[TheForge] How is something like this made?

Thu Jun 15 21:45:19 EDT 2006

Mikey:!
This borders on crass blasphemy!
We are alledgely , blacksmiths, after all.
Let's ,at least, hammer it ito submission if at all possible.
Files and scapers and chisels will do most of the rest.
My mommie won't let me associate with you if you keep talking 
like that!...Pete F

Dan Tull wrote:
> 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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