Neil Blythin

Just because I *can* make something myself, doesn't mean it's the most efficient use of my limited time & resources.

Wow, IFI has been a hive of activity these past couple of days. This topic of beekeeping seems to be generating a lot of buzz...

Sorry, couldn't resist.

Thanks for those links Albert - I am somewhat interested in this.  The Niagara peninsula is a tender fruit growing area, so I know there is quite a bit of this going on around here.  I've known of a few people (friend of a friend, and an uncle of a coworker) that did it as a hobby; and I've seen a couple of 'commercial' bee keepers in the area that take boxes out to the orchards for pollination.

Having worked in the wine industry, I got into home winemaking, and then ventured into mead making.  But honey has become very expensive, so I started musing with the idea of bees.  Not that I need yet another hobby right now... For interest sake, how time intensive of a hobby is it?

Hmm, honey can be used to make mead...

A mead drinking blacksmith (at the end of a hot day, not while actually smithing of course) would be the most popular guy at any Ren Fair or similar type of event.

Sounds like a win-win situation to me.

Electronic media is, by far, the cheapest form of 'advertising'. But like any form of advertising, it's only effective if done well. A badly done site does about as much for a business as poorly written print ads featuring cheesy clip-art.

One advantage of having your own domain name that some people don't think about, is a more formal, 'corporate' type of email address. Businesses that use free email accounts (hotmail, yahoo, and the like) scream out 'unprofessional' in this day an age.

You can register a top level domain name (.com, etc) for $10 a year, and basic hosting can be had very inexpensively. Often if you have a 'business' Internet service (rather than residential), larer service provider will give you a reasonable amount if free server space. If running a business, $100 - $200 a year on advertising is a very minimal investment.

There was a time when designing websites involved writing code ... But the current crop of content management systems make it dead easy. Professionally designed templates for these CMS platforms can be had from $20 on up. But even the top-end ones are under $100.

Yes, you can get some mileage from Facebook and other social media. However, if you don't have a proper website to direct people to, you will lack a certain amount of credibility (at least with the more tech-savvy generations).

I know that to some of the luddites and old curmudgeons out there - it's just an expense. But so much of the population are 'connected' these days, with their iPhones & BlackBerries hanging of them 24/7; why separate yourself from that segment part of the market?

If I'm looking for a 'whatever' (mechanic, plumber, etc.), my first stop is Google. If you're not online, I won't find you.

I happen to have purchased one of these recently. It is a fantastic piece of equipment, and is of the highest quality.

It's also so thick, an heavy, that I doubt it will ever wear out. Your grandchildren and possibly even your great-grandchildren will still be using it!

As far as the 4" intake is concerned, if you are using a blower with a different size port; then you can just use some kind of a reducing coupler.

On mine, I used 4" flexible vent pipe. On the blower end, I slit the vent pipe along its length for a few inches and squeezed it to the smaller diameter with a pipe clamp. Worked really well.

Hmm, you know, that's something I've always wondered about... We hear a lot about how blacksmithing was a nearly 'lost' art, following the industrial revolution and two world wars.  But that of course, is from a western perspective.  

When you start talking about (I hate to use the term '3rd world' ... what's the politically correct term these days?), lets say 'developing countries' or 'less westernized' parts of the world, was there ever a discontinuity?  Or have they always had their village blacksmith - going back many generations?  Was there every any loss of knowledge with them - or are they still smithing the way they always have been?

In any case, cool video, and certainly something that gives food for thought.

.... but I still feel sorry for that poor little anvil.  That's abuse, that is!

Good grief!!! The striker in that first group, looked like he was trying his absolute best to knock the horn off of that poor little anvil.

I've actually been looking at that issue (professional / occupational standards) recently.  It seems to be something that's lacking across the board.  I know the Brits had developed standards for restoration blacksmithing, and I thought they were working on it for non-restoration work as well.  We have nothing for it here in Ontario.

Sorry folks - I didn't mean to drag this off topic.  I was enjoying your discussions about blacksmithing as a fine art.  Please feel free to ignore my rantings about school and carry on... 

Hi John,  this is a bit of a delicate subject for me too ... but from the perspective of a slightly frustrated student, who is appreciative of all my school does, but wants more.  I'm also sick and medicated at the moment, so the point of my post may not have been as clear as I would have liked.  The short version being, that I can understand why a school might be more inclined to tool up a shop for other trades, before considering blacksmithing.  But in any case, to answer a few of your questions:

Hi Neil, this is a delicate subject with me re colleges and training, so bear with me

 

Are you on a full time or part time course? And is it dedicated to blacksmithing or generalised across other skill based areas?

 

Ignoring the difference in definition of conservation, preservation and restoration, we are discussing a traditional craft and its skills.

 

 

You have a programme, so you have parameters to work to skills wise. So why is it logistically difficult to arrange?

 

 

Are you saying there are 20 students seriously trying to study/learn blacksmithing on two forges and four anvils at one time?

 

It's just not going to successfully happen,

 

 

But it does not have to be to learn the craft. Anvils don't have to be 'anvil' shaped as we know. And blacksmiths make their own tools. They don't have to have power hammers, and forge hearths can be made in house.

 

If the programme is designed right, then the students make their tools as and when they need them, and then have them for when they go out into the big wide world. They can be stored at college or home, if its a part time course.

 

 

Thats because they want to supply everything for the students use.

 

How many times do we see the closed school departments tools come up for sale that have had little or no use at all.

 

Its a bit like a mechanics socket set, they purchase a set of spanners, and only use a small percentage of them, the others are there 'just in case' circumstances demand.

 

Well, a blacksmith solves the problem(s) as and when they arrive. Then the toolling/solution is made and added to the collection.

 

 

 

Better a smaller class in a dedicated area doing the job properly.

 

Where there is a will there is a way.

 

Although I accept colleges are tied to regulations and budget restrictions, and whilst we think our craft important, others in higher places who hold the purse strings are not of the same opinion.

 

Good luck with your second career, as a guild we have succesfully helped many people to become full time blacksmiths, some of those being second careers.It is a three-year full time program, which is not dedicated to blacksmithing.  Years 1 and 2 are multi-disciplinary, and a mix of academic and hands-on.  We cover a very wide range of heritage related subjects.  Third year is a sort of 'thesis' year, where each student picks the area they want to specialize in, and appropriate internships are arranged.

Re: type of program: it is a full-time, three year program.  1st & 2nd year are multi-disciplinary, covering a wide array of heritage related topics (both academic and hands-on).  3rd year is a sort of 'thesis' year. Students choose the area they would like to specialize in, and appropriate internships are arranged.  Blacksmithing is only one component of the traditional 'craft skills' covered in 1st & 2nd years.  I'm not aware if any previous students have specialized in this in 3rd year - I may be the first to do so.

Re: course parameters / logistics: I don't believe there are specific parameters for this part of the course.  Our school is fairly organic in structure, and the instructors have a lot of leeway in what they teach and how.  The expected outcome, at least for this first year, is that we are exposed to blacksmithing and its basic processes.  

It should be noted that up until this year, the typical course size was under ten students per year.  This years intake, it doubled to twenty.  I believe the current 3rd year class is 6 people, 2nd year is 8, and our 1st year class is now 18.  In the past, the class of 6 or 8 would split into two groups.  One group would travel to the blacksmithing instructors shop (a number of hours drive away), while the other half had a different course.  That worked for a group that size.  That instructor was unsure of how to deal with such a large group; and so a different instructor stepped-up, and did his best to bring what equipment he could to our school.  We also split the group (into 9); but it was still not a great set-up, with limited equipment.

I happen to agree wholeheartedly with what you're saying; and have had this conversation with the school's administration.  I would like to see the forge program expanded, as would many of my class mates.  I have suggested how we may build our own forges, and had some ideas for 'improvised' anvils.  And after all, blacksmiths are the toolmakers, so with the right guidance, we should be able to make most of what we need.  The school has been receptive to my suggestions, but the wheels sometimes move slowly in these types of organizations.  Especially when it comes to spending money.

And we've seen enough conversations (even arguments) on sites like these, between blacksmiths, over what is the needed level of equipment.  Some of us agree that a forge only needs to be something to contain a fire while pumping extra air into it - and an anvil is something hard to resist the blows of a hammer.  Others insist on more.  If an experienced and respected smith tells my school they need a minimum of 10, 150 Lb London pattern anvils, and commercially made forges; and a student tells them they can get away with a chunk of heavy plate - its a bit of an uphill battle.

I'm sure in time i'll win out, and we'll get a suitable shop set-up at the school... although I'd like to see it happen sooner.

Last November was our first travelling road-show version (the instructor bringing stuff).  I brought some extra equipment too, and we ended up with 4 forges and anvils for 9 students.  Next month, we try again. 

Again, my only point was - as I'm currently watching a school go through these growing pains - I can see why others may shy away from it.

Cheers,

Neil

I agree. I enjoyed making my first few sets of tongs. I drew them out using an air hammer (at someone else's shop).

The last two sets I made at my own shop - where I drew them out by hand. Those, I did not enjoy making. They took me forever.

Since then, I appreciate the convenience of buying them.

Yes, I do. Although its the same as what he's currently paying for charcoal (by the bag).

You pay a premium (often a significant premium), buying something in small quantities, through retail.

If buying a ton, or two, I wouldn't pay that. But if I were buying a bag or two, and wanted it delivered more or less to my door in a part of the country where coal is hard to come by...

Just FYI, the coal from Home Hardware is actually from Robb Martin (Thak Ironworks) in Floradale,ON. He distributes via HH. The advantage of using their distribution network, is that you pay the same for it in Thunder Bay, as someone in London or Kingston ... You're not paying extra for shipping.

Yes, it is a bit on the expensive side. However, it is good quality smithing coal.

Edit: just to add, it's all economy's of scale, right? If you were going through a lot of coal, charcoal, whatever - you'd be far better off buying in bulk perhaps from a different supplier. But for a hobbyist, buying by the bag - it's not too bad.

I'm mostly using propane these days. I probably pay more to fill a couple of 30 Lb tanks for my small gas forge, than if I had 100 Lb tanks. But for me, dealing with the smaller amounts is more convenient - even if more expensive.

Hi Rob, 

The forge I posted above belongs to a friend / class mate of mine.  I don't believe he's done anything with it yet...

Cheers,

Neil

p.s. Drop me a PM if you'd like to exchange contact info - I'm just in Niagara (as is the friend whose forge this is).

I don't personally want to get into the 'art' debate, but some of the initial post in this thread hits home to me...

This morning I received in my inbox, information of yet another degree in craft. This time at Crawford College of Art & Design, in Co. Cork, Ireland. It will consist of ceramics, glass and textiles. Once again blacksmiths are not at the table.

I have long thought the blacksmith industry needs to focus some attention on getting our craft into the major art colleges. On the whole, when voicing this idea I’ve been met with mockery, derision, anger, outrage and, thankfully support, at such an idea. Why are we so resistant to new ideas? Surly having small forging departments open for three or four days a month (like some other departments already) in art colleges would be good for blacksmithing. It would provide extra and much needed income for those smiths who feel happy to teach. It would also help to promote our craft in areas some have felt to be blocked off to us. It would allow students to dip their toes in the water and, if they like it, dive in. I’m sure a great many of these students would then go on to fulltime studies in forge work at collages like Hereford in the UK. It would also help to promote our craft to future administrators of the art world. A large amount of art students don’t go on to become practising artists, they become gallery administrators, curators and civil servants. In short, they become the commissioners of future art. Thus, if they aren’t exposed to the forge they are less likely to commission forge work. This is borne out by the fact that very few of us are commissioned by these sorts of institutions.

It feels as if we, as an industry, decided at some point to stop moving forward. To stop building on the monumental efforts of those who helped halt the decline of our craft in the Sixties and Seventies. Smiths I have a great deal of admiration for, without whom I know I would not be doing what I love today. These artists, most of whom are widely known by those of us working in the forge, put in place what became a great endeavour to help blacksmithing survive and move on.

Other crafts did the same, but at some point our paths differed quite significantly. We became content with, on the whole, being a craft. We set up our colleges in rural areas, held the majority of our events in out of the way places and mostly, though not exclusively, shunned the art world, its colleges and galleries.

Crafts such as ceramics at first did the same, establishing colleges in rural areas and so on. But somewhere along the line they began to court the art world, getting small ceramic departments set up in more prominent art colleges and holding events in major metropolitan areas, with exhibitions in contemporary art galleries. In short, ceramicists pushed their way to the front and became a mainstream art form as well as a traditional craft.

The above is what I want to comment on, but first, I wanted to share the fact that I'm currently an adult student - having just gone back to college after being out of school for 15 years (a 'second career' type of thing).  My school isn't an 'arts' school per se, we do heritage conservation (or 'preservation' as the Americans prefer to call it).  Out program involves a lot of traditional craft work - masters of various trades come in to teach us hands-on courses on things like dry stone walling, masonry, stone carving, plaster, timber framing, etc.  

We do also have a forge program.  That said, the blacksmithing course is far more difficult, logistically, to arrange.  

We do not have a big enough school, or large enough student body for each of the dozen or more trades that we study to each have their own fully functioning, fully stocked workshop.  The instructors generally bring their own tools, hopefully enough so the students can easily share.  Its fairly easy for the mason or timber framer to bring a bunch of chisels, mallets, etc.  For blacksmithing, the instructor (who is about a 6 hour drive away), brings two forges, four anvils and a whole bunch of other stuff - but its really not enough for 20 students at a time.

The simple truth is that our equipment can be fairly large and heavy.  Its expensive new, can be difficult to find used, and we've all seen how much some people try to charge for used anvils on CL or eBay.  For a school to set up a fully functioning smithy, large enough for a 'class' of students (10, 20 or more) - is a very large investment.  If smithing is only part of a larger program, how often does the shop get used?  We also have what can be a fairly 'dirty' trade too.  I know a lot of smiths who like woodworking for example, but try to keep that in a separate area to keep it clean.  Our craft is not always well suited to sharing space with other trades.

Very cool!

Wow, that was a pretty cool video!  Thank you for posting that YouTube link pjakkur.

just watched the show using the link provided in the original post. For those who didn't notice, the nova episode is available to watch online using the links above. Awsome show. I only wish I had the confidence in my skills, or lack of skills, to attempt something of such beauty.  Thanks for the link.

Unfortunately, the online video can't be viewed by users from outside the US (well, unless you use a proxy-server).

I only just learned that John Neeman is no longer with Neeman Tools ... He's recently moved on and started a new company, called Autine.

It started to crack because you were drying it too quickly. Wood likes to dry out slowly... Get yourself a can or jar, fill it with linseed oil, and let the wood soak in it. The wood soaks up all the oil it wants, as if it were water - but the oil will later harden, conditioning & stabilizing the wood, and preventing future cracking.

P.s. this is also a good way to treat your hammer handles - it prevents the shrinking & swelling that happens with changes in moisture content.

Cool idea.  Unfortunately, future civilizations may mis-interpret this as a dooms-day prophecy...

Great suggestion George! I never thought of using clinker for traction, but threw a pail of it in the back of my truck after I read this. And wouldn't you know it, a friend of mine got her car stuck this evening ... It worked wonderfully! Much more effective than kitty litter or gravel, and much lighter too. I'm so happy to finally have a 'use' for this garbage!

I must say, the two videos he's got posted online are absolutely first-rate! I've got a friend who is a filmmaker - and these videos remind me a lot of his work.

Mr. Neeman obviously has been doing this a while and is making some great tools. However I think a lot of the 'buzz' is owed to a having a good filmmaker. The guy knows what to film, and how. The music was well chosen too.

Just curious - is there any reason why you have your heart set on some sort of a 'bag', as opposed to other things to hold all your stuff?  Fabric, even the heaviest-duty canvas, would seem less durable to me than holders made of more rigid materials.  Have you tried toolboxes, milk crates, shipping totes and the like?

If you did insist on something fabric, a military duffle bag comes to mind.  I used to stuff all sorts of junk in mine when I was in the forces.