|
Stage 1 |
 |
 |
|
|
The rough silver is melted in
the crucible |
When the silver is in liquid
form it can be poured into the
ingot. |
|
|
 |
 |
|
|
When the silver has cooled it
can be taken out of the ingot. |
We
now have the bar form. |
|
|
 |
 |
|
|
The bar is put through the
rollers to get the shape right. |
The metal is gradually brought
down to the right thickness. |
|
|
 |
 |
|
|
The strip of metal is hammered
round. |
The centre guideline is carved
into the round piece. |
|
|
 |
 |
|
|
Finally, the claddagh pattern is
drawn onto the metal. |
The pattern is then carefully
cut out by a saw. |
|
|
|
 |
|
|
A
sawblade of only 1.2mm is used
for better accuracy with this
delicate work. |
The hands & crown are shaped
better before the heart can be
inserted. This is done using a
safetyback needle file. |
|
|
 |
 |
|
|
The heart is now shaped from
rough metal using a saw and
file. |
The master craftsman gets the
heart exactly correct. |
|
|
 |
 |
|
|
The heart is gently hammered
into place. |
Only when he is absolutely
certain that everything is
perfect does he solder the heart
permantly into the ring. |
|
|
 |
 |
|
|
A
variety of different shaped
tools called scorpers are used. |
At
this point the last of the
detail is carved into the ring. |
|
|
 |
 |
|
|
Each area is painstakingly
detailed. |
Every detail must be perfect to
ensure that later copies are up
to standard. |
|
Stage 2 |
 |
 |
|
|
Stage 1 is complete and now the
piece is taken to the polishing
shop where a series of processes
are used to get the item looking
its best. |
The sides of the piece are
mopped to remove marks from the
felt. |
|
|
 |
 |
|
|
The front is mopped to remove
emery marks. |
The bristle brush is ideal for
hard to reach areas...
The Polisher changes to less
abrasive mops called "rough
mops". this is how the piece
gets its mirror finish. |
|
Stage 3 |
 |
 |
|
|
Finally, the claddagh is blasted
by a pressurised jet of steam. |
With Stage 2 of the process
complete, the master pattern is
now ready to be moulded. Strips
of rubber are cut in the size of
the frame. |
|
|
 |
 |
|
|
The impression of the master is
made.... |
...and then cut from the rubber. |
|
|
 |
 |
|
|
The cut outs are used to fill in
the area around the piece until
it is covered. |
The piece is inside layers of
rubber and placed in the frame. |
|
|
 |
 |
|
|
The mould has been forced under
great pressure for 20 hours. |
The mould maker can now begin to
cut out the master pattern. |
|
|
 |
 |
|
|
Great care has to be taken not
to deface the impression left in
the mould... |
...carefully the sides are
cut...and finally.... |
