Showing posts with label blacksmith. Show all posts
Showing posts with label blacksmith. Show all posts

Friday, August 23, 2013

Instructions, Models, Step Sets and Storyboards


In my last post I put an image of a storyboard which I typically make for repetitive projects to illustrate all the steps.  I keep the instructions in the box containing the tools, jigs, blanks and whatever is needed to make the particular item.  I have been very busy doing a lot of that kind of work lately - making things which have sold out in the gallery.  Fortunately, the weather has been very mild and pleasant for early August.

Back on 7/10/2011 I wrote about one of the garden items I make for dispensing nesting fiber for birds.  It is a simple vortex with a hanger and a loop which can be hooked with a spike tipped pole and hung as high us as that reach allows.  It can be filled with string, yarn or gathered vine and grass segments.   Obviously the nest builders get most of their material from other sources but when they do tug out a piece of yarn it is entertaining.

The sales success of some of these small garden items has been remarkably more than I anticipated.  As the sales numbers rose I was faced with finding the most effeceint way to make more of them for the gallery so I can  move on to more creative work.

Last week, I was told that the gallery sold out of the fiber dispensers, so I needed to make more.  I got out the box and went to work.  The story board make the job easy.  This a well worked out project, fully jigged.  I cut ten of the required lengths of rod using a hack die in the hydraulic forging press.  This method pinches off the pieces with a nice taper already started.  With coal fire heat a round taper was drawn on both ends.  Scroll pliers and a crook jig was used to form the standard hanger hook.  Just below that I coiled a single loop which was bent to form a lifting “hole”.  On the other end a 90º bend was made a couple of inches from the tip and with several heats I rolled up a coil about 3” in diameter.  That was the end of the coal fire work.  

The coil was opened into the vortex by hammering with a ball peen hammer over a ring jig held in a vise.  This was done cold.  The torch was used to heat the point where the coil transitioned to the hanger shaft.  A 90º bend was made at that point and the shaft was twisted at the same time to make sure the hook lined up over the mouth of the vortex.  The completed dispenser is put in the tumbler for cleaning away all the fire scale before applying the lacquer finish.  I learned the hard way not to put ten of these into the tumbler at once because the intertwine to form something like a Gordian knot.

Organizing these simple projects in this way makes them move quickly and not seem boring.  I should mention, too, that most project boxes contain a finished model and perhaps a step set too.  Invariably, when I make a quantity of pieces there will be at least one which goes awry.  That piece can become the “shop model” if it’s not too far off but not nice enough to be sold.

When I pack up a project and plan to store it away until the next production time I record on my inventory spreadsheet (a file on GoogleDocs) where the box is stored.

For some projects I keep some nearly finished components unassembled so if a client requests some variation of a standard item I can accommodate them fairly easily.  That exact thing happened yesterday when a client came to the studio with a sunflower she had purchased and wanted a hanger added and also a leaf - both were right at hand.






Friday, April 26, 2013

The Yellen Gate Project





This morning I came across some YouTube videos I thinks most blacksmiths will enjoy.  The are part of a series of films made to document the various crafts engaged in preservation and restoration.


There is a series of six videos of a workshop sponsored buy the Samuel Yellen Foundation and held in April 1986 at the Yellen shop in west Philadelphia shortly after Harvey Yellen’s death.  The journeyman blacksmiths attending worked with shop employees to build a memorial gate honoring Harvey Yellen who ran the shop for about 40 years after Samuel Yellen died.  The taping was directed by Jack Andrews.  The workshop was led by master blacksmith Francis Whitaker, Aspen, Colorado.

Workshop Participants are listed as:

 John Dabate, Providence, RI
 Glenn Horr, Berkeley Springs, WV
 Thomas Latane, Pepin, WI
 David Norrie, Ontario, Canada
 Randy Oberg, Cohasset, MN
 Patrick Porter, Tesuque, NM
 Pete Renzetti, West Chester, PA
 Matt Rutz, Des Moines, Iowa
 Jon Siegel, Andover, NH
 Durand Van Doren, Trumansburg, NY
 David Munn, Virginia
 Stanley Franklin, Virginia

“Ornamental Wrought Iron I”  was filmed in April 1986 by Preservation Techniques, Inc - Gersil N. Kay, Chairman.

 It explains the program was videotaped on Location Samuel Yellen Metalworkers Company and lists Mrs Harvey Z Yellen as President, Mr. Lou Buccanera as Manager, Mr. Fred Crist as Artist Blacksmith and Mr. Jack Andrews as Consultant Designer.

Ornamental Wrought Iron I Pt.1 of 6

Introduction by Jack Andrews.  History of the Yellen shop.  Francis Whitaker with 64 years of blacksmithing experience had already led approximately 140 workshops all over the country since 1976.  Fred Crist, head blacksmith at the shop, describes the project, blacksmithing tools, modeling and safety.

Ornamental Wrought Iron I Pt.2 of 6

Fred continues describing some tools. David Norrie explains striking. Glenn Horr demonstrates stamping, wire brushing and straightening.  Pete Renzetti describes the gate project in more detail. 

Ornamental Wrought Iron I Pt.3 of 6

Pete describes traditional techniques. Matt Rutz describes punching holes.  Pete forges a tenon. Francis demonstrates forge welding a square corner.  Fred Crist describes the stock to be used.

Ornamental Wrought Iron I Pt.4 of 6

Fred Crist forge welding a fleur-de-lis.  Francis and Peter demonstrating keyed tenon joinery and twisting a bar.

Ornamental Wrought Iron I Pt.5 of 6

Francis Whitaker and Peter Renzetti continue the twisting of a decorative bar the assembly process.

Ornamental Wrought Iron I Pt.6 of 6

This is the list of credits and some more images of the shop.



Thursday, April 25, 2013

A Coal Bin Modification


This is not about something I’ve done.  It’s about something I’ve thought about doing.  It’s in the category of “If I get the time...” or “If I had it to do over...”.

As my coal bin has aged a few years and weathered, particularly on the west side, the top edge of the end plywood has bowed out about 3/4”.  It is just enough that rain can now get inside through that little opening that the lid no longer completely covers.

In retrospect I could have prevented this by adding some top edge reinforcement - perhaps with some 1/8” x 1.5” angle.  I made a SketchUp drawing to remind me of the idea if I ever get the time.  Which also reminds me that I’ll need to make a trip to get coal in a few weeks when the weather is nicer.

I posted the model to this Trimble.3D Warehouse.






Tuesday, January 1, 2013

Making a Great Double Lung Blacksmith Bellows



The large blacksmith bellows is found with a number of variations which is as expected with a tool developed over a rather long time period by many craftsmen over a wide geographical area.

The dual chamber configuration, which is my subject here, helps top provide a continuous air stream through the tuyere into the fire pot.  The chambers can be in tandem as illustrated in this Viking style setup. http://warehamforgeblog.blogspot.com/2008/07/aristotle-furnace-demonstration.html  or, on a larger scale, they can be hooked up to a huge water wheel as at Hopewell Furnace as illustrated on this blog http://www.cr.nps.gov/nr/twhp/wwwlps/lessons/97hopewell/97visual1.htm

In the most commonly seen small shop design the chambers are stacked.  In the bellows which I restored the top and bottom chambers were probably equal sized.  It consisted of a bottom (intake) leaf with two circular holes with interior flapper valves, a center (passthrough) leaf with a single circular hole and flapper valve, a solid top panel and two rib panels plus the tuyere and a little bit of other iron hardware for mounting and lifting.

I have heard of designs with two ribs in the upper chamber which opens wider that the lower chamber but have never seen one.

The leaves are laminated light clear hardwood boards of various widths.  As I recall there is no tongue and groove or spline reinforcing in mine and they rely on a couple of transverse boards to keep the panels flat and sturdy. This is similar to how a Z door would be made without the angled racking board.  Some fancy forging as in large staghorn hinges could dress up at least the top leaf which is the most visible part.

Construction weight might be a consideration when moving or mounting but doesn’t matter much when in operation as the lever arm physics aren’t complicated.  Adjusting the fulcrum and length of the lifting lever for comfortable use should be relatively easy.

These antique tools were made in the days before dimensional lumber standardization so board thickness can also vary a lot from specimen to specimen as can the variety of wood and other features.  The center leaf panel may be thicker than the top and bottom leaves as it must accommodate the half axles which suspend the tool and also capture the bottom half of the proximal end of the tuyere.

I decided to sketch a set of plans as if I were making a new bellows with modern equipment while trying to preserve some traditional appearance.  I’m going to use the approximate measurements from my bellows model to make a set of drawings while realizing that scaling up or down might be useful to fit a particular situation.  Mine is just 4’ long and I’ve seen them up to about 6’ and heard of them even longer.

The first major change I would make would be in the center leaf.  It is the spine of the bellows body and sturdiness can provide longevity.  In addition,  it is not visible.  I’d make the center leaf a laminated construction from three pieces of 1/2” thick plywood.  By dividing the inner board into nose and tail segments at the widest point and separated by a 1/2” (strong) gap an axle space is created for passing a 1/2” round rod all the way across.  This insures integral support and alignment.

Using a composite design would also allow relatively easy cutting out of material in the nose end to fit the tuyere.

The top leaf is the least complicated but most visible one.  I would take some care to make it look traditional with clear pine panels glued up with yellow wood glue.  I’d probably use a biscuit jointer technique which wouldn’t be visible.

In the bottom leaf I would follow the advice of others who have suggested making the air intake area greater that the area the air passes through in the center panel.  It would cut three 5” diameter holes in the bottom while the center would have two 5” holes all fitted with flapper valves.  A tail extension can extend the lever arm for lifting. My bellows doesn’t have that feature.

I have seen some designs in which the leather or leather substitute skin attached as a single piece. I suppose it could be made in one, two, three or four pieces.  I made mine with four independent leathers and I think that would make repair of a malfunctioning valve easier.  Which would be about the only reason to get inside the body after the bellows is completed.  Which reminds me that I would add some screening to the bottom holes to block out the wasps and I’d plug the tuyere when not in use.

A satisfactory leather pattern can be drawn by propping up a couple of leaves to approximate the opening angle and using something like a tacked up strip of freezer paper and a pencil to trace the outline of the space. This low tech approach may reflect my Ozark upbringing.  Neatsfoot oil helps keep the leather soft and flexible.  I got out my copy of Alex Bealer’s book and read the section in chapter 3 about the bellows construction and operation.  He states that a good bellows has enough leather to allowing opening to a width which equals or is greater than the widest part of the bellows. Mine will open well in excess of his formula so my leather panels are probably larger than necessary.

After one experience with a minor blow back explosion in the bellows I fitted mine with a ping pong ball valve to prevent volatile gas back flow.  Usually this wasn’t a problem but on a particularly gusty day at a demonstration the wind occasionally dammed up in the forge hood cavity and pushed the gas in the fire pot back into the tuyere and caused a low pitch explosion.  It was easy to imagine how that could damage the bellows skin.

The flapper valves need to be light weight with a really flexible hinge and seal fairly well.  The potential for a slapping noise on closure is a consideration as well as preventing a valve from getting stuck open.  Adding some fabric to prevent wood on wood noise will work.  I used thin soft leather for my hinge material and attached another narrow strip to the non-hinged side to limit the opening arc to about 45º so the valve could never flip over and get stuck open.

The tuyere can be fabricated from 14 gauge steel sheet and the nose collar can be made from something like 1.8” x 2” flat bar or even a strip of sheet.

The nose block is built around the nose of the center leaf.  After it is laminated it is carved to relieve the outer edges and fit the collar which keeps the wood snug around the tuyere.  Today I’d probably spend less time on accurate carving and just hog out the space and the secure a perfect inside fit of the tuyere with GREAT STUFF or something similar where it wouldn’t be seen but would provide a tight air seal.  http://greatstuff.dow.com/products/

Several years ago I made top and bottom leaves but never got any further. Maybe I should take them to a blacksmithing meeting as see if I come across someone interested in going on with the project.

http://www.persimmonforge.com/

















Tuesday, July 31, 2012

The Fly Ash Storm


Record heat and drought are well established here this summer.  It was 108º when I closed the shop and came up to the house yesterday.  Rather suddenly some clouds appeared with thunder, lightening and wind with horizontal rain.  One 10” trunk tree to our north snapped off near the ground and another 12” red haw just southeast of the house snapped off  about 2’ above the ground.  It was all over in about 10 minutes except for a two hour power outage.  The .4” of rain will not help much as the forecast if for over 100º days as far as a weather person can see.
When I turned on the lights in the forge room this morning I noticed everything was covered with black dust.  I took a little investigation to conclude that the storm had pushed a blast of air down the forge flue and cleared out a lot of accumulated fly ash.  Maybe that’s actually a good thing.

Wednesday, July 25, 2012

Don Nichols Round Stock Shear


On May 16, 2001 I mentioned my round stock shear made by Don Nichols.
Don and Joyce stopped over on their way home from the ABANA conference in Rapid City and we had a nice visit.  I asked if he minded if I wrote a post about this great tool which he makes from time to time and he said I could do it.
He said that his versions have some variations based on what is available as tool steel scrap.  He usually selects 4140 which can be drilled and then oil quenched.  I looked for web references about heat treating and found several.  It sounds like heating to above magnetic and quenching in ATF or a light cooking oil would work.  Heating the oil a little may help too.
The shear design is mechanically a clever four-bar linkage.  The length ratios produce a powerful force multiplication so cutting the round stock requires very little effort but I’ve never taken the time to do the math on it.  I have set up my tool with an anvil tang and a vise tang, added a length stop and padded the handle with sash cord.
I’m on my second shear now only because a piece of 3/8” round 5160 coil spring got mixed up in the mild steel stock and broke a blade.  I’m really careful not to water cool even mild steel which may later be cut.  Water quenched 1020 or A36 may not dependably harden enough to make a decent tool but it can harden enough to ruin an edge tool or bandsaw blade.




Wednesday, February 29, 2012

The Tumbler Dust Collection Modification





Last week I finally made the commitment to modify the tumbler so a dust collector vacuum could be attached. This required scheduling time at the engineering company so that the shaft could be removed, delivered to them, bored, picked up and reassembled with the minimum amount of down time.


This also required devising a way to lift and support the cylinder during the time it was disassembled. I had two sturdy jack stands a a couple of large jacks, railroad and bottle to work with so that was rather straightforward. Scott, my weekend and evening helper, did the heavy work and I just drove the shaft two and from the engineering shop. That’s the way these things should work.


Everything is back together and it looks like this will work well. Small metal pieces do tend to work into the shaft so some type of screen will need to be devised. The vacuum cannot have a rigid attachment since the cylinder will be rotating so that connection remains to be devised also.


The final part of the plan is to wire the dust collector to the tumbler timer so they operate synchronously. When I have some results of the operation I will report them.


http://www.persimmonforge.com/

Thursday, December 22, 2011

My First Blacksmith Souvenir



One of our sons lived in the Chicago area for several years so we would make a couple of trips a year or more for short visits. Each time we took a couple of days for the 10 hour drive and stopped along the way to explore small towns. We did some family history research, visited museums and ate our lunches in small local cafes.


I was mostly interested in wood working at the time but in flea markets, antique stores and living history demonstrations we bumped into blacksmithing. We stopped for a meal in the Amana Colonies and to walk around and see the shops. Roger Quaintance was working at his forge when we arrived in the blacksmith shop. He had a nice display of forged work set up and I bought a small dinner bell set with hanger and striker hung with a leather strap.


The 3/8” round triangle is only approximately 8” on each limb so it is for inside the house use. I use it in the studio as a demonstration of simple elegance. The crook hangers are attractively shaped with long graceful tapers ending with delicate scrolls. Two ends have rivet head shaped upsets which are nicely symmetrical. The round stock striker was slightly flattened as long as the hammer face is wide then twisted and trued back to the original 5/16” diameter and straightness.


It is a simple souvenir but it’s the expert execution of the forging processes which make it information rich.


http://homepage.mac.com/customcutlery/oldsite/Rogersanvil.htm


http://www.persimmonforge.com/


Tuesday, June 28, 2011

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

Wednesday, June 15, 2011

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/

Monday, November 2, 2009

Welcome to Persimmon Forge


2009 will be my tenth year of work at Persimmon Forge. My blacksmithing hobby was initiated several years earlier and when I started getting requests for commission ironwork I committed to building a dedicated workspace.

I consider my work as artisan blacksmithing and my workspace is my metal art studio. There may be an important distinction between and art studio and a shop as the latter may be appropriately considered for light industrial zoning restriction.

Over the past couple of years the organization of the studio and the methods of my work have become mostly settled issues and a comfortable routine has been established. Now I feel I can look back and see a lot of mistakes and blind alleys that wasted time and energy. Establishing a successful business was a lot harder than I had imagined and in the event that it may benefit others I am making an addition to my web site which will publish some of my experience.

The section is titled “FAB - For Artisan Blacksmiths.” I will post short articles, as time permits, beginning with a tour of my workspace layout and how individual workstations are organized. A businesslike approach from the beginning will be my method of presentation as few can afford just an expensive hobby.

After the establishing a business series will come articles on using the major tools; hammer and anvil, coal and gas forges, oxyacetylene torch, power hammers, tumbler, flypress, plasma cutter, benders, dies, etc.

After those I will post a series of short shop tips and later on a series on the design and layout process.

This information is offered simply as a report of my experience not as recommendations. The information may be useful to beginners and those with intermediate skills that may be trying to start an art blacksmithing business. There are many other artisans with more years of experience and more formal training who may be able to recommend a better way.

I make no claim to originality. Some years ago I heard Francis Whitaker say, “If you think you have thought up something new in blacksmithing, you probably haven’t. There is nothing new under the sun.”

The one recommendation I will make is, whatever you’re doing, think safety first.

Wear Safety Glasses! Wear Hearing Protection!