A pair of complementary techniques: repoussage pushes metal up from the back side with hammered punches, chasing refines the front with finer punches and an outline-drawing tool. The Greeks did it (the Vix Krater handles, 5th century BC), the Romans did it, the Renaissance silversmiths did it, and contemporary metalsmiths still do it. The hammer mark IS the surface — every dimple a record of one strike of one tool.
The work-piece is held in pitch (a wax / asphaltum / fine-clay mixture that's solid at room temperature, soft when warmed) so the back can be worked from below and the front from above without losing registration. Punches range from broad-faced repoussé hammers (pushing volume up) through line tracers (chasing the outline) to texturing punches. Annealing between work-cycles restores ductility — silver loses its workability after 30–50% reduction without anneal.
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House vocabulary — terms ForMatter uses with intent.
Materials and processes for people who design and make things.
A local-first library of materials, processes, and applications, equal weight, citable everywhere. Part of the renato.design ecosystem — sibling of Plenum, Specimen, Ingenue, gesture, graf, and the Renato Rhino plug-ins. Form and matter, inseparable.
Half of teaching materials is teaching how the material is made into the thing. The standard subscription library was always light on that half. The wedge here isn't better samples or a prettier interface — it's treating Process as a peer entity, not a footnote.
Conway's Material World on raw materials, Lefteri's Making It on processes, Untracht and McCreight on metalsmithing, USDA Forest Products Lab on woods, GIA on gemstones, Schott / CoorsTek / Toray / Owens Corning datasheets, MakeItFrom for verifiable property numbers, ASM Handbook, ISO standards. Voice blocks: Barthes, Yanagi, Benjamin channeled within their philosophy; Lefteri verbatim. All cited.
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