Mokume Gane

2D Pattern Engraving: An expert from a chapter co/written by Nicole Jacquard and Nicole DesChamps Benke for Hiroko Sato-Pijanowski's book, Mokume' Gane: Tradition and Diversification

Traditionally Mokume' Gane patterning is done by drilling, removing metal with chisels or stamping. A typical pattern is one that looks like woodgrain, and others such as X's or lines. The goal of this series was to expand on the typical ways to create patterns in the metal with the aid of innovative equipment in order to produce precise intricate patterns, such as wallpaper, using a CNC milling machine.

Once I finalized the overall shapes, sizes and patterns on paper, I imported the .jpeg image from a photograph as a background template to re-draw the lines and create the digital designs using Rhinoceros 3D, a Computer-Aided Design software. I traced my hand drawings or individual shapes using the polyline command, which allowed replication into an evenly spaced array and repeating pattern for the Waves Vase. 

Over the course of 2 years, several billets were created, some at Arrowmont School of Arts and Crafts in Gatlinburg, Tennessee at a workshop led by Tedd McDonah, and others at an invitational workshop at College for Creative Studies in Detroit, Michigan working with James Viste and Tom Madden. The billets I created at both venues were various combinations of metals including; copper, fine silver, kuromidou, and shibuichi. The Waves vase in particular was a billet of 20 layers alternating 3” x 3” 20 ga sheets of copper and kuromido. Once fused, the billets were then reduced and flattened to approximately 5mm, or 6ga, using a power hammer, by James Viste, to assure even thickness throughout the sheet.

The surface milling was then performed on the HAAS VF4 (Hamblen Machine Inc.) in Bloomington, Indiana. Once the metal was milled on the CNC machine, the original paper templates were then used to cut out the shapes of the vases. Using rawhide mallets, the forms were next shaped over metalsmithing stakes for the desired shapes. The pieces were then filed, sanded and soldered together, with some parts riveted or attached with screws.

This research is still at the beginning phases and has been challenging due to the specialized equipment in different locations that is needed to create the billets, and mill the surfaces. Since this work was created, I have been working with James Viste and Frankie Flood mailing metal back and fourth to to produce other billets with various layering combinations and experimenting with other milling options. This project is still ongoing and several grants are being pursued in order to bring together Nicole DesChamps Benke, James, Frankie, and I in one location with all the equipment to further explore using innovative technologies with the traditional technique of Mokume' Gane, and how it can used to bring new insights to patterning metal.