This entry modified from a comment sent to the Norsefolk discussion group. Readers will see it reflects back to recent (and many past) articles on Layered Steels...
It is clear is that there is a huge amount of information available on the internet to anyone who searches for it on the topic of layered steel blades. Fairly quickly the critical eye spots those who actually know how to make the material themselves, or have done serious research, and the flakes and the phony.
One important 'historical' note:
The exact methods required to produce close replicas of Migration era Pattern Welded swords, or decorative patterned 'Damascus' blades, where essencially lost to the blacksmithing community (at least mostly in Europe and certainly in North America) through to the 1960's. Early work by a team out of the British Museum attempting to duplicate the amazing sword from Sutton Hoo suggested some possible methods (since proved NOT ideal). An American smith and blade maker named Bill Moran is largely responsible for re inventing working methods for producing effective layered steel billets and introducing those techniques to the North American bladesmith. When I started smithing in the late 1970's, only the top master bladesmiths knew how to make layered steels, and they were certainly not talking. The methods quickly escaped into the community at large. These days the first thing many new smiths attempt after learning how to forge weld is a layered steel billet. The published work of Scott Langton, who created the replica of the Sutton Hoo sword now on display at the British Museum, certainly needs to be mentioned.
There is a signficant termonology problem - one that has raised its head here already. I notice that the more experienced smiths and researchers here are using language in a quite specific way:
Layered steel - refers to creating a billet from a pile of plates, these plates are differing iron alloys. The billet may be drawn and folded a number of times to increase the layer count.
Pattern Welding - should be employed here in its strict archaeological definition. This is a method distinct to Northern Europe, at its height of use in the Migration period (say roughly 200 - 1000 AD). Here individual billets, usually of low layer count, are drawn to long bars. Bars are twisted in alternate directions. Then these bars are welded together to form the central core area of a blade. The result is a distinctive herring bone pattern.
Modern knifemakers (incorrectly) use the term Pattern Welding to describe 'any layered steel blade that shows a pattern'. Most typically the method they employ involves first creating a billet with high layer count. This block is then cut into or punched to expose the layers in predictable and regular patterns. What they are describing would be more accurately called 'Damascus' steel. This method is quite different than N European Pattern Welding, which believe me, is significantly more difficult than simple fold and stack.
see also : http://warehamforgeblog.blogspot.com/2010/04/some-layered-steel-billets.html
I must disagree with comments that only etching will show the patterns. As the block is composed of differing alloys, each is effected at the polishing stage differently. There is in fact a subtle pattern revelled by the differing rates which the various hardness of metal layers are cut by the polishing. Generally holding the polished blade will suddenly show the pattern in the light. This may actually have been the case for historic blades. Statements in old tales like 'a serpent was seen to dance along the blade' describe this very real effect.
Truth is, we will never know just what finish was used historically on Pattern Welded blades. Modern blade makers use acid solutions to selectively etch and also stain the various layers. None of these acids were known during the Migration era. It is true that deliberate surface rusting, or discolouring with natural acids like vinegar, will increase the contrast in the alloys. This is a more subtle effect than use of solutions like Ferric Chloride or Nitric / Hydrocloric acids (all standard for modern blade makers).
Friday, April 30, 2010
Wednesday, April 28, 2010
No - I don't make 'props'
... what I make here are REAL objects.
If you watch the video clip, the first thing you see is how difficult it was for WETA to make the original film prop. Plus, even made of foam, how difficult it was for the actors to handle the results. This even for staged, single motion shots!
There is a raw physics problem with what are more correctly called 'mourning stars' (short handle, chain, weight).
The correct way to use one of these is spinning it in a figure eight pattern before your body. (You remember from the film this was NOT the way it was employed!) There is absolutely no defence - it is a purely attack weapon. Even a small mass on the end of that circular motion imparts incredible impact energies. Its also easily possible to break your own wrist as the user should the motion get interrupted in the wrong spot in the cycle (or your technique is incorrect). Even a fist sized rubber ball can hit hard enough to cause serious injury - and the chain causes the head to wrap around things (like necks). There is no way to make a 'safe' version that will even remotely perform like the real weapon. This is why groups like the Society for Creative Anachronism forbid the use of 'ball and chain' class weapons in sport fighting.
For the film, they used a large piece of very soft rubber (likely a material like that used for foam door seals). This allowed them to get the physical size they required without the raw weight. You do see how they discuss how difficult it was for the actor to even make the simple, single motion, staged shots used in the film.
If the head had actually been made of metal at that size, it would easily have been several hundred pounds or more! Plainly impossible. (Not just a matter of magical strength, you would have to magically also add and subtract inertia!)
The replica seen above was in fact made of styrofoam - its worth taking a look at the web site that holds the image and a brief description of the construction.
If anyone wanted to proceed with creating a prop weapon for costume use based on the object from the film, I have this suggestion:
Get some high density soft foam - the stuff they use for sleeping pads for back packing. This is easily cut to shape with scissors. The required thickness can be built up by using contact cement to glue thinner pieces together. You can purchase plastic chain from the hardware store or a curtain and blinds shop.
Those materials can be easily painted after construction. This is basically what was (most likely) done by WETA.
For a 'real' weapon on this pattern, the shapes would have to be reduced to something closer to 3 - 4 inches high, cut and welded up from 1/4 inch thick plate. The cost of production would be considerable, several hundreds of dollars at least.
I would also check the legal codes for your jurisdiction. There is a possibility such a 'real' weapon might prove illegal.
I interested in having you make one of these for me but on a much smaller scale than the original used in the movie made by WETA studios.The one i have in mind is about a 5lb mace.I have included a link to a short video on the making of that particular mace if it will help.
If you watch the video clip, the first thing you see is how difficult it was for WETA to make the original film prop. Plus, even made of foam, how difficult it was for the actors to handle the results. This even for staged, single motion shots!
 |  |
| Artistic Rendering | A great Fan built Replica
There is a raw physics problem with what are more correctly called 'mourning stars' (short handle, chain, weight).
The correct way to use one of these is spinning it in a figure eight pattern before your body. (You remember from the film this was NOT the way it was employed!) There is absolutely no defence - it is a purely attack weapon. Even a small mass on the end of that circular motion imparts incredible impact energies. Its also easily possible to break your own wrist as the user should the motion get interrupted in the wrong spot in the cycle (or your technique is incorrect). Even a fist sized rubber ball can hit hard enough to cause serious injury - and the chain causes the head to wrap around things (like necks). There is no way to make a 'safe' version that will even remotely perform like the real weapon. This is why groups like the Society for Creative Anachronism forbid the use of 'ball and chain' class weapons in sport fighting.
For the film, they used a large piece of very soft rubber (likely a material like that used for foam door seals). This allowed them to get the physical size they required without the raw weight. You do see how they discuss how difficult it was for the actor to even make the simple, single motion, staged shots used in the film.
If the head had actually been made of metal at that size, it would easily have been several hundred pounds or more! Plainly impossible. (Not just a matter of magical strength, you would have to magically also add and subtract inertia!)
The replica seen above was in fact made of styrofoam - its worth taking a look at the web site that holds the image and a brief description of the construction.
If anyone wanted to proceed with creating a prop weapon for costume use based on the object from the film, I have this suggestion:
Get some high density soft foam - the stuff they use for sleeping pads for back packing. This is easily cut to shape with scissors. The required thickness can be built up by using contact cement to glue thinner pieces together. You can purchase plastic chain from the hardware store or a curtain and blinds shop.
Those materials can be easily painted after construction. This is basically what was (most likely) done by WETA.
For a 'real' weapon on this pattern, the shapes would have to be reduced to something closer to 3 - 4 inches high, cut and welded up from 1/4 inch thick plate. The cost of production would be considerable, several hundreds of dollars at least.
I would also check the legal codes for your jurisdiction. There is a possibility such a 'real' weapon might prove illegal.
Saturday, April 24, 2010
'Trees' for Reade & Maxwell Residence
This is the fourth element to the overall 'Sea to Shore to Sky' design concept for the ongoing Reade & Maxwell Residence project.
As a fast review, this project is for a custom built home on Manitoulin Island. The work is a set of stair and balcony railings, running from basement to second floor, the building having an open concept layout.
There are a large number of past commentaries on both design and the progress of the work, including some YouTube video segments. (Search under 'Reade Maxwell')
At this point, the segments 'Undersea' / 'Beach' / 'Shore' have all been completed and installed. The section 'Sky' (using tempered architectural glass) is under construction.
I have a general idea floating in my head (although not drawn in detail) for the short railing that runs up from near the front door. This panel will be 'Forest Floor' and because of its location will be the most elaborate of the forgings.
The segment that had really caused me the most problems from a design stand point was the section running up along the landing towards the second floor - ' Forest'.
The primary problem here is coming up with a design that would not be visually too massive, allow as much light penetration as possible, yet fit into the general concept of trees. I had drafted a number of rough designs, and frankly was not happy with any of them! Part of the problem was that both my own ideas and those suggested by the clients tended towards realism - which really was at odds with the somewhat surreal feeling of the other segments.
Vandy's concept thumbnail
Happily, my wife Vandy was able to consider the problem without my own baggage, and came up with the very rough concept seen in her thumbnail above. I had been focused on representations of the detail of trees, things like bark and leaves. She pulled back, and considered the crossing arcs of smaller saplings in a grove.
My re-working of the concept
After some rough drawings based on her ideas, it was decided that the lines sweeping up and over, creating an arbour effect, would confine the space too much. The general idea of depicting a line of saplings of various sizes proved an excellent one. Above is my conversion of the concept into a working layout, bearing in mind the restrictions on spacing required to conform to the building code provisions. One of the keys to the relatively simple lines working effectively visually is using a number of differing sized metal stocks. The uprights will range from 1/2 round through to 2 inch diameter pipe. All the lengths will be slightly forged, both to create the soft curves, but also to modify the mechanical shapes of the starting bars.
Rough placed in context
This is another new method for me - using an existing photograph with the design rough superimposed on top of it. The initial image was altered to remove the existing landing railing, then converted to soft grey tones. By sketching the railing concept on this altered image, the client is able to better understand how the finished panel will look installed in their home.
Work continues - stay tuned for further updates.
As a fast review, this project is for a custom built home on Manitoulin Island. The work is a set of stair and balcony railings, running from basement to second floor, the building having an open concept layout.
There are a large number of past commentaries on both design and the progress of the work, including some YouTube video segments. (Search under 'Reade Maxwell')
At this point, the segments 'Undersea' / 'Beach' / 'Shore' have all been completed and installed. The section 'Sky' (using tempered architectural glass) is under construction.
I have a general idea floating in my head (although not drawn in detail) for the short railing that runs up from near the front door. This panel will be 'Forest Floor' and because of its location will be the most elaborate of the forgings.
The segment that had really caused me the most problems from a design stand point was the section running up along the landing towards the second floor - ' Forest'.
The primary problem here is coming up with a design that would not be visually too massive, allow as much light penetration as possible, yet fit into the general concept of trees. I had drafted a number of rough designs, and frankly was not happy with any of them! Part of the problem was that both my own ideas and those suggested by the clients tended towards realism - which really was at odds with the somewhat surreal feeling of the other segments.
Happily, my wife Vandy was able to consider the problem without my own baggage, and came up with the very rough concept seen in her thumbnail above. I had been focused on representations of the detail of trees, things like bark and leaves. She pulled back, and considered the crossing arcs of smaller saplings in a grove.
After some rough drawings based on her ideas, it was decided that the lines sweeping up and over, creating an arbour effect, would confine the space too much. The general idea of depicting a line of saplings of various sizes proved an excellent one. Above is my conversion of the concept into a working layout, bearing in mind the restrictions on spacing required to conform to the building code provisions. One of the keys to the relatively simple lines working effectively visually is using a number of differing sized metal stocks. The uprights will range from 1/2 round through to 2 inch diameter pipe. All the lengths will be slightly forged, both to create the soft curves, but also to modify the mechanical shapes of the starting bars.
This is another new method for me - using an existing photograph with the design rough superimposed on top of it. The initial image was altered to remove the existing landing railing, then converted to soft grey tones. By sketching the railing concept on this altered image, the client is able to better understand how the finished panel will look installed in their home.
Work continues - stay tuned for further updates.
Friday, April 16, 2010
Some Layered Steel Billets
One of my current commissions is for a heavy hunting knife, using the pattern welding technique.
Note to readers that I use 'pattern welding' to specify the Northern European method of twisted rods, the 'archaeological definition'. Contemporary knifemakers typically use the term to refer to a flat stack which has been modified by punching or cutting, then flattening. These methods are normally is used to produce regular, geometric patterns on the finished surface.
There have been a number of past articles posted here on Hammered Out Bits on this topic (search : 'pattern weld' ) . There is also a discussion on the Wareham Forge Bladesmithing page.
(The click out images here are all direct scans of the billets, at life size.)
The Northern European method appears to have been developed specifically for the manufacture of swords, although some knives do exist using the technique. The finest example of the method is found in the sword from the Sutton Hoo burial, which dates to roughly 625 AD. It is suggested that blade was forged in Denmark. Pattern welded swords are relatively common through the Viking Age, but the technique falls out of use into the beginning of the Medieval period (very roughly : post 1000 AD).
Historic pattern welded blades typically have the twisted rods with layer counts at either 7 or 9. Although some writers attempt to make this mystical, the reason is purely functional. When forge welding, it is important that all the component pieces are brought to the same temperature. You want your stack to be as wide as it is high. In practical terms, the ideal size for this stack is between 1 to 1 1/2 inches wide and tall. If you forge out the component plates, they are likely to be in between 1/8 to 3/16 thick. Simple addition shows the most likely number of plates in the stack is thus going to range between 7 to perhaps 11. (So much for the 'mystic 9 for O∂in'!)
When making any layered steel object, the measurement of complexity is the number of WELDS - not the number of LAYERS. Remember that layer count increases geometrically. Four welds of a flat stack, drawn to four pieces is this 9 x 4 x 4 x 4 = 576 layers. (Add just one more weld and the count is over 2300 - so much for the mythic Japanese sword.)
Over the years, my own experience has shown the best way to combine the visual impact of the layered and twisted rods with a highly functional tool.
I find the most interesting layered effect for the twisted rods is found with counts in the range of 50, so on the second weld series. (Historic PW swords typically stop at the first weld, at 7 or 9 layers. This is because the gross effect of combining hard for spring and soft for shock absorbing, was desired.)
Remember that the layering combines both hard and SOFT alloys. The net effect is LOWERING the average carbon content, and that unevenly between individual layers. For that reason, I form the decorative back separately from the functional cutting edge. For the edge I take two layered billets and weld them to a core made of high carbon steel. This hard layer then creates the cutting edge of the finished blade.
Because of the method, I count the layers of each twisted rod, then add the total layers in the edge stack. Typically the process involves a total of four welding series:
1) Initial stack
2) Draw for either 4 pieces and weld (or if three pieces make a third draw and weld here)
- 2/3 is drawn and twisted / 1/3 is flattened
3) weld the two flat pieces to a carbon core
4) stack the twisted rods and blade block and weld
You can see that this requires more welds (and more difficult techniques) than a simple fold and weld method - at the cost of in effect LOWERING the layer count.
I will typically use four different alloys in the stacks:
I - Antique Wrought Iron - produces a 'rope like' texture (usually 3/16)
H - High Carbon Steel - produces black lines (usually 3/16)
L - L6 Alloy - produces bright lines (usually 1/32)
M- Mild Steel - produces a medium grey colour, also acts as a buffer between the different consistencies of the other metals (usually 1/8)
Image above shows the first billet I created for the project. It is composed of a total of 205 layers. That is two twisted rods on the back, then two flat layer blocks applied to a carbon steel core for the edge. The starting stack was : M/I/M/L/H/L/M/I/M . Four working sessions to produce (so basically four separate half day sessions - for me, anyways)
Now, although this is NOT the point of this article, Check the top image in the set below. The commission required the blade have an integral guard. I carefully hot slit the billet at the mid way point to provide the required material. And then realized I had pulled the guard off the WRONG SIDE. In effect, destroyed the week's work! Too much occupying what is left of my mind...
Start over again!
The bottom most billet here is the replacement for the screw up of my first attempt.
The starting stack here was a bit different than the first : M/H/L/M/I/M/I/M/L/H/M . It is similar in overall construction to the first (two twisted rods plus two flat layers with carbon core). I had also increased the overall length of the starting stack to 5 1/2 inches. This increased the finished billet size by about 20 %. The total layer count here is 265. You can see how increasing the starting amount of both wrought iron and carbon steel have increased the contrast in the herring bone pattern. For the finished blade forging, most likely the left side as shown here will be the point side.
The middle billet was a spare that I also worked up , 'just in case'.
I'm not sure of the exact starting composition, but given its appearance under the quick surface etch, I suspect there was no wrought iron in the mix. With the layer count as a flat stack at 213, I worked the surface of both sides over with a very sharp cross peen. The natural alignment of the billet and hammer resulted in a series of sharply defined diagonal strokes, the direction repeated on the opposite side. I then took the angle grinder and flattened the bar to remove the impressions . This effectively cuts through the raised portions, and creates the irregular diagonal pattern seen here. The finished billet was then drawn and cut in half and welded to a full carbon steel core. The end result is a 427 layer billet rendered in a more standard 'damascus' style. (This billet available to be forged into a custom blade, should any readers be interested.)
Expect to see some images of the finished knife in about a week.
Note to readers that I use 'pattern welding' to specify the Northern European method of twisted rods, the 'archaeological definition'. Contemporary knifemakers typically use the term to refer to a flat stack which has been modified by punching or cutting, then flattening. These methods are normally is used to produce regular, geometric patterns on the finished surface.
There have been a number of past articles posted here on Hammered Out Bits on this topic (search : 'pattern weld' ) . There is also a discussion on the Wareham Forge Bladesmithing page.
(The click out images here are all direct scans of the billets, at life size.)
The Northern European method appears to have been developed specifically for the manufacture of swords, although some knives do exist using the technique. The finest example of the method is found in the sword from the Sutton Hoo burial, which dates to roughly 625 AD. It is suggested that blade was forged in Denmark. Pattern welded swords are relatively common through the Viking Age, but the technique falls out of use into the beginning of the Medieval period (very roughly : post 1000 AD).
Historic pattern welded blades typically have the twisted rods with layer counts at either 7 or 9. Although some writers attempt to make this mystical, the reason is purely functional. When forge welding, it is important that all the component pieces are brought to the same temperature. You want your stack to be as wide as it is high. In practical terms, the ideal size for this stack is between 1 to 1 1/2 inches wide and tall. If you forge out the component plates, they are likely to be in between 1/8 to 3/16 thick. Simple addition shows the most likely number of plates in the stack is thus going to range between 7 to perhaps 11. (So much for the 'mystic 9 for O∂in'!)
When making any layered steel object, the measurement of complexity is the number of WELDS - not the number of LAYERS. Remember that layer count increases geometrically. Four welds of a flat stack, drawn to four pieces is this 9 x 4 x 4 x 4 = 576 layers. (Add just one more weld and the count is over 2300 - so much for the mythic Japanese sword.)
Over the years, my own experience has shown the best way to combine the visual impact of the layered and twisted rods with a highly functional tool.
I find the most interesting layered effect for the twisted rods is found with counts in the range of 50, so on the second weld series. (Historic PW swords typically stop at the first weld, at 7 or 9 layers. This is because the gross effect of combining hard for spring and soft for shock absorbing, was desired.)
Remember that the layering combines both hard and SOFT alloys. The net effect is LOWERING the average carbon content, and that unevenly between individual layers. For that reason, I form the decorative back separately from the functional cutting edge. For the edge I take two layered billets and weld them to a core made of high carbon steel. This hard layer then creates the cutting edge of the finished blade.
Because of the method, I count the layers of each twisted rod, then add the total layers in the edge stack. Typically the process involves a total of four welding series:
1) Initial stack
2) Draw for either 4 pieces and weld (or if three pieces make a third draw and weld here)
- 2/3 is drawn and twisted / 1/3 is flattened
3) weld the two flat pieces to a carbon core
4) stack the twisted rods and blade block and weld
You can see that this requires more welds (and more difficult techniques) than a simple fold and weld method - at the cost of in effect LOWERING the layer count.
I will typically use four different alloys in the stacks:
I - Antique Wrought Iron - produces a 'rope like' texture (usually 3/16)
H - High Carbon Steel - produces black lines (usually 3/16)
L - L6 Alloy - produces bright lines (usually 1/32)
M- Mild Steel - produces a medium grey colour, also acts as a buffer between the different consistencies of the other metals (usually 1/8)
Image above shows the first billet I created for the project. It is composed of a total of 205 layers. That is two twisted rods on the back, then two flat layer blocks applied to a carbon steel core for the edge. The starting stack was : M/I/M/L/H/L/M/I/M . Four working sessions to produce (so basically four separate half day sessions - for me, anyways)Now, although this is NOT the point of this article, Check the top image in the set below. The commission required the blade have an integral guard. I carefully hot slit the billet at the mid way point to provide the required material. And then realized I had pulled the guard off the WRONG SIDE. In effect, destroyed the week's work! Too much occupying what is left of my mind...
Start over again!
The bottom most billet here is the replacement for the screw up of my first attempt.
The starting stack here was a bit different than the first : M/H/L/M/I/M/I/M/L/H/M . It is similar in overall construction to the first (two twisted rods plus two flat layers with carbon core). I had also increased the overall length of the starting stack to 5 1/2 inches. This increased the finished billet size by about 20 %. The total layer count here is 265. You can see how increasing the starting amount of both wrought iron and carbon steel have increased the contrast in the herring bone pattern. For the finished blade forging, most likely the left side as shown here will be the point side.
The middle billet was a spare that I also worked up , 'just in case'.
I'm not sure of the exact starting composition, but given its appearance under the quick surface etch, I suspect there was no wrought iron in the mix. With the layer count as a flat stack at 213, I worked the surface of both sides over with a very sharp cross peen. The natural alignment of the billet and hammer resulted in a series of sharply defined diagonal strokes, the direction repeated on the opposite side. I then took the angle grinder and flattened the bar to remove the impressions . This effectively cuts through the raised portions, and creates the irregular diagonal pattern seen here. The finished billet was then drawn and cut in half and welded to a full carbon steel core. The end result is a 427 layer billet rendered in a more standard 'damascus' style. (This billet available to be forged into a custom blade, should any readers be interested.)
Expect to see some images of the finished knife in about a week.
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