repoussage

CHAPTER 1
Brief history of embossing
The work with metals has a long cultural tradition, dating back to antiquity.
beautiful pieces in that material and it is in the middle of the Middle Ages when they reach a
high aesthetic and artistic level.
Repoussé is a very ancient technique, it comes from Europe and is derived from Icons, which are
sacred and religious images, painted on panels. Starting from the 12th century, the embossing began to
to peak since at that time, icons were made available to the parishioners to
to venerate them, but with the smoke of the candles and the closeness of the votive candles, the paintings with time
they began to get stained. It was then that they started to cover them with precious metals like
the gold and silver to protect them from smoke and from being touched.
The name of repujado comes from the French word 'repulsare' which means to push. towards
outside or as a Latin term, to carve figures or relief decorations in metal or leather.
This technique was used for a few centuries and then forgotten. Later, already in this century, starting from the
In the '20s and '30s, embossing began in Europe, primarily in France, and everything started.
an industry, but icons were no longer made, only what is called object art was created
such as lamps, vases, boxes, frames, and trays, among others, but again, this art, with the
wars were lost and it wasn't until about 20 years ago that it began to gain popularity in Europe.
(mainly in Spain) and Mexico, but it has only been about 8 years since it achieved true success in
the country Mexico.

The embossing itself is a very simple technique, not complicated, which however can be
obtain true artistic pieces by making them carefully and with great care.
Next, we will learn about the materials used in this technique with a brief
description of several of them.

The materials

Before and still today, the materials for working embossing are imported, the best metal, the
the noblest and more ductile for this craft is tin. Gold, silver, and can also be used
copper for making decorations for the kitchen like still lifes. For other metals like aluminum,
I recommend using the national tool since the Spanish one, as it is chrome-plated, can be
to scratch.

Tin
Each sheet has two sides; the front, with a more silver tone, and the back, with a more
plumbago, where the metal embossing is done.
Buriles
They are iron tools that end in a small ball at one of their ends with which one
work.
We will find this utensil in different thicknesses, choosing one or the other depending on
design to be carried out.

Profilers
They are iron tools, very similar to burins, except that one of their ends is pointed.
There are different thicknesses.

Popsicles
Flat-tipped burins that are used for repoussé work on metal in various tasks. There are different types.
sizes and thicknesses.

Blenders or Smudgers
A tool shaped like a pencil made of paper, which will add volume by the reverse side of the metal.
gently manipulate to avoid leaving a mark.
They are used in artistic drawing.

Suede
It is used as support in the embossing process, as in this work, it is necessary to place
the sheet on a soft surface, to obtain the volume of the embossing.

Cutting Punch or Scalpel

The cutting punch ends in a round tip with a sharp profile with which we will cut the
metal sheet, making a clean cut without damaging the rest of the sheet. This tool is
very useful for cutting curved areas. The stylus is a flat blade, with which you can also
to make cuts, but it is preferably used for straight lines, without any type of curve.

Cutting Board
This can be replaced by a thick glass plate. It is very useful for engraving.
embossing. It also serves to cut metal, since as it is a smooth surface, the tool does not
it gets damaged.

Virgin Wax and Resin, or Bitumen

They should be mixed and melted in a ratio of two parts wax to one part resin. Once
dissolved, the liquid is deposited in the hollow of the embossing, leaving it to dry until it hardens.
complete. In this way, the shape maintains the volume of the embossed design. If you want
remove the excess, using a cloth soaked in turpentine.

Patina
Special liquid made from acids that only reacts with tin and is applied
to obtain a darker tone, acquiring the characteristic color and quality of silver
aged. It is applied with cotton, left to act for a few moments on the metal, and then removed.
gently with the magic cotton.

Cotton Candy
It is cotton that already contains special chemicals and that acts on the patina, to subsequently
polish the design and give it shine, ensuring that the background of the design remains darker and in the
brightened clearer. This is done with a cotton cloth, preferably a t-shirt,

Wheelbarrow
It is a tool similar to the profiler, but on one end it has a wheelbarrow that provides
rotation around its axis. This tool comes in different designs and sizes, they are essential.
to decorate and give a beautiful finish to the works.
Technique
To begin with, the first thing to have is a design, from there, it goes to paper.
Albanene so that the tracing on the metal is faster, as it is important to ensure that nothing is missing.
a single line.
Each teacher develops her own technique, mine is: to trace the design on the back of the metal and
shape it on the same side. After that, flip it over and define it with a profile tool.

Then, with a diffuser and over the suede, the embossing begins. The next step is
Detail. Many times the designs require a lot of embellishments, these are made with wheelbarrows that
They come in different designs. Then wax and tar are applied, it is left to dry, and the patina is applied.
the magic cotton and it is polished with the t-shirt.

Below are several images of the instruments, so you can get a better idea.
clear of the materials.

Stiletto pear.
Ball point No. 5.
3. Teflon crayon smudge.
Spoon scalpel.
5. I smear it with a Teflon spatula.
Hook profiling scalpel.
7. Teflon crowbar blade # 2.
8. Large teflon crowbar knife.
Rubber roller.

Magic teflon pencil tip.

2. Magic teflon crayon tip.
3. Round magic tip made of Teflon
4. Teflon goat leg # 1
5. Teflon light goat foot.
6. Deep teflon frying pan.
Sheet cutter knife.
2. Puncturing stilettos.
3. Short punch needle.
4. Small spatula knife.
5. Spoon scalpel.
6. Pear blade for small.
Spanish spoon scalpel.

Ball drills or ball molds.

 CHAPTER 2
How it is done (general process)
The following process explained is applicable to most of the work and designs in
the embossing, the rest is a matter of talent and imagination.

Material list
Albanian paper
Adhesive tape.
Pencil and ruler.
Cutter. Scissors.
Natural suede.
Pad (cushion for embossing, synthetic fluffy leather Cotton. 25 cm. of cork).
Special magic cotton for tin.
Plastic spatula.
A wooden table of 25 cm.
White Comex plaster. (If it's not available in your area, ask for something similar at your craft store.)
closer
Resistol 5000. (If it's not available in your area, ask for something similar at your craft store)
nearby)
A 25 cm glass.
Cotton canvas.
Disposable elastic gloves.
Wedge-tipped sticks or a flat screwdriver.
Black feather.
Special patina for tin.
Patinas for Aluminum such as: Judean Bitumen, black paint patina, stained glass paints and paints to
oil (all these products are optional and are used only in the jobs that require them).
Sheets of tin, aluminum, and copper. Shades of #4, 5, 6, 7, and 8.

Procedure:

1.- Trace or transfer the design we want or have drawn onto tracing paper, holding it in place.
with adhesive tape.

2.-Iron previously with a rubber roller onto a piece of tin measuring 17.3 by 10 cms in width;
the design measures 19 by 12 cms in width.
Leaving a free margin of 1 cm. on all 4 sides, place the tin piece on a
folder of cardboard and on the yellow side of the tin, place the traced design holding it with
adhesive tape.
Note: Remember that the tin sheet has 2 sides: one slightly yellow side which is the side
right side and the reverse side in lead gray or bluish silver.
Transfer the design onto the yellow side of the tin, using a ruler on the straight lines, passing with
the tip of the pear-shaped stylus, pressing enough for the lines to be marked on the sheet
of tin.

With the same stylus, trace the details of the drawing, leaves, flowers, lines, small circles, etc.

El proceso de pasar el diseño sobre la lamina es parecido a la forma de repujar que se realiza en
Spanish card making on the lines marked on aluminum paper. Optionally, one can ...
use other tools to transfer the design onto tin, such as: magic pen (pen without
ink), fine point stylus, magic tip (Teflon pencil), or ballpoint stylus #5.
Note: Any of the utensils used to transfer the designs onto tin sheets,
aluminum or copper, it must have a completely smooth tip so that it does not tear or perforate the sheet,
The tip should be pressed hard enough for the outlined mark to be very clear. Furthermore, the
The ideal way to carry out this work is on a poster board that does not exceed in smoothness or in
hardness.

This is how the design should look on the tin sheet, this is the right side.
3.-Place the tin sheet over a piece of natural suede, placing the blue reverse side down.
silver up, on this side reverse of the past design, emboss with the crayola stump of
Teflon working on straight lines with a ruler, slightly embedding the sheet onto the suede.

This process is what we call "repoussé"; its objective is to highlight the lines to the side.
opposite [right side].

4.-On the same side of the sheet and over the suede, repeat the operation, but now with a
Cardboard blending (#5 or #6) over all the previously embossed straight lines.
With the blending stump, emboss by slightly widening the lines and giving them a bit more depth.

CHAPTER 3

5.- Place the tin sheet on a glass, working from the right side 'ironing' the areas.
shading and surrounding the previously highlighted lines, using the blending tool.
The process of "ironing" aims to flatten and smooth the sheet, achieving this so that the
embossed areas stand out even more.

6.- Iron again all the areas next to the lines made using the knife.
of goat, while outlining the highlighted lines, the size of the goat leg stylus
it will depend on the narrowness or width between 2 lines. This process is known as 'profiling' with
which begins the thinning of the raised lines, the 'profiling' can also be done
with a very small ballpoint, with the tip of a Teflon stroller, as we indicated in
overhead photograph.

It should be noted that the flattening and profiling are done on the glass and on the right side.

7.-Place the sheet on a padding (synthetic leather, a little more cushioned than suede)
natural), working on the reverse side, "enhancing" with the blending stump in small circles next to the
straight lines, as in petals and leaves, preferably starting from the central areas.

(Note: "highlight" or "dim" although the terms are different, the procedure is the same).
The 'enhancement' process is done by pressing the blending stump in a circular motion, without going beyond the limit.
from its lines, it can alternate thick-tipped smudgers in large arches, or thin tips in
narrow zones or next to the lines, [this should be the 3rd step of the procedure if the design does not
had straight lines at the edges]. [As a rule of thumb, any embossing work where
I need to 'highlight', it should start in the central areas of the design and gradually finish in
his procedural steps, moving towards the shores, with this it prevents spoiling the work.
So this is an exception due to the characteristics of the design.

If you chose to start in the central areas, you could no longer use the rule to emboss the lines.
lines, I would have to remove the ruler. Preferably, it should be enhanced by areas so that the
the sheet does not deform.

8.- Place the tin sheet on the glass, working on the right side 'iron' with the
faded in the free arches and alongside the raised areas, recovered the shape in petals and leaves.

Repeat step 7 enhancing the petals of the edges.

Repeat step 8 ironing the arcs next to the raised areas.

9.-Place the sheet over the glass and "outline" the lines of the raised areas with the tip of the
Crayola teflon blending stump.

Repeat steps 7, 8, and 9 alternating these procedures as many times as necessary to give it
shape to the design.

10.- "To outline" or "to highlight" the small circles next to the straight lines, using a ballpoint #8.
work equally in the centers of the flowers.
 CHAPTER 4

Iron around the center of the flowers and circles with straight lines, also outline with the
Teflon crayon tip.

"Profile" all the lines of the highlighted areas in: flowers, leaves, small circles, and lines
lines, using the hook stylus to outline the silhouette of each area in shape
independent.
The 'profiling' must always be done by placing the sheet over the glass and working from the side.
right of the same.

13.- Placing the sheet over the glass, "iron" from the right side with a blending stump on the
vertices of each petal giving the rounded shape.
14.- Placing the sheet over the leather, 'enhance' the edges of the petals from the back.

15.- Place the sheet over the leather on the reverse side and emboss the lines of the leaves with the
blunt stabber.

16.-With the blunt punch needle, create the scoring on the petals, around the central circle.
17.- Place the sheet on a paper napkin and on a glass to perform the calligraphy on
the right side, in all flat areas using the blunt tip knife, and working in a way
of an "S".
"Calligraphy" refers to all engravings made with a point; calligraphy can be performed.
dando formas distintas como: puntos, círculos, ochos, líneas curvas, rectas, paralelas, diagonales y
combinations. Optional use of the maters, moles, and rollers to shape
specials that decorate the work in the mine.
Note: The calligraphy and the matting can be done either before or after having glued the sheet on.
the intended piece made of wood or glass.

18.-Fill all the recesses and recessed areas with Comex white filler.
The mixture is ready to be applied directly) or with tar and wax that have been prepared beforehand.
(this other method is explained in the following lessons). Apply the Comex Filler with a
spatula until it has a smooth surface and leave it to dry until it hardens.
 CHAPTER 5

19.- Trim the excess sheet. The most common and easiest way to do it is with scissors, although
It depends on the shape and silhouette of the design, in the photo on the right we used a sheet cutter.
for this purpose. In some jobs where a special finish is required, they are carried out
punched with very close dots using a needle punch, just like it is done in card making
Spanish the process of chopping and tracing.
Note: The cut in any of its forms must be made when the design is already complete.
dry putty, otherwise the sheet will deform.

20.-Apply resistol 5000 or yellow glue to the back of the sheet and place it.

immediately over the wood. In some cases, for convenience, the adhesive is applied to the
surface where the finished design will be applied.
Press the sheet carefully until it sticks.

21.-Apply the special patina for tin on the finished work, [using rubber gloves,
this patina is a somewhat harmful acidic chemical compound for the skin. Apply the patina with cotton
smooth across the entire surface of tin, rubbing quickly.

22.-Immediately rub with the special 'magic cotton' for metals, over the entire surface.
where the patina was applied.
23.- Rub the entire surface of the tin with a cotton cloth until it achieves its natural shine.
The special patina for tin has the property of highlighting its characteristic color and shine; it gives a
protective cover, conservation and maintenance of the finished work.

CHAPTER 6

Works on aluminum and copper sheets.

Aluminum foil can be worked on both sides, unlike tin.
On the copper sheet there are also two sides, a bright yellow and shinier one that is the side
right and the other opaque side which is the reverse side.

Both in the tin, aluminum, or copper sheet, the procedure and the steps to follow are the same.
Regarding the way to pass the design, the embossing, highlighting, and profiling, using the same
utensils, since the result is the same, only that tin is more flexible, easier to work with, and looks better.
more beautiful.

In aluminum sheet work, black paint or Judea bitumen patinas are applied.
dorada).

Application of Stained Glass Paints:

The aluminum sheet can optionally be painted with stained glass paints, using
brushes, being the most suitable surface to accept this type of paint.

You can also decorate the works in aluminum and copper sheets with oil paints.

The Skates

Golden Patina [Judean Wax]:

The golden patina has the property of giving an antique or aging effect in copper color.
gold or light brown, its purpose is to beautify and decorate the work, it is even used as protection
and maintenance.

Black Patina [Black Painting]:

The black patina is also applied to the aluminum sheet, to give an antique effect.
aging leaving the work in light gray, dark gray, with silver contrasts
black, depending on the amount of patina applied as well as the amount of rubbing and
cleaning.

The goal of black patina, just like Judean pitch, is to decorate and maintain.
to the completed work.
Application of Patinas:

Apply the golden patina (Judea wax) with a sponge brush over the entire surface of
work finished, let dry for about 5 minutes and rub with fine steel wool until the desired color is achieved.
The more you rub, the lighter the color will be; if the color does not convince you, you can apply another coat.
patina, rubbing a few times so that the color is darker.

Shake the jar of black patina and apply it to the aluminum sheet using a brush.
sponge, let it rest for 15 to 20 minutes and also clean with first-grade cloth.

The black color clusters a little more in the crevices, the more it is rubbed the lighter it will be.
effect on the finished work.
Preferably, the varnishes are applied when the sheet is already glued to the box, altarpiece or
glass, etc.

In works such as boxes, picture frames, altarpieces, chests, crosses, etc., a prior mold must be made.
on Albanian paper in the area where the finished work will be glued.
It is very important to have the exact measurement of the box, as many pieces come deformed.
measurements of the sides.

On the albanene paper template, transfer the design, centering and fitting perfectly. Fold the
template in 4 equal parts; the fold is even more important when the drawings form squares or
rectangles, you should even fold the template beforehand before tracing the design so that
distribute all the reasons equivalently.

In all the work done on boxes, frames, altarpieces, crosses, etc., profile the edges.
immediately after having attached the sheet, the profiling should be done with an orange stick or
with a screwdriver crushing and bending the excess sheet over the wood.

There are jobs that require applying glue on the excess edge of the sheet, otherwise...
It can be cut with a cutter.
In cut-out or trimmed work in its silhouette, outline the edges with a tapered stick.
one of its tips or with a screwdriver, inserting the protruding edges of the cut inwards
inside.

This is done when the glue has completely dried.

CHAPTER 7

Another step-by-step exercise

Now that we know the basic steps in the embossing process, we will move on to do another one.
exercise, where the use of tar and wax will be explained when repairing our work.

This is the design used for this exercise, to download it click on the image and when
the image appears large, right-click on it and select 'save image as', and that's it.
Once you have it, print it out and follow the instructions that follow.
Materiales:
The design of the horse
Albanian paper
Spanish tin sheet
1 fine drill
1 fine marker
2 wheelbarrows, one small (to decorate the horse's reins) and another wide (to texture the background)
1 medium blender
Suede
Thick glass plate
Wax and tar
Patina for tin
Cotton candy

Preparation
1.-Trace the design with a pencil on tracing paper and place it on the tin sheet for the
reverse (remember that that side is darker and the right side is more pearlescent).

With the albanel profile cutter on the tin working on the glass, check that none are missing.
single line.

2.-When you have finished tracing, go over the entire drawing on the suede again, and flip it.
to the right, then, with the fine profiler, carefully shape it so that the
lines remain very fine but at the same time firm.

3.-Once the profile is finished, the embossing is done using the medium blending stump. The
Flat parts are pressed against the glass and the more raised parts, with the suede underneath.

Make sure it doesn't become dented or raised too much; you will have to work in low relief, that is to say,
make sure the embossing is even, without exceeding in some areas more than others.
4.-Once all the relief is finished, heat wax and pitch in equal portions in a container.
in liquid state, with a spoon filled upside down with this mixture, being careful not to fill it
too much, only what's necessary and to the level.
Once the wax is cold, flip the work over and start detailing with the fine tool, in order to give it more
highlight and enrich the work. The entire background, or the parts that were smooth, are textured with
a wide wheelbarrow, this is in order for the tread to be even.

5.-Cuando hayas terminado los detalles, aplica la pátina con un algodón en forma uniforme, para
that the tin darkens evenly until it turns black. Subsequently, with the cotton
magical or any metal polish, start to bring out the shine, mainly on the embossed parts or
This is to make the background darker and the relief clearer.
Lastly, with cotton fabric (preferably from a t-shirt), polish to your liking.

Below, I will show you some jobs that can be done using this technique, everything
it depends on the creativity and imagination one has.