The E-Sylum:  Volume 7, Number 19, May 9, 2004, Article 16

NEW MINT ARTISTS HAVE A LOT TO LEARN

  Dick Johnson writes: "To answer Charles Danek, the L.A.
  artist named to the Mint's Artistic Infusion Program:  Perhaps
  the Janvier reducing machine is not what you think it is.  Are
  you searching for a machine only to reduce your bas-relief
  models?  The Janvier can do this, yes, but its primarily use
  is to cut a die (from a three-dimensional bas-relief pattern).

  From your clay model, a plaster cast is made, from that
  plaster cast a hard-surface pattern is made -- either by
  electrodeposition to form a galvano, or by casting in epoxy.
  This is what is mounted on a Janvier for a tracing point to
  traverse its surface and transmit this image pantographically to
  a cutting point that exactly duplicates that relief in a steel die.
  You cannot put clay or plaster on a Janvier - it must be a
  hard surface.

  There are other brands of die-engraving pantographs,
  each with its own distinctive characteristics. The Janvier, for
  example, starts with the tracing point at the center of the
  pattern, and the cutting point at the center of the die and
  both transverse outwards. Others start at the edge and
  progress inwards. Most mints and medallic companies
  prefer the Janvier, however, for its ease of use, its versatility,
  but most of all, for its integrity in reproducing all the detail that
  is in the artist's original model.

  Now there are some things the artist MUST know.

  One. No undercuts in your relief; a die cannot strike "overhang" 
   -- a ten degree bevel is absolutely required on the sides of all
   your relief - for the die to strike and withdraw.

  Two.  No areas of deep depression surrounded by tall relief --
  in a die these deep areas are tiny tall projections and are
  vulnerable to breaking off.

  Three.  Be aware of the high points of your design; these will
  be where the coin or medal will wear.  (For large medals it is
  even recommended to put three equally high points on the reverse,
  these will be "support points" to bear the weight of the medal
  when it rests on any surface. Of course these points will wear
  first, but they will protect the rest of the reverse design from wear.
  Often these high points can be incorporated into the design so
  they appear inconspicuously.)

  Four. Be aware of the border on your design. For coins, all
  your relief must be below the height of the border. Borders on
  medals do not require this but are more for the human hand to
  hold it - for a large medal consider making a border of several
  elements, levels and shapes - this aids humans tactile ability to
  hold on to it.

  Five.  Place a flange around your model, say two inches in
  width (this aids fastening the pattern onto the reducing machine).

  Six. Be super-aware of the height of your relief.

  Seven.  Ask for specific instructions from the mint or medallic
  company concerning the limits of this relief height and as many
  other particulars as possible. Ask if it is to be struck in proof
  surface or not. Once you are proficient, you could even ask
  about the kind of press in which the coin or medal will be
  struck, as the design you create in your studio could even
  eliminate problems in striking later on."

  Wayne Homren, Editor

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