Tuesday, January 28, 2014

OABA demo - February 8

Ontario Artist Blacksmith Association
Saturday, February 8, 2014
Waldie Blacksmith Shop
16 James Street
Milton ON

'Demonstrating the Demonstration'

Increasingly, the only way the public has any chance to see a blacksmith at work is through physical demonstrations at living history museums or community events. When any individual undertakes such a working demonstration, they not only promote themselves, but act to represent the entire artisan blacksmith community. Effective demonstration technique is a skill quite separate from ability with hammer and forge.

A number of individual objects will be produced as part of the ongoing conversation. From the 1800's, a pendant candle holder. From the Early Middle Ages, a small kitchen knife. From modern artistic work, some work using pipe.


Darrell Markewitz
started his life long journey as an artisan blacksmith working at Black Creek Village in the late 1970's. Since then he has demonstrated metalworking in front of literally hundreds of thousands of people. He has illustrated many historic periods, and within a range of levels from artistic to technical, across Canada and internationally. (www.warehamforge.ca)

Meeting : starts about 10 AM
Presentation : starts about 11 AM


Thursday, January 09, 2014

Early Aprons?

Input from a couple of long followers (and sometime contributers) here has expanded on my piece from earlier this week - Protective Aprons

A request for more historic information, and separately a private comment that answered that question.

   Cathy Raymond left a new comment on the post "Protective Aprons :
   Here's a slightly different question. Did smiths wear protective
   aprons in the Viking age and, if so, what were they like? Do we have
   any information that would help answer that question?

The historic source comes from *Bruce Blackistone*, a well known and respected Early Medieval / Anglo Saxon period re-enactor, fellow blacksmith, and one of the forces behind the Longship Company (and old friend). I have come to have a lot of respect for Bruce's depth of research, general understanding of history and technology - and especially his warped (often perceptive) sense of humour.


    Some more grist for your mill:  Attached is an English
    illustration of Tubal Cayne, circa 1360.

I wear a modified version of the apron, which just happens to work
    out to the steer's neck and shoulders for the bib, and the back
    forms most of the rest of the skirt.  In addition to the brooch
    (which doesn't work that well with modern attire) I use a neck
    strap.  A second tie runs from the start of the legs to my back
    and around the waist to cinch it in.

   

As shown, it has proven practical in a number of centuries.  I
    only wish I had spent just a little more to make it a few inches
    longer, but the length has never actually proved a problem.

    First picture is from the British Museum.  Second photo was by
    *Katy Amt*.
Bruce also commented :
I will also observe that the limiting of damage to clothing was one of the reasons that I wished my leather apron a little longer.  Nothing like hot "fire flea" coals burning through the lower hem of your nice, new linen undertunic.  I couple of scorches and holes adds veracity, but after a short while, too much can be way too much.  Not to mention the possibility of ignition!

A general observation back to the question:

I am not aware there is are any actual artifacts themselves that survive from the Viking Age that would be considered metalworkers aprons. There are three carvings I am aware of that illustrate blacksmiths :
the Hyllestad Wood Carving - http://www.warehamforge.ca/BLOG/smithcarve.jpg
the  Ramsund Rune Stone - http://www.warehamforge.ca/ironsmelting/images/rockillo.jpg
the Frank's Casket - http://wps.pearsoned.co.uk/wps/media/objects/14183/14524101/The%20Arch%20of%20Constantine%20Rome/image022.jpg
None of these Viking Age illustrations show the smith wearing a specific apron.

There are two reasons however, that I would consider the wearing of an apron most likely for the early blacksmith:
1) Safety
2) Limit damage to clothing

That second is not often considered, especially from our modern bias of cheap, plentiful, easily accessible, *purchased* clothing. Clothing was limited, and 'expensive' to any European before the advent of the Industrial Age. The raw labour involved in the production of sheep to shirt is usually not taken into account. Admittedly, wool is much more resistant to the damage effects from small pieces of hot scale flaking off under the blacksmith's hammer. Still, in a world where getting a new shirt might be at best a one per year occurrence, individuals would be sure to protect their clothing, as much as themselves.

Sunday, January 05, 2014

Ores for Bloomery Iron Smelting?


Forum: Bloomers and Buttons
=====================================
Topic: iron ore websites ( Steven S.)
http://www.bladesmithsforum.com/index.php?showtopic=28350
............................................
I've been looking around the internet for sites that sell raw ore but all I can find is mines for sale or large quantities (tons or more). 
if anyone could point me in the right direction to smaller amounts that would be awesome.
First - a basic overview

Finding a natural ore depends on geography, and as 'plentiful' as iron oxide is in the environment (generally), truth is not *everyone* has access in their local area.

This normally means one of three possible commercial sources:
Industrial Taconite Pellets
Hematite Sandblasting Grit
Iron Oxide Pigment

Industrial Taconite will depend largely on industry in your area. This is the form iron is semi processed at the mine, then shipped to the smelter for modern steel production. If there are no mills (or mines!) in your area, sometimes this material can be found 'spilled' along transport routes - being harbours or rail lines.
Taconite will require roasting, then labourious breaking into smaller pieces for the typical small size bloomery furnace.

Hematite Sandblasting Grit comes from a source in Quebec, and is ground and bagged here in Southern Ontario by Opta Minerals. The modern use is for sandblasting large metal surfaces - primarily ship hulls for re-painting. The material may be available in 90 lb sacks. Check a local sand blasting company. Last time I could purchase the small size, it ran about $20 per bag.
Hematite Grit is tricky to use in our bloomery furnaces, as the smaller size particles tend to reduce quickly and absorb excess carbon. This can yield 'steely' blooms - but its also easy to end up running too hot and getting cast iron.

Fine Iron Oxide Pigment is used in two modern applications. It comes in 50 lb bags, used for glazes by potters, and to colour concrete. If you can find a concrete supplier that would sell a few bags, this is likely to be the most cost effective. (Mainly because the material is likely to be less refined - so cheaper.) Most pottery suppliers also have the material, better processed ($$) in three forms:
Black (Fe3O4), Red and Spanish Red (both Fe2O3). Avoid the more pure 'Red', which here in Ontario runs about $200 per bag (!!). Right now the higher iron content Black and lower iron purity Spanish Red are costing about $50 per bag.
My team here started working with these fine oxides a number of years back when we were trying to create a substitute for natural primary bog iron ore. The trick is to mix the fine powder into a paste with the addition of 10% whole wheat flour. The paste is then spread out and allow to dry and then broken into chunks. If you attempt to use the fine powder direct into the furnace - the air blast simply blows most of it right back out again.


Black Potter's Oxide - mixed to analog, ready for the furnace
Full Smelt Report - Vinland One

There is a lot of information available on this blog on the development of what we call 'DARC Dirt' Analog :

I've got a table up that compares the various ore types (that we have worked with here)


Saturday, January 04, 2014

Protective Aprons?

Expanded (with images) from an e-mail response...

On 03/01/14 12:04 PM, Kevin wrote:

I took your bladesmithing course a while back, and I just had a quick question. What are your thoughts on blacksmith aprons and their length? I know it depends on the task at hand, but do you prefer below or above the knee length or right to the floor? Cow hide?

The apron protects your clothes mainly.
I have two, both ones I made up myself.

One is a farrier's style, which just belts around the waist and hangs to about mid thigh. This is the area where most of the spray from welding or scale hits you. The top of your pants is the area which gets most of it.

The other is a full bib type, which does sit fairly high around my neck.  This does cover your chest, which I like for more 'dangerous' work like metal casting and iron smelting.


The advantage of the short type is that your chest is not covered with leather. In the summer - this also means all that heat is not being held close to your body.

Both mine are slit in the centre - up to the crotch. I find this improves mobility, and really does not detract from the protection.

Mine are a medium weight leather. Truth is that a lighter leather works perfectly fine - the protection is not for penetration. I've used cow hide, but that was more based on what I had (and what was cheap - I had bulk purchased a pile of this gray stuff.) I'd almost think a pig skin might be better - it is more flexible.

You could easily use a heavy cotton canvas, it just not might last as long. Lee Valley and Canadian Tire have both sold reasonably good heavy cloth aprons in the past.

Here are another couple of other suggestions:



A trick I saw Scott Langton use (at a long past demo at Quad State Roundup) was to wear a carpenter's pock apron. This does offer some protection on the main upper thigh impact area. More important, it allows you to carry around some small tools with you as you work. In demonstration especially, away from your normal set up, I have found this trick extremely useful. Keep your eyes open, as cheaper versions (in leather) sometimes go on sale at CTC or Princess Auto. (I think I paid $15 for the one I use)



For 1800's demonstrations, I did spend a chunk of cash and get a custom made pair of horsehide pants. These are similar to a 'buckskin' style, without the fringes normally seen. I had the leather reversed (suede side out). The piece from crotch to knee on the outside is double layered. The leather is supple, like a deer skin but easily twice the thickness. Although some expense, I would expect these to last a life time - even if used daily. (Note that in this image, the apron is more for show than at all needed for cold copper forming!)

Wednesday, January 01, 2014

TENTATIVE ! 2014 Schedule

-->
WEEK SATURDAY SUNDAY KEY to COLOURS
January 4 5 OPEN
    COURSE TENTATIVE
11 12 SHOW TENTATIVE
OABA   HISTORIC TENTATIVE
18 19 TEACHING TENTATIVE
    IRON SMELT TENTATIVE
25 26 PERSONAL TENTATIVE
   
Feburary 1 2
   
8 9
OABA  
15 16
BASIC X 2 BASIC X 2
22 23
PRACTICUM PRACTICUM
March 1 2
CASTING CASTING
8 9
BASIC BASIC
  15 16
SMELTFEST SMELTFEST SMELTFEST
22 23
   
29 30
   
April 5 6
FITP  
12 13
OABA  
19 20
BASIC BASIC
26 27
WELDING WELDING
May 3 4
   
  10 11
ICMS ICMS ICMS
17 18
BASIC BASIC
24 25
Ameliasburg RV Ameliasburg RV
June 31 1
DARK Workshop DARK Workshop
7 8
SMELT SMELT
14 15
DARC SMELT DARC SMELT
  21 22
York Warf York Warf / BASIC York Warf / BASIC
28 29
Trillium - SCA Trillium - SCA
July 5 6
BLADES BLADES
12 13
BASIC BASIC
19 20
ZOMBIE KILLER ZOMBIE KILLER
26 27
LAYERED LAYERED
August 2 3
  Celtic College
  9 10
  Goderich Celtic Goderich Celtic
  16 17
  Summerfolk Summerfolk
23 24
   
  30 31
Bonfield - SCA Bonfield - SCA Bonfield - SCA
September 6 7
BLADES BLADES
13 14
BASIC BASIC
20 21
   
  27 28
QUAD STATE QUAD STATE QUAD STATE
October 4 5
AUTUMN LEAVES AUTUMN LEAVES AUTUMN LEAVES
11 12
FALL SMELT FALL SMELT
  18 19
RE-ARC RE-ARC RE-ARC
25 26
BASIC BASIC
November 1 2
DARC SMELT DARC SMELT
8 9
STRUCTURAL STRUCTURAL
15 16
BASIC BASIC
22 23
CASTING CASTING
29 30
   
December 6 7
   
13 14
   
20 21
   
  27 28
     
 

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