First knife scrimshaw project. Big plans! (on a USA Schrade of course!)

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Jun 15, 2009
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I have been studying up on scrimshaw, getting my gear together and doing some practice work. I wanted to take a shot at learning this art because... well, why not? I like a challenge and I like scrimshaw. I thought some folks might be interested in my journey so I'm going to log it here. You'll learn a little more about me personally as well if you follow this project. I like being one of "Uncle Henry's Lost Souls" and appreciate the good folks round here so this is a way for us to get to know each other a little better too.

For this project I have decided to highlight some Canadian history (for a change round these parts lol) that we also share with our fine southern neighbors, the USA. I wanted to be really "old school" and am going to use some techniques even older than scrimshaw itself. I also wanted this knife to carry much personal meaning and I think I now have the plans finalized. It's a labor intensive, simple yet deep design that will result, I hope, in a very unique one-of-a-kind knife.

First I had to find an appropriate Schrade. My chosen victim is a blank left-over micarta SC506 stainless barlow from the Amex Presidents series:
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The next decision was choosing the artwork. It had to be simple but cool and speak to me personally. I have decided on the Agawa Rock Petroglyphs in Lake Superior Provincial Park in Ontario. These 150-600 year old rock paintings made from red ochre paint depict a figure central to the Anishinabe (Ojibway) called Missipeshu, a canoe and two snakes:
Agawa_Rock_panel_VIII02x580T.jpg


The short story is that these creatures were believed to be very powerful spiritual/physical entities that controlled big rapids and storms on lakes. Sacrifices (usually white dogs) were sunk into the depths as a way to ensure safe travel by canoe on large, treacherous bodies of water. The Anishinabe in this region would cycle between the shores of Lake Superior during the warmer months and inland winter hunting grounds. They also believed that through the power of Missipeshu, the four Wind Manitou's and his personal Manitou that a specific class of shamans called "Tchissakiwinini" could receive answers from beyond to all manner of practical questions in a ceremony called "The Shaking Tent".

All this stuff runs deep as an ocean and for those who want to know more check out this link explaining one of Norval Morrisseau's early depictions detailing the creature and the rite.(http://www.kstrom.net/isk/art/morriss/art_miss.html) I have a large tattoo of this Morrisseau but that's another story...

I have visited Agawa Rock and I left a tobacco offering behind for Missipeshu. While I was in the region I collected some red ochre stones and used them to leave similar designs in appropriate spots ranging between between Lake Superior Park and Kelowna, BC as I journeyed cross-country. I am an advanced canoeist and grew up in the same Ontario woods as the Ojibway so I feel a strong connection to this particular past and belief system. All these beliefs and practices were held by the First Nations on both sides of the USA/Canada border long before either country existed and as such are a great common ground of shared history between our two nations.

I used to camp a lot too at Cape Croker Indian Park near Wiarton, ON and enjoyed getting to know the Anishinabe I met. They smoke a mean whitefish! So tasty... Here's a bonus panorama I took years ago showing their Cape Croker fishing grounds and surrounding area:
CapeCrokerx1200W.jpg


There is the background now back to the knife!

I isolated the artwork by creating a layer with the outline only:
originax580Tl.jpg


I then started rotating and re-sizing to try and match the knife. The whole glyph won't fit very well so I ditched the snakes:
canoeandfigureonlyrtatecrop01x500W.jpg


Now I have a pattern that will fit the knife well. I may take some artistic license and even out the spikes running down the back of Missipeshu etc for the final pattern.

I will be scrimming the outline in black and then filling with colour. For pigment I will likely use india ink for the black but the color-fill will be extra special. I'm hand-making my own oil-based paint from this very piece of red ochre I collected right in Lake Superior Park Ontario not far from Agawa Rock and a couple drops of my own blood :eek::
stone.jpg


I believe the result will be a pretty cool knife that will be a fitting tribute to these Spiritual Traditions. As I progress I will update this thread.

Wish me luck! I may fail... but I'll go down swinging :mad:
 
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Dave,

WOW!!

Great history and the planned use of the red ochre from Missipeshu's home range is way cool

I look forward to your updates as the project progresses

Best Of Luck!!

-- Howie
 
Thanks Howie! Here's a rough mockup that's actual size (3 1/2" closed) showing one of these barlows with this scrim (thanks to lrv for the stolen pic):
yellowactualsizemockup.jpg


One thing I might add is that the knife I have chosen has flat not round handles and that should make the scrimming a bit easier for this noob too.
 
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Very interesting Dave
I have an interest in native North American culture
Thanks for the historical contribution
I will be following your posts
Good luck
 
Dave, Anytime one of the pictures on the site can be used for such a good project I am thrilled.
Keep us up to date and if you can document the effort for all of us even better!
thanks
lrv
 
Very interesting Dave
I have an interest in native North American culture
Thanks for the historical contribution
I will be following your posts
Good luck

Here's another tidbit regarding "The Shaking Tent". I used to live right beside a huge library in Mississauga, ON. They have a large "Canadiana" section (http://www.mississauga.ca/portal/residents/localhistory) that you can read while in the library. In the late '90s I was researching the Aninshinabe very heavily and this library was an awesome source. The collection has many old books from the 1800's providing first-hand accounts of The Shaking Tent ritual. Most are by Jesuit priests.

They tell that the tent would indeed shake and even rise off the surface of the water and that strange voices could be heard coming from inside the tent and from all directions where there was no one speaking. This scared the crap out of them and convinced them that the Tchissakiwinini was in league with the Devil. Of course the next conclusion they drew after hearing that Missipeshu was the power behind the rite was that Missipeshu was indeed the Devil himself. They gave him a new name: The Matchi Manitou. The evil spirit. They had been trying to convert the natives to their Christian God and He was referred to as The Gitchi Manitou. The Anishnabe believed in a Great Spirit (creator) already so a fusion of beliefs was created to facilitate conversion. They also confirmed that the Tchissakiwinini could indeed correctly answer all manner of questions posed during the ceremony. It was precisely because this ritual was legit that they worked so hard to dismantle the "Grand Medicine Society".

Sadly the skills required to enlist the help of Missipeshu may be lost forever but I'm still a believer. I share these beliefs and think the Missipeshu are still in Lake Superior. The eye-witness accounts convinced me...

Dave, Anytime one of the pictures on the site can be used for such a good project I am thrilled.
Keep us up to date and if you can document the effort for all of us even better!
thanks
lrv

Thanks for the encouragement Larry, I added the "How To" prefix because I do indeed plan to photograph and log all of my steps here. It might be a "How to wreck a knife" lol by the time I'm done but it will be a "How to" of some sort. The knife I'm going to use is still in the mail to me so I'm focusing on how to make "Viking-style" paint from red ochre right now. Making a good paint will be a learning experience too so I'm going to be making very small batches outside on my camp-stove. I'm a pretty good researcher and DIY enthusiast so I think I may get it right the first time but creating the paint will be my first step-by-step entry showing what I'm doing.

My very first step after choosing the artwork was to find the highest contrast, clearest image of Agawa Rock that I could. The ledge you have to stand on to view these glyphs is very narrow and most pictures are taken on an angle from the left as opposed to being dead-square and this distorts the proportions in the image. Google Images search for "Agawa Rock" brought up loads of pics which I then saved and compared. The best image in this case turned out to be the one on Wikipedia and that's the one I am using. It's not quite square but this shrinks the Missipeshu in relation to the canoe just a little and actually fits this knife a little better so I'm going with it.

To create the outline for the scrim I used Photoshop, creating a new layer that I traced the outline on to using the brush tool but I could have easily traced the image from a print with a pen or pencil. I chose to work on this digitally as much as possible to try and advance my Photoshop skills and give me more practice at the same time I try and develop some basic scrimshaw skills. Two birds with one stone thing.

To resize, crop and rotate I often use ACDSee Pro as opposed to Adobe Photoshop because I find it faster to do simple tasks. Photoshop is so very complex. It can do everything but their is a lot to learn... College course? Yeah, I'm thinking I might have to bite the bullet and get some instruction because without it my trial and error methods develop my skills at a much slower pace.
 
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After doing a bit more test-work with the actual sized image I have decided to do this in the red ochre color only. The tail on Missipeshu and the figures in the canoe are just too small to outline and color-fill. Even if you got out the stereo-microscope and pulled it off (which I could never do at this point) it would still appear as a red figure with a black tail and black spikes and a red canoe with black figures. This just doesn't fit with the original and my goal on this project is to, as accurately as possible, reproduce the original.

It will be that much easier now. I will do line-work in ochre for the outline and stippling for the fill. The burgundy/maroon color looks great against the yellow background imho
 
Very interesting stuff! I will be looking to see updates on this project. Thumbs up to you for trying something new!

Glenn
 
Thanks glennbad! After scouring the internet for paint making methods. I have decided on the method I will use and the ones I will not. Originally I thought that I may have to cook the paint but it seems that method is more for creating something to paint your walls with than for an artist. For artists it's a short list of ingredients: pigment (ground stone) and artist-grade linseed oil.


Linseed oil:

For this I am off to my local "Micheal's" which is an arts and crafts supply store. They carry a good selection. Basically for me the question is "thick or thin"? The thickened oil is more like syrup than oil. Folks seem to agree that the thicker india ink is better for scrimshaw so I'm not looking to produce something with a watery consistency. I'm not sure which will produce better scrimshaw results so I'm going to try both. Check.


Pigment:

This is where the red ochre comes in. The basic concept is to grind the stone as fine as fine can be and then use as little oil as possible to make the paint so that as much pigment as possible is being transferred as opposed to oil.

Just for fun I made a few drops of paint by filing away at a chunk of ochre with the file on my Schrade ST1 multi-tool. The Schrade took the abuse well with no damage to file and I easily produced a pile of fine powdered ochre. I mixed it with a bare minimum of olive oil (it was handy) and proceeded to smear (finger-paint) on some white paper. Conclusion? Even with the finest file it still felt just-a-hair-gritty but the color is nice.

For the best scrimshaw results I need the pigment itself to leech into the micarta through capillary action. This is never going to happen with solid chunks no matter how small they are. I suspect the oil and some pigment would leech in filling the micarta but too much pigment would remain on top and it would wipe away too easily. This means I can't just use files which are really quick. I do need a mortar and pestle set for this. "London Drug's" will hook me up with a good granite set for $25.00. Check.


O.K. Now for the method itself:

The best (and "classic") method so-it-seems are variations on the one Aussie artist Daniel Keating posted on his blog and since he did such a great job (including a video) I will just supply the links for now. The process involves water filtration/suspension and will result in the finest pigment possible.

How he did it: http://danielkeating.blogspot.ca/2011/10/making-ochre-paint-by-hand-part-2.html

His 1st painting using this type of paint: http://danielkeating.blogspot.ca/2011/09/dog-chasing-roo-oil-painting.html

When I "get down to business" I will pull out my crappy 3.1 megapixel digital, battery-eating monster and take shots of me actually making the pigment and paint. The camera eats two AA batteries about every two dozen pics so I am only going to film "the right way" as much as possible and not my trial-and-error experimentation to find the best methods.

When pigment is made I will be doing practice scrimshaw work with the paint on plastic cutlery. This will achieve a couple of things. I can figure out what kind of linseed oil produces the darkest lines and once I nail that down I can attempt to make a perfect practice version of my chosen scrim so that I better get "the feel" of these particular lines. Only when I am happy with my practice results will I attempt the knife! I will take photos of these rough-copy-practice scrims so folks can see my results/progress.

This may seem a massive amount of effort for a simple scrim on a small knife but if this one goes well I will be well-positioned and able to make all manner of natural paints and then scrim with them so I'm thinking ahead. I like petroglyphs in general as easy scrim-worthy subject material and I'm hoping the ochre transfers well. If it does this knife won't be the last one to get some rock painting done on it and my growing pains on the first one will pay off in much faster results down the road.
 
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Thanks Bruce! Life shifted this project down the priority list a bit but I'm back on it now. I tend to take my time and follow the "6P" rule (Proper Planning Prevents Pi$$-Poor Performance) but I took on the pigment step today and I'm very happy with my results. The chunk of ochre I pictured in my original post was smaller than a cigarette lighter but it powdered up into a big pile of pigment.

First I took the chunks outside and laid them on the concrete. I then placed a towel on top to stop chunks from flying everywhere and smashed it up into small bits with a hammer. I collected all the bits and moved on to my granite(!) mortar and pestle. I used a lot of water and a three stage gravity filtration process to isolate only the tiniest particles and get them into a pyrex pan for evaporation in the oven. To correctly process and evaporate off the water took maybe three hours or more. I did a lot of grinding!

In the end I was left with a pan full of powdered stone. Once you break it up again it becomes as fine as baby-powder. I am extremely happy with my results and am now ready to move on to the mixing with oil step. I need to find out exactly how much of exactly which linseed oil will produce the best "ink" (oil paint) for scrimshaw work.

Here's a couple pics. Sorry the best I could do today was to use my webcam and the results are low-res but I think you can get the idea. Last pic is a quick smear with the wrong type of oil to show the color I'm getting. I think I will add a drop of red to the the finished product to more accurately reproduce the look of the original petroglyphs. Once I get the paint tweaked I will post again. Cheers!

01.jpg
02.jpg


03.jpg
 
Thanks Bruce! Life shifted this project down the priority list a bit but I'm back on it now. I tend to take my time and follow the "6P" rule (Proper Planning Prevents Pi$$-Poor Performance) but I took on the pigment step today and I'm very happy with my results. The chunk of ochre I pictured in my original post was smaller than a cigarette lighter but it powdered up into a big pile of pigment.
Sounds good Dave, I'm quite interested in seeing your results. About the priority Totem Pole, I fully understand. ;)
-Bruce
 
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