique moniker to clearly refer to specific parts and I suggested calling it the atmosphere — we smiled, and it stuck. We may be coining a new term here, always an exciting prospect! The smaller pieces, in a similar way, we named “elements” because Scott kept referring to the various elements.

This piece is particularly special to Scott because he and his wife, Renee, designed it together.

Begin by cleaning and lightly roughing up the surface of 22-gauge silver sheet using the Scotch-Brite™ Ultra Fine Hand pad. Clean and degrease the silver plate.

Roughly cut out the atmosphere (A) portion of the graph paper. Apply dabs of Elmer’s® white glue to the back of the design, and then rub the glued side gently on a newspaper to smear the glue evenly across the graph paper.

Apply the freshly glued paper to the silver, and then use a small roller (Scott likes the handle of an X-Acto® knife) to ensure a bubble-free and even film of glue between the metal and the paper.

The roller step is the key to suitable adhesion. The glue dries in about 20 minutes.

Gently centerpunch in the middle of each portion to be cut out.

Drill holes at each centerpunch using a #62 or #72 drill bit (choose the size that is appropriate for the space you’re drilling in) in a small drill press or flex-shaft — this hole allows space for the saw blade to be inserted.

Cut out all the internal voids drawn on your atmosphere first.

Use the saw blade gently as a file, if needed, to smooth out or ream any of the openings.

Voids can be adjusted as you go by cutting on the inside, outside, or middle of the drawn line.

Cut the outside perimeter of the atmosphere last. This allows you a larger and more stable piece to work with while cutting the voids. You can also adjust the outside shape slightly to compensate for any irregularity in the shape or position of the voids which were affected while sawing.

When the cutting is done, soak the silver in water for about 20 minutes so the graph paper peels off easily.

Repeat this process for the smaller pieces (elements), which will be soldered to the atmosphere later. Note: Element B should be cut from 20-gauge silver sheet; all other elements should be cut from 22-gauge silver sheet.

Cut out another piece of silver sheet, roughly the same size as the entire design. Solder the piece you just cut out to the back of the atmosphere, for both strength and looks. Scott uses medium wire solder for soldering the backing to the atmosphere.

To add a 3-dimensional look, dap some of the elements (those not being used to hold your stones) on a wood dapping block after cutting them out of the sheet and cutting away any voids.

No hammer is needed; simple hand pressure works and avoids stressing the metal. After dapping, the now concave elements can be sanded against a block to provide a better plane for soldering.

Cut a small circle from 20-gauge silver sheet. The circle needs to be smaller than element C and should not be visible when element C is placed on top. Solder the small circle to the back side of element C with paste solder. This will give element C extra depth when it is later soldered in place.

If you choose to add stones to your piece, as we did here, make a bezel soldered with hard solder. Solder the bezel onto one of the elements with easy solder. We soldered bezels to elements B and C. Set them aside.

Several elements may be soldered to the atmosphere at once, or they may be soldered on one at a time. To create vertical height, some elements are supported in place by bits of scrap or small balls before soldering.

Two such supports are pointed out here, and darkened for contrast. Be careful not to solder the supports in place with the elements!

Solder on any elements with bezels, using easy solder.

Saw around the outer perimeter of the piece with a jeweler’s saw, carefully evening up the edges around the backing so they match the front elements and the atmosphere.

The last solder work is to carefully attach a pin back without releasing the elements on the face. A fireblock with a recess carved out allows the piece to rest on its face, sink away from the heat, and finish the job.

The fully assembled piece will be pickled, then oxidized using liver-of-sulfur (sulfurated potash). Colored stones are set using standard setting tools and techniques. A medium polish is obtained using White Diamond® and Zam®.