[TheForge] Dan Nauman BigHorn Forge

Wed Feb 5 23:13:41 EST 2014

Well surprise!  I'm actually an ABANA member for a change, so feel I have
the right to comment!  I'm a member for the second time in my life because
once again the Conference is going to be on the East Coast, so I figured it
would be worth attending.   However, my membership is so recent that I have
no idea what articles Dan Nauman is referring to or what they said.
Therefore, my comments will be general.

I agree that Dan's piece is too wordy and should be edited for impact, but
by the time I'm done with this posting, I will probably prove to be at
least as verbose, so who am I to talk?

I agree with the distinction between forging and fabrication -- the two are
not the same.  Forging involves reshaping the bulk metal by hammering.
Fabrication involves cutting, drilling, maybe bending, and fastening (often
by arc welding).  I consider it perfectly appropriate to make jigs and such
by fabrication -- why not?  But fabrication does not produce the result
that forging produces, and the two should not be confounded.  In so far as
that, I agree with Dan that ABANA would do well to emphasize forging.  I
differ from him (I think) in that I don't see such a hard, fast line
between the two.  And I especially do not agree that fabrication is
inherently shoddy -- there's good fabrication and poor fabrication, just
like there's good forging and bad forging.

In contrast to how I read Dan's opinion, I think it would perfectly
appropriate to include an article in the HB that specifically instructs the
blacksmith how to make arc welds that disappear into the final, forged
work.  One example of this is tack-welding a billet or cable for forging
into a pattern-welded billet.  However, since such welds often burn off in
the forge, this is not the best example.

A more pertinent example comes to mind, though it involved red bronze
("copper") rather than steel:  Peter Renzetti once gave a talk at the
Gichner Hammer-In about economically making a "copper" vessel.
Traditionally, it would be made by raising -- a tedious process to say the
least, and therefore not economical in today's world.  (It conceivably
could have been made by spinning, which is the "modern equivalent" of
raising.)  However, Peter made it first by fabrication and then by
forging:  He cut a sheet of metal into (a) a disk and (b) the makings of a
truncated cone.  He rolled the cone and welded the seam, then welded the
disk to the bottom.  That was his starting point for forging, which
slightly but significantly altered the vessel so that the finished piece
truly was a forged piece.  Now the critical point here is the TIG weld.  He
chose a filler metal that was indistinguishable (by eye) from the base
metal, resulting in a vessel that looked like it had been raised.  Granted,
this was not "blacksmithing" by definition -- it was bronze!  But nobody is
going to tell me that it wasn't forged, which is what really matters here.

The point is that it strikes me entirely appropriate if an article in the
HB tells you how to take "short cuts" by using arc welding, without
compromising the quality of the resulting object.

Just my 2c.

Bruce
NJ

On Wed, Feb 5, 2014 at 8:37 PM, Daniel Kretchmar <dan at irontreeworks.com>wrote:

> Dan, (et. all)
>
> I do not agree.  Your letter has raised my hackles and gotten me very
> angry. This may get me in trouble with some people with such views, since
> he asked for feedback........, I think your letter is both sanctimonious
> and wrong.
>
>    I found your letter insulting.  You make it sound like modern
> metalworking skills are somehow inferior or a shortcut.  I have produced
> some of my best pieces using many different methods.  ABANA sponsored
> classes have taught me pattern welding, forging, chasing, soldering, stick
> welding, mig welding, torch welding, and other skills with more metals than
> I even knew existed before I joined ABANA.  I was a cabinet maker when
> I met my first blacksmith and because of that meeting I now work in dozens
> of different media, even plastics and ceramics!
> At the ABANA conference in Lacrosse, WI, one local smith taught how
> to machine anvil surfaces and how to pour Babbitt. Another taught how
> to braze bronze rod into tiny figurines.  Both of these smiths are
> considered by everyone I know to be at the top of our membership.  How can
> this be considered a bad thing??  The first "A" in ABANA stands for Artist.
>  It's a poor artist that insists that a teaching organization like ABANA
> must only teach one skill set!  I think this letter is wrong in almost
> every way and I hope the current board will not let such a limited view
> affect it's wonderful talent pool and inclusive skill outlet.
>
> Sincerely,
>
> Daniel Kretchmar
>
>
>
> On Wednesday, February 5, 2014, Mark and Sylvia Mondloch <
> mondloch at silvercreekpottery.com> wrote:
>
> > Dan is a friend of mine and would like feedback on a piece he wrote about
> > ABANA.
> >
> >
> > February 5, 2014
> >
> >
> >
> > ABANA Members
> >
> > ABANA Board
> >
> > AR Editor
> >
> > HB Editor
> >
> >
> >
> >
> >
> > Dear ABANA Members, ABANA Board, and ABANA Editors,
> >
> >
> >
> > Based on recent articles in the “Hammer’s Blow”, that have nothing to do
> > with forging, but rather promote the use of electric welding to either
> > produce a project in its entirety, or to produce a jig, I must object to
> > this content in the magazines of an organization designated to be for and
> > about blacksmiths and forging.
> >
> >
> >
> > Article II in the ABANA by-laws states under “Purposes and Objectives”:
> > “The Association is organized exclusively for educational purposes,
> > including, but not limited to, the following:  to encourage and
> facilitate
> > the training of blacksmiths; to disseminate information about sources of
> > material and equipment; to expose the art of blacksmithing to the public;
> > to serve as a center of information about blacksmithing for the general
> > public, architects, interior designers, and other interested groups.
> >  Further, the Association is organized exclusively for educational
> purposes
> > within the meaning of section 501( C ) (3) of the Internal revenue Code.”
> >
> >
> >
> > Having been an ABANA member for over 30 years, having served six years on
> > the ABANA Board of Directors, chairing the ABANA Education Committee,
> > chairing the “Controlled Hand Forging” committee for almost ten years,
> have
> > submitted numerous articles to both the “Anvil’s Ring” and to the
> “Hammer’s
> > Blow”, having demonstrated at three ABANA conferences, lectured at one,
> and
> > having helped plan and run three ABANA Conferences, I have tried to be an
> > integral part to nurture, grow, and develop this as a blacksmith’s
> > organization.
> >
> >
> >
> > Why was ABANA formed?  Because there were few places in the country at
> the
> > time where one could learn to forge, or learn about forging.  Things are
> > different today, but we are still far from knowing what the great masters
> > knew.  We must continue to focus on forging, i.e. the nine forging
> > fundamentals: drawing down, upsetting, twisting, bending, punching,
> > drifting, cutting, joints and forge welding.  There are also the aspects
> of
> > forging high carbon steel, annealing, hardening and tempering.
> >
> > Beyond the fundamentals, there are the aspects of style, current and what
> > has come before, i.e. Gothic, Renaissance, Baroque, Arts and Crafts, Art
> > Nouveau, Art Deco, and more.  Further, there are the fine points of
> design;
> > historically, aesthetically, and structurally.
> >
> >
> >
> > I could go on about what we have to learn, or what can be shared, but I
> > believe this serves as a fair basis for why we should fight the apparent
> > leaning towards an all inclusive organization, that promotes the use of
> > catalogue parts, electric welding, and general modern fabrication
> methods.
> >  All these aspects of metalwork can be learned within 20 minutes of just
> > about anywhere in the USA.  We have far more to learn in this trade than
> > one person can learn in many lifetimes…and new aspects of forging await.
> >
> >
> >
> > I am not stating that it is wrong to use modern fabrication methods in
> the
> > home shop or workshop.  Rather I am stating that to promote the use and
> the
> > products used or made in this manner in this, a blacksmith’s
> organization,
> > is wrong.
> >
> >
> >
> > Referring back to Article II, I do not believe the intent of the wording
> > “but not limited to…” refers to exploring metalwork outside of forging.
>  So
> > please do not use that phrase as an open ended statement for an excuse to
> > stray from the charter.
> >
> >
> >
> > This is not something that has happened overnight.  Back in 1997, I was
> > talking with Francis Whitaker in Carbondale, Co.  He had just returned
> from
> > a trip around the country demonstrating forging.  He said to me, “Dan, I
> > have just come from visiting several shops around the country.  I am sad
> to
> > say that the workmanship I saw was shoddy.  We are going backwards!  Who
> > will carry the torch once I’m gone?!”  He went on to say that he noticed
> > more jigs,  more electrically welded work (and poorly welded at
> that…welds
> > showing), and just plain poor forging execution were more common now than
> > in the early days of ABANA.  I too, had noticed this sad trend.  Lack of
> > solid process also leads to poor workmanship.
> >
> >
> >
> > Like it or not, that was the trend, and it has now come to this; articles
> > which are not about forging, or promote modern electric fabrication
> > methods.  Beyond that, several projects highlighted in the Anvil’s Ring
> > have shown to be electrically welded, sometimes using catalogue parts,
> and
> > have shown other non-forged aspects.  Back in the 70’s and 80’s, there
> > would have been an outcry from the membership if any of these things were
> > seen, printed, or promoted.
> >
> >
> >
> > Please do not write back and challenge the use of power hammers, electric
> > blowers,  oxy-acetylene, gas forges, etc. as these do not directly effect
> > the process…which is what this all boils down to; process.
> >
> >
> >
> >
> >
> >
> >
> >
> >
> > It is forging process that defines a blacksmith.  It is that process
> > Whitaker witnessed as lacking in the late 90’s.  It is process that
> > separates a blacksmith from a fabricator.  It is process that this
> > organization was built upon.  The current trend is a mix of metalworking
> > processes, and either needs to be halted, or the charter rewritten.
> >
> >
> >
> > Let’s look at it another way.  I teach forging.  I am primarily a
> > blacksmith, but do occasionally use a MIG or TIG welder, angle grinders,
> > belt sanders, and a lathe in my shop.  But I would never teach the latter
> > as forging process….neither should ABANA.  Though recent non-forging
> > articles do not state “this is forging process”, it may be assumed as
> such
> > by a novice, and further, should not be in a blacksmith’s magazine.
> >
> >
> >
> > The National Ornamental and Miscellaneous Metals Association (NOMMA) is a
> > fine organization, that is focused on all aspects of forming metal, as
> well
> > as promoting the professional aspects of running a decorative and
> > ornamental metals shop, whether it be a blacksmith shop, fab shop, or
> > something in-between.  So there already is an all inclusive organization,
> > so we don’t need another one.  What we need is to learn more, and focus
> on
> > forging, and at all levels, (not just at the beginner level), all styles,
> > all processes, about design, and more.
> >
> >
> >
> > Don’t get me wrong, I truly enjoy metal sculpture.  Many large sculptural
> > works are breathtaking.  However, do these non-forged sculptures belong
> in
> > the Anvil’s Ring?  To be fair, they do not, unless they are forged
> > sculptures. Yes, this is a bold statement, but simply because an
> individual
> > who once was a prominent blacksmith, and is now a nationally or
> > internationally known sculptor, does not mean ABANA needs to include
> > everything they make in the AR or HB. The line has to be drawn somewhere.
> >
> >
> >
> > Perhaps a panel of seasoned smiths, individuals who are known to have
> > expertise in these areas of forging, could assess whether an article,
> > image, or content of the publications meets a standard, based on Article
> > II.  This used to be part of the editor’s job early on, and I know from
> > experience that many images and articles were returned without being
> > printed, as they were either not true to Article II, poorly written, or
> the
> > images were not representative of forging process.  At the very least,
> > there needs to be a distinction between what is forged and what is
> not…but
> > I heavily lean to being more strict…otherwise we have lost the intent of
> > ABANA.
> >
> >
> >
> > These statements are bound to ruffle many feathers, but my feathers have
> > been ruffled for well over 15 years by this growing trend of teaching and
> > including all-inclusive metalwork in ABANA. You are losing  many…smiths
> who
> > have either already left, or will leave because of this trend.  Let’s
> > either adhere to ABANA’s charter, or redefine what ABANA truly has
> > become…all inclusive of all forms of metalwork.  Otherwise, where will it
> > stop?  Will we see articles on machining in the future?  Never say never,
> > as I never thought I’d see the day where we are presently.
> >
> >
> >
> >
> >
> >
> >
> > If “all forms of metalwork accepted” is the new normal, then we need a
> new
> > organization that will lead those who wish to learn sound forging
> > processes, and at all levels of forging experience, and promote sound
> > forging workmanship.
> >
> >
> >
> > I for one, would rather return…and adhere…to Article II.
> >
> >
> >
> > Sincerely,
> >
> >
> >
> > Dan Nauman
> >
> > Kewaskum, WI
> >
> >
> > ______________________________________________________________
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