Thursday, December 06, 2018

'Custom' Blades / Phones = Questions

Ok - I *am* getting (more) crotchitty. 
I have gotten a good half dozen 'tell me everything - because I can't be bothered to read anything' e-mail messages over the past month.

There are two core reasons that I can see for this - both underscoring current popular culture :

1) Forged in Fire = false 'information' creates general lack of understanding
2) Use of phones and their tiny screens

This is particularly frustrating to me, as I have certainly spent considerable time and effort to supply basic information on the main Wareham Forge web site - I have also done any number of commentaries related to Bladesmithing and Custom Work on to this blog.
Following good advice from David, Neil and Kelly (particularly) I have formatted up the following bulk reply to 'Will you make my knife' e-mails * : 

Layered Kitchen Knife : 1996 = $400 (+)
This is a bulk reply to your recent query related to 'Custom' blades from the Wareham Forge.
As you might expect, I get a large number of similar first contact requests.

Increasingly, as individuals use tiny phone screens as their portal into the internet, I am receiving questions which are fully covered in some detail on both the main web site ( or as commentaries on the blog ( )

So to start with, I will refer you to the following general topics :

On Custom Bladesmithing :
On Past Bladesmithing Work :
Currently Available Work :
General Questions & Answers :

On 'Custom' Blades (blog posts) :

At this point in my working life (40 years at the forge):
    - I am primarily * only * undertaking projects of my * own * personal interest
    - Acquired skill and experience = high value. Any blade created will be in the * plus $500 * range
    - I am not interested in making simple 'heavy tool' / camp knives
    - I do not work with exotic modern alloys / stainless steels
'Hector's Bane' (Bloomery Iron) : 2012 = $1000
Despite what 'popular culture' suggests, the following qualities are not possible in a single blade
    - chose either edge holding OR heavy durability
    - chose either ease of sharpening OR rust proofing
    - Layered Steel blades should be considered decorative rather than functional
You can have it CHEAP
You can have it FAST
You can have it GOOD
You can only get ONE of these 

'Bayeux' Broad Axe : 2008 = $450
Please read the background information available.
If your concept for your blade project resembles past work as illustrated, AND you are willing to commit a * significant * budget to your project, be welcome to contact me for further discussion.

I also suggest the following alternatives:
Ontario Artist Blacksmith Association :

Although I can certainly recommend a number of senior artisan blacksmiths, most of these will have similar restrictions as I do (for much the same reasons)
David Robertson :
Jeff Helms :

Two 'younger' smiths I can suggest are :
Dustin Wolski
Simone Ruetz


* Images and hot links added for this posting

Monday, December 03, 2018


I had gone into some detail about available angle grinders, and small hand power tools in general, some time back :
Makita Comes Through - January 15 - 2011

A bit of background to this post:
Right now I am attempting to get several past iron blooms cut up and distributed to the working teams involved.
I've certainly found over the years, that the ideal process for working with a raw bloom is to :
  •  compact as much as possible during the initial extraction heat, ideally from the 'half bowl' shape into a flattened disk / ' puck'
  •  while hot, cut into several 'quarters'
You can certainly imagine that specialised forge set ups, plus either lots of available (skilled) labour / specialised tools are required through all this.

Since the normal reason to undertake a bloomery iron smelt here is to investigate specifically historic process (rather than production itself), the blooms made tend to be smaller ( 5 kg range). The working teams are typically small, and in terms of forging ability, tend to be at best 'semi-skilled' (or most often complete neophytes).
And truthfully. I'm completely exhausted by the time I've set up and ran a smelt, extracted, and undertaken the initial 'clean and compact' heat.

So - this leaves me with a mass of bloomery iron, often at best a roughly flattened half bowl - now cold.
CAMELOT bloom - 5.26 kg, original top side down. Large score is from an attempt to hot cut after extraction.
I have found that the only effective way to cut a raw bloom is using a metal cutting disk. There are two main reasons here :
 The carbon content (so relative hardness) of the metal can vary considerably from top side to bottom, as well as from exterior to centre.
 As well as both solid metal and random voids, there are areas of glassy slag throughout the mass.
The glass especially presents a problem, as it will basically destroy most cutting blades (so using a band saw, for example, just is not effective.
Coupled with this is a second, major, problem :
How do you hold, and hold securely, something that shape? (1)

Taken altogether, I have found the best way, at least if working cold, is to use an angle grinder with a 'zip' cutting disk. (2)

Angle Grinders at the Wareham Forge
 Seen Left to Right :
  •  Aluminium / Size 7 inch / Unknown brand / Unknown power /  Weight 5.9 kg
  •  Blue / Size 5 inch / Mastercraft / 9 amp / Weight 2.5 kg
  •  Orange / Size 5 inch / Rigid / 7 amp / Weight 2.3 kg
  •  Grey / Size 4 1/2 inch / Maximum / 7 amp / Weight 1.9 kg
  •  Aluminium was purchased (heavily!) used at an auction. The name plate is so scratched up other information is not visible at this point. 
  •  Rigid Tools was purchased by Home Depot as their house brand. This tool was purchased in 2011, for about $150.*
  •  Mastercraft is the standard brand at Canadian Tire. This just purchased (not even used yet!), normally $90 (Currently on sale at half price). *
  •  Maximum is the 'better' brand at Canadian Tire. This purchase about two years ago, normally about $80 (also got on sale at half price). *
  •  * All these tools carry a three year warranty. 
As I had pointed out in the earlier posting on angle grinders, one of the selection limits on hand power tools for me is the relatively small size of my hands.  (3)
This is the reason why I especially like the orange Rigid tool. Although a bit heavier, the narrow shaft design allows me an excellent grip. Although heavier, the tool is nicely balanced, allowing for control even when used in one hand. In regular use in the shop, this tool has proved easy to use and certainly durable over time.
The 'Unknown' aluminium body is an absolute monster! This is one of those massive, almost indestructible tools, most likely from the 1960's (maybe even older?). Although the heavy weight does create a certain stability, the cost is a lack of fine control. There is incredible cutting power with this tool, but using it is extremely tiring. (I kept flipping the 15 amp breaker on the electrical panel while using this!)

Note that I have specifically chosen NOT to purchase the DeWalt angle grinder. In this price range ($100 - $150) the construction seems flimsy, especially the power switches. I also find the body size too large for my hands.
I had a chance at an industrial trade show a couple of years back to try out a Chicago brand small angle grinder. This tool was absolutely amazing. Virtually vibration free, quiet operation, with an 'instant stop' feature. Also $400 +, a bit steep for the operation scale at the Wareham Forge.
Getting a good quality hand power tool in recent years has proved a major problem. Certainly all the 'home workshop' and almost every one of the 'contractor' grade tools, reguardless of brand, are in fact 'made in China'. With the resulting downgrade in overall performance and durability. This is has become such a great problem (cost vs quality), that most other workshops I asked for advise on this simply wait for the cheapest knock-off brands to go on sale. Then purchase a pile of these - and simple throw them out when they fail after a month's shop use!

The task here does require the ability to make very deep cuts - and extremely wide cuts at the same time. Any of you you have used angle grinders with zip disks will instantly see the problem here. If there is the slightest twist off perfectly straight position, the thin disks can bind - and explosively shatter.

Cutting distances (with new wheel) :

Aluminium / 7 inch disk / 1 3/4 inch depth / no guard (!!)
Mastercraft / 5 inch disk / 1 1/8 inch depth / guard removable (spring clamp)
Rigid / 5 inch disk / 1 inch depth / guard shifts, but fixed in place
Maximum / 4 1/2 inch disk / 1 1/4 inch depth / guard removable (screw clamp)

I freely admit that using the Aluminium Monster is just plain scary. Note that it does not have any guard on it. (My normal here is to wear a leather welder's chest and arms over my full leather apron, gloves, plastic full face shield over normal safety glasses.) I have had a disk catch and explosively shatter in the past! Despite the too heavy weight, this tool does effectively make deep cuts. One advantage is that the significantly larger 7 inch disk does not wear away as quickly, meaning more consistent cutting depths.

You can see the 'looser' here is the Rigid, with by far the shallowest cutting depth. This is coupled with the fixed guard, which means it is basically not possible to 'oversize' the disk on this tool. Absolutely great for grinding - not so flexible for cutting. (4)

The new Mastercraft came with two separate disk guards. What I may do here is heavily alter one of these to allow for mounting a larger 7 inch cutting disk. This should potentially give me at least a two or even a two and a quarter inch cutting depth. The slightly heavier motor (at 9 amps) hopefully will prove powerful enough.
One of the additional features to this tool is the ability to rotate the end handle portion, changing the alignment of grip to cutting angle.
Any evaluation of performance or durability will need to be forthcoming.

1) I am working up a separate commentary on the process involved in cutting up this same bloom.

2) Early attempts to use a cut off saw (with the larger diameter metal cutting disks available) proved basically a disaster. Clamping the bloom securely proved almost impossible. If the bloom shifted even the smallest amount, the disk would either bind (see below) or shatter.
In the end, the way the disk attacked the mass (along with binding) resulted in actually overheating the motor. As the unit was both purchased used, and not the best quality, the result was melting the windings and destroying the tool.

3) My outstretched thumb to little finger measurement is 8 1/2 inches. The width of my palm is 4 1/4 inches. In the past this had lead me to purchase almost exclusively Makita hand power tools. Most 'American' brands are just too large and bulky for me to hold easily, thus control effectively.

4) The normal set up in the workshop is to keep the Rigid and the Maximum set near the forge workbench. The Rigid has a general metal grinding disk, the Maximum with a cutting disk (both with guards in place btw).
I also have an older Black & Decker 4 1/2 inch x 5 amp (again purchased used / cheap). This is set up with a cup wire brush for rust removal.

*** ADDITION ***

As many readers know, I flag new blog postings via my two Facebook feeds. Sometimes valuable comments come in through those portals :
Vargus Ulfr ... Please keep in mind that altering the grinders is not always a great approach. Some of the larger wheels do not have the same rpm rating as the smaller ones, and thus have a tendency to break more easily at the high rpm range.

Monday, November 19, 2018

Forge Welding?

This comes up every so often.
How does a forge weld (hammer weld) actually work?

For the novice blacksmith, this is one of the skills that proves extremely difficult to learn. This is partially because the method involves the proper preparation, the ability to closely judge temperature visually, and very precise hammer control, all in combination for correct results.
Confusing this - what actually is happening is typically poorly understood. There is an awful lot of incorrect or misleading information out there. (1)

So I was interested when the following question was posed by Owen Bush of the UK. (Owen, by the way, is most certainly someone * I * consider to be a true master in our field. Especially as a bladesmith, but also as one who smelts iron blooms.) (2)
Why is carbon steel able to be forge welded at lower temperatures than mild steel or wrought iron... I have a few ideas...It could be that it is physically harder than mild steel or wrought iron and more force is applied to the joining of the hammered pieces, as opposed to plastic deformation. Or that the carbon in carbon steel is reacting to reduce oxidisation in the micro climate of the forge weld...or something else... I would be interested in your thoughts?

Jesvs Hernandez answers. (Jesvs is easily one of the smartest people I know, another of the Early Iron Group.) (3)

Let’s look at these two concepts. Solid state diffusion welding vs. liquid state welding. By definition if it is called a SOLID-STATE welding process (like a forge weld) then there is no liquid (oxyacetylene, MIG) and no filler metal (brazing). The metals to be joined may be similar or not. As the name implies the process of joining two metals involves DIFFUSION. Ideally the contact surfaces are as smooth as possible and free of contaminants. Heat and pressure are applied for a given amount of time. Ideally this would be done in a vacuum or immersed in an inert gas atmosphere for metals that form oxides easily. What occurs at the surface level is that both surfaces contact each other, first by touching the little peaks and valleys of the surface together (because even smooth polished surfaces have a certain roughness to them). These tiny peaks deform and link together. This is technically known as CREEP. Temperature and pressure accelerate the creep until the metals (well… the atoms) migrate through the contact points and of the original gaps and only blisters remain. Finally, more material begins to diffuse between the surfaces closing the blisters and creating the bond. The resulting solid will have no gaps and if the same material is being joined, microscopically there will be no visible joint line. All a nice and solid continuous metallic bond as opposed to a covalent, ionic or weak molecular bond like those of London dispersion or dipole-dipole forces.
One advantage of solid-state diffusion bonding is that dissimilar materials can be joined together. Some of its limitations include, that great care is required in the surface preparation. Oxidation and/or contamination of the surfaces would decrease the joint strength and diffusion-bonding of metals with stable oxide layers is very difficult. Luckily for us, some metals and alloys (like the steel we work with) have their oxide films dissolve/decompose/break apart during the bonding and so metal-to-metal contact can be easily established at the interface. It is when the oxide film is stable that the bond is not easy to form. All of you have experienced this to some point. You all have welded steel which had less than clean and smooth surfaces. And yet it welded together. And have had failed welds even with clean and smooth surfaces because some pesky stable oxide layer formed on the surface unexpectedly.
Ok, now. I am getting closer to what I think happens when welding mild steel to higher carbon steel. For that I need to introduce a new concept: Transient Liquid Phase Diffusion Bonding.
It is not liquid diffusion bonding and it is not solid but technically is considered solid-state because the liquid interface only forms temporarily and the liquid solidifies before it cools down. Meaning it solidifies at the welding temperature. Liquid-state diffusion bonding relies on the formation of a liquid phase at the bond. This liquid phase fills in the gaps in the surface and eventually solidifies facilitating the bond. This is what I think happens when higher carbon levels are present in one of the steels being welded. The carbon lowers the melting point just so this transient liquid phase can occur facilitating the diffusion bond.

One of my 'go to' sources for anything like this is always the excellent ‘Iron, Steel & Swords’ by Helmut Foell. The following is an piece of the 'first level' entry : 6.2.3 Welding with Hammer and Fire (4)
Now let's consider contact welding for steel. We certainly don't have atomically flat surfaces, the steel at all times is covered with a thin (some nanometers) oxide, and the crystal orientations don't match because it is a poly crystal anyway.
1) At room temperature 2) 'polished flat' 3) 'perfectly smooth' - grain structure (a) 

If you now heat up your steel to red-hot temperatures in air and thus in oxygen, it simply burns, forming comparatively thick iron oxides called "scale". Scale can grow rather thick; you can get fractions of a millimeter in minutes!
If you bring scale-covered steel in close contact, not much will happen. However, if you put your iron in the reducing part of you fire (deeper inside) in contrast to the oxidizing part (more on top of the flames) you minimize scaling. If you also pour fine-grained "sand" that contains silicon dioxide (SiO2) on the hot steel, you may liquefy the scale. If you now hit the two pieces hard with your hammer, the liquid stuff squirts out at the seams and you get the iron atoms into close contact. Plenty of thermal energy does the rest. Iron atoms will move and bond to other iron atoms. Welding is achieved.
If you keep your material hot enough for a while, grains grow. The grain boundaries formed during welding thus move and become unrecognizable from the other ones. Taken all of that together, there are plenty of reasons why you need to do hammer welding at elevated temperatures.

Forge Welding - The Rules

'Classic' Forge Welding image (but the camera sees differently than your eye!)
So - going from the theoretical to the practical :

As you can see from the knowledgeable descriptions above, you can not fuse oxide. So clean off the oxide from the surfaces before you start. Yes - it is impossible to remove all the oxide down to a microscopic level (unless you were working outside of normal air!). But the easiest way to improve your welding ability is polish off that fire scale before you start.

See Clean
If you don't keep the oxygen out - you have that fire scale (which will not fuse).
The flux, as stated above, liquifies the (minimal?) scale still present, and also both helps keep out possible 'dirt' from your fire - but also carries any of either away under the hammer stroke.
There is confusion here, because antique wrought iron may in fact 'self flux'. This because there is always some amount of slag trapped inside wrought iron from its creation process. 'Good' quality wrought iron will have less of this - and so may still require some addition of flux. All modern steels require flux.
Note that this puts anyone working with propane at a disadvantage. The borax flux typically used in North America absolutely eats through most forge lining materials. A good quality castable refractory flooring can reduce this damage, but at a premium cost.

3) FIRE Control
See Clean (again)
As Helmut warns that during heating, you should attempt to be holding your metal contained in ideally a reduction atmosphere. For solid fuels, this means:
  • - inside a proper 'cavern' fire
  • - balancing air blast for ideal heat creation, with no additional air (oxygen) supplied
  • - welding with a clean, fresh fire (avoiding excess ash)
The old advice here was 'Two Welds on a Fire' (at least for layered steel work).
Note that this puts anyone working with propane at a disadvantage (yet again). This because unless you have a) a very good forge and b) carefully adjusted the fuel / air mix, you are certain to get quick and excessive scaling in a gas forge.

Stack of Bloomery Iron, heating for a Forge Weld (note uniform colour)
You need the metal to become just hot enough effectively deform it enough under the hammer stoke to fuse the pieces as described.
NOT 'until you see sparks coming off' !!! (At that point you are in fact burning the metal, damaging its structure. Fine for horse shoes, but not for any critical work.)
How hot is hot enough?
Sorry - this is where the experience comes in.
'I had to learn just what the correct temperature on the surface looked like' is the simple truth :
  • - ideal temperature varies with different steel types (see Owen's original question)
  • - there is a relationship to hammer technique (see below)
One very important element - the entire mass of metal needs to be at the correct temperature point. This means that the interior of the mass needs to be at roughly the same temperature as the exterior. Consider what this means during the heating cycle. Applying heat too fast will overheat the surfaces (burn) before the centre of the mass has reached effective forge welding temperature. (5)

Obviously you need to be able to observe the metal surface. You can NOT do this will unprotected eyes! At the bare minimum, proper didymium safety glasses. Ideally a darker protective lens. (6)

  • - Speed : the metal will only be hot enough to effectively fuse for an extremely short time. So those hammer strokes need to be very quickly applied to the entire surface to be welded.
  • - Placement : remember that the flux serves to wash out any oxide slag and dirt, as well as needs to be displaced itself. So the location of individual stokes needs to :
  1. - work from folds to open edges
  2. - work from centre to outer edges
  • - Force : you need to hit 'just hard enough to fuse the pieces'. No more, no less. If you don't hit hard enough, you will not displace the flux / slag. Or actually force the pieces into intimate contact as required. But at the same time, the metal is extremely soft and plastic at effective forge welding temperatures. Hitting too hard will simply massively distort the material beyond any desired shape.
  • - Penetration : this is certainly related to all of above. Typically a heavy hammer will apply more effective force through the entire mass. But at the cost of limiting the needed speed and reducing the placement of individual strokes.

Obviously personal hammer technique is going to come into play here.
Myself, I normally run my first course of hammer strokes with my (standard) 800 gm hammer, which allows me to work over the entire stack surface with great speed and very good control of individual strokes. This will at least 'tack' weld the pieces, removing all the flux / slag. I then take a second welding heat. As the pieces are now at least loosely fused, it is much easier to ensure a consistent temperature throughout. I then switch to a heavier (for me, 1000 gm) hammer for the second weld course. I can't move this as quickly, but the intent here is to ensure effective penetration through the entire mass.
If I am working larger billets, I will make the next sequence again to welding temperature. Now I switch to the air hammer. This not only ensures full penetration and fusion of the billet - but quickly starts to pull out the block for the next 'stretch and stack' series.

Some Pattern Welded billets - ready for forging into blades. All from about 150 to 200+ 'layers'.

a) illustration stolen from 'Iron, Steel & Swords'

1) I saw a demonstration once by a 'well known name' smith of forge welding. Where he deliberately, one by one, broke all the 'rules' of forge welding. With the repeated tag line : 'See, you don't need to ...'.
I was furious.
Sure, with considerable skill and extensive experience, you might be able to achieve an effective weld after breaking one of the effective rules. But to illustrate to novice blacksmiths that these rules were not important, the overall result was to effectively mystify one person's ability. Not to teach anyone else the technique.

2) A sample illustrating Owen's work and process:

Note that this is a 'high art' * promotional * video.
Also see the elements of work taken from Japanese traditional methods.

3) Unfortunately, Jesvs' web site is down (a loss, as there was a lot of good information there) He still has maintained a good grouping of tutorial style video on YouTube

4) As with all the content on 'Iron, Steel & Swords', this is just the starting point to a more in depth discussion of this topic!

5) This, at the most basic, is why Migration era swords most commonly will have nine layer composition (or sometimes seven or eleven). If you take 1 to 1 1/2 wide plates, each about 3/16 thick, and stack them? The resulting pile will be roughly a square cross section. This allows the heat to evenly penetrate into the stack for most effective forge welding. (Nothing 'mystical' about the number - sorry!)

6) I personally always wear didymium glasses in the forge, especially when working with coal. * For forge welding, I add a pair of 3.5 shade welding lenses, which I have fitted on a 'flip up' mount. This allows me to easily (and safely!) observe the metal surface inside the (too!) bright forge. I can then flip these out of the way so I can correctly see the hammering on the anvil.
With a propane forge - your need may certainly vary.
* The exception here is when teaching. I don't provide didymium lenses to students (for the short time of a course). I need to 'see what they see', so just wear my normal safety glasses.


After publishing this piece, I had a direct comment from my old friend (and fellow Artisan Blacksmith) David Robertson of Hammer & Tongs Studio
I read your post. Mostly made sense see also: 

Tuesday, November 13, 2018

'Roman' - MoAF-I : Conclusions

Readers should refer back to recent postings on this topic :
the Mother of All Furnaces - Iron
'Roman' - MoAF-I : Results
What was learned?

1) Intake vs Exhaust vs Height
- The completed furnace, at 185 cm was certainly tall enough to allow for an effective drawing force into the stack.
- There were a number of factors that effected the relatively poor performance of the initial use of the MoAF - as a glass bead making furnace. Certainly one major factor on that first test was that the cross section ratio of intake ports to exhaust was certainly far too large. This may have been compounded by increasing the number of openings over the course of that burn.
- For the use of the same furnace body as an iron smelting furnace, the ratio conformed more closely to the theoretical model suggested by R.H. Rehder (1)
  Rehder's example was   1256 cm2 to 51 cm2 = 24.6 : 1
  MoAF-1 was          706 cm2 to 28 cm2 = 25.2 : 1

2) Charcoal Sizes
For the initial firing of this furnace, the charcoal was sized from .5 to 2.5 cm, our normal 'graded' fuel that has proved effective with our short stack iron furnaces.
With the MoAF-I experiment, this size was increased to 2.5 + / average 3.5 cm, as recommended by Rehder. This larger particle size proved effective in allowing air to flow upwards inside the furnace. Combined with the tall stack height, there was no problem maintaining the correct 'reaction time' for the falling ore, despite the larger gaps between individual fuel pieces.

3) Internal Temperatures
As can be seen on the temperature data, there proved to be no problem generating and maintaining the required temperatures to support the iron smelting process.

4) Type of Tuyere
The effectiveness of the mild steel pipe as tuyeres was a bit of a surprise, in terms of the lack of erosion / shortening of length over the entire burn. In the past, mild steel pipes have proven to melt off inside the smelting furnace, usually burning back towards the furnace wall. This in turn has resulted in excessive erosion of the furnace wall material itself - sometimes to the point of burning completely through!
The effect of the base height (below) may be an important variable here.

5) Base Height
Normally the position of the effective base of the furnace interior is controlled fairly carefully. Past experience has shown a space from base to tuyere of 10 cm is a minimum, with 15 cm the usual amount. This spacing is controlled by using charcoal fines or light wood ash packing in place. (This gap is required to leave room for the developing slag bowl, allowing accumulation of slag and the bloom - without 'drowning' the tuyere air blast).

For the MoAF-I experiment, it was decided to be very conservative in the placement of the tuyeres above the solid base of the furnace. The tuyeres were placed 20 cm above the base.
In the final analysis this large space proved to be an error. The slag bowl was found to form too low, dropping it down below the most effective heat zone inside the furnace. This in turn caused the partially sintered iron to cool below the effective 'welding temperature' needed to allow it to form into a solid bloom mass.

6) Ore?
Since the overall intent of this experiment was getting the needed temperatures, the actual addition of ore was almost an afterthought. Other project commitments had overwhelmed my available time to mix and properly dry a mix of our usual DD1 analog. So in the end we decided to make use of some materials on hand. This certainly proved to be of too low iron content, or not enough amount, to expect good bloom formation.

7) Bloom?
There certainly was effective reduction of iron oxide ores, with accumulation of the resulting iron metal. The overall lacy consistency of the resulting mass however does suggest a number of potential problems as the cause:
- Too small an amount of raw ore / of too low an iron content?
- Incorrect placement of the base below tuyere, cooling the iron below welding temperature to allow compaction?
- Generally a low air volume in the system, which has been shown in the past to result in both lower yields and less compact blooms.

Into the future?

At this point I have observed two other attempts at operating a full scale 'Roman' iron smelting furnace, 150 cm + internal diameter and 200 cm + taller. Neither of these attempts resulted in any effective iron production. There was a large amount raw materials required, and massive amount of expended labour for the construction. The amount of charcoal consumed was huge, with firings running days, rather than hours. All of this certainly beyond my resources here at Wareham.

The build for MoAF took a combined team of six, a full working day to construct. The materials required were over twice the amounts used for the typical 'short shaft' furnaces. As this particular firing was undertaken, the overall consumption of charcoal was in the same order as with the more complete sequence more typical.
It would likely prove quite possible to use ceramic 'flue' tiles for the upper stack portion of this type of furnace, which would speed construction considerably, and reduce materials costs.

Likely the most important factor that will influence continuing an experimentation series based on the Roman, passive tall stack builds was contributed by Neil Peterson:
'Just how many different historic periods do we want to investigate?'

1) 'The Mastery and Uses of Fire in Antiquity' by J.E. Rehder - 2000
McGill-Queen's University Press, ISBN 0-7735-2067-8 

February 15 - May 15, 2012 : Supported by a Crafts Projects - Creation and Development Grant

COPYRIGHT NOTICE - All posted text and images @ Darrell Markewitz.
No duplication, in whole or in part, is permitted without the author's expressed written permission.
For a detailed copyright statement : go HERE