Daryl

Here's how it works: No talking while striking - it's useless as teaching a pig to sing; it wastes your time and it annoys the pig. Five taps on the anvil - smith requires a striker; the striker, when ready, taps once lightly on the heel of the anvil for signal Smith strikes the iron and taps once on the anvil - signal for striker to commence striking where the smith is hitting Smith taps twice on the anvil after his strike - striker can take the next strike as normal, though his next strike is an empty one (light) either on the heel or the horn while the smith repositions the iron (this is such that the rhythm may be kept) Smith taps once sfterwards on anvil - striker to only hit in the center of the anvil, as the smith will now move the iron to where the strikes are required Smith taps twice and drags the hammer - striker has one last strike and then is finished for this heat . When the smith is working with two strikers, the second striker listens to the smith's strike-signals, yet does not get the very last strike, as he has had time to break the cycle. . This is how I was taught (European). At first, I thought "well, I'll just humour him, he's probably the only one who does that", then one day, we had a few visitors in the shop, one fellow I had never met before. As I was lead striker and the other fellows who worked there were familiar with the signals, I tapped five times looking for a striker. This new guy walked up with the sledge and replied.... after completing the third heat, I introduced myself and asked him how he knew the signals. He replied that all who had taken the smithing trade in Germany were familiar with them. It appears that only around here does no one know much about signals. . An anvil choir is where there are at leat two anvils and at least one smith and striker at each. Lead anvil has the master - he leads the whole shot; second anvil-smith listens to and follows the lead of the master; each striker follows the smith of his particular anvil. If you get a master with good musical sense (definitely not me), it sounds wonderful.

Go to http://www.abana.org or http://njba.abana-chapter.com

While demonstrating once, I met a lady who is by profession, an ergonomic therapist (I think that's the term). We had a very candid conversation about shops and layout. The most important information she gave me was that most problems with the body and its relation to the working environment, are not normally realised by the person suffering from the condition. While some can be solved with a set of fresh eyes, neighbor, colleague, etc., there may be a time when a professional would be most suited. Analysis of such things: environment, technique, etc., can take as little as a few hours, some may take weeks. Remember, if this is a chronic problem as a result of years of repetition, it may take a year to remove it from your brain.

Here are some interesting statistics I learned while taking advertising at Art College: Trade shows give maximum exposure though minimum time to sell; on average, you will have between two and a half to four seconds to catch a potential customer's eye; once that is done, you have seven to twelve seconds to get their interest. . This is all before you even get to talk to them about your product. . It's rough there.

Learn how to strike. Correct the shape of your hammer handle. Last, put your anvil at a correct height for what you are working in. Check out the section on hammering technique. Pitch the sissy band, you won't need it after you learn to strike.

When designing a hardie for your anvil, remember this: the amount of material that sits on the face of the anvil on either side of the hardie shaft should be equal to that of the shaft. eg: shaft is 1", then the total widthat the base is ideally 2". While this is not always possible, take a look at some old cut-off hardies where they were used in too large a hole and are now pretty much turned into a wedge. The impact should be transferred to the face of the anvil, not into the middle of the body at the hardie hole.

Don, Wooldridge is right about the water. You will find it is common from guys who sell the coke by the pound and have soaked it in water to make it gain weight. While it may not be entirely scrupulous, it must be a consideration when purchasing coke or coal by the pound. Those that tell you it is common for coke to be wetted down either don't know what they are talking about, or are suffering from an acute case of cranial-rectal inversion.

When I started, I used a 4.5# hammer. Because the days would sometimes last for ten or more hours, I learned how to swing the hammer efficiently. Using the same technique, I can use a sledge (choked up on the handle), in the same form. I also do not advocate impact absorbing hammer handles and the like. Whenever I have a student who cannot swing the hammer using the correct form, I have some soft wood or sheets of lead to pound on. After about one minute, the students usually have an epiphany and instantaneously use the hammer sorrectly. It is much easier to learn how to use a heavy hammer and then use a lighter one for appropriate work, than the other way around. I also use cheapo hammers, as it is easier to replace a hammer from whatever mistake may happen, than to replace my P.W..

The idea was meant to be a starting point. The nature of it is meant to be a part of Americana. As has been so succinctly demonstrated, American Independence had a price; no less should we forget the sacrifices of all those before us, both of the pioneers and military. The chain could be meant as symbolic re-enactment of the event and also as a means of bringing the fraternity of smiths closer together. The details, however, should be worked out by those that would be closest to the action. For whatever merit it does or does not possess, I just had the idea.

First, take a look at your fire. In a forced air (forge) fire, there are many different layers to the fire, each layer progressively getting hotter as you reach closer to the center of the 'ball'. The size of the ball and the ultimate temperature of the ball is dependent upon several factors: the size and shape of the firepot; the shape of the tuyre or air grate; the manner in which the coal has been placed upon the fire; and the height of the stacked coal, which directly influences the height of the ball from the tuyre. If you look at many of the old (pre 1900) blacksmithing books, they stress over and over how important it is to have a good deep clean fire, with the highest heat being six inches above the tuyre. The fire should have a minimum of clinkers (don't fret over a couple little specs here and there), and the air blast should flow freely throughout the fire. Unless you are welding a small portion, do not place the iron directly into the center of the ball. Instead, slide it in just of to the center, a slightly cooler, yet noticeably longer heat will be attained. The firepot I use is 10 x14 at the top and 6 deep; I keep my coal no less than four inches above the table top level, and no more than eight inches for large long heats. This is the way I was taught, then I tried my own way, now I just do it the way I was taught.

If you are interested, I would suggest this way: . Buy a set of good safety glasses - they are your best friend. They say you don't hear of any old one-eyed smiths - there is a reason: lose an eye, no more smithing. Buy a good set of boots. I prefer the low-heel steel-toe cowboy boot - sparks can't burn your laces. However, they must fit perfectly. . Learning: Find someone who is already been doing some smithing for at least three years - they do not have to be full-time, just some good background. Hang out with them for at least 50 hours (about 5 weekends). Learn a bit about the in's and out's; offer to pay for some of their time, or coal/propane and materials. If you still are interested, take small steps. . Anvil: Buy an inexpensive anvil; no less than 50# and no need to go higher than 150#. The popular old Peter Wright, Haybudden, MouseHole anvils are what I prefer. If you find an old cast Vulcan, Fisher or whatever, do not dismiss them - they lasted this long. Brand names for the new ones such as, Refflinghaus, Peddinghaus and so on are nowadays only slightly more expensive. The anvils from out of Austria, Sweden, Czech and Slovak areas are high quality and relatively inexpensive. The Asian-made anvils USED to be no more than a pretty paperweight or a handgrenade, though I can not honestly comment on the ones made as of late. Buy a cheap 2.5 - 4# cross-pien hammer - the offshore ones are good. They have the mass to do the work, and the face is soft enough that when you are learning and miss the steel and hit the face of the anvil, there is less likelyhood of leaving a mark. Buy a quality handle and make the handle fit your hand! If you can not locate a pair of tongs at a swap meet or at a pawn shop (do not spend more than $20 US or $800Cdn :wink: ), then buy a set of Vise-Grip brand locking pliers and one set of cheapo pliers. . If you must buy a pair of gloves, place them on the wall and drive a 6" ardox through the middle of them - there they will do the most good. . Learning (again): Go to your friend's place and practice for a weekend with his fire. Don't forget to pay him - it will cost you the same to run a forge later on. At this point, your investment in tools is easily recovered, should you not like smithing. . Take a weekend blacksmithing course, if available 8) . . Buy a suitable/affordable forge. Gas or coal, whichever would serve you best advantage. This is where your friend can help. If you have a small shop, invest in a carbon monoxide detector and many batteries. Ensure it always works! These detectors also have specific life cycle - read the manufacturer's literature or ask! This should not be a reason to end up on the prayers list. . Things to make: Learn to make nails and rivets - the maufacture of these contains your basic, everyday skills. Learn to make a chain link. Make fire pokers, fire rakes. Make chisels. Make tongs. Make a cut-off hardie. Make a cutting table for the anvil. Make a bench. The table height to be determined by the height of your hands when your arms are relaxed with a slight bend in the elbow. Get a vise. Leg vise if available, otherwise a parallel vise. . If at this point you have spent no more than $1000 on your supplies. The training course and the money for your friend not to be included. I would not go out of my way to spend any more money for at least 200 more forging hours (that's every Saturday for a whole year). During this time, learn how to make tools - no one can buy this manner of experience. Don't make a garden gate - it's harder than you think. Make a candle holder first (give this to the wife :shock: ) Curtain rod tie-backs (for the wife ) Latch for a wooden garden gate (to the mother in-law's flower bed :wink: ) . The second best part of making tools: if you find that you don't like smithing, you can sell the tools too.

As far as planning if you might move your shop, thinking you will only buy that which you know you can't do without - get help from someone who knows what kind of work you do, let them pick out those items. Anyone, when asked will testify as to the importance of every single tool and every single piece of scrap out behind the shop - "I might need that someday, and I am not parting with it ,as it is unique and probably hard to find." Have your helper pick out that which you do not need, on the condition thet won't take it home. :shock: That would be about right. . For me, I think the Pharohs had it right - YOU CAN TAKE IT (AND EVERYTHING ELSE WITHIN REACH) WITH YOU WHEN YOU GO! :wink: I'm gonna get buried with all my stuff!

Whatever oil or quenching medium you use, it must be consistent, every single time. When hardening and tempering, remove as many variables as you can - life is hard enough. I prefer mineral oil for tools and plain water for everything else. As far as mineral oil is concerned, it's just what I use; some guys use a different kind of oil as it works for them. . Used oil? Absolutely never, ever, not even for junk stuff! :x :!: Used motor oil is to be sent for recycling and re-refining - it contains high amounts of ash, sulphur and all the stuff you never want in steel. Why use it to form the hardened part of edges or tools?

26"

The vise is mounted on an old gauge wheel from an IHC breaking plow - it weighs over 60# alone. The pipe is 1/4" wall boiler tube. In five minutes, it breaks down to three separate parts, so as to make it easier for travel.

In my opinion, buying tongs, or any tools for that matter, should best be reserved for when your production time limitations show justification. A fifty dollar pair of tongs, or a seventy dollar set hammer are just that. Your own tools are the result of your own skills development and experience - no one can buy that, period. If the first tools you make are ugly, so what! Do they work? Yes. Perfect! Will you make better ones next time? Yes. No one will ever fault you, because no one can beat that.

A picture would help me too. If you have a small zip cut blade for a 1/8" shaft dremel (not a 1/4" die grinder, it would cut too wide), you can get by with cutting a groove in that manner. Square the inside edge with a broken edge from a good (not cheap offshore) hacksaw blade. Good luck . I have fixed so for so long with so little, I can now repair anything with nothing.

"in te Domine, speravi"

Whatever you do, unless you sell the items, do not ever throw out your first year's items. They serve as a benchmark for your foundation in smithing, as well, it illustrates your progress as you learn. It is much easier to look at some of your original works and see what you may view later as 'mistakes'. Remember, the only mistakes made are the ones when you are learning and do it the same (wrong) way twice or more. If I had not lost much of it from my move to Saskatchewan, I would still have almost everything from my first year's apprenticeship. I still have all of my proof- and test-pieces, as well as my first one-piece iron rose (took a lifetime to do - or so it felt). Most of all, stay alert, be careful, and enjoy yourself. :D

Here's the way I understand it. Some of the old trades were such that a young boy (sorry ladies, in those days girls were never considered) at about age twelve or thirteen were brought into shops as helpers, usually doing all manner of menial tasks. As they were quite often treated brutally, families that sent their boys to a trade, tried to do so within either family memebers, where they still had some influence in the youth's treatment, or to a reputable Master. If the boy demonstrated good work ethic, he would be slowly initiated with minor tasks, in the case of the blacksmith, task like pumping the bellows, cleaning scale off of iron, polishing plowshares after completion, etc.. The more skill and talent shown, the more they would be taught; if they didn't have the talent, they would keep sweeping floors and doing all the heavy lifting. :cry: After the young man had learned all the skills that the particular Master could teach, he could either stay in that shop, or would journey to other shops looking for work. Hence the term Journeyman. In some countries, a journeyman would require notes of recommendation from at least three Masters and all three had to agree that he was of a Master's level before they would collectively sign a Master's paper for him to achieve this rank. The fact that money would quite often change hands would be acknowledged, but never spoken. :wink: Guilds would be formed in order to set out minimum standards, and in some cases, set out minimum and maximum prices for work (to prevent gouging and undercutting - arguements), as well as ethical treatment of apprentices. I've probably glanced over this too thinly.

Journeyman Trade papers do only a few things. They are a sign that someone has completed to a satisfactory degree the necessarry skills required to perform the tasks that would be needed within the scope of the designated trade (whew!). They do not illustrate the individual's work ethic, talent, or cleanliness. They also do not give any sign as to whether the person charges too little or too much. It matters not whether the trade is blacksmith, mechanic, weldor, carpenter or plumber; there are many people on both sides of that piece of paper that are good and bad at what they do. I personally know of smiths who could challenge any type of rank or test and pass without breaking a sweat; conversely, I also know of a few self-declared 'Masters' who have trouble with the basic physics of metal structure - only that when challenged, they declare the Sarah Bernhardt syndrome "I am an artiste!". True, many of their works are of significant merit, yet they cannot complete the full scope required in many blacksmith journeyman exams....does this make them any lesser of a smith? I think not. At this point in history, I feel it is more important for the Craft to survive than to turn everyone into a Journeyman. That does not mean we should not set out some degree of proficiency for those who wish to hit the mark. For those of us who are able, both in skills and in time, perhaps we should give those starting out a nudge here and there. I have found that the more beginners I help out - the more iron I sell. I can't figure that out yet, and I don't need to.

I don't think using that wire in large quantities would be very useful. . From the stuff that I have worked with, I have found it to be much softer than wrought iron of the same size, not fibrous at all, and readily corrodes. Not having any of the qualities of wrought iron and having the faults of steel, as well as seeing what it welds like both in the fire and with oxy-acet, I would guess it to be a mild steel with high phosphor and or sulphur content. This would make it malleable yet undesirable for much else other than twisting together for re-bar.

I sometimes put a small electric fan in the shop and point it at me. Here in Saskatchewan, it does get quite hot - high 30's to the mid 40's (Celcius). Another idea is to have a kercheff soaked in water to wrap around your neck; use two and one can cool off in a small pail of water while you cycle them from time to time. That works for me.

While I am a born and bred Canadian, I do know some American History. I know that during the American Revolution, blacksmiths forged a chain that was draped across a river to prevent British ships from crossing. I do not know if this is already being done, though anyway my idea is this: as blacksmiths, it is our obligation to demonstrate the importance of the smith in History and make a chain, that article of both the Master and the Apprentice. As I can not remember the particular location of said event, nor the date, someone will have to fill that in, do the ceremony or whatever you wish to call it on that date, maybe nationwide Have smiths gather together, each to forge three to five links (maybe even thirteen...original states) and link them all together The links would of course be of similar dimension Each year, keep adding to the chain, or exchange the chain from one location to a neighboring city or state and keep adding to it I don't think it is utterly important to have proof quality chain - as I believe smiths of all skill levels should be able to contribute. Any comments?

You probably already have everything done by now. Try looking up http://www.anvilmag.com/smith/204f4.htm This is Doug Newell's shop. His forge chimney can be raised or lowered, also he is a very impressive smith. The shop I am renovationg for me to move into will have a simlar chimney.