"Of Shoes,and Ships,and Sealing Wax ..."

[jake pogrebinsky]

Amasing man,Elmer Roush,what a neat site,really enjoyed looking through there.I'm sure that it's an honest mistake with the broad-axe,i doubt that many of these get ordered,so Elmer just hasn't noticed it yet(ought to send him a note).
I really liked his carpenter,hewing hatchets,but not the wider stuff-broad,or bearder axe.The width,in my opinion,must be forged out of mass,not added as rolled stock.It looks off,and,surely,balances differently as well.
But,my intolerance is legendary,and here is a maker of note,plying his trade,i'm sure that he knows his stuff:).

[jake pogrebinsky]

Sorry,guys,the computer is acting VERY strange,didn't see your posts though refreshed the page few times.

Bryan,it's really neat to have Thomas present here,with his sober wisdom.That's a really good point:Set up,and get good with a quench and break test.Possibly do a break on known stuff,and keep as sample(also for spark testing).

I've never played with either strapping or saw blades.Of the latter,the band-saw blades,there's a snarl of about 300 pounds behind the house...(My buddy Vern,whose place this is,wasn't great about hauling stuff out.I'm still making charcoal from the milling cut-offs,and there are mounds left yet...).Some are,indeed,bi-metal,some-solid.
Bryan,you may go talk to Mark Knapp at the "Cutting Edge",when in Fbks,he'd know about the bands,(many of which came from him to begin with,in town,as he deals in them,and re-sharpens,too).He,of course,is a knifemaker himself,and will tell you everything that you need to know.
If the stuff of whatever use,i can probably use shears to cut you up a box-full.

[jake pogrebinsky]

Using chunks of an old axe is a good idea,they're probably some plain-ish,uncomplicated alloy,with enough C for an edge,almost certainly.
Here's an idea,Bryan:Forge-weld a clump of chainsaw chain,leaving the pattern semi-recognisable,and blade an axe with that!(Not my idea,forgot where i've seen it).

[K. Bryan Morgan]

Well I got out into the shed today and did some work. It was the first time in a while and man I felt out of sorts. I didn't make much. Just a couple of things. With my leg it takes me three times as long as it used to, to get things done. I made a nice little leaf key fob and a flux spoon. I needed the flux spoon, the fob was just for practice.


So I ran out of propane, which was an issue. I fired up the coal forge because I really didn't want to stop. Its simple but it works and thats all that matters to me.


And here's a shot of the inside of the shed. I sit on the stool and hammer from there. Just move it to suit me and where I need to be on the anvil.

Here are some of the grade 60 rebar tools I've been making. A slitting chisel, a couple of fullers and a small square punch.




I've been talking to Mark Knapp for the last couple of months. He sure has a nice shop and he holds a knife makers meeting there the second Tuesday of the month. The next meeting is this Tuesday. I've really enjoyed getting to know him. He is a master at what he does. Some of the best knives I've ever seen. Anyway, I'll see him this Tuesday, so I'll talk to him about it then. See, what he says about the bandsaw blades and strapping.


I don't know what that old axe head is made of. I havn't really looked at it yet other than to thow it on the shelf. I found another piece of medium carbon steel laying on the ground next to the shed. A large bolt. I didn't see it before because it was the same color as the ground. Funny what you find sometimes just laying about.

[jake pogrebinsky]

I think that you do EXCELLENT work,Bryan.For one,a very the simple reason,:You're wise enough not to buckle to a temptation to use stock the size/shape.
That alone will give your work the "right",the IRON, look,which is what looks good in ironwork(revolutionary thought,that).
I never thanked you for your kind offer to join you at your shop sometime when i'm in town-Thank you,sir.Now,that i see what a great set-up you have,it's even more tempting.With what you have there,but,most importantly(!),with your good and sound taste of what needs to happen to iron at the forge,there isn't anything to stop you from producing some SUPERLATIVE work there!!!

I'm extremely happy that you're in touch with Mark,he's a a Rock of metallurgical knowledge(and a prince of a man).The only trouble is that you'll probably be discouraged from using junk,after spending time around him,at least the less classy junk(i did buy a piece of a serious,industrial band-saw blade from him once.It was gorgeous,with the coolest corrosion pattern on it.(Mark absolutely led me unto temptation,though:I ended up letting him carve it out for me,then edge it,and HT,too(thugh he probably didn't need to,working cold with diamond-tipped tooling).When someone is THAT competent,why not let them do what they do so well?!).
And it's a good thing,junk is cool,et c.,but that extra variable(s)...We have PLENTY to do even without it.

I remember our conversation on another forum a couple years ago,about how potentially dangerous/unproductive it is learning stuff through the internet,how easy it is to just sit back,and after watching a video tell yourself:"I can do that",and other pitfalls.But you've obviously have made a great job of it,using this media MOST constructively,so you've my most sincere admiration for that.


Beth,Michael,(and anyone else that may be interested,of course),i hope that you don't think that we wondered too far off the main,intangeble theme of this thread,with all this talk of axes.Here's something to tie it ALL together:(It's an exerpt from Raymond Sauvage MA thesis(Raymond is an archaeologist in Norway who recently joined us here at IFI,and most generously shared his dissertation on the subject of Axes,it just so happens (in Google translation(thanks,Luke)):

"...Through the experience has been built up
knowledge of raw materials, materials, tools and techniques (ibid.). Researchers have often termed this
Chapter 1 Introduction
3
knowledge as "tacit knowledge". The philosopher Bengt Molander (1996:38) has stressed that
knowledge of the practical work is not written down, but lies instead in the actions and
implementation of the craft. Jon Bojer Godal (1996) have compared
craft training to learn a language. The exercise of craftsmanship can be seen as a language
expressed in terms of movement in space (ibid.). Young people are quick to learn the language, in the same way
they quick to learn practical work through participation. Knowledge Transfer in crafts
has taken place through joint ventures in which young people learn from the old (Godal 1996:11).
Through long experience, tools, a practicing craftsman built up assessments and
knowledge of various tools and methods. This is my starting point for interpreting the tools and
processes that have taken place in the smithy. I have some practical experience with forging and using
smiverktøy while I work through the task has been in contact with the smiths
I have discussed the material with. First and foremost is the basis for the work
smiverktøy and the methods and smiteknikk that can be read from the material.
Much research on iron metallurgy and iron crafts are in Europe primarily studied
metallurgical, technological and economic aspects of past crafts (Stenvik 2003:130,
Barndon 2005:358). It has rained metallurgy as an independent technological fields, separated from
cultural or social phenomenon, which has led to the human component has
been sufficiently emphasized (Barndon 2001:47). Studies of technological actions in førmoderne
society on the other hand, demonstrated that they are part of larger metaphors and contexts with many
occur style rings around the actions and the people who have exercised the craft, as ritual practice,
notions of magic, taboos and metaphors. In research on iron and iron are particularly
etnoarkeologiske studies done that have iron technology into the larger contexts (cf.
eg. Barndon 1992, 2001, 2005, Rijal 1998, Haaland 2004). This research makes it
tempting to look for similar structures in iron technology and iron crafts in Norway in younger
Iron Age and early Middle Ages.
To shed light on the empirical source material and put it into a larger
understanding the technology I use in the task tolkningsdel of sources that shed light on possible
similar underlying structures and performances. I avail myself of etnoarkeologiske
sources, but also ethnological studies of iron forging and machining in recent times. A third important
category is mythological and religious history sources that can shed light on ideas and
aspects associated with iron craftsmen.
Chapter 1 Introduction
4..."

See,what

[K. Bryan Morgan]

Wow, thats some opening Introduction. I understand what he's saying. I don't know that I am at the place of being a craftsman yet in blacksmithing. I'm still reading and studying. It hasn't become "tacit" to me as yet. Although I don't think I agree with " that knowledge of the practical work is not written down, but lies instead in the actions and implementation of the craft." I feel that it should be writen and whats more important studied. Everything that can be quantified should be quantified. If that makes sense. How else do you spread the word and make it available for furture generations. This isn't a craft that is easily learned. There are books to be sure. There are schools to attend. Even those are quickly dwindling. Here in Alaska the University of Alaska Fairbanks closed its blacksmithing course in 2008. There are few masters, in this country anyway, who are willing to take on an apprentice and all that entails. I don't personally learn this by doing but from the writen word. I've had one class and have hammered with some good smiths a couple of times. In two years. But learning this way is difficult in a craft that has been historicaly handed down by showing someone how to do it. You can tell someone to draw a taper. It seems to me though, it is better to show him/her. Considering how many thousands of years this has been going on its easy to see how a person can think the way the author does.

I still think there are some very good blacksmithing books that are yet to be writen. I don't believe everything thats been said over the centuries is enough to fully encompase the craft we all come here to talk and learn about. Whats the old saying? Ask ten blacksmiths a question and you'll get twenty answers.

[jake pogrebinsky]

You're right,Bryan,in that much still remains to be quantified,and written down(Sometimes i imagine people reading our conversing here,and rolling their eyes:"What a bunch of...verbiage!",yet,that's what we ARE doing here,quantifying and setting it down.Or,to speak for myself,making a pathetic attempt to do so,however feeble).

Human teachers are cool in many ways,that includes books written by them.But it's impossible to learn well without that other greatest teacher of them all,Fe itself.

However,that,teachers+practice,is still not enough,when the chips are down.The one missing magic ingredient is the interaction of a forged object with it's intended purpose,i.e.,how will that axe actually perform?That ties it all together.
We can say,i think,that this triumvirate,Information/Practice/Interphase(of object with reality),would indeed give one a decent start on the craft.(That " correct interaction" can be a tool and it's job,or can be a forged church furniture that,as intended,makes you think of God,or that Fox of Beth's,imparting her intent,whatever it is must be correctly fitted into the rest of reality).

The trouble nowadays that that very "tacit" reality is sorely lacking.Who in h...uses an axe anymore?Much manual action in our immed.lives is falling by the wayside.That's the reason why we see much stuff manufactured that's on the ugly side,the looks,based on aesthetics alone,don't cut the mustard.

I often observe it in relation to the knifemakers.Technically,many are so good as for it to be unprecedented in the entire history of himankind.And too often there's most gorgeous pattern-welded material(each component of which is an engineering marvel in itself),such competence exhibited in welding it,finishing,et c.,and the entire object...A waste of time and material.A shape so divorced from any reality that only a persom who never whittled a stick,or never played outside as a kid in general,could've concieve of such an abortion.

So yea,we're all learning to speak that language,and it's a long,hard trail.But very satisfying,even in the process,which makes it easier to bear the inevitable lumps...

[beth]

how interesting ! i have ben out camping again and have only just read that dissertation - thats a very interesting read although i got a little lost in places ( have not slept even one wink - so worse than usual comprehension? ) loved imediately his comment about "a language expressed in terms of movement in space" that is very elegantly put.. it all is indeed a language, and i think when the language is the most instinctive and natural to us (at one with the material and function/reason for object being created ) then there is no need for further verbal explanation/comment - although this is valid sometimes just for pleasure!

(Brian i did not realise you too are in alaska - oddly i just saw when reading about one of my dogs a new lurcher pup that you lot are now more often crossing the lurcher breeds or sighthounds with huskies for your working dogs - is this true?)

i agree what you say too about there is plenty more to be written, but i like also to read not about practice entirely but attitude of the happy able smith and other stuff - history but as always with history, written in a way that brings it alive and makes it accessible to non intellectuals... i personaly have read far far more than i have ever achieeved in practice about blacksmithing ( and many other things!! ) and i can find it incredibley difficult to get that stuff i read into the actual doing it.. i find it infinitely more easy to learn with someone showing me, and i can learn almost instantly in that situation. Also verbal instructions are good for me, but the amount of times ive read on here about heat treating for tools etc and im still left blank even though im not really stupid - i would love for someone to show me instead of it all being a mush of words going round and round...

but thats the point with learning and teaching, a good teacher realises that each person learns and takes in information in completely different ways - so visual, aural, kinesthetic etc and different people learn different SUBJECT matter in different ways too. i had private lessons at one point for kung fu and tai chi and the teacher i had was a hugely knowledgeable man with a utterly different brain to me, and he would often talk in numbers a nd sequences and left and right which is hopeless for me bit dyslexic - eventualy instead of left and right i would ask him to touch which ever arm/limb he wanted and that worked fine from then on - reduced a lot of stress for me and enabled me to learn the section in question easily.

i think a skilled teacher that 'gets' the pupil is both rare and absolutely The Best and most exciting thing ever. its a precarious process being taught and teaching and can often be worthless or worse, completely undermining. books are very important but crafts can be passed so efficiently by someone( the right person) stood there with you live!






i cant do this quote thing right jake you said this...
The trouble nowadays that that very "tacit" reality is sorely lacking.Who in h...uses an axe anymore?Much manual action in our immed.lives is falling by the wayside.That's the reason why we see much stuff manufactured that's on the ugly side,the looks,based on aesthetics alone,don't cut the mustard.

I often observe it in relation to the knifemakers.Technically,many are so good as for it to be unprecedented in the entire history of himankind.And too often there's most gorgeous pattern-welded material(each component of which is an engineering marvel in itself),such competence exhibited in welding it,finishing,et c.,and the entire object...A waste of time and material.A shape so divorced from any reality that only a persom who never whittled a stick,or never played outside as a kid in general,could've concieve of such an abortion.




jake your spot on about axes or such not being used properly or even bought for use, and thats why they look so rubbish - the two things cannot be separated - and also which is why something an item, whatever, 'wall art' for the same reason can never have any longevity and resonance or sense of place in someones home - for lots of reasons to do with lacking intent of artist, thought process, including time but also love emotional/ iintellectual lnvestment -journey of the idea and the imagery - you cant just shove something together and have any hope for it to be a lasting item of quality and beauty - it just wont be. it need s the integrity of some kind of consideration! functional or otherwise. i think thats what you were saying jake?

i think that the Fe is truly the best teacher but to max out on that you have to spend a hell of a lot of time with it. Alone! :)

[K. Bryan Morgan]

(Brian i did not realise you too are in alaska - oddly i just saw when reading about one of my dogs a new lurcher pup that you lot are now more often crossing the lurcher breeds or sighthounds with huskies for your working dogs - is this true?)

Yes, Beth thats correct. The reasoning is that they make better sprint dogs. That is to say, these sled dogs would be used on short fast races not in long endurance races like the Iditarod.

There are alot of very tallented makers out there in the knife making world who are way, way beyond my skill level. I have a very long way to go to get half as good as many of them are. My personal asthetic runs to plain carbon hunting and fighting style knives. If I ever get to the point I can make a good knife like that I will be very happy. That being said. I certainly want to be able to make pattern welded billets. And am working to that goal. (points above to the flux spoon).

My personal favorite hatchet at the moment is a commercially made Husqvarna. Its hand made. By that I am sure they mean on a power hammer. Has a fantastic shape and holds its edge razor sharp. Has a very well shaped hickory handle. Which makes it ideal for making, of all things, axe and hatchet handles. For alot of last winter while I was tending the fire I would work on a piece of kindling with it. Carving shapes for hatchets and axes. One day I would work on the tennon. Another day the handle. Still another I would make a shoulder and tennon. I found the exercise relaxing to my mind and fun during the long winter while I was unable to forge.

In blacksmithing, does form always follow function as it relates to working tools? I don't know the answer to that. I've seen some very good smiths here make some amasing and beautiful things. Some functional and to the eye simple. Some elaborate and, to my eye anyway, complex. But all beautful in its own way. I personally love Jakes copper spoon from earlier in this thread. I think its one of the most well designed things I've seen that have been hand made. It will be a while before I'm that good. If ever. Is it a tool? Would that be used by someone to dish out the sunday casserole? Or is it a wall hanger. My thoughts are give it several coats of good lacqure and put it to good use. But thats me. I guess my question is. Do we always make useful things? Do we always make art? Or is there a middle ground where art and function meet? I really want to believe the latter. There I go getting all lost in my own head again.

[beth]

bryan i think there is absolutely a middle ground - beauty and function art and function.... thats jakes spoon alright.
i found some of the work that i told you about that someone on here called vladimir made - see what you think - i think it has 'the sweetness' !






this is quite cool too that he did.. nice use of the material...

[jake pogrebinsky]

Wow,Beth,that's fantastic!Thanks,Vladimir,wherever you be,and thanks Beth,for digging this up to show us!

Bryan,you're absolutely right.Like in all correctly stated questions the answer's contained therein.I don't know that answer,i'm dim,confused,and barely have an inkling of what's what.But:

There's function,and there's Art,there's any number of things there.And THAT's where we,the makers,GET these shapes and lines.From function of an axe or a knife,from nature(the way that Fe crystal bounces and deforms),and from art as well,as art is just other people just like us,and by paying attention,we can learn from them,too,just like we can from the original sources.

These things ARE,they exist,we see them and follow them in our designs wether we like it or not.But if we pay insufficient attention to them,then what we make comes out less than(it can be potentially).

Man has never invented anything that did not already exist in nature(in terms of shapes,colors,combinations of things,et c).We combine and recombine stuff,with more or less success or effect.That's actually where that whole Zen deal comes in:If you don't interfere with an arrow,then it'll go perfectly true.Because the universe is perfect,and,even without our meddling(especially without it:)),things WORK.

Yea,i know that i'm a maniac...Especially today,i've got a cold/flux/whatever that's about to kill me,i swear.I'll go and at least make charcoal for tomorrow,then in the evening write a couple of ideas for you,Bryan(excellent choice of design,by the way,i love those small Scandihoovian axes,they're VERY much what i mean in my clumsy ramblings-an essence of a tool,perfect combination of material,function,and purpose...)

[jake pogrebinsky]

So,Bryan,if i read you right,you'd like to try a Husky-like axe/hatchet?

If so,i'd consider rigging one of those angle "clamps" on your anvil(let me know if you've never seen one,they're way simple),for help with slitting.

And speaking of slitting,i wonder if you've seen these videos here:http://www.youtube.com/watch?v=t4cJ0Vf72eI&feature=related
I've only had the patience to download and watch one,but that slitting technology was an eye-opener for me.Really,why fight the friction by trying to jam a slitter that's the size of the entire cut in there?!

[K. Bryan Morgan]

Yes, those are very nice. I really llke the shape of them. I don't know what you mean by rigging the angle "clamps". Are you talking about the bits of angle iron I am using to bolt my anvil to my stump? If so, I have more of that laying about. Its mild steel but I have a few more pieces.


Those German smiths really know their stuff. I've only been watching the German language smiths on Youtube for a short time. But, just, wow. You can tell they really know what they are doing. I guess that system of study, apprenticeship and guild work really pays off for them.

[jake pogrebinsky]

Bryan,sorry,i needed to be more specific:These guys are Norwegian,Hovard Bergland and Ovind Klausen,and they're the HOTTEST in the world when it comes to forging that specific tool-Bilo(forgot the exact definition,it's the bigger of the two used similarily).
Bilo is a giant handled chisel,used to carve notches in some very particular construction technique.It is a definite case where the function determines the form 100%.In the same time,i've read an article by this guy,breaking down one of Hovard's bilos into the Phee section(1:.618),and it worked perfectly!(I had to laugh,as i don't take the Golden Section too seriously,myself,i think that it's redundant when we have craftsmen like Hovard around:))
Anyway,both of those guys are worth watching,each and every motion that they make makes sense,or it will later,when thee and me will get better at this biz:)

The angle rig is simple:2 pieces of angle(of whatever size/type,almost),flat sides facing each other,laying on anvil face.Couple of bolts holding them together,just drill holes anywhere,and bolt through.And,something going down into the hardy hole,to keep the whole from dumping over the edge.
The idea is that you set the bolts to accomodate the angle holding the axe blank vertical,while slitting.In one Gransfors video they have similar rig held by one bolt in the middle.The axe goes into one end,and a larger wedge gets bumped into the other,see-sawing the clamp shut around the axe-blank.
All of it has to do with slitting a very narrow chunk,maybe 3/4" thick,or even less.And tall,at that.As tall as you'd like the finished eye/socket to be.

[K. Bryan Morgan]

I see what you mean. The wedging action is what makes the clamp work. As it happens I have an old log splitting wedge that my just fit the bill for that part anyway. I can see this is going to get involved. Which is good. I have a feeling it will be a great adventure in a style of smithing I've been intrested in for a long time.

I deffinately want to learn some other things too. I have a plan to make a camp fork and some BBQ tools. I was wanting to make a trivet. Some other things. Get into the more constructive parts of blacksmithing. Not just make tools. Its fun. I have a tool to use when I'm finished. They aren't super hard to make. But, Its what I've been doing for such a long time. I want to move on to other things. Then make some more tools. Although the clamp seems pretty simple construction wise.

I also want to get a coal forge in the shop.. stepping outside then back in with my leg is a, well, pain...literally. I just need a fire pot and a flue and I can put one together. I have everything else.

For me this journey, and I do see it as a journey, has been fun. I don't consider myself very artistic. I've never been able to draw well or make a pretty picture. I can draft fine. Did that for a living for a little while. But thats not art. Its a technical drawing or a plat, house, a Frammise or a thingamabob. But, I can see in my minds eye what I want to make. I can tell if I do this then, that will happen. Sometimes the execution isn't there. I'm still pretty new to all of this. But I know what i want it to look like when its done.

[jake pogrebinsky]

I dunno,Bryan,i think that technical drawing is(or can be) VERY "artistic".I've been talking with a friend recently in the Old Country,he's a retired Army Recon topographer(an artist-knifemaker last few/many years).Well,we agreed with him,and a few other people,that maps are some wonderfull form of art.I love some of the old ones,they're so cool,but(had i any walls),i'd put some modern topos up as wall art!!!
Also,a friend's relative was going to architectural school in Amsterdam,and often practiced tech.drawing on the street,doing funky things like reversing perspective,or sometimes just sketching architectural detail.Well,people forever were trying to buy those drawings from him,right there and then,he ended up needing to hide to do his stuff in peace:)

Getting back to R.Sauvage's thesis,forging is a language.Bergland and Clausen are some of the ones that are fluent in this language.What one uses that language FOR,doesn't matter.BBQ sets,axes,leaf-hooks,or gates,it's just like reading/writing different things in a given language.
And,if you're a fluent speaker,then if suddenly you get a yen for some poem,you can read it,(or write it:),ditto with instructions to a bathroom fan,it really makes no difference!

Same inference with the Zen parallel:Zen archery masters practice without arrows,because sticking an arrow into a tweety-bird is NOT the point.Being fluent at the biz is the whole deal,which means releasing the arrow correctly.
That's what validates abstract forged sculpture,even for those of us to whom it's somewhat odd,et c.,it's the same language spoken,but the things expressed in it are slightly different.

Now,my next weird premise is Chomsky'esque(as in the linguistics,not political drivel):Languages are INNATE to us all,are in our genetic make-up.
That's why even the poorest,ineptly executed ironwork is appealing to people in general-it stirs things deep within their minds.
And that,in turn,is the reason why i think that one mustn't produce crappy ironwork:Because the customer(who's ALWAYS WRONG(or they wouldn'tneed to hire someone else),can easily be led along,being a non-speaker of the language.Blacksmithing is no longer common,it's fading,becoming the dead language,so it's doubly immoral to lead the ignorant into error.
(There's plenty of that done by K-Mart and Co.,which makes an honest craftsman have to work even harder).

Howzzat,for a rant?:)

[beth]

fabulous rant as usual - i'll join in - its hugely dissapointing producing crappy ironwork - youre passing nothing on and leaving nothing of value and saying nothing. its pointless futile and soul destroying. which is why we have to aim higher and get fluent in 'the language' of hot iron - nobody wants futile.... i love your analogy and the way you talk jake - the thought also that the language of say, abstract work, is the same language as something more literal, just speaking about a different subject in maybe another context. thats not how ive looked at it before and its v helpful thanking you mr P'insky... also the analogy of the zen archer is a very good visualisation - the purity of the way the arrow leaves the bow is all that they need to concern themselves with. a good deal of that (all of it?) comes from the heart.

its so funny you have not really been brought up with religion in the fore front of your young brain, becasue you speak like one who has!! i should know! the imorality of leading the blind customer into piles of superficial false hearted rubbish is indeed imoral, and the self loathing and remorse which accompanies it will surely be the punishment ! :o

[beth]

ps talking of maps - i saw a wonderful one of a castle nearish to me recently, that dated back goodness knows how long - a castle where henry the 8th walked about seducing his latest wife - amazing history in the place and the map was about 8ft square and stunning, just detail and beauty etc - maps are truly wundebar! :lol:

[K. Bryan Morgan]

Some of the older topigraphic maps are truely wonderful to look at I agree, architecture drawings and elevations are an art form as well. I totally agree with those statements. But to me a drawing of a bolt is not art. Its drafting. The threads don't even have to be drawn, just the specification for them and a representation of where they begin and end is all thats needed on the drawing. Those are the sorts of things I was thinking of when I said that.

All that aside though, I got started walking this path when my mother was still alive. She was a wonderful painter. Could do amazing things with a paint brush and canvas. I was carring for her when she was sick with cancer. We would have long talks about life and its little things that make us take one path or another. I was surfing the net. I had been looking into starting making knifes and sharp edged things. I had seen the artisticness of the articles. How the lines flowed and how the shapes were pleasing to the eye. One day while we were talking I expressed an intrest in blacksmithing to her. How I had found IFI and started talking on the threads. I showed her some of the work that these increadably talented people were doing. She didn't say much at the time, just that it was very pretty and she liked what she saw. As, she got weaker and we knew things were drawing to a close. She talked to me about how she wanted me to persue this. She wanted me to have an outlet for my artistic side, such as it was in my opinion. So, after she passed, two years ago today, I started gathering tools. Made a forge. Bought a propane forge. Gathered together more tools. Moved to Alaska, set up the shop I use now. All the things you need to have a basic smithy. And I got to work. She wanted me to do something expressive. To have an outlet for my inner self. I love and revere her memory. So, I do this, for myself, assuredly, but also to honor her memory and the wonderful artisticness that she posessed.

Will I ever gain the same level of sophistication that she had. Probably not. But then I don't know if I want to. I want to be good. I want to be very very good. I want to excell in what I can. I can't stand not doing my best. That is something I learned from her. So, its practice and patience and learning. I havn't been doing this long. Just a couple of years. And honeslty just a couple of summers. I don't want to get out in the -40 F tempratures and get frostbite. Which leads me to another project in my furture. Getting insulation and heat in the shop. Gods, it just never ends. But, I do enjoy it so.

[jake pogrebinsky]

Wow,Beth,that is so neat that you get out and go camping with your family-that's real class!(So it was considered in the culture where i grew up,Nature,do-it-yourself sort of entertainment,maximum time spent with family,all that vs the ostentation of going to the Sea,or on some culture/museum trip ).
And yes,you're right,i'm getting religious here,and fast!Stands to reason,when attempting to be creative,that at least some thoughts of Creator must occur to one!
I always liked the fact that Sufism incorporated religious/mystical instruction with trades,very closely.The religion was taught while teaching the craft.Rose gardening was very widespread,(rose is such a symbol of everything for practically everyone,and,of course, of God's Love for Man in Sufism(like Beer is,in America ),but coppersmithing came close second,and other crafts too.

I joke about all this because the Creator has gifted me with a sense of humor,as well.But there's a lot of truth to all this,too,for this,here,is Life.A very good friend of mine is dying right now,a man i've known many years,and love very much.His brother is staying here meanwhile,and his brother has dedicated his entire life to creating a Ministry(Christian,of a fairly fundamentalist views)specifically for the imprisoned youth,the worst of the recidivist characters.This man is extremely devout,and also extremely intelligent,and humane,and we've been having some incredible conversations.I'll never be religious in any conventional sense,yet,we agree 100% and more on everything that we stand for...So it goes,everything that makes sense-just does,it cannot be contradictory by means of it...because it all stems from the one Creator

For a number of reasons i've not gotten much work done the last 2 days.I'm considering posting some photos of R&D that i'm desperately attempting in the direction of that Gothic project,and i will post them if the insomnia insists(i also feel that posting material proof of forgework done somewhat ameliorates my outrageous rethoric ).

Bryan,so,do you want to go ahead on bootlegging that Husqvarna axe?If so,let's do it!!!

I'd go about it as follows:Measure the poll,i'd bet that's the dimentions of stock that they started with.Add a 1/4" or 3/8" to that height,for losses in upsetting during punching Using the weight of the axe divided by 0.2835 should give the no.of cubic inches,and so,the lengh of the blank of those dimensions.(I'd add 1/6th,say,of the weight just for scale and giggles,will have to trim the blade anyway,if it'll turn out to be overly much).

Now,an axe like that was certainly punched&drifted,so,the decision is yours:Make it out of mild+steel insert,or go ahead and slit and drift a hardenable steel blank.

In any case,the slitter will have to be made(and at least one drift,will try to get by with one,kinda combination drift).
Measure the circimference of haft by the eye.Theoretically,1/2 of that number will be = the width of slitter(if the s. is slender enough to ignore it's thickness,which i think it can be).BUT,the eye will stretch in the process,some from those drawn-down sides o eye,some in just working,every heat it'll stretch...Let's see,how many heats you think it'll take you? Just kidding,i'd go ahead and subtract a 1/4 or a 1/5 of the half the circumference of finished eye.
That gives the lengh of the slit.Now,I'd build the slitter shorter,so it's free in there,and work it back and forth down the slit like the good Norwegians do.

So,you need the blank of the right size/material,and the slitter.What out of that you may need from here?HEY!I've got a diabolical idea:Measure the thickness of that axe,and i'll see if i happen to have a leaf-spring of that gauge!Will save a ton of coal on welding in a bit(of course,it'll beat you up more slitting and forging it).

Anyway,i may be getting too far ahead,let me know if i am!Cheers,All .

[beth]

Bryan - thats good to hear about your motivation reasons - you must surely have inherited some of your mothers talents, even if they were dormant for years!! i also thoroughly recomend the book i recomended to jake The Artists Way - its so fab for freeing up the creative part of your brain:) i agree with your mum that people need an outlet for the creativity - its like any other natural urge! outlet is good/essential for health I too want to be good at this stuff - and accepting that its a life long journey makes the failures easier!

[beth]

i have only just seen you r post jake and am summoning up my reply - i have to make the TEA .......

[beth]

i actually just read this while doing the sausages ...! i thought it was quite interesting... http://www.katinkahe...sufi/icons.html not sure i have done the link correctly so appologies if not. i too like the sufi ideas, but have not a lot of knowledge about the system - and certianly not in relation to craftsman.. i really like to have a proper conversation about religion - i dont know why people avoid it so fervently! its fine if you can live and let live - its so interesting how other people get through this life...! :lol:

[K. Bryan Morgan]

Holy moly, Thats alot of stuff... good thing about computers is, I can print it out. I will need to get some materials from somewhere. I don't think I have anything that will come close to those dimentions for a hatchet that size. its not big, but it is larger than anything I currently have in stock. I understand what your saying about the rest. I can get those things done I believe but it will take a few days to get everything in place. I also have a small project in mind. Sort of a learning opportunity and usefull thing at the same time. Maybe a couple of them. But, need the propane first. So maybe tomorrow or Friday for that. I could use my coal forge I suppose. But, walking back and forth between the forge and anvil just was to much the other day. Anyway, I'll see if I can pick up a drop of mild at AK steel. I need to get some stock fromt them anyway.

Beth, thank you for those kind words and I'll look that book up. I don't know so much about dormant or just not there. The thing that I do more than anything else is very modern almost Bauhaus in its asthetic. Its what I like. I am also very fond of the craftsman style of furniture. Which is something I think that transfers well from a wood medium to metal. Having been a carpenter for many years it makes sense to me anyway.

[beth]

Jake on the subject of your getting religious fast - i reckon i am too really at this happy stage - not the kind i was brought up with i guess but i am coming full circle to some extent. im pleased that you see it all in the way that you do!! - and yes you are blessed with a good sense of humour - all these things in our characters point back to creation? i think its far easier then the way i was taught which involved a lot of guilt sin sin sin fear and if you didnt believe it all properly you were pretty much done for - for eternity.. this stuff was taught with kindness but it never felt very complete to me - its so much more about, now, doing the creating yourself.- and having the cosmic conversation
Im really sorry to hear about your friend who is dying - its tough, and theres nothing to say, but you can take a whole lot of heart in the fact of how he is choosing to spend his remaining days/months/years. a friend of mine died recently leaving two young children which was almost unbearabely sad, she was special, as everone is, and a giving and spiritual creative person, but the fact that she contionually encouraged and gave from the bottom of her heart and focussed importantly on the good, not the less good.. made her life worth a great deal, and losing her less painful somehow. it did for me anyway. creativity is a form of giving, and maxing out on the raw material we have all been given - Bryan maybe thats what your mother meant for your outlet? it becomes a religion in and of itself when it becomes part of life function reason daily life?

i still know many fundemantalist types from my youth, including my own parents!! and the word humane that you used jake is one of the best things about really spiritual people - they are getting involved with the sometimes grim reality of peoples lives and helping the healing wherever poss. sincere love from the sidelines to your friend jake..

what you guys been making then? ive been drawing dogs and children..... and doing some drawings for bed designs for my business man friend - the tubey stuff... keep thinking about dogs with bells round their necks! will obviously indulge that train of thought....