Frank Turley

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About Frank Turley

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  • Birthday 12/10/1935

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  • Gender
  • Location
    Santa Fe, New Mexico
  • Interests
    American Indian dancing/singing
    Cowboy culture and horsemanship
    Traditional Hispanic ironwork, esp, hardware
    tai chi chuan and chi kung


  • Location
    Santa Fe, NM
  • Interests
    Cowboys and Indians
  • Occupation
    instructor blacksmithing

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  1. I see now that my little statement earlier from the monograph was a blanket statement. It has already been said that there are lots of variables. My source further stated that the water or brine temperature should be well below 60F; no more specifics on temperature. The amount of salt suggested to add to the water for the brine was 5% to 10%. Whether by volume or weight was not mentioned. Agitation and vapor blankets were mentioned, but in another paragraph, and it was a rather general statement about the vapor being a significant barrier to heat abstraction. The same source said that the brine had the ability to "throw" scale off the quenched piece. I was able to spend six days with the premiere saw maker of Japan (Yataiki) R.I.P., when he gave a workshop in Iowa in the 1990's. On his small tools, he would apply a coating of Miso paste before hardening. He didn't explain, but we knew that the paste was salty.
  2. "Heat Treatment and Properties of Iron and Steel" is a Government Printing Office monograph, 1966, and it says on page 24 that brine Is a faster quench than water.
  3. Looks like a Columbian.
  4. This may seem childlike, but when I try to explain tempering, the English usage, I talk about living in the temperate zone, neither too hot nor too cold. It's temperate. I talk about the three bears. Goldilocks found father bear's bed too hard. Mama Bear's was too soft. Baby bear's bed was just right (had the right temper). A guy flies off the handle with anger and his wife tells him to temper his feelings...meaning to back off.
  5. Stockmaker et al., A few more. Early Turley Morgan horseshoe, front, 16 ounces. "Play scrolls;" I move them around to aid designing. Japanese made fireplace trammel with clever friction stop. From Texas, a drop handle, a trick; make a lemon shape, heat and bend finial-end back to center. Turley hammer, Japanese style for a friend.
  6. A few more pictures..... iron wrapped stone; Doug Wilson. Pincer tong jaws. Sam Yellin letter opener. Old French latch bar. Shutter strap hinge with purposeful bend,H-L hinge,and bolts from New Orleans.
  7. Mathematics can have a number of definitions, even to the point of bordering on the ethereal. Los Alamos is not too far from me, me being in Santa Fe. Los Alamos is full of PhD's, and I had one as a student who was a professional mathematician. In that particular class, I went to the chalk board and was working on diameter and circumference: Pi times the mean diameter equaling circumference. I said that even blacksmiths needed to do some math. My student piped up and said, "Frank, that's not math; that's arithmetic." I kind of knew what he was inferring, and I asked him to elaborate. He told me that he could not explain it very well, but that professional mathematicians get so embroiled in some of the concepts, that they sometimes just have to go fishing (literally).
  8. left to right; top to bottom. Turley made bolt. Cast horse, attenuated shape works! Rein chain swivels. Old Mexican grille element. Hand forged caliper. Padlock by Manuel Guerra of Cuenca, Ecuador.
  9. The Golondrinas Museum near Santa Fe now has this collection that I put together over the years, but I wanted to share some of the items. The little wooden "yoke" came out of Texas; haven't figured it out yet.
  10. If the tongs are left dead flat on the jaw insides, eventually you get a wear pattern, more near and on the edges than in the middle. You then get a high center and the work wants to spin or twist between both jaws. To a smith, this is not a biggie. He or she can heat the tongs and refit them. On the other hand, with the dimple in the center, you don't get a high center. Regarding gripability, grabbing cold steel with the tongs, the dimple doesn't do anything. Gripping hot steel however, you might get a better hold, since you have a sort of concentric circle of flat surrounding the dimple. You have the edges of the dimple and the edges of the outer flat working for you. I used to put the dimple in with a 1/2" round punch. Not to forget that blacksmiths' flat tongs usually have the center lowered with a half round or vee fuller, lengthwise.
  11. JamesJimiY et al., I wish I could guide you through 'bossing up', sheet and chasing, but it is not my forte. Chasing in the solid is something I have not done. I could refer you to d'Allemagne, "Decorative Antique Ironwork." This book has a few amazing repousse photos, one of an entire horseback battle scene, worthy of study and done in iron sheet metal, not copper. You won't know what business ends are needed on your tools until you have a layout drawing of what you intend to do. When a tool is finished, it may not be finished. After first use, you may need to sand and polish and try it again. This can be repeated until you get it to behave. You will discover over time what lengths suit you. I have found that the holding hand on the tool is formed sort of like a pool cue hand bridge. This gives good stability. I have also found that many learners hit the head of the tool twice when they should have only hit it once. Why do they do this? I don't know. The first blow is a dinky blow and he second blow is the effective, harder blow. Observe yourself, and if you are using extra dinky blow, stop it! O1 is not normalized. If cooled in air from a bright cherry, it will harden to a degree, but it will be an unstable hardness. Therefore, annealing is in order prior to hardening and tempering. I recommend your googling of "The Locksmith Shop of Manuel Guerra" Except for the electric grinders and forge blower, you would be looking at a shop and the way people worked in the 16th century. A couple of young men are chiseling openwork on sheet. It pays to observe the speed and dexterity, especially of one boy, maybe 12 years old and seated at his work table. Guerra has now passed, unfortunately. His shop was in Cuenca, Ecuador.
  12. Taking a close look at the vise, one might wonder whether it is chased rather than engraved. A how-to article titled "Chasing Solid Material" by Tom Latane, appeared in the latest "Hammer's Blow" Vol. 25, #1. Interestingly, he performs his work on a small leg vise. When chasing, material is 'set down' with variously shaped tools. When engraving, "threads" of material are cut and removed from the workpiece. David Irving of Denver, recently brought to me for my perusal a pair of cruciform stirrups. We think the work is chased and the design is amazingly involved. Besides chasing, there is also openwork. The design is run through with arabesques, grotesque faces, and a "bestiary," if one included all the animal forms.
  13. FYI, the color chart was originally put out by the Tempilstik Company, and I understand they have discontinued making them. Fortunately for me, I was able to acquire a large teacher's copy long ago, which is in the shop behind glass in a frame.