Traditional Metalsmith The Gallery: European Iron Volume 5, Number 1 January, February, March 2004 "A Bit of Everything"; Repousse', Chasing, Joinery Tooling: Historic Artist- Blacksmith Tool Styles Topic: Repousse’ Tools & Process Part 5 Blacksmithing is not defined by time period or motif. Blacksmithing is defined by process alone. Architectural Iron: Switch Plates Part 1 Motif: Hot Chisel & Chase Our 5th Year! 5 page pdf sample of the 16 page 1st issue of 2004
Transcript
Traditional MetalsmithThe
Gallery: European
Iron
Volume 5, Number 1January, February, March 2004
"A Bit of Everything"; Repousse', Chasing, Joinery
Tooling:Historic Artist-BlacksmithTool Styles
Topic:Repousse’Tools & ProcessPart 5
Blacksmithing is not defined by time period or motif. Blacksmithing is defined by process alone.
ArchitecturalIron: SwitchPlates Part 1
Motif: HotChisel &Chase
OOuurr 55tthh YYeeaarr!!
5 page pdf sample of the16 page 1st issue of 2004
This new section, Professional Smithing,will deal with the issues of making metalworkof exceptional quality, in a modern shop andbusiness environment. While there are noshort-cuts to good work, there are some pathswhich take longer than others and some tool-ing solutions which save time without sacrific-ing the unique quality of well made handwork.In a sense, this section will address how asmith can grow and prosper in our contempo-rary, art and business world.
The end of the industrial age was also theculmination of a technical age, in which toolsand technologies were designed to aid handwork, not supplant it. The tools and shop-problem-solving approaches of a pre-WW2metalworker are more adaptable to the 'handmade' art-metal shop (studio) now, than are the tools and technology of thelate 20th and early 21st century. Again, this is because the tools of todayreplace hand work, while the tools and tooling solutions of 100 years ago(and older) were geared to get the most out of hand work. Modern, machinemade, art metal work is as common as dirt; well executed, hand made, artmetal work commands substantial prices. Professional smithing is about ashop approach in which the goal of making 'items and limited editions'meets the 'thirty day business cycle' - with tool tips and safety topics as well.
The Traditional Metalsmith 2
To Subscribe, send payment to:Printed Quarterly Rates: US & Canada $28.00 annually, Overseas $40, All payable in U.S. Funds Only
Written, illustrated and edited quarterly by George Dixon. Printed by Precision Graphics, Black Mountain, NC.Published by NorDix Press - 1229 Bee Tree Lake Rd, Swannanoa, NC 28778
The contents of this publication may not be reproduced without written authorization from NorDix Press. Metalwork can be very dangerous. Wear Safety Glasses. Be certain to know and follow safe shop practices. Unless otherwise noted, metal work examples are by the author. Copyright 2004 NorDix Press The infor-mation included in this publication is intended only for non-powered, hand tool applications.
The Traditional Metalsmith1229 Bee Tree Lake Rd, Swannanoa, NC 28778
Professional Smithing: Treadle Hammer
Fly Press ToolingNext Issue.
There are two tools which a metalsmith can use in place of ahelper. The fly-press and the treadle hammer give the metal-smith precision, control and an 'extra hand' in the shop like fewother tools can.
For centuries, a striker with a large, two-handed hammerwas the extra power and 'third hand' of the blacksmith. Itis hard to overstate the advantages of striking, in a forge shopoperation. It is easy to imagine the cost (on payday) of having astriker awaiting your needs and directions. As labor grew inexpense, the treadle hammer came into being. It's ability to act asa precise, repetitious 'striker', can open the 'next level' of processand productivity to a one-smith shop A treadle hammer, cou-pled with properly shaped tools and tooling, allows a one-personoperation to experience two-person outcomes.
While a treadle hammer has limitations, especially in striking atangles, the treadle hammer opens a range of work for a single-
Work smarter,not harder......
A pair of lights, set at45 degrees, will elimi-nate shadows cast bytools and tool holder. Wear Safety Glasses
1 of 2 pages on Treadle Hammers.
The Traditional Metalsmith 6
Here (upper and lower right) aretwo variants on the theme of 'isolatedbands of metal to manipulate'. Bothof the examples started with the sameouter lines.
The leg (lower right) had curvedchisel cuts spaced vertically on theisolated, larger band (unsplit). Thesame curved chisel was also used tocut the increments, of the interiorband on the leg (drawing, top right).
Take a heat (yellow/white) and begin themove the isolated band of metal at each ofthe previously marked, layout location. Work progressively along the bar. Do nottake any one 'wave' element too far ahead ofthe rest of the effect. It is much easier tonotice and resolve errors in an evenly devel-oping effect, than it is to undo one hardswat.
Work evenly across the bar in, using very moderate force froma hand hammer driving a ball-end tool, to push the heat weak-ened bands of metal. A heat resistant glove is sufficient protec-tion for the hands, providing you are doing your own hammer-ing and tool holding yourself, otherwise, use a tool-holder
Even depth cuts are the first hotstep. Evenly spaced cuts with acurved chisel divides the bands.
Motif: Variants on the Theme
The 'wave' can be continuous or wavescan be stepped apart by even length,straight sections of metal band.
Vignette: (French - also called Trail) arunning ornament consisting of leaves andtendrils.
The front legs of the book stand on thecover have a vignette in a panel, framedbetween them.
The basic concept of stake repousse'involves a patterned piece of thin sheetmetal (20, 22, 24 gauge), cut and annealed.
The blanks (leaves or geo-metric forms) are given vol-ume from the back (hammeredinto lead, wood or a metalform), annealed again, andthen chased and detailed, from
the front, on a series of stakesusing hand-held hammers.The hammers have variedfaces and sizes. They areselected in conjunction withthe stakes, based on therequirements and shape of thepattern.
The leaf drawings show that'volume' (doming from theback) and 'chasing' (details,usually driven down, from thefront) are simple 'fullered lines'in appearance.
This starts the 'stake repousse' segment of the Traditional MetalsmithRepousse' Series. In that the magazine has other segments and only somuch room, it will be necessary to spread the process, patterns and toolsover several of the upcoming issues. Some of the tools and patterns of theprocess begin on the next page. Start making tools and by the next issue,process will make more sense.
The goal of this series on repousse' is toilluminate the range of process, styles andtools involved. "Beginner" is a misleadingterm. Once a person has a grasp of thebasics of the tools, blanks, process andvariants, they are no longer a "Beginner".Nor are they a "Master". Between thebasics and mastery of a type of metalworklays the vast realm of practice and experi-mentation. That realm is where the seriouslearning happens.
Topic: Repousse’
A basic leaf form, madewith stake and hammer.
Above and below: two sides of thesame formed leaf veins. Use stakesand hammers to create the 'hills &valleys' of a stylized leaf surface.
Wear Safety Glasses
Stake repousse’, next issue.
The Traditional Metalsmith 8
Tooling: Historic Artist-Blacksmith Tool Styles Historic Tool Series
The repousse' stake tools shown here are drawnfrom the Samuel Yellin Tool Collection. They areshown life size. However, there are versions ofevery tool shown here which are either smaller,larger or both. So, making tools of these shapes andin a range of graduated sizes, is the direction youmay wish to take toward making a set of tools.There are more stakes, more specialized shapes,which will be covered in this segment of futureTraditional Metalsmiths.
The working endsof the tools are madein the same manneras their smaller coun-terparts; chisels,fullers and ball tools.The tooling isforged, then filed, asare most of the work-ing ends depicted. See past Traditional Metalsmithsfor the blank shapes and forging steps which applyto these stake tool ends.
You have to decide how the stakes willbe mounted in your shop. A 'Wally Yater'style swage block set has a pair of taperedholes, made to receive tapered-base stakes.If the stakes are going to be set in a vise,be sure to forge solid, stepped shoulders which can rest onthe top of there vise as the jaws hold a 'tang'. Otherwise,vise jaws almost always allow some slippage, which scoresthe tool shank held in the vise.
For the next few issues, thissegment will convey the therange of stake shapes andsizes which will then be usedin the concurrent repousse'segments. The more special-ized stake tools will be last.
1/2" to 1" x 1/16" to 1/4"
Tool dimensions are given for arange tools made in the illustrat-ed configuration. The dimen-sions of the 'working end', asblade length, is followed byblade thickness:1" to 1 1/2" x 1/8" to 3/8"
1" to 1 1/2" 1/8" to 3/8"
1" to 1 1/2" x 1/8" to 3/8"
3/4" x 3/4" to 1 1/2" x 1 1/2",always a square back with arounded frontFront and side view of a stake
end made for vise-mounting.
Tapered stakeend for swageblock mounting.
1 of 3 pages on these tools.
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