[TheForge] How is something like this made?

[Dan Tull]

theforge

----- Original Message ----- 
From: "Mike Porter" <michael.a.porter at comcast.net>
To: "'Sponsored by ABANA'" <theforge at mailman.qth.net>
Sent: Thursday, June 15, 2006 2:59 PM
Subject: RE: [TheForge] How is something like this made?


>
>
> Jeff,
> Isn't the question you meant to ask "what is the practical way to make
> something like this? After all, it can be fabricated in many ways; some of
> which are hilariously inappropriate. Common sense dictates that you would 
> be
> looking for the "bottom line" about its construction.
>
> That bottom line is CASTING. After creating a wooden pattern or a wax 
> model
> (depending on whether you were doing a one-off part or intending to make
> many of them), you would proceed to cast it, or send it to a foundry if 
> you
> had the $$$$$ to spend. Next, you would clean up the casting
> (sanding/filing), and then do the drilling, threading, mounting a handle, 
> or
> even chasing, in accordance with your available tooling. But the bulk of 
> the
> construction is a matter of foundry work.
>
> Casting; what a scary thought...or perhaps not. The metal for a part like
> this can be liquefied in a jewelers furnace (tabletop equipment), and cast
> into sand or plaster molds. How much equipment you need--and how much
> experience--only depends on how picky you wish to be about the cast part; 
> in
> other words, it is merely a question of where you wish to expend your
> energy; in equipment & preparation, or in extra finish work?
>
> Why then is casting such a daunting idea for most of us? Simply because we
> build it up in our minds. The IT of which I speak is the whole commitment;
> or at least our visualization of such a commitment. In reality, how much 
> of
> a chore every aspect of foundry work becomes, depends directly on SIZE. 
> The
> nearly universal mistake is made in thinking big. What you want to do is
> think small. No matter how great your ambitions become casting wise, small
> equipment goes right on being used. The same cannot be said of large
> equipment. In fact, large equipment, like the LARGE mental images of 
> foundry
> work, is what usually stops people from getting anywhere with it.
>
> Furnace equipment construction was included in Gas Burners with the idea 
> of
> blacksmiths casting their own finials, fancy lockbox plates, handles,
> escutcheons, and other detail work, to set off the bulk of their ironwork 
> in
> bronze and pewter. Of course, casting is one more learning process, just
> like all the other learning processes an artist must face. On the other
> hand, the benefits can far outweigh the struggle for any young smith.
> Visualize a scroll panel (say four to six scrolls forming a basic design).
> Mentally connect them by welding; not so hot. How about connecting them 
> with
> forged bands; more visual interest here. Finally, set them together two at 
> a
> time, within your personally designed mold, and pour your bronze or pewter
> connectors. Picture the cast connections as simple or fancy as you wish,
> because that is what casting is all about. Or, how about cast bronze 
> center
> pieces in twisted pickets, and one-of-a-kind cast lambs tails? Bronze or
> pewter handles on forged fireplace equipment (let alone all the other
> detailing for a fancy fireplace screen, etc.) Need I say more? OK, than
> consider iron furniture with cast bronze connectors instead of the cheap
> cast iron used a century ago; suddenly, an old idea is updated into
> usefulness with today's blacksmithing projects.
>
> Naturally, there is another worry that springs to mind; "what if I get so
> involved in this foundry stuff, that I'm sidetracked, forgetting about my
> blacksmithing?" That is a legitimate concern, and all I can give you by 
> way
> of reassurance is that this particular "sidetrack" is quite lucrative. 
> Just
> input bronze sculptures on eBay and look at the prices. No, I don't mean
> garden sculptures; these are of a size to be poured from a tabletop 
> furnace.
> You can hold many of them in one hand.
> Mikey
>
> -----Original Message-----
> From: theforge-bounces at mailman.qth.net
> [mailto:theforge-bounces at mailman.qth.net] On Behalf Of Jeffrey Polaski
> Sent: Wednesday, June 14, 2006 1:24 PM
> To: theforge at mailman.qth.net
> Subject: [TheForge] How is something like this made?
>
> I was looking around some antique watch sites and came across a link to
> this antique medical instrument site... I've been wondering how
> something this ornate gets made... especially the brace and saw.
>
> Would it be roughly forged and then the flat shapes filed? Or is it a
> lot of swage work, with male & female dies to match?
>
> Has someone made something like this before?
>
> I've been really curious about how the more ornate and "fine" stuff is
> made, for example, European tools with little sculptures in them. It's
> amazing that people can do that at all. I can barely bash out a little
> dragon head, let alone a full iron cherub! How do they do that? I know
> some things are cast, but how do people make forged sculptures?
>
> Here's some examples:
>
> <http://antiquescientifica.com/saw_amputation_c_1750.jpg>
>
> <http://antiquescientifica.com/neurosurgery__trepanning_set__Lichtenberg
> er_Strasbourg_out.jpg>
>
> I can't find a good example of the European tools I was thinking of, but
> I think almost everyone has seen pictures of vices or anvils with ornate
> scenes on the side.
>
>
> Jeff Polaski
> Research and Graduate Studies Webmaster
> University of California, Irvine
> http://www.rgs.uci.edu/
> 949.824.6363
>
>
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