I mostly employ Japanese raising techniques and tools. I've not studied abroad so I'm sure that how I do this work is not strictly Japanese methodology. There are some threads that I posted to IB a couple years ago which show the tools I use. The stakes (ategane) and most of my hammers I have made myself.
The silver "encruste" is a matter of first creating a surface texture using a variety of methods including chasing, textured hammers or just creating carefully placed hammer dings. I usually do this when the raised form is close to complete. The surface is fluxed and I apply 50%Ag industrial solder (Cadmium free!) using a large soft flame propane torch. I apply dots of solder to the areas I want silvered. Only a tiny amount is required for good effect. To much solder creates a LOT of extra work. I use a small flat stainless steel paddle (a flattend SS weld rod) tool to help spread the solder over the surfaces. I then do a light course of planishing to somewhat level the surface.
The real labor starts now as I need to scrape, file or otherwise remove excess solder, with the goal of revealing the base metal and leaving the solder mostly or completely in the crevices of the applied texture. I use a standard triangular scraper (honed razor sharp) for this work. FInger tape is HIGHLY recommended when doing this
Now I go back to raising and/or refining the surface with bright polished planishing hammers. More scraping if I'm so inclined. On the "Vase" I left the surface as scraped, no final planishing. This leaves a very subtle, reasonably bright final texture/sheen. The whiskey cups were left as planished.
For final surface prep before patination I pretty much use Japanese methods of hand working much as Ford explains for preparing pieces for niage patina.
Abrasive powders Alo or Silc followed by powdered charcoal. For the vase I used niage (rokusho). Because I used silver solder, not pure silver, I've found that using daikon is no help in maintaining the whiteness of the silvered areas. I pretty much have to live with the results. Some light rubbing/brushing part way through and after the niage process helps but it is very difficult, maybe impossible to achieve the color contrast I would prefer.
The whiskey cups are tinned on the inside so I can't really use rokusho as it royally makes a mess of the tin if left in the solution for more than a few seconds. So I have been doing the coloring on these items by fuming with a solution of Liver of Sulphur. Same hand polishing here. Object needs to be perfectly dry (otherwise expect streaks/spots). Object is suspended in a 5gallon pail over a dish containing of the fresh LOS solution. A lid is placed over the pail. The brilliant colors develop rapidly (5-7 minutes). If left longer shades of grey and black will take over. Regardless of patina, all the finished work is given a couple of coats of Ren wax. I should note that this fuming process is still under development. Some of the brilliant hues achieved are not super stabil.