Five Clout Nails

One of the projects I usually did at demonstrations was nail making. Even so I’ve probably made only a couple of hundred nails and the intermissions between sessions were lengthly so I’ve never gotten very good at it.

The first time I ever saw hand forged nails was at a Saltfork Craftsmen conference in Guthrie, Oklahoma in 1999. Peter Ross was one of the featured demonstrators. As he introduced himself he worked making five clout nails. It looked very causal, almost effortless, as he tapped out one after another and scooted them off the anvil. After just a few minutes the opening exercise was finished and the nails were picked up and laid out. When I got a look at them the experience was something like seeing a magician finish an act. There were a dozen or more virtually identical and perfect small nails.

What seemed like a small thing was no small thing. It is always a pleasure to watch a master craftsman work. I have had the pleasure to watch Peter several times and always enjoy his skill as well as his expert narrative about the history of our craft in America.

Probably, I should spend more time making nails. It may be one of the best ways to practice controlled hand forging. Each nail is a test of skill and the series can serve as a measure of progress over time.

Here is a site which features building products for restoration of historic buildings in the UK. There are images of traditional nails and more.
http://www.periodpropertyshop.co.uk/acatalog/Floor___Wood_Finishes.html

A Pete Stanaitis article:
http://www.spaco.org/Blacksmithing/Nails/Nailmaking.htm

Another article about how nails are made:
http://www.madehow.com/Volume-2/Nail.html

And three more:
http://www.glasgowsteelnail.com/nailmaking.htm

http://www.anvilfire.com/21centbs/anvils/making/RR-rail_anvils.php

http://www.sedgleymanor.com/trades/nailmakers2.html

Interesting photos of a historic Halesowen, Dudley, UK nail shop:
http://www.flickr.com/photos/42006966@N00/2857863875/in/set-72157607298525867

http://www.flickr.com/photos/42006966@N00/2858693810/in/set-72157607298525867

http://www.flickr.com/photos/42006966@N00/2857863337/in/set-72157607298525867

http://www.flickr.com/photos/42006966@N00/2857863337/in/set-72157607298525867

http://www.persimmonforge.com/

What is a blacksmith?

Someone once told me the world was divided into two types of thinkers, lumpers and splitters. That was the opinion of a splitter.

Thinking about classification of crafts and trades I always had in my mind that the name of the largest set was “metalworker” and the subsets were “blacksmith”, “machinist”, “Goldsmith”, “Tinsmith”, etc.
Then there were the subsets of blacksmithing such as Farrier, armorer, bladesmith, etc.

I tried out some Wikipedia searches to see how others thought about this and was somewhat surprised to find that the metalworking article had almost nothing to say about blacksmithing and was almost entirely about what I think of as machining. My thinking was refined a bit more when I checked out the bladesmith article and noted the contemporary distinction between bladesmith and knifemaker.

The question, “What is a blacksmith?”, or “What does a blacksmith do?”, and many related forms of the question often comes up at demonstrations. The answer is usually tailored to the imagined sophistication of the enquirer. But, what about the blacksmith? How does he or she think about how they are defined?

For me, the craftsman is defined by the tools and processes of the craft. The blacksmith uses heat metal with fire and shapes it with hammer and anvil and other forming tools.

Given the way our minds work, we often think in terms of bipolar opposition or contrasting pairs, synonyms and antonyms. So what best contrasts with blacksmithing? I think it is machining. That goes along with how I’ve thought about this ever since I heard an instructor say, “Blacksmiths move metal while machinists remove metal.”

As a practical mater, I announce myself as a blacksmith, yet I frequently use the tools and processes of the machinist, so maybe, to be honest, I should just say I’m a metalworker. My approach to work is to get it done “by any means necessary.” I think it’s good practice to give credit to the source of an idea or a phrase but do I have to say I borrowed that one from Malcolm X who borrowed it from Jean Paul Sartre?

Check out:
http://en.wikipedia.org/wiki/Blacksmith
A blacksmith is a person who creates objects from wrought iron or steel by forging the metal; that is, by using tools to hammer, bend, and cut. Blacksmiths produce objects such as gates, grilles, railings, light fixtures, furniture, sculpture, tools, agricultural implements, decorative and religious items, cooking utensils, and weapons.
Despite common usage, the person who shoes horses is a farrier, rather than a blacksmith. Many farriers have carried out both trades, but most modern or engineering smiths do not...............The term "blacksmith" comes from the activity of "smiting" iron or the "Black" metal - So named due to the color of the metal after being heated (a key part of the blacksmithing process)..............Forging is the process in which metal is shaped by hammering. Forging is different from machining in that material is not removed by it; rather the iron is hammered into shape.

http://en.wikipedia.org/wiki/Machinist
A machinist is a person who uses machine tools to make or modify parts, primarily metal parts, a process known as maching. This is accomplished by using machine tools to cut away excess material much as a woodcarver cuts away excess wood to produce his work

http://www.persimmonforge.com/

Making Step Sets

I call them step sets because they illustrate the step-by-step sequence of a project. I’ve also heard them called story bars or story sticks.

It seems akin to how some teachers help children make a somewhat complicated line drawing by breaking it down into a series of smaller elements the child has already mastered. Step sets have a key place in teaching beginners step-by-step planning. I believe the sooner a student learns to forge with precision the better. It is encouraging to see intention become product.

This deconstruct, analyze, form test pieces process is also a powerful tool for defining how a complicated project can be evaluated for bidding.

Forging step sets helps me maintain the discipline of record keeping and for doing work in well defined and precisely ordered sequence. It helps me keep track of the parent stock and each forming operation and it it is often the easiest way to explain to an assistant exactly what needs to be done and what the standard will be. I archive quite a few of these on wall hooks in the studio while others are stored in the project box with the other tools and jigs that go with that job.

Oftentimes I document a job with a series of digital images, especially if it is a one time thing. But, being three dimensional objects, the information captured in a step set surpassed the photograph. In my chess set board pieces the knight is the most complicated piece and a step set has been almost essential in recording the creative process.

Last week I made about twenty blow poker fireplace tools. It is a small functional item which has sold well for me for several years, usually in the fall and winter. Anytime I find myself making a thing again and again I start devising special tools and jigs to speed up that process. To do this with the blow pokers probably added three or four hours to the project this week but will save more than that going forward. Creating a step set for the poker tip was one part of that work. It’s kind of like saying, “The jobs not done until the paperwork is finished.”

http://www.persimmonforge.com/

Cutting Choices

Today, I finally came across an image I made of the broken round stock shear I described in May, so there it is - the price of unnecessary quenching of mild steel or failing to keep mild steel rod and tool steel rod segregated.

Most decisions about cutting stock are intuitive and don't take a lot of consideration of alternatives although of all the shop operations it has the greatest number of tools and methods to consider. I originally set up the entire work environment so I am throughly familiar with the possibilities but when a new helper is working they need some instruction so I prepared these thoughts about cutting strategies. The choices largely depend on stock size and whether we are working cold or hot.

I estimate that I use the small bandsaw most often for cutting. This is largely determined by the most commonly used stock which is flat bar 1/2" thickness or less, round bar under 3/4", square bar 1/2" or less, angle under 2", etc. It is set up at bench height, quiet and can be left unattended while cutting. It has the advantage/disadvantage of a 90º clean cut surface finish. The large bandsaw is reserved for cutting thick stock or gang cutting multiple pieces.

If the stock is really small I may use the hydraulic forging press with a cold cut die with 1/32" stop. I like the quiet operation and the "V" pinched sever line which is ideal for welding or tapering. The stop prevents complete separation for good control and leaves the thin connecting point which is easily snapped.

Four cold shears are available. The Edward's floor shear is seldom used but the vise mounted round rod shear is used often - frequently with a stop to assure multiple cuts have the same length. It is quiet and good for cold work, leaves a 90º end but can only admit stock up to 3/8" diameter. The throatless shear is used for cutting prototype patterns with curved lines in sheet metal up to 14 gauge. Above 14 gauge I use a torch or plasma cutter. There is also a bench mount straight blade shear which is used infrequently.

The oxyacetylene torch is used several times in a typical day and it would be hard for me to imagine being without it. It is one of those systems where redundancy assures no down time, two torch outfits, multiple industrial gas cylinders, etc. In my hands the cut end always needs cleanup.

A Zip disc in an angle grinder is used at least as often as the torch but almost entirely for small pieces in the vise.

I seldom use the chop saw unless the cut is 45º because that is where it is set. I don't like the noise and the abrasive dust.

Likewise, I seldom use the 14" cold saw. Again, the noise and also I reserve it for stock which has at least 1/2" minimum thickness and it seems best suited for large rounds. It is very accurate and cuts cool leaving chips and no dust similar to a bandsaw cut. Seldom do I have projects which use large round material.

When working hot we use the hardie hot cut a lot and use a handled chisel under the treadle hammer a lot. The hydraulic press recently fitted with one of Old World Anvils scissor tools works well. I have another one set up to use with the power hammer.

Since tapering is probably the most frequent operation, I try, as often as possible, to sever stock at an angle to help avoid cold shuts when drawing out. Stealing a phrase from the fabric working industry I call this “cutting on the bias.”

http://www.persimmonforge.com/

Very Sharp or Very Dull

This phrase occurs to me from time to time. I heard it used by a demonstrator at a conference. Unfortunately I can’t recall that person who said blacksmithing tools generally fall into two categories, the very sharp and the very dull. I also recall a blacksmith who emphasized the importance of keeping punches sharp. These phrases usually come back to me when I’m dressing a tool face or making a new tool or perhaps relieving the edges on a die.

It is pretty obvious that cutting becomes fullering at some ambiguously fine line. Hammers, too, are essentially fullers until the face radius is zero in which case they become flatters.

Neither dull cutting edges or sharp fullering edges are very useful. What ever the working surface radius it seems to work best when highly polished. That is where the progressive smoothing from coarse wheel grinding to belt sanding to silicon carbide wheel preliminary polishing to hard felt wheel and buffing compound finish polishing is important. The highly polished surface seems desirable no matter whether it’s a face tool or and edge tool.

The forging atmosphere is a corrosive one. I can easily see that the rust forms on steel surfaces fastest in the forge room. Every spring die which was once polished is today rusty because it has been affected by the humidity and the chemicals in the coal smoke. It’s just not practical to keep all the tool faces mirror bright so it’s always a matter of thinking through the work process and deciding what is “good enough.”

http://www.persimmonforge.com/

Hardy Hole Hammer Holder

This idea provided a nice example of alliteration and a handy work habit. In the basics phase I learned, as part of the “do your thinking in the fire”, to lay the hammer on the anvil in the position where it would be picked up when the hot work piece came out of the fire. Good advice for efficiency but there are numerous opportunities to knock a reclining hammer off the anvil face onto the floor which contribute to inefficiency.

Several years ago, after picking up a hammer one too many times I used a bench grinder to shape the handle end to a diamond which would fit in the hardy hole. “There now, stay put.” I liked the way that worked and subsequently modified my most frequently used hammer handles in a similar manner. Initially I had some concern that the changed shape would have some downside, but I haven’t identified one.

It still seems like good advice to lay the hammer in the position where it will be picked up in the next cycle but when it is put to rest I stick it in the hardy hole where it will stand at parade rest.

http://www.persimmonforge.com/

Machines on Lights

Usually I expect to hear the phrase "the light on the machine" referring to the common practice of building a machine such as a drill press with a work light. Some machines don't have such lights so I turned the phrase around and built my workstations with the machines on lights. Actually this just applies to my belt sanders and grinders.

I wanted each work area to have plenty of light for reasons of safety and to favor doing good work. Plugging the machine and the associated work light into a shared heavy duty power strip assures that to power up the machine the power strip switch must be closed first and this action turns on the work light. After that the machine switch can be activated. It takes a little attention to shut down in the reverse order. If shut down is done only at the power strip the the next use will simultaneously start the light and the machine. I get it right most of the time and it helps me avoid working in the dark.

http://www.persimmonforge.com/

Not a Tool Collector

When I was doing woodworking I collected a few tools which had more of a historic interest than a modern usefulness. In the days when they could be found in a flea market or antique shop for a modest price searching for them was fun.

By the time I became interested in blacksmithing the price of tools was going up a lot and the supply was getting picked over too. Now it has probably been over ten years since I was in an antique store.

About that same time I explored eBay and bought a few items. Within a year I had acquired all the tools I couldn't build myself and lost interest in following the auctions. Everything I bough I intended to use with one exception. In 1999 I bought a handled set tool for beading-grooving which Francis Whitaker had touchmarked. It came with a letter from Bill Gichner who owned and operated Iron Age Antiques. As I recall the head was made in 1944, the number is stamped on the head, and was later modified by Francis for a specific project.

These thoughts about tool collecting occurred to me recently as I was using a pair of scroll pliers made by M. Smyth Boone and bear the M.BOONE touchmark. See - http://www.booneshooks.com/boone.html

Mike sold them to me when I was at a conference in Carbondale. They had a wonderful feel and he assured me the tool steel was tempered perfectly. They are gracefully made and a real pleasure to use. Today they are still one of my favorite tools.

As I pondered the significance of the touchmarks I decided the significance is in the eye of the beholder. The makers placed their mark to identify and proudly claim it as their work. From my perspective I wouldn't have purchased the beading tool if it did not have the touchmark as I had no real use for it. On the other hand, I would have purchased the pliers even if there were no touchmark because of their masterful construction and utility. Still, it is nice to notice the touchmark from time to time and recall the times I've watched Smyth demonstrate and our conversations.

http://www.persimmonforge.com/

Dreams of a Shop

Both my grandfathers had workshops. My paternal grandfather, Gus, called his a doghouse and it was where he puttered. He built it after he retired from the railroad. It was a low ceiling shack extending from the back of the garage to the alley. There was a row of windows along the west which could swing out and be propped up to provide some ventilation. A few bare bulbs hung overhead. There was a long work bench and lots of drawers filled will countless tools and hardware accumulated from various auction sales.

It was mainly a place to refinish furniture and do mechanical repair. It smelled like turpentine and varnish and oil. It was a wonderful space and I dreamed of having something like that for myself some day.

Granddad's health wasn't the best but he got a lot done at his pace. A heart condition was the governor of his speed. I was, on the other hand, always wanting to speed up because it was all fun to me. He would caution me to, "Just slow down. This ain't a rat killin'." I never spent enough hours in the doghouse and, with his protective oversight, never got to operate the dangerous equipment.

Eventually the property passed to other owners and the doghouse was removed but I look when I drive by and almost expect to see it there. It lives on in my mental registry of historic places.

In my retirement I built my own workspace and spend as many hours there as I can. I suppose I always knew I would.

http://www.persimmonforge.com/

Documenting Work

As I work through a project I assume (1) I'll do this again someday and want to remember how I did it and (2) I won't remember how I did it. Therefor I try to document my work as I go through the day.

I take an old brief case to the shop. It contains an old digital camera, correction pens, ink pens, 1/4” ruled graph drawing pads, some files of currrent projects, the things I use to document work on projects.

The camera is dedicated to the studio. It's taken a lot of abuse and has some annoying faults related to the abuse but If I had a good one there it would soon suffer the same fate. The images are usually good enough to record a series of steps more exactly than my writing would and it is faster to accomplish. I'd guess I usually snap a half dozen photos a day.

I’ve never found it a problem to pitch extra notes but it is a problem to try to remember what stock I used on a project two years ago when the customer wants another one just like it made. I try to be seriously methodical in writing notes, clearly noting the stock, measurements, tools, dies and mandrels used in the forming process and the finishing. I record the approximate time required in each step. This is essential for pricing.

When I am satisfied with a design and plan to make it again, the dedicated project box is one of the easiest ways to document that work. For instance, I recently made about thirty Conestoga wagon wing nuts for a project. I pulled out the pressboard cover file made a few years ago and went to the cargo trailer to get the plastic box which contains some blanks, the step set and most of the required tools. The finished hardware pieces must look self similar and this method takes all the guess work out of process.

When any work is completed I reflect on the experience and identify how it might be made to look better, or how I could create it more efficiently and record those thoughts too. I then print up a report and hang up any useful test pieces in the studio. Those are my “sketches in iron” or the library of visible solutions.

http://www.persimmonforge.com/

Kerf Bending

While I was working on a plant hanger design I decided to make a template to form the arc of the swing arms. I have a large collection of radius firms of differing dimension but I like to keep the tooling associated with any repeated project dedicated so I made a new form on a 7" radius jig.

I selected 1" square tube in 14 gauge since I have a large stock of this material. When I was building the studio I bought a bundle to get a good price and still have some left. I marked every inch with a presto pen dot to make about 14 segments. With the bandsaw I cut each mark down to the back wall then clamped the tube to the radius form so it conformed well. I tack welded the base of each kerf on the top and bottom sides making sure the tube stayed flat. Finally I welded the angle cross brace from end to end. One arm of the angle fits in the vise to hold the jig when in use.

I wouldn't say this is any better or more accurate than making a similar jig from solid bar in the forge and bending to the form but it is lighter, cheaper and can be done cold.

For many years before I took up blacksmithing I did woodworking as a hobby so I was familiar with kerf bending using a tablesaw. For anyone who wants to know more here is one link - http://stusshed.wordpress.com/2007/07/17/kerfing-bending-wood-on-the-tablesaw/

http://www.persimmonforge.com/

Bill Fiorini

My wife checks all the e-mail and reads the newspaper and clips what is important for me to see. Today, sadly, she gave me an e-mail from ABANA saying Bill Fiorini Passed Away on 4 Jun 2011.

I only met him once at the Rocky Mountain Smiths conference in 1999. I didn't have much experience at the time and wasn't really interested in blades or Damascus pattern welding but I found his presentation compelling and I watched it all and a lot of what I still know about those things came from his demonstrations. In my estimation, he was a masterful craftsman, artist and teacher and the craft will miss him.

There are some photos of Bill demonstrating at the Houston Area Blacksmith's Association in 2003 at -
http://www.habairon.org/Hammerfest/bfphotos/index.html

Another link at American Bladesmith Society -
http://www.americanbladesmith.com/ipboard/index.php?/topic/297-passing-of-master-smith-bill-fiorini/

http://www.persimmonforge.com/

Tumbler Details

I Informal cost analysis after using the tumbler a while concluded that it had easily paid for itself in the first year. This was based on the fact that I had probably saved 250 hours of labor and saved over $300 in abrasives such as flap discs and knotted cup brushes.

The timer is an Intermatic FF30MC 30-Minute, Spring Wound Wall Switch type, with Brushed Metal finish. My usual run time is around 20 minutes.

I made a latching tool to assist opening and closing the doors. I feel it is desirable to require this force so opening and closing is a very intentional operation and never an accidental one. I started with a straight piece of pipe and in several steps modified it to it's current shape. The socket end fits over both the handle and spring lever of the draw latch and the slot end fits over the wall of the door. The lazy S shape seems to give the best leverage.

http://www.persimmonforge.com/

Tumbler Plans Introduction

I built my tumbler after considerable research and planning and I use it every day and I am quite happy with it's operation. Like most other machines it's construction process and it's operation is inherently dangerous and requires considerable skill to mitigate risk. This information is made available as an explanation of "how I did it" and is not intended to be a recommendation to others. It is offered without charge but if anyone finds such information useful and wants to send me a few bucks to keep me encouraged about making this sort of post - Super!

Back in September 2010 I published an article on using the tumbler. Now I will post illustrations of how it is constructed. My current machine was my design based on three previous experimental machines but I paid another local company to build it. If I ever need another version I plan to build it myself. I like the feeling of confidence I have when I have done all the construction and fully understand the piece and have no hesitation about makings modifications if needed. Coincidentally the welder who constructed the machine later came and did some work for me so he got to see his creation in operation.

I’m just starting the sixth year of using my tumbler. So I think I understand its’ capabilities and limitations pretty well now so I felt it was time to share my experience.

When the tumbler was delivered to my studio the chain hoist moved it from the truck to a concrete pad outside the garage door space. It only took a few runs to conclude that noise was going to be a problem and an indoor location was necessary.

After further use I made a few modifications. First I added base plates on the legs so they could be anchored to the concrete floor with screws. Next I added the square lugs on the non-motor end plate and made a wrench to aid turning the tumbler so the doors are rotated to the top for opening. A swing arm post was added with an electric hoist for lifting a secondary tumbler which was used for tumbling smaller delicate items with smaller aggregate. The original motor mount eventually broke and was replaced with a more sturdy one. I glued on some foam insulation to see if it would suppress noise and found it was essentially ineffective. Finally the catch pan and tarp cover was added to help contain scale, dust and other debris.

Design features:
The Frame: Heavy duty is self evident.

The Motor and Mount: As sturdy as possible. The powerful motor, chain drive and heavy load creates tremendous start up forces which broke the original mount.

The Cylindrical Drum & Axels: Sized for the majority of the type work I do. It might be nice to have a 10' length so all nominal stock could be tumbled to remove mill scale and burrs before storage but that would add a lot of cost and greatly enlarge the space required.

If I built another one the reinforcing ribs would be placed on the outside of the cylinder and I would have a center hole milled in the non-motor end axel to accommodate a vacuum fitting.

The Doors: I think they need to be a balanced pair as the weight and leverage of a single large door tends to rotate the cylinder and dump the contents. The heavy duty draw latches have worked well.

The long continuous hinges became very stiff as the cylinder, ever so slightly, ballooned with use. I cut the pintle rod in two places on both hinges with a zip disc and got some release. Periodic oiling helps too. I decided to accept enough stiffness to require me to use a slotted cheater pipe tool to pry the doors open and shut. This design has the advantage that a door won't fall closed and perhaps catch a finger and they will remain in whatever position I select.

The Swing Arm Hoist: Originally built to assist some heavy lifting, the electric hoist has been moved to the overhead frame on the acorn table and the swing arm is not currently used.

The Clamshell Dust Container: This helps contain dust and debris in the bottom catch pan and floor area in the foot print area of the tarp. A vacuum system hooked to to the timer might be nice.

The Aggregate: Steel is the only thing which has worked for me. I keep about 100 pounds of punch drops, carbon steel balls, and miscellaneous short drops aboard all the time.

Noise Suppression: Probably not practical. Perhaps some type of replaceable interior rubber liner would help.

Next - more of the details.

http://www.persimmonforge.com/

I Keep the Aloe Handy

May 15th is the last frost date for us unless the year is a record setter. The aloe vera plants can go out to stay for the rest of the spring and all of the summer. I’ll position them just outside the studio doors where they will be handy for use in the event I get a small burn wound. The rest of the year I place them indoors all around the studio in pot hangers on the window grille frames where they get enough natural light.

The plants are nearly care free to grow. Probably the most important caution is to water infrequently. They tolerate dryness well but not wet soil. The plants propagate by putting out offsets around the perimeter until they eventually overcrowd the container and benefit from dividing.

Their efficacy in treating burns seems a matter of debate but I am a believer based on years of experience. I have often repeated the phrase, "You don't get burned on red hot iron - you get burned on black hot iron." On a falling heat black iron can still be 1000º F. In an inattentive moment I occasionally brush against such a piece and get a small second degree burn. An aloe plant is seldom more that a few feet from where I am working so I can tear off a sprig and squeeze the juice on the wound and the pain ceases almost immediately. If Ice were as available I'd use that too.

Perhaps it's only my optimistic imagination, but I believe this first aid treatment prevents the wound from getting as bad as it otherwise would and it heals faster. I've never gotten a burn bad enough to interfere with working but I've had one on my right forearm which was a nuisance for a couple of weeks. Once burned, twice shy.

http://www.persimmonforge.com/

The Last Old Time Demo

Yesterday Ken and I set up my collection of blacksmithing tools which represent the late 1800's and did a short three hour demo to augment the activities of the Symphony in the Flint Hills event.
See http://www.symphonyintheflinthills.org/

The location was on the grounds of the historic Richard Howe house, a two story Welsh farmstead completed by the stonemason owner in 1867. It is constructed with eighteen-inch thick limestone walls. The interior has a parlor fireplace, black walnut woodwork, native oak floors and some original furniture, china and clothing.

This early settlement house has been preserved in its near original condition by three generations of the Howe family who occupied the home for 140 years. It was listed on the National Register of Historic Places in 1986. The 15 acre property was willed to the Lyon County Historical Society in 1995 by Sarah Howe, the granddaughter of Richard Howe. The homestead also includes a well, low stone walls, and a barn, which contains a collection of antique farm tools and masonry equipment. The house is open for tours by appointment.

A couple of links:
http://www.prairiepathways.com/Howe_House/
http://kansasflinthills.travel/sites/richard_howe_1860s_welsh_farmstead

We set up, as usual, under the shade of a large tree covered with virginia creeper near the barn. In the time allowed we never seem to get much completed even though we bring all the pieces and tools needed for a couple of period items. Yesterday it was a hearth kettle tilter and sawtooth trammel. We displayed some cooking utensils, fat lamp and dinner bell set made on other occasions.

Our demonstration was the fifth one we have done at this site and ends a ten-year string of similar shows. I have decided to decline future invitations although I will continue to demonstrate in the studio.

It has been mostly enjoyable, working outdoors, visiting with the spectators about the history and techniques of the craft and showing the basic processes. There have been some unpleasant days of drenching rain, oppressive heat, or pesky wind, but the real limiting factor is the difficulty of loading, transporting to the site, unloading and setup, loading again and transporting home and finally unloading again. All this takes a lot of heavy lifting and the better part of three days.

These are unpaid, public service events. They have become very tiring as advancing age erodes physical power and they have never garnered much profitable business. More than anything, I think, they have preserved some interest in the craft and I can always identify with the person who comes up and remarks that the smell of the coal fire is a pleasant reminder of such and such from their childhood. Nostalgia is a sweet treat.

http://www.persimmonforge.com/

Foot Rest Assembly

I find a foot rest separate from the pedals to be useful. This can be designed a number of ways to suit the user.

1. Top Segment:
Cut 2” of 2” square tube.

2. Remove one wall of the tube to form a “U”.

3. Drill a 9/16” hole in one side and weld a 1/2” hex bolt over it to accommodate the locking bolt.

4. Cut 10.5” of 1/4” x 2” Flat Bar to make the Foot Rest Side Plates (FR2), (2).

5. Mark 6” from the ends and heat along this line and bend 90º to form the “L”.

6. Weld the L’s to each side of the Top Segment.

7. Cut 3” if 1/4” x 2” flat bar for the gusset stock.

8. Cut the gusset stock on the diagonal to make two gussets.

9. Weld each Gusset (FR3) to reinforce the right angle Foot Plate bend.

10. Insert the Locking hex bolt to complete the assembly.

Cutting/Purchase List:

FR1. Foot Rest Top (1), 2” of 2” Square Tube.

FR2. Foot Rest Side Plate (2), 10.5” of 1/4” x 2” Flat Bar.

FR3. Foot Rest Gusset (2), 3” if 1/4” x 2” flat bar.

FR4. Locking Bolt/Nut, 1/2” x 1.5”.

http://www.persimmonforge.com/

Seat Bracket Assembly

Assemble the Seat Mount:

The mount can be constructed a number of ways as long as accommodation is made for vertical and horizontal adjustment with sufficient strength.

1. Drill the appropriate bolt holes in the Seat Bracket Plate.
2. Drill the hole for the locking bolt in the Seat Bracket Sleeve.
3. Weld the hex nut for the locking bolt over the hole in the Seat Bracket Sleeve.
4. Weld the Seat Bracket Sleeve to the Seat Bracket Plate.
5. Bolt the Seat Bracket Plate to the bottom of the Padded Seat.

Assemble the Seat “L” Bracket:

1. Weld the SB4a Horizontal Leg, Square Tube to the SB4b Vertical Leg, Square Tube at a 90º angle.

Assemble the Seat Stand-off Bracket:
1. Drill the hole for the locking bolt in the SB5a Vertical Sleeve
2. Weld the nut for the locking bolt over the hole and insert the bolt.
3. Weld the SB5b Horizontal Leg, Square Tube to the SB5c Vertical Leg, Square Tube at a 90º angle.
4. Weld the Vertical sleeve with locking nut to the horizontal segment at a 90º angle.

Seat/Anvil Mounting Sleeve:

1. Weld the Seat/Anvil Sleeve with locking bolt to the Anvil Post.

Cutting/Purchase List:

PS1. Padded Seat, 17” width x 16” depth x 10” height, Purchased.

SB2. Seat Bracket Plate, 1/4” x 6” x 6”, four holes
SB2a. Seat Bracket Hex Bolts (4), 5/16” x 1” with lock washers.

SB3. Seat Bracket Sleeve, 3” of 2” square Tube, (Drill Locking Bolt 9/16” Hole).
SB3a Locking Hex Bolt/Nut, 1/2” x 1.5”.

SB4. Seat “L” Bracket
SB4a Horizontal bar, 12” of 1.5” Square Tube.
SB4b Vertical Post, 12” of 1.5” Square Tube

SB5. Seat Standoff Bracket
SSBS Seat Post Sleeve, 6” of 2” Square Tube.
Locking Bolt/Nut, 1/2” x 1.5”.
SSBa Seat Standoff Horizontal Bar, 5” of 1.5” Square Tube.
SB5c Seat Standoff Vertical Post, 10” of 1.5” Square Tube.

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Hammer Assembly

1. Drill the 5/16” hole near the top of the hammer tube on the back side for the safety chain.

2. the Hammer Tube (H1) to the Hammer Face Plate (H2). The tube is centered on the platte and positioned with it front sets one inch back from the front edge of the plate. This must be a continuous weld bead that is “water tight” so molten lead will not leak when it is poured.

Consider using 3" square solid or fabricating a solid steel hammer head as an alternative.

3. Drill the 3/4” holes in the Swing Arm Mounting Plates (H3) for the Swing Arm Bolts (H5) in proper position (3.5” above top of hammer tube and 3.5” above the bottom of hammer tube.

4. Weld the Swing Arm Mounting Plates (H3) to the Hammer Tube (H1).

5. Place the assembled unit on a scale and add lead pieces until the scale registers 25 pounds. Melt the lead and pour into the hammer tube. (H8) (CAUTION! Observe appropriate safety precautions.)

6. Cut open one link of the Safety Chain (H7) and slip it throught the hole (step 1 above) and weld it closed.

7. Attach the Hammer to the Swing arm with the Swing Arm/Hammer Bolts (H5 & H6).

8. Adjust the turnbuckle to

Cut/Purchase List:

H1 Hammer Tube (1), 10” of 3” Square Tube (.1875 wall).

H2 Hammer Face Plate (1) - 6” of 1” x 4” mild steel Flat Bar.

H3 Swing Arm Mounting Plates, (2), 10” of 1/4” x 4” Flat Bar.

H4 Lead Mass Fill (1) sufficient to bring the total hammer head weight to 25 pounds.

H5 Swing Arm/Hammer Mount Hex Bolts, (4), 3/4” x 6” Grade 8.

H6 Swing Arm/Hammer Mount Hex Nuts, (4), 3/4” Nylox.

H7 Safety Chain (1), 14” of 1/4” Proof Coil Grade 30 Chain, Purchased.

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Lug Bracket Assembly

1. Cut 6” of 1/4” x 4” Falt Bar to make the Upper (ULBP) and Lower (LLBP) Lug Bracket Plates (2).

2. Gang Drill the Four 5/16” corner Holes in the Plates. Make sure the holes are wider than the swing arm bar.

3. Cut 4” of 1/2” x 2” Flat Bar to make the Lower Lug Bracket Tang (LLBT).

4. Chamfer the Lower corners of the tang (LLBT).

5. Drill the 3/4” axle hole in the lower end of the tang (LLBT).

6. Weld the Tang (LLBT) to the lower plate.

7. Assemble over the Lower Swing Arm Bar in the proper position. When the center of the Upper Yoke Axle Bolt is 5” from the back edge of the Hammer Swing Arm Mounting Plates. Also check to see the Hammer-Anvil Gap is about 10”.

Cut List:

ULBP. Upper Lug Bracket Plate, 1/4” x 4” x 6” Falt Bar.

LLBP. Lower Lug Bracket Plate, 1/4” x 4” x 6” Falt Bar.

LLBT. Lower Lug Bracket Tang, 1/2” x 2” x 4” Flat Bar.

LBHB Lug Bracket Hex Bolts, 5/16” x 1.5”, (4).

LBHN. Lug Bracket Nylox Hex Nuts, 5/16”, (4).

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Swing Arm Assembly

1. Cut the Upper (UL)and Lower (LL) Swing Arms (2) 1/4” x 2” x 18.5” 1095 Flat Spring Steel

2. Cut the Pipe Bearings (4) 2.75” of 3/4” 3/4” SC40 Standard Black Pipe

3. Drill a 3/16” oil hole in the center of each Bearing.

4. Weld a bearing with oil hole up at each end of the flat steel springs.

5. It i.d. of the pipe bearing is .84” and the diameter of the Grade 8 Bolt Axle is .75” so a Copper sheet bushing can be consider to snug the fit.

6. The Mounting bracket gaps are 3” so the 2.75” bearing width allows insertion of the 1/8” thick nylon washers.

Cut List:

USA. Upper Swing Arm:
UL. Upper Leaf, 1/4” x 2” x 18.5” Flat Spring Steel
ULFB. Front Bearing, 2.75” of 3/4” SC40 Standard Black Pipe, o.d. 1.050”, i.d. .8424”, wall .133”
ULBB. Back Bearing 2.75” of 3/4” 3/4” SC40 Standard Black Pipe

LSA. Lower Swing Arm:
LL. Lower Leaf, 1/4” x 2” x 18.5” Flat Spring Steel
LLFB. Front Bearing 2.75” of 3/4” 3/4” SC40 Standard Black Pipe
LLBB. Back Bearing 2.75” of 3/4” 3/4” SC40 Standard Black Pipe

SANW. Nylon Washers
Copper sheet bushing is optional.

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Spring System Assembly

SS1 Place a hitch pin in one end hole and slide Spring Pipe Axle SS1 into one of the Spring Axle Bearings BF8.

Slip the Lower Extension Springs onto the ale and feed the free end into the other BF8 bearing and retain with the second hit pin.

Hook the top loops of the lower extension springs to the “J” hooks on the Bottom Spring Mount Bar F3.

Hook the Upper Extension Spring to the Spring Mount Bracket SS5 on the tower then stretch it to attach to the “J” hook on the Spring Mount Post F2.

Cut List:

SS2 Hook Bolt, Round End, 5/16” x 4”, (3) (Purchased)

SS3 Extension Springs (3) 1.5” x 11.5” x 0.135” (Purchased)

SS4 Humpback (Hairpin Hitch pin) Retaining pins (2), .156 wire, 3/4”

SS5 Spring Hook Bracket:

Cut 16” of 1/4” x 1.25” for the Spring Hook Bracket (SS5). Drill a 5/16” hole for the 4” Round End Hook Bolt (SS2). Bend to form the “J” shape. The length allows bending for tension adjustment as desired.

Drill 3/16” through-and-through holes 2” from each end of the pipe to accommodate the hunchback hitch pins (SS4) inside the frame.

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Anvil & Post Assembly

Anvil:

1. Cut 5” of 1” x 5” flat bar to make the Anvil Face (A1a).
2. Cut 2” of 3.5” solid round (tube would work too) to make the Anvil Tang A1b).
3. Center the tang on the bottom of the anvil face and weld it in place.
4. Cut three pieces of 3/4” x 1” flat bar 1” in length to make the Tang Spacers for a snug fit.
5. Mark the 0º, 120º and 240º positions on the perimeter of the tang near the bottom and weld a spacer at each of these positions.

Anvil Post:

1. Cut Anvil Post (AP1) - 37” of 4.5” Schedule 40 pipe or tube..

2. Drift Window - This feature prevents anything from falling to the bottom inside the post. I previously made an special anvil to facilitate drifting. Being right handed I wanted the drift to exit to the right where it would be easy to pick up.

Use the parabolic template to mark the hemi-elipse line in the proper position. In my case it is on the right side. Torch cut the line to create a flange to fold inside the post. Torch heat the base line of the flange and hammer it inward to close off the lower part of the tube and create the window (AP1a). Weld the perimeter as desired or close the gaps with epoxy or a sealant such as silicone caulk.

3. Weld the base of the anvil post to the base plate in proper position and perfectly vertically.

4. Cut the four post braces.

5. Weld the four Anvil Post Braces (AP2) in proper position to further stabilize the post.

6. Cut the Seat Bracket Sleeve.

7. Drill the hole for the locking hex bolt and weld the hex not over the hole. Insert the hex bolt.

8. Weld the Seat Bracket Sleeve (AP3) to the anvil post in the proper position.

9. Cut the Front Flywheel Stop, AP4. 1” x “ square tube.

10. Weld the stop in the proper position.

Anvil-Post Cut List

AP1. Anvil Post (1), 37” of 4.5” i.d. SC40 Standard Black Welded Pipe.
AP1. a Drift Window, torch cut and fold

AP2. Anvil Foot-Post Braces (2), 1” x 1.5 x 12”, square tube.

AP3. Seat Bracket Sleeve, (1), 5 “ of 2” Square tube.
AP3a. Locking Bolt/Nut, 1/2”-13 x 1.5”.

AP4. Front Flywheel Stop, (1), 5.5” x 1.5” square tube.

AP5. Anvil Back Post Brace, 16” of 1.5” Square Tube.

AP7. Anvil Foot Spacers, 1.5” square tube (2)

AP8. Anvil Foot, 3/8” x 3” x 14” (2)

A1. Anvil
A1a. Anvil Face (1), 1” x 5” x 5” flat bar
A1b. Anvil Tang (1), 3.5” x 2” solid round
A1c. Tang Spacers (3), 3/4” x 1” x 1” flat bar

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Turnbuckle Assembly

1. Cut pieces and weld Upper Yoke (TBUY2).

2. Cut pieces and weld Lower yoke (TBLY1).

3. Cut two 7” segments of 3/4” round for the upper and lower Turnbuckle Extensions.

4. Weld the Upper turnbuckle Pipe Extension to the Upper Yoke (in proper position).

5. Weld the Lower turnbuckle Pipe Extension to the Lower Yoke (in proper position).

6. Cut the hooks from both ends of the turnbuckle and save for later use.

7. Assemble the Turnbuckle/Yoke components. Thread a Left hand thread nut on the left hand thread segment of the turnbuckle and another right hand thread nut on the right hand thread segment of the
turnbuckle to serve as lock nuts.

8. Adjust the Thread/Body relation: 2” of thread inside the box and 1” outside the box. The Hole-to-Hole-Centers span should be 29”.

Turnbuckle Cut List:

TBUY2. Upper Yoke:
TB3. Upper Extension, 6.5” of 3/4”, solid round.
TB3a 1/2” Left hand Thread Nut.
TB6. Lug Tang Axle Hex Bolt, 3/4” x 3”, Grade 8, (Purchased).
TB7. Lug Tang Hex Nut, 3/4”, Nylox, (Purchased) .
TB4 Turnbuckle:
TB4. Open Body, Hook and Hook, Turnbuckle, 1/2”-13 x 7.375”, 6 inch take-up, (Purchased)
TB4L 1/2”Left hand Thread Nut , (1), (Purchased).
TB4R 1/2” Right hand Thread Nut, (1), (Purchased).

TBLY1. Lower Yoke:
TB5. Lower Extension, 6.5” of 3/4”, solid round.
TB5a 1/2” Right Hand Thread Nut.
TB8 Flywheel Pintle Post Axle Hex Bolt, 3/4” x 5”, Grade 8 (Purchased).
TB9 Flywheel Pintle Post Nut, 3/4”, Nylox, (Purchased).

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