DIY tin figurines. Jewelry casting at home for beginners
Making a mold for pewter is perhaps the most difficult question a beginner faces. However, there are no particular difficulties here either. Before you begin directly making the casting mold, you should stock up on the necessary materials and tools in advance.
You can buy gypsum or alabaster, as well as silicone heat-resistant sealant at any hardware store. A scalpel or sharp blade is easy to obtain. Plasticine is generally easier than that. A simple pencil, dishwashing liquid or liquid soap can be found in any home.
First of all, start applying silicone sealant to the product model prepared in advance for this purpose. Silicone is applied in several layers. Apply each subsequent layer to the previous one only after complete drying. The drying time of the sealant should be indicated on the packaging.
Apply the very first layer of silicone especially carefully so that there are no gaps left. Carefully handle all irregularities and depressions. After the first layer has dried, examine it for defects. If there are gaps, cover them, apply the next layer, dry it, etc.
In the end, you should have a fairly thick silicone shell through which the model itself can barely be seen. Don't forget that silicone and plaster molds must have one or more conical holes. These holes are located with the wide end outward “at the feet” of the figure and serve for pouring tin into the mold.
When the silicone mold has dried well, make formwork for pouring gypsum. The formwork is a rectangular frame that is placed on a sheet of glass. To prevent the gypsum solution from flowing out through the gaps between the glass and the formwork, they are covered with plasticine.
Now gradually add plaster into a small amount of cold water, stirring continuously. The resulting mixture should have a consistency similar to liquid sour cream. Pour this gypsum solution into the prepared formwork. Immediately after that, drown the figurine in a silicone shell in the not yet hardened plaster halfway along the entire length. This will be half of the pewter mold.
Start making the second half of the plaster mold after the first half of the mold has hardened. This can be easily determined by the increase in the temperature of the gypsum. Now, without removing the silicone-sheathed figurine from the plaster, lubricate the finished half of the mold with liquid soap and pour the next portion of the gypsum mixture on top.
After this, wait until the second half of the mold hardens. Next, when the gypsum has hardened, feel free to disassemble the formwork and carefully separate the halves of the plaster mold.
Carefully cut the silicone shell of the model with a sharp scalpel and remove the model so as not to damage the silicone. It is also advisable to wait until the plaster mold is completely dry before casting the tin.
Immediately before pouring, generously lubricate the inside of the mold with graphite dust, blowing off any excess. Finally, assemble the casting mold and secure it with two sticks with tight rubber bands.
Now the mold for the tin product is completely ready. Start casting.
I will describe the technology for creating a form for copying Orc. In this case, he will act as a master model. The master model must be made in a one-piece mold (in principle, most models are cast in such molds). It is advisable to clean the master model from flash, clean along the parting line of the mold and eliminate defects, if any. Our form will be single-part and two-part, that is, one parting line and two types of material.
Materials and tools for making molds.
1. Sculptural plasticine (all other silicone sealants are very corroded, and this one is a little too).
2. Silicone plumbing sealant with heat resistance of 180 degrees.
3. Alabaster or building plaster. Water.
4. Vaseline (can be bought at a pharmacy) and a brush.
5. Cardboard (better glossy, less wet) and scissors.
Work order.
1. Press the master model into the plasticine approximately along the parting line from the factory mold (Photo 1). I usually place the model facing out.
2. Apply a thin layer of sealant using a match or toothpick, trying to fill all the recesses (Photo 2). Leave until completely hardened (the time is usually indicated on the tube with sealant, approximately 5-8 hours, depending on the thickness of the layer).
3. Apply another 2-3 layers so that the total thickness of the mold in all sections is at least 5 millimeters.
4. After complete hardening, it is easy to determine that the form becomes quite rigid, remove the master model from the plasticine and clean it of plasticine (photo 3).
5. Apply Vaseline to the resulting half; you don’t have to apply it to the master; the sealant does not stick to the polystyrene (although before starting work it would be a good idea to check the interaction of the model and the sealant, for example, on a piece of sprue). We repeat points 2 and 3.
6. Carefully cut the resulting cocoon around the perimeter (along the parting line), removing any irregularities (Photo 4). IN SOME CASES WE DO NOT REVEAL the form, even if we really want to see what happened.
7. Making formwork (boxes) for pouring alabaster. We make the box in such a way that there is approximately 5 mm between the silicone mold and the side walls, the length of the injection channel is 50-60 mm, and the height of the walls is 45 mm. This is not an axiom.
8. Pouring alabaster (Photo 5). All work must be carried out quickly, as alabaster hardens quickly. We dilute it with cold water to a creamy state and fill half the box, put the mold in and press it halfway. We form the injection channel, I use either plasticine or a core from a hot-melt gun. From my experience I can say that it is better to make the casting channel cylindrical rather than conical. The form should dry for at least a day. Apply Vaseline with a brush to the connector plane of the plaster mold; you don’t need to smear the plasticine and silicone mold. We spread and fill the second half of the mold. I usually wait about half an hour and separate the halves of the plaster mold (Photo 6). We dry the alabaster for at least 2-3 days (on a battery, 1 day is enough), otherwise the mold may break when pouring the metal.
9. Elimination of defects in the silicone mold. If the recess on the master model is not filled or an air bubble has formed, apply a little sealant to that place and put it in a silicone mold, then put it in a plaster mold and wait for it to harden.
Metal casting materials and tools
1. Solder (for example POS 30).
2. Alloy Rose (If desired and available).
3. Graphite (pencil or graphite electric brushes) and brush.
4. Casting ladle - crucible (made from a ladle; after finishing work it is better not to use it for its original purpose))).
5. Rope (do not use if something went wrong in the work))).
Work order.
1. Rub the graphite on sandpaper, apply it with a brush to the entire surface of the silicone mold, blow off the excess (Photo 7).
2. We assemble the form and tie it with a rope (Photo 8) (preferably not synthetic, in case of metal spillage). It would be a good idea to protect the surface of the table (later there may be problems with your family, unless of course the table is your own) and turn on the hood above the stove (if there is one).
3. Melt the solder in a crucible and pour it into the mold. The first pour is to warm up the mold and at the same time all flammable components burn out. We wait for the metal to harden, open the mold and remove the casting (with pliers since it is still hot). We assemble the mold and melt more metal, if available, add Rose alloy (5-10% of the weight of the casting), it improves the pourability of small relief (Orka presented in this article, I cast only from solder).
If you don’t want to melt the metal, then you can pour in epoxy resin; it’s better to remove the silicone mold from the alabaster mold to avoid it sticking together when the epoxy spills
how to cast a pipe from tin?
Doesn't the terminal get scratched when you press it with your nails?
thank you very much
If you mix 50-50 tin and lead on the floors, will it turn out hard without scratches?
Hello, I found tin a little very expensive. Can you tell me what proportion to mix tin and lead so that the figures are hard and not scratched?
Hello. I couldn’t find tin to make a small figure made of lead, about 5 cm by 2 cm. The figure came out well. But it gets scratched if you add it with your nails. Can you tell me if tin scratches just as easily?
Hello. Where can I get tin for casting?
Zedrasviti MICHAEL you can distort what Silicone Dogs were poured
In YouTube videos, casting tin into silicone is lubricated with some kind of powder every time before casting. And what kind of powder is it?
What did you use in the dog video? Can you write exactly?
I watched it on YouTube toodecor, it tears like paper. I’m completely confused
In this video of the plaster dog, what did you use?
They say that Alcorsil is not resistant to tin, please help me figure it out
Hello. I found Alcorsil in an online store and wrote. They recommended tooldecor for casting tin. Have you worked with tooldecor, is it resistant to tin?
Can you write the name of the silicone I can’t find it
Hello. Can I tell you what kind of silicone this is from which manufacturer? And how many times can you cast one tin mold?
Hello. Can I find out what kind of silicone it is from which manufacturer? And how many times can one mold be cast in tin?
The material in the video is very similar to POS 40, it is 40% tin and 60% lead!
Good afternoon What kind of silicone do you use? Is there a video on how to make the form itself?
very informative video, the shape of these dogs is how many times can you take a cast, more than a hundred times?
How many cycles does a silicone mold withstand?
Hello. I live in Baku. They ask all the carburetor sellers here, no one knows what tsam is. Some say that the carburetor is made of aluminum, some and some say it is made of zinc. Can you tell me exactly which carburetor of which car is made of tsam?
Are these the carburetors of old Soviet cars? VAZ-gaz?
thank you very much
Tin casting about 30 g
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What kind of likon?
tin pig imetalua.com/tin-ingot/
I have been working long and hard to create aluminum molds!)))
Babit is a thing! but darling
Hello, if I make it out of metal, will the shape, like yours, also cool quickly?
but for me it doesn’t work out that way. air accumulation occurs.
Have you ever worked with tin powder? Just pour it in and it will melt or do you need to add some kind of acid?
What is the maximum temperature your stove produces?
Tin has been known to mankind for quite some time as one of the purest metals. Tin was also famous because it does not rust. Mentions of tin can be found in manuscripts from the pioneer countries of metalworking: India, Ancient Greece, the Roman Empire, etc.
Its first use was to form an alloy of bronze together with copper. Tin was used in its pure form back in Ancient Egypt - coins were minted from it and jewelry and utensils were created using the casting method. Casting involves filling pre-prepared molds with a material, in this case metal, and then allowing it to harden.
Tin casting was popular in Rus', and in the 15th century a foundry working with tin was opened in Kyiv. The scope of activity of the Kyiv foundry workers did not differ much from the Egyptian ones: casting was used to create dishes, jewelry and religious elements. Peter I actively developed tin casting: during his reign, cast buttons and medals made of tin appeared, and openwork casting was also used to create ornamental elements, for example, in mica lanterns. This technology was used mainly in cases where an openwork tin part was attached to some other material (most often wood), since the resulting structure was quite fragile. This is due to the softness and pliability of tin.
Casting is a complex technological process that includes not only the casting of metal itself, but also the creation of a casting mold. The casting temperature plays a huge role: underheated metal will leave a smeared mark, and when pouring overheated metal, shells will remain on the surface of the casting. Therefore, the temperature of the metal should be about 360 degrees. At this temperature, a yellowish film forms on the surface of liquid tin.
Today, such casting technologies as chill casting, volumetric casting, and bas-relief casting are used for tin.
Die casting
For chill casting, a special device is used - a chill mold.
A die is a metal mold that is made primarily from cast iron and steel to produce castings. On average, one chill mold lasts from 100 to 10 thousand pours; the durability of the mold directly depends on the metal from which it is cast, as well as the alloy that is poured.
Chill casting differs from other technologies used for tin casting, as well as from all mold casting technologies. With this type of casting, all processes, including filling the mold and solidification of the alloy, take place under the influence of gravity alone. The use of a chill mold makes it possible to obtain castings with a fine-grained, dense structure, but requiring subsequent annealing.
Bas-relief casting
This type of casting is used to produce convex shapes and, as the name suggests, metal bas-reliefs.
For bas-relief casting, a special plaster mold is used, for production of which a flask is used - a molding frame. The casting mold must have stops and sprues. Vents are holes for venting casting gases and air that filled the mold before casting, and sprues are holes for filling the mold with metal.
The main feature of this type of casting is that the height of the relief above the background is usually standard; on average, it does not exceed 1/3 of the flat dimensions of the product.
Volumetric casting
With the help of volumetric casting, curved reliefs and full-volume figures are obtained.
For volumetric casting, as well as for bas-relief casting, a casting mold. But to create it, it is not a flask that is used, but a special glass tube, which can be replaced with a plaster rod during operation. The blank model is made of plasticine. Of course, plasticine is a soft material and it is not able to convey all the small details, so the process of processing the cast product is very important.
Finishing the casting
Pewter casting goes well with a variety of finishes: embossing, engraving.
Engraving is the application of a design, inscription, or ornament on tin by cutting out using a serviche or scraper. Embossing is the application of a drawing, inscription, image, by the method of knocking out a certain relief using embossing.
Relief features are usually emphasized using tinting. Tinting is a chemical change in the color of metal, in which a permanent film is formed on the metal. Typically, tin is tinted using copper sulfate. This metal is often decorated with inserts of mother-of-pearl, beads, amber, colored glass, stone, and ceramics.
Today, rubber-gypsum molds for casting, made of sealed rubber, are gaining popularity. They allow you to detail the surface pattern of the product.
Over time, copper, bronze, and silver became more popular metals among decorative casting. Jewelers and miniaturists, however, sometimes use tin in casting to create a model, which is then transferred to the hardest metal.
It is also worth noting that tin is a fairly rare, traceable metal, so today it is widely used, mainly in alloys and for coating other metals for corrosion protection.
Daria Kutsovskaya
Tin casting has been known to mankind since ancient times. As early as 6 thousand years BC, decorations were made from tin in Egypt. Mentions of this metal are found in ancient Indian, Greek, and Roman literature. In ancient times, coins and tin vessels were in use.
Tin casting was also practiced in Rus'. Utensils, decorations, and religious objects from the times of Kievan Rus have reached us. In the XIII-XV centuries, this craft reached great development in Ukraine, in the cities of Kholm, Volodymyr, Przemysl, Lutsk. In the 15th century, a foundry was founded in Kyiv that produced tin products.
Tin casting became widespread under Peter I. In those days, tin buttons, cups, dishes were used in everyday life; there were also medals made of tin. The finest patterns were used to fasten mica plates in lanterns. However, in the 18th century, casting from copper, bronze, and silver gradually replaced tin, and today ornamental casting, widespread in ancient Russian art, is almost forgotten. The techniques of this interesting artistic craft of antiquity have been lost. Today, only a few artists here and there work with tin. Not long ago, Czech jewelry makers again turned to this metal, delighting connoisseurs and a wide range of consumers with original bracelets, brooches and other products.
For amateur artists who want to try their hand at casting, tin is a fertile material. It attracts primarily with its beautiful color, similar to the color of silver, its manufacturability - low melting point, ease of toning, plasticity, which makes it easy to engrave, mint, “sculpt” with a soldering iron, adding or subtracting metal.
In skillful hands, using simple equipment, silver ingots are transformed into expressive miniatures that perfectly convey plasticity: sculptures, medals, brooches, bracelets, cufflinks, tie pins, original embossed or openwork buttons and the like. Openwork or relief plates of a larger size can be used to decorate boxes, door hinges, handles, and keyholes. The plates, superimposed on a background of wood or stone, can serve as independent wall decorations. Finally, quite large things are made from prefabricated parts: lanterns, sconces, candlesticks, caskets.
Pewter casting is easily complemented by a variety of finishes such as coinage ,engraving, Tony roving. Often the product is decorated with inserts of mother-of-pearl, beads, amber, colored glass, stone, and ceramics. For the same purpose, cold enamel is used - epoxy glue mixed with pigments or artistic oil paints.
In addition to its purely artistic function, jewelers and miniature sculptors use tin casting as an intermediate stage for converting a tin model into a harder metal - silver, bronze, cast iron, cupronickel, stainless steel. Tin makes it possible to more clearly work out the smallest details, which is not possible with models made of plasticine or wax. Skills in working with tin allow you to move on to casting from more refractory metals.
What does an amateur artist need to start doing this exciting business? Here are the basic materials and tools: tin or tertiary (an alloy of 2/3 tin with 1/3 lead), plasticine and beeswax for modeling models, plaster, white turpentine mastic for polishing parquet floors (can be replaced with shaving soap), mortar copper sulfate with potassium permanganate, a homemade centrifuge (Fig. 1), miniature coins made from knitting needles.
There are several main methods of casting, which incorporate the experience of ancient crafts and modern technology for producing metal works of art. In relation to tin, these are the methods of bas-relief casting, volumetric casting and chill casting. We will tell you about each of them in detail.
Bas-relief casting. A characteristic feature of bas-relief casting is a certain height of the relief above the background - it usually does not exceed 1/3 of the plane dimensions of the product.
The work begins with making a model from plasticine. It is most convenient to sculpt on glass or plastic (Fig. 2). The finished model, for example, a bas-relief of a decorative lattice or a bas-relief image of a person or animal, is filled with plaster solution. It is very convenient to prepare it in a rubber bowl (a rubber ball cut into 1/3 or a medical syringe); such an amount of gypsum is poured into it so that its top protrudes slightly above the water poured into the bowl. When mixed, the solution should resemble liquid sour cream in thickness.
The first layer of plaster is applied to the model with a brush, preventing the formation of air bubbles in the recesses; then the model is placed in an enclosing frame (opka), which will not allow the plaster to spread when pouring the entire volume (Fig. 3). After 10-15 minutes, the plaster will harden and the cast (half-mold) of the model is ready. The plasticine is removed by stacking under running warm water.
Using the same flask, a second half-mold is cast - a solid plate of plaster. On its smooth side, sprues and piers are cut (Fig. 4). Sprues are the holes through which metal fills the mold. Vents are auxiliary openings through which, under the pressure of molten metal, air and casting gases exit the voids of the mold.
Both halves are folded together and tied with soft copper wire, the seam is filled with plaster. A funnel is made at the upper end of the mold halves (from the bottom of which the sprue begins), molten tin will be poured into it. The finished plaster mold is dried on a very low heat on a gas stove for about three hours at a temperature of no more than 150-200° (Fig. 5). You need to make sure that the drying proceeds slowly, otherwise the form may collapse.
After the production of the mold is completed, the actual casting can begin. It begins with the melting of the metal. To obtain a high-quality casting, it is important to maintain the optimal melt temperature. A sign that the desired temperature has been reached is a straw-yellow film formed on the surface of liquid tin. The melt at this temperature should be poured into the mold.
Neglecting these requirements will have a negative impact on the casting: underheated metal will give a smeared imprint, overheated metal (more than 360°) will recrystallize the plaster of the mold, and vapors of crystallized water will leave shells on the surface of the casting.
The cooled mold is placed in a centrifuge bowl, the metal is quickly poured in and the centrifuge begins to vigorously rotate in a vertical plane. Under the influence of centrifugal forces, the molten metal will fill all the smallest recesses of the mold. If the model does not have small parts and significant recesses, you can do without a centrifuge.
The rotation of the centrifuge lasts no more than half a minute. During this time, the metal crystallizes and hardens. Once the tin in the mold has hardened, the mold is lowered into a bowl of water. Soaked plaster is easily removed, and the casting is freed; all excess metal is cut off from it: sprues, vents, etc. If the casting turns out to have defects - cavities, underfilling - the lack of metal can be compensated for using an 80 W electric soldering iron.
Then they begin the final finishing. What could not be done in plasticine is now accomplished on metal. The casting is secured with sealing wax on a wooden plug or board and clamped in a vice. Processing is carried out with scrapers, coins , with stichels .
During processing, the tin becomes shiny, and the glare makes it difficult to see the shape. They can be removed by tinting with a solution of copper sulfate. Vitriol gives the product a grayish-black tint, reminiscent of old silver. After final polishing, the tint should be retained in the recesses. This technique manages to further emphasize the relief.
Often, in order to reduce the weight of the product and obtain a thin-walled casting (it is less susceptible to shrinkage cavities), plasticine is partially removed from the first half of the mold, retaining only the front shell 2-3 mm thick. The second half-mold should be convex and correspond to the voids on the reverse side of the future casting. To make such a mold, semicircular locking holes are made in the margins of the first half, and then, together with plasticine, they are lubricated with a release agent - turpentine mastic for floors or soap foam. The second half-mold is cast with a release agent on top of the first half-mold. Then the half-forms are separated and the plasticine is removed. On the second half of the mold, sprues and vents are cut, and a sprue funnel is cut on both. The mold for casting medals is made in much the same way. During casting, you only need to place it not strictly vertically, but obliquely, at an angle of 30-40°. In this situation, the casting of medals is of better quality.
Volumetric casting. Unlike bas-relief, this type of casting can be used to produce curved reliefs, rings and rings with ornaments around the entire perimeter, full-volume figures .
We will describe the technology of volumetric casting using the example of making an artistic ring. And in this case, the work begins with creating a plasticine model. The ring of the intended shape is molded in microstacks on a glass test tube with a diameter of 18-20 mm. There is no need to be upset if you cannot finely work out all the details of the ring. Due to the softness of the material, this is impossible to achieve. All fine finishing will go into tin casting.
After the model is completed, the production of the casting mold begins. Plaster diluted to the consistency of sour cream is applied in several layers to the model. The first layer, the so-called facing layer, 2-3 mm thick, is applied with a thin brush. Its tip is used to fill all the depressions in the plasticine. Plaster should not be applied in large drops, otherwise air bubbles may remain between the plaster and the model. A second layer of greater thickness is applied in a stack when the diluted gypsum is already beginning to set. Next, plaster is added to the model so that the sculptural image is at the bottom and the casting funnel is at the top (Fig. 6).
When the form has set, it is placed under running warm water. The plasticine will soften, and then it will not be difficult to remove the glass tube from the mold. Next, the plasticine of the model is removed using a stack under a stream of warm water. The removed glass tube must be replaced with a hollow plaster rod, which will take its place in the block mold. The rod is made like this: the same glass tube is wrapped in two layers with wet writing paper (Fig. 7), the paper ring is moved along the test tube to its bottom (Fig. 8), and gypsum is poured halfway into the resulting paper cup. After 1-2 minutes, when the gypsum begins to set, it is dispersed in a stack along the walls and bottom of the paper cup, and then the upper hole is sealed with gypsum. A cavity in the gypsum rod will be needed during casting; a reserve of molten metal is formed in it, where shrinkage cavities will collect.
The finished rod is inserted into the mold hole under running water, turning slightly in both directions for grinding. The plaster mold must be equipped with a system of sprues and projections. First, the sprues are drilled into the core, connecting its volume with the largest volume of the mold. The core is then inserted into the mold and the main sprue is drilled between the casting funnel and the core cavity. Next, the holes are drilled (Fig. 9). The wet plaster mold is so soft that sprues and sprues can be drilled while holding the drill bit directly in your fingers. It is quite acceptable to drill sprues and holes with a stack, the tip of which has the shape of a round spatula.
After drilling, the rod must be removed from the mold and the remaining crushed plaster must be washed off. The washed rod is finally inserted into the mold, and the two annular slots between the rod and the mold are covered with liquid gypsum. The mold is ready to dry. Dry the block mold very carefully. The operation of pouring tin into the mold, as well as all subsequent ones, proceed in the same order as during bas-relief casting.
Figures of humans, animals, etc. are cast into full-volume one-piece molds. In this case, the model is molded from soft beeswax or cut from harder technical wax. To make a model, take a metal rod and dip its end into molten wax several times to form a pellet - a blank for modeling. Before molding, two pieces of thin wire are stuck into the finished model into the plaster - they will create channels for protrusions. The sprue will be formed by the removed metal rod.
The plaster mold is made as described above. After hardening, it is kept in boiling water until the wax melts and comes out along the sprue and vents to the surface of the water.
Chill casting. The entire history of tin casting is connected with chill casting. From the monuments of material culture that have come down to us, we know that even ancient foundry workers used chill molds, and they were detachable. They were made from baked clay (ceramics), limestone and natural gypsum anhydrite. True, such forms were fragile and did not last long. Forms made from natural slate, coil, lead and bronze turned out to be more durable. From the 15th century they began to use copper, and from the 19th century to this day they use molds made of cast iron and steel.
At home, chill molds can be made from gypsum or abrasive stones. A durable plaster mold is obtained by mixing the gypsum with a liquid consisting of four volumes of water and one volume of saturated borax solution. The so-called marble gypsum is also used in chill casting. There are two recipes for making it. First: add one part of borax to four parts by weight of gypsum and add water to the consistency of liquid sour cream. Second: gypsum is mixed with a solution of wood glue. Add enough glue to the water so that the fingers just stick together slightly. It should be borne in mind that all these additives increase the hardening time of the gypsum.
In addition to plaster molds, you can use molds made from abrasive stones (for example, for straightening razors) and slate stones. A three-dimensional sculptural image is engraved in their thickness. The protrusions are cut with a stylus around the image and pulled upward to the sides. To pour tin into split molds, cut out a funnel (Fig. 10).
The final operations for processing a tin casting include finishing the parts with gravers and, if necessary, chasing, engraving and toning.
Embossing and engraving are carried out using the usual techniques, so we will not dwell on them. Let's talk in more detail about tinting tin.
Toning - color change - is carried out chemically. A persistent decorative film is formed on the surface of the metal, emphasizing the shape of the product, its relief, softening the shine of pure metal.
Here is the composition that colors tin the color of old blackened silver: for 100 ml of water take 5 g of copper sulfate and 0.5 potassium permanganate. The product is placed in a solution, the density of blackening depends on the exposure time.
And here is the method of copper plating (contact): the product is rubbed with a paste of 10 parts of copper sulfate crystals, 1 part of ammonium chloride, 1 part of table salt, 2 parts of fine sand and water. Most often, commemorative medals are tinted using contact copper plating.
In conclusion, I would like to wish foundry artists successful mastery of this fascinating ancient craft.
