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Hot Iron News 2018-4

THE VOICE OF THE NORTHWEST BLACKSMITH ASSOCIATION

Fourth Quarter 2018

Hot Iron News


Northwest Blacksmith Association“To promote and preserve the Art and Craft of Blacksmithing while building friendship and good will.”

Page 2 2018 4

The NWBA logo, with the hammer poised above the anvil and the accompanying NWBA acronym, is a Service Mark of the Northwest Blacksmith

Association, and is reserved solely for the use of the NWBA, except that anyone may use it to advertise or promote the events, publications, or mission of the

NWBA, which is Education in Blacksmithing and Related Metal crafts.

Board of DirectorsPresidentLee CordochoreaPO Box 3940Hillsboro, OR 97123503-887-1697 [email protected]

Vice PresidentKellen Bateham62200 Deer Trail Rd Bend, OR 97701541-550-6370 [email protected]

SecretaryPeggy Gudgell2819 NW 68th St.Seattle WA 98117206-782-2965 [email protected]

TreasurerJames von Mosch858 Snowden Rd.White Salmon, WA 98672509-493-2246 [email protected]

DirectorJeff Cawley3421 SW Kelly AvePortland, OR 97239971-221-2408 jeff [email protected]

DirectorSilas Maddox330 Metcalf StSedro Woolley, WA 982984 [email protected]

DirectorSteve McGrew9715 W. Sunset HwySpokane WA 99224 509-456-8321 [email protected]

DirectorJohn Paul1006 NW Bond StreetBend, Oregon 97703541-318-5645 [email protected]

DirectorPaul Thorne13751 Daybreak LnAnacortes, WA 98221360-293-8257 [email protected]

Director David Tuthill1415 NW 49th StSeattle, WA 98107206-229-6008 [email protected]

Want to be sure to keep up to date?Sign-up to receive email announcements monthly so you don't

have to miss another event!http://blacksmith.org/sign-up-email-announcements/

NWBA CommitteesFinance & Budget Committee: James von Mosch (Chair), Darryl Nelson

• Assets & Inventories Subcommittee: John Paul (Chair), Entire Board• Auctions Subcommittee: Peggy Gudgell (Chair), Jim von Mosch, John

Paul• Donations 501(c)3 Subcommittee: Jeff Cawley (Chair), Jim von Mosch• Insurance Subcommittee: Peggy Gudgell (Chair), Silas Maddox

Member Services Committee: Jeff Cawley (Chair), Lee Cordochorea, Jim von Mosch

• Archives Subcommittee: Andrea Lisch and Jack Slack (Chair), Jeff Wilson, Darryl Nelson

• Grants, Education & Workshops Subcommittee: Steve McGrew (Chair), Paul Thorne

• Library Subcommittee: Lee Cordochorea, Dave Neely• Board Training Subcommittee: Paul Thorne (chair), Lee Cordochorea

Communications Committee: Jeff Cawley(Chair), Amy Mook• Hot Iron News & Website Editor: Amy Mook• Manuals Subcommittee: Lee Cordochorea (Chair), Steve McGrew

Events & Programs Committee: Kellen Bateham (Chair), Peggy Gudgell, Darryl Nelson, Hunter Dahlberg

• Audio Visual Subcommittee: Mark Manley, Kellen Bateham, Lee• Cordochorea• Spring Conference Subcommittee: Peggy Gudgell (Chair), Kellen

Bateham, Lee Cordochorea, Hunter Dahlberg• Swaptoberfest Subcommittee: David Tuthill (Chair), Silas Maddox • Safety Subcommittee: Paul Thorne (Chair), John Paul, David Tuthill• Mentoring Center Subcommittee: Silas Maddox (Chair), Lee

Cordochorea (Steward)Nominations & Elections Committee: Jim Garrett (Chair), Amy Mook, Lee Cordochorea

Quick Reference for NWBA MembersSubmit articles, photos, how-to’s to HIN: [email protected] Website: www.blacksmith.orgFor NWBA correspondence or membership, or to change your address (must be in writing) send to:Northwest Blacksmith Association4742 42nd Ave SW #185Seattle WA 98116Annual dues 2017: $60 (foreign, $70)Dues include quarterly subscription to Hot Iron News.Dues may also be paid online at http://blacksmith.org/membership-payment-gateway/

Hot Iron News 2018-4H t I N

The Hot Iron News is the offi cial publication of the Northwest Blacksmith Association. Submission of articles , photos and other relevant materials is encouraged. All materials contained herein are copyrighted. Other ABANA affi liates, blacksmith associations

and nonprofi t educational metals-oriented groups have permission to reprint materials in the Hot Iron News as long as credit is given to the authors, the magazine, and the NWBA. The Northwest Blacksmith Association and this publication point out that

blacksmithing is inherently a dangerous activity. At NWBA conferences, you are responsible for yourself and your visitor for using eye, ear, respiratory, and other protection as required. You are also responsible for using safe work methods. The NWBA, its

offi cers, demonstrators, writers and members specifi cally disclaim responsibility or liability for any damages, injuries, or destruction of property as a result of the use of any information published in the Hot Iron News or demonstrated at conferences or meetings.

By requesting or renewing membership, you are stating that you agree with this release.

ON THE COVER WHAT'S INSIDE

NWBA Board MeetingJanuary 26, 2019 1:00pm-~4pm

Longview Public Library1600 Louisiana St, Longview, WA

All current NWBA members welcome.

FRONT COVER: Smokey and the Bandit, Bart Turner and Patrick Maher, in the Cube Forging

Contest at SWAPTOBERFEST 2018. Above, Smokey and the Bandit play their theme

song 'East Bound and Down'See page 15 for the full story!

2 NWBA Board and Committee Information 4 President's Message 5 Treasurer's Report, Editor's Letter6 NWBA Election Candidate Statements7 NWBA 40th Anniversary Conference Info8 SWAPTOBERFEST II 2018:

8 Ryna Cady: VFD Optimization10 Ryna Cady: Forging and Heat Treating Woodworking tools.13 Jason Reed Brown: Sculptural Forging15 Cube Forging Contest19 Masquerade Metallique Mask Contest20 Swaptober-Feast

22 Roberto Giordani: Sculpture workshop25 Jeff Cawley: That Sinking Feeling28 Society of Inclusive Blacksmiths: Forging Our Future33 Jim von Mosch: Simple Mortise and Tenon Joinery35 Calendar of Events36 Blacksmithing Schools 37 NWBA Membership registration form38 Ads and Classifi ed ads

NWBA ELECTIONS 2018RETURN YOUR BALLOTS POSTMARKED NO LATER THAN DECEMBER 31, 2018

NWBA Elections 2018 ballots are in the mail, you should have received yours or will be receiving one very soon. If you have not received your ballot please contact Jim Garrett, the Election Committee Chairman, [email protected]


Who’s on the Member Services Committee? Committee member names for all committees, as well as the contact information for all of the members of the board of directors is at your fi ngertips. You can fi nd it inside the front cover of the most recent copy of the Hot Iron News. You can also fi nd it online at https://blacksmith.org/board-directors/

Speaking of the Board of Directors… we’re coming up short on our head-count. We have four openings and only three candidates. If you are able and willing to help make the NWBA happen, please do step forward! We need YOU! (And for those jewels who have already stepped forward, THANK YOU!)

Swaptoberfest II saw an amazing amount of fun, learning, and of course horse-trading. Saturday night’s meal and the following contest were particularly memorable for me. As always, our newsletter and our website will have photos and articles capturing some of the wonderful times. I’m already looking forward to Swaptoberfest III: October 25-27 of 2019. It’s not too early to get started on those metal masks for the 2019 contest!

Meanwhile…

Spring Conference dates have changed! Our 40th Anniversary Extravaganza will be held May 24-26 2019 (Save the date!). Our theme will be “40 Years of Fire and Form.” Demonstrators are lined up and many exciting events planned. See page 6 of this Hot Iron News for details. We’ll have special presentations on our history, a spectacular display of our archives, fun contests, potluck camaraderie, and more! You do NOT want to miss this conference!! Get started working on YOUR contributions to the gallery and the auction!

If you have any old pictures or memorable stories that folk might be interested in seeing and hearing at our 40th Anniversary Conference, please DO share them! You can mail photocopies to Northwest Blacksmith Association, 4742 42nd Ave SW #185, Seattle WA 98116. You can e-mail electronic copies to [email protected]

We need volunteers, of course, to make it all happen. Please consider taking a shift at the registration desk or the Mentoring Center during the Conference. Folk who plan ahead to help out will receive a partial rebate on their Conference Membership. Details will be available on the NWBA website as the 40th Anniversary approaches.

Also, many of you may get a phone call between now and then asking for an interview. We’ll be sharing stories about each other, you see...

Stay Inspired!

-Lee Cordochorea (You pronounce that just like it’s spelled.)

A Word From What's-His-NameHello, Everyone!

All things eventually come to an end. When this happens to a smith, it often leaves spouse and family at a loss as to what to do with tools and equipment. Many folk turn to the NWBA at these times for guidance and help. The problem is, the NWBA does not currently have a formal means of providing such help. We would like to assemble a list of members willing to assess and price the tools and equipment of departed smiths in their geographical area. (Obviously, such folk would refrain from purchasing until other folk have had ample time to buy. This will assure there is no confl ict of interests.) If you would be willing to add your name as a resource for your area, please contact any member of the Member Services Committee.


Hello NWBA members, SWAPTOBERFEST II 2018 was a BLAST!! Hands down the cube forging contest was absolutely the highlight of the weekend for me, and the Swaptober-Feast amazing... the rest of the weekend was pretty great too, lots of blacksmiths doing blacksmith stuff . The planning is already beginning on next year's Swaptoberfest III. I am practically swooning with delight and gratitude for all the article and photograph submissions contributed in this issue, more than ever before. I thank each and every one of you for the eff ort you put into the writing and getting it submitted on time. Yahoo! I hope this is a trend. If there is anything I can do to help you write your article let me know, I am the editor of YOUR blacksmith journal, not the voice of the NWBA. You are the voice of the NWBA, I merely try to represent you and the amazing things that the NWBA does for the craft and for its members. The NWBA Board of Directors has invested in a 40th Anniversary commemorative video which will feature many of our long time members and their stories of how the NWBA came to be and what it has meant

to their pursuit of the craft of blacksmithing. In its 40 years the NWBA has fostered the education of so many, and helped tremendously in the advancement of the craft in the northwest, the USA, and even the world. NWBA, you have a lot to be proud of. I hope that the video, which is scheduled to be available at our 40th Anniversary Conference, captures some of the enthusiasm, wisdom, and commitment that the members of the NWBA have made to keep the NWBA and the craft of blacksmithing alive and well. You better save the date for the 40th Anniversary Spring Conference 2019, May 24-26, the lineup of events is fantastic! Registration for the Spring conference will be open online in mid January, including a signup for volunteering to help. To make it the best and most memorable conference we do need your help, and nothing feels better than pitching in and making something great happen!

Amy Mook, NWBA Editor [email protected]

"It doesn't matter what it is. What matters is what it will become."

IncomeGeneral IncomeMembership Dues 1912.53

Total General Income 1,912.53

Mentoring Center IncomeEvent Fees 405.00

Total MC Income 405.00

Total Income 2,317.53

Gross Profi t 2,317.53

ExpenseGeneral ExpensesMerchant fees 32.40Board Meeting Expenses 528.00Communications Director 4500.00Donations, Scholarships, Grants 875.00Internet fees 663.28Offi ce Supplies 25.64Postage and Delivery 338.82PO Box rental 240.00Printing & Publishing 1570.37Total General Expenses 8,773.51

Mentoring Center ExpensesDemonstrator fees 500.00Total MCenter Expenses 500.00

Total Expense 9,273.51Net Ordinary Income -6,955.98Net Income -6,955.98

Treasurer’s Report NWBA Treasurer Jim von Mosch

Third Quarter 2018 Financial Report

A Note from the Editor Amy Mook


NWBA Board of Directors 2018 ElectionPositions are a two year term, 2019 & 2020

Th is year we have three excellent candidates off ering time, energy, talent and organizational skills to the continuity of our group. Th ere are 4 positions open, with 3 nominees and a space for a write-in candidate vote. When you receive your ballots, please participate and vote for the 3 volunteers you feel best represent what you think the NWBA should become as we grow and move forward, and add a write in!.

NWBA Elections 2018 ballots have been mailed, you should have received yours.

If you have not received your ballot please contact Jim Garrett, the Election Committee Chairman, [email protected]

RETURN YOUR BALLOTS POSTMARKED NO LATER THAN DECEMBER 31, 2018

Candidate Statements NWBA Board of Directors Elections 2018Andrew GermannHello, my name is Andrew Germann. I have little hands-on experience in the blacksmithing world. I joined the NWBA early this year and attended

the annual conference where I felt extremely welcomed and inspired by the community that embraced newcomers so freely. I hope to assist the NWBA in its community outreach and mentoring center coordination eff orts while residing on the board of directors.I am currently also involved in a non-profi t that was established to help our society with video game addiction and the social eff ects video games can have. I hope to fi nd some intersectional paths of interest and engagement opportunities that these organizations provide.

Th ank you all for considering me as a voice for our community.Take care,Andrew Germann

JohnHuff stutterJohn Huff stutter is the owner of Quailside Forge in Chewelah, Washington. He has been a member of ABANA and

NWBA for more than a dozen years since the hobby adopted him. He is also a founding member of Columbia Fire and Iron, a Spokane-based blacksmithing group that works to bring the craft and art to the inland northwest. He recently semi-retired from a stint in the state’s community college system, which followed a twenty-two-year career in the US Air Force. Th e result of moving every few years was a collection of hobbies and a pent-up desire for a shop and lots of tools. Smithing kind of brought it all together, and John uses his eclectic interests and short attention span to make what he hopes is cool stuff and try his wife’s patience. At least when he’s not at home, she knows where he is. NWBA has been a great resource to John and many of his friends and colleagues, and he’s hoping to be able to give back a bit by serving on the board.

John Huff stutter

Jeff CawleyI am an amateur smith transitioning to professional aft er retirement. I currently maintain shops in Portland, OR and Brinnon, WA. I have been

involved with the Fort Vancouver VIP program and the Fort Vancouver Trades Guild since 1991.Th e NWBA is a great group that has supported and inspired my work. I look forward to doing my part to maintain and grow the group’s capabilities.

Jeff Cawley


40 Years of Fire & FormNWBA 40th Anniversary Conference

DATE CHANGE!!! Now May 24-26, 2019For the 40th Anniversary Conference we are planning to show an exhibition of archives from the full 40 years. This includes many signifi cant pieces that haven’t been shown for many years.As part of this project we will be collecting stories relating to the founding of the NWBA and some of the larger pieces in the archives. We are going to need a lot of help from the membership to make this happen. So if you have organizational, photo / video / editing, or interviewing skills or a story to share please let us know.

Conference Highlights:Main Demonstrators: Japheth Howard (& maybe Alice James)https://www.fl ickerforge.comJakob Faram https://www.faramforge.us/

Hands on workshopsBerkley Tack (H13 punch)more TBA

Lectures: Society of Inclusive Blacksmiths project slideshow: Lisa Geertsenmore TBA

• Full Archives on display• Gallery• Repoussé• Black Smoke Alley• Blacksmith Olympics• Team Contest• Uncle Pokey’s Knife Maker Corner• Lecture presentations• Tailgating• Auction: Make something special

for our 40th!• Banquet• Onsite camping available

We are excited to announce the Cook Shack (Silas & Andy)• Gumbo for Friday Night Potluck• Coff ee all weekend long• Making meals throughout the weekend for donations

We Need Volunteers, up to 10 slots. Many hands make light work, and the work is fun together! Contact Silas Maddox: [email protected]

VOLUNTEERS NEEDED: Many opportunities to volunteer exist, & we need you! Look for sign-up sheets online with conference registration mid January 2019.


Variable Frequency Device Optimization using a Variable Frequency DriveRyna works in the fi eld of medical bio-mechanics, and is a knife maker and blacksmith. She has taken consumer electronics technology and applied it to her knife making workshop. Her aim was to achieve maximum effi ciency of the electrical devices she uses on a regular basis, like grinders and drills. Her demo was jam packed with so much info, here is barely a glimpse. Ryna's enjoyment of science, technology and craft just about bubbles and sparks out of her, and even when the topic is over your head her enthusiasm is infectious. The term VFD can be used to designate a Variable Frequency Device (grinders and drills) and/or Variable Frequency Drive (the control that manages the power output to multiple devices). Here the term designates the controller. One can control the motor speed of a 3-phase device, but the device does not need to be 3-phase. At the demo Ryna used 120 single phase as the power source (wall outlet at the Mentoring Center), and her VFD output 3-phase at varying hertz. The VFD box that Ryna had at the demo is a water tight, dust proof container, with switches and a dial on the outside. One can also use software instead of mechanical switches to change settings on the VFD (via computer or smart phone app) if that kind of technology suits your needs. The VFD that Ryna built as a demo mock up (mounted on board) illustrates quite clearly just how many parts are inside a typical VFD. Some of the most protected covers can add $400 to cost of your VFD setup. The setups are quite technical, and all details are not described here, but here are a few general points discussed at the demo: • VFD should be sized for the largest HP motor at least. Current going to one device at a time or total HP of all running motors must not exceed VFD HP rating. Start up ramp does not matter, current draw does not exceed the HP rating.

• Need overload protection in VFD control, Diff ering HP rating on a split system can overload it.

• Be careful working with any VFD setup, electricity is dangerous!• There are 4 basic parameters to consider when designing and building a VFD:

• Controlling the behavior of the device• Voltage I/O input/output• Device Motor specs• Behavior when run remotely.

I will not even attempt an explanation of the the parts needed to achieve Variable Frequency control. All terminology can be researched online. As for putting one together, I would recommend getting experienced advice and assistance, caution is advised.

Ryna Cady: VFD Optimization

SWAPTOBERFEST II October 26-28, 2019Swaptoberfest II was such a success that 14 full pages are dedicated to covering the highlights. As usual, some of the coverage is not as in depth as I prefer to publish, nonetheless, I think you can get a good idea of the fl avor and mood of the event. No offi cial poll was taken, but from my perspective a good time was had by all. Already a date has been set and plans are in the works for Swaptoberfest III, October 25-27 2019.

Enjoy! ~ Amy Mook, NWBA editor

Left: VFD in a commercial grade box.

Right: VFD mock-up


Part Name Manufacturer Part # Price $$Power Supply Chinese Generic DMD-022C 19.959V Voltage Regulator NTE Electronics NTE 1966 2.7612V Regulator NTE Electronics NTE 1970 3.28Arduino Uno Vetco Electronics VUPN 5975 12.95SPDT Relay Vetco Electronics VUPN 5949 4.954PDT Relay NTE Electronics NTE-R12-17D3-12 14.1Relay Socket NTE Electronics NTE-R95-106A 8.6

VFD Schematic & BOMTuesday, October 30, 2018 9:55 PM

Knifemaking Page 1

The drawing on this page is a schematic of the mock-up board mounted VFD. For your convenience Ryna has provided a part list, source and price. Detailed information about all the parts involved, theory and technical specifi cations and more is available online. You can contact Ryna Cady [email protected]


The roughing gouge has a U-Shape cross section, the U needs to be even the entire length of the tool, with an even curve and parallel sides. Curve the U in a hardy tool with top fuller. David Tuthill (and later Don Kemper Jr) was striking for Ryna. She advises, "Striking for an experienced blacksmith is a great way to learn."If Ryna were to forge alone, without a striker, she would set it on edge in the vise, knock it over then put it in a curved swage to complete the shaping. Rotate the tool in the hardy block and strike it where needed to straighten and shape as desired. If you over curve, reheat and then open it back up in the hardy, working inside and out to even the curve the full length of the tool .

Ryna Cady demonstrated forging, sharpening and heat treating a roughing gouge and a skew chisel, essential tools used by woodworkers to turn wood on a lathe. Having observed that there can be a disconnect between the making of a tool and its use, Ryna recommends fi nding out what woodworkers like in tools and to keep it consistent for them. The tools made at the demonstration were as per specifi cations from accomplished woodworker Bonnie Klein. A key requirement for woodturning tools is not just the shape of the steel, but heat-treating it so that it can hold an edge even under the demands of lathe work. Roughing Gouge:1" x 1/8" 52100 Alloy steel: a bearing steel with high carbon and chromium and has excellent strength and fatigue properties. 1% Carbon (by weight) keeps the grain structure refi ned, 5% Chromium increases strength and hardness, but makes steel much stiff er to forge. High carbon steel must be worked HOT to prevent cracking and cold shuts. It is very important to correct hard steel as you go, fi rst work big followed by a number of small corrections.

SWAPTOBERFEST 2018

Ryna Cady: Forging and Heat Treating Woodturning Tools

Above and below: Upset and correct back to a rectangular

shape each heat. Sometimes Ryna forges the tang round,

and cuts screw threads on it for the handle, which can then be

used on multiple tools.

Drawing out the tang with the power hammer.

The tang rectangular shape distorted to rhomboid during forging, to

correct, turn the piece 45 and hit on the corner to square it up.

Hit here to straighten tang.


The Skew Chisel was made from a diff erent alloy, 1084, a carbon steel with .84% carbon by weight, a tough tool steel that is very popular for forging, when it can be found. 1084 is similar to 1080 and the specs for both are very similar, with 1084 having just a little bit more carbon (.84% vs .80%), it is easy to heat treat and moves faster than the chromium steel. Note: Most of the time cracks and fractures show up in quenching but they are caused from fractures during forging. Never hit tool steel when it is still magnetic, below ~1420°.Begin with 1" x 1/8" stock. Break down one end with the power hammer to forge the tang. Some blacksmiths use stock removal techniques, cutting away the corner of the skew chisel, but Ryna forges it. Material preservation is an especially strong consideration when forging damascus. To forge the 45 angle, set the blade on edge on the fl at of the anvil and hit on the corner, and then turn it fl at on the anvil and straighten it. Ryna took a number of heats to accomplish the desired shape. Once the point is made, brush well. Flatten on power hammer or on anvil with clean and smooth bottom plate and top fl atter. Forge the bevels on both sides of the blade in the last heat, aligning the edge of the tool with the anvil edge.

"The heart and soul of a blade is in the heat treatment." ~ Ryna CadyIron forms a specifi c cubic structure with carbon in the middle, untreated steel will have areas where the lattice structure is incomplete (having missing atoms), and/or contaminations. In alloy steel carbides form, as with chromium which grabs up carbon atoms forming uneven clumps and large dislocation boundaries in the lattice structure. Forging further traumatizes the structure of the steel. We want to disperse the carbon and other alloys evenly, reduce the size of carbides, and homogenize and tighten the lattice structure, through a process called normalization. For woodturning tools Ryna used heat-treat recipes that optimized for edge retention in the steel alloysshe was using. Ryna heat treated the roughing gouge and the skew chisel at the same time. This part of the demo was fi lled with a lot of specifi c details, and there are many other recipes for normalization1 and tempering2: This is not a 'how-to' description... research and experimentation is vital!!!

Remove any curve along the length of the spine. It is vital to have the tool edges straight so as one moves it back and forth on the tool rest on the lathe the angle and depth of the cut is the same. For this tool the wings needed to be fl at, for more of a detailer tool the edges would have more of an inward curve, but the blade edge is always even, the working edge of a kitchen knife or a bowie knife may have a convex edge, but not a woodworking tool. Bevel the cutting edge of the gouge on the outside edge, an even bevel. The gouge was set aside to heat treat and sharpen at the end of the demonstration, together with the skew chisel. [Note on hammer usage: Ryna uses

a smaller hammer for fi nishing because she can swing it faster and impart more energy with each blow than if she used a heavier hammer, as laws of physics dictate. FKE and KE = 1/2 mV2 i.e. Force approximately equals Kinetic Energy, and Kinetic Energy is equal to one half the mass of the hammer times the Velocity of the hammer squared. Do the math!]


Normalize three times at a set of decreasing temperatures, ~1600°- a good solid orange, then dull orange, then cherry red. The fi rst cycle of heating and cooling evens the distribution of carbon, the grain structure is enormous but homogenous. The second and third cycle tightens the grain structure. When quenching the roughing gouge in veggie oil, only the end was quenched due to the size of the quench can. The reason for moving the piece in the quenching oil is to dislodge air bubbles on the surface that insulate the hot piece from the quenching oil, it assures even quenching. Test the quenched part: run a fi le on the back of the tool (not the working edge), you can hear a diff erence in sound fi ling the quenched vs unquenched parts, because the fi le will only bite into the unhardened part.After heat treating the roughing gouge sharpen the bevel edge with the grinding belt. Start with a rough grit and end up with 1000 grit super polish, which helps to retain the edge.

From Wikipedia:1Normalization is an annealing process applied to ferrous alloys to give the material a uniform fi ne-grained structure and to avoid excess softening in steel. It involves heating the steel to 20-50°C above its upper critical point, soaking it for a short period at that temperature and then allowing it to cool in air. Heating the steel just above its upper critical point creates austenitic grains (much smaller than the previous ferritic grains), which during cooling, form new ferritic grains with a further refi ned grain size. The process produces a tougher, more ductile material, and eliminates columnar grains and dendritic segregation that sometimes occurs during casting. Normalizing improves machinability of a component and provides dimensional stability if subjected to further heat treatment processes. 2Tempering is a process of heat treating, which is used to increase the toughness of iron-based alloys. Tempering is usually performed after hardening, to reduce some of the excess hardness, and is done by heating the metal to some temperature below the critical point for a certain period of time, then allowing it to cool in still air. The exact temperature determines the amount of hardness removed, and depends on both the specifi c composition of the alloy and on the desired properties in the fi nished product. For instance, very hard tools are often tempered at low temperatures, while springs are tempered to much higher temperatures.

Above: The fi nished tools.Left: Bonnie Klein trying out the tools on an irregular and imperfect piece of wood. Right: Bonnie shaped the wood on the lathe with the newly forged tools and

this is the result.

Keep quenching so as not lose the temper. When grinding the bevel of the cutting edge, keep the line parallel to the edge of the blade. A jig tool rest helps to streamline this step if making more than one. Ryna recommended a few resources for heat treating information: Master Bladesmith Kevin Cashen websitewww.cashenblades.comData sheets for the type of steel are readily available online. Keep in mind ASM tables assume

larger stock steel than bladesmiths work, the cooling specs would be diff erent. Bill Burke, a fantastic kitchen knife maker is a wizard of heat treating, by eye, which is nearly impossible. Look him up online, there are a lot of articles available. Remember, experimentation is vital!!

Thank you Ryna for your demo, well timed, tons of info, great presentation, ... Brava!!

Have questions? Contact Ryna at [email protected]


Jason Reed Brown had an interesting sculptural project, creating a mask from forged and twisted bar. Beginning with a plain plastic mask, the fi rst step in his process was to draw vertical lines down the face of the mask. He needed only to draw lines on one side of the face, the two sides of the mask being mirror images. He then created a paper pattern of the curved silhouette formed by the facial features along each line. The fi nal mask was to be a scaled up model, so he scaled up pattern pieces onto some heavy stock gridded paper.

Working in pairs he forged each silhouette, matching the curve to the pattern he had made. Each step of the way he had a backup model to refer to. If the large pattern piece got burned he could recreate it from the original pattern. Forging one bar of each mirrored pair at a time, there was always its mate one step behind to refer to.

Unfortunately I was unable to stay until the end of Jason's demo, but here are a few photos from the part of his demo that I did see.

SWAPTOBERFEST 2018

Jason Reed Brown: Sculptural Forging

Simple mask used as the basis for the sculpted mask form.

Two forged bars to be part of the fi nal sculpture.

Scaled up pattern that the forged bars were measured against.


http://hammerhandforge.com/

See Jason Reed Brown's portfolio and fi nd out more about him at his website:


SWAPTOBERFEST 2018

Cube Forging ContestUpset 4″ x 1″ into Cube

*Only Tools allowed are 1 pair of Tongs and 1 Hammer* Team Members must alternate striking every other heat.* Six heats Maximum*Best Cube Wins based on the following criteria:

A. Squareness 10 pts.B. Dimensionality 10 pts.C. Crispness 10 pts.D. Teamwork 10 pts.E. Costume 10 pts.

Judge and Jury Bear Diriwacher

Scrupulously fair, Bear measured with caliper and square, observed the forging teams carefully and judiciously, totally a-political and non-partisan.

Team X-Men:

Cori Whitlock and Morgan KirkTeam X-Men donned last minute duct tape costumes, which might have cost them some points. While forging they coordinated their moves quite well, and both had strong hammer skills. They created quite a 'crispy' cube.

Team Ill Begotten Twins:

Silas Maddox and David Tuthill

Ill Begotten Twins 'Carrot Top' and 'Ginger' had a team advantage of long time friendship and professional blacksmithing experience. The costume added fl air and an 'adorable factor', but might also have hindered team forging, all that hair and greenery fl ying!


Team Strangers:

Alfred Blea and Matt Moore

Strangers team members just met ten minutes before the contest, thus the name. They had a unique approach to forging a cube. Rather than working with the entire piece very hot as all the other teams did, they quenched the ends and forged the middle fi rst. Their end result was basically the same as the other teams who forged the entire piece hot throughout the process.

Team Smokey and the Bandit:

Patrick Maher and Bart Turner

This pair stole the show, starting off with the theme song to the movie Smokey and the Bandit, 'East Bound and Down', they got the entire room singing along. You could not look at them without smiling and the fun continued during their forging. In addition to the hootenanny they put on, their cube was one of the best, and their team work was stellar. This team, this moment in NWBA history, will not be forgotten.


Team Parallelapipers:

Kellen Bateham, Hunter Dahlberg and Spencer Knight

Team Mutatus Incubatus:

Torvald Sorenson and Jason Brown

A bad-ass, a babe and a dunce walk into a bar... I mean they forged a rectangular bar into a cube without dropping their cigarette, burning their frills, or losing their hat. I give them points for staying in character while forging.

Teaming up at the last minute, these two took a minute to get in their groove, but soon had their choreography worked out. For polar opposite temperaments they worked it out fairly well. Kudos to these two masked men.


Team Riv Dogz:

River Mitchelle and Andy Dohner

AND THE WINNERS ARE ......First Place: Smokey and the Bandit, Bart Turner and Patrick MaherSecond Place: Ill Begotten Twins, Silas Maddox and David TuthillThird Place Tie:

X-Men, Cori Whitlock and Morgan KirkMutatus Incubatus, Jason Brown and Torvald Sorenson

Runners up: Strangers: Matt Moore and Alfred BleaParallela Pipers: Hunter Dahlberg, Kellen Bateham, and Spencer KnightRiv Dogz: Andy Dohner and River Mitchelle

Judge Bear Diriwacher and assistant Taylor

Custard carefully measure each cube with calipers and square... it

was a close call!

Riv Dogz might have taken the biggest leap of all the teams, only one of the members, Andy, is actually a blacksmith, River Mitchelle makes Kurly Fries! River also entertained us with some acrobatics and tricks. They forged a fantastic cube, but being without costume might have cost them a bit.

This cube forging contest made the conference for

me, WHAT A HOOT!!

SWAPTOBERFEST III October 25-27 2019

Be There!!!


FIRST PLACE: Octopus by Kellen Bateham SECOND PLACE: Nature's Avatar by Morgan Kirk

THIRD PLACE: Groucho Glasses by Jeff Cawley

Bugface by Hunter Dahlberg

Contest Rules: Make a mask out of metal, anything from aluminum foil to pattern-welded stainless is allowed. Masks will be on display and all participants will vote for Crowd Favorites. Prizes will be awarded!

SWAPTOBERFEST 2018

Masquerade Metallique ContestOnly four masks were entered in this year's contest, compared to nine entered last year. Still, the ones that were made were fun to see, and they took a lot of work. Many thanks to those who entered! Go put on your to do list: Make Mask for Swaptoberfest 2019!


Andy Dohner and I put on the Pig Roast/ Swaptober-Feast. We'll have to await the treasurers report to see all the fi nal details but the cost of the feast was covered by the conference budget this year and as far as I know we at least broke even with registrations covering the total cost (to be determined). Our plan is to keep this going.

The Swaptober-Feast is Born By Silas Maddox, Photography by Frank Bobbio

Above: Andy Dohner, Below: Silas MaddoxLeft: Andy and Silas

Smokey Adams working hard in the prep kitchen.


"The Swaptober-Feast is Born"The Pork came from Silvana Meats, in Silvana, Washington. They are an awesome family owned and run butcher shop that provides naturally raised meats to the local community.

The Veggies came from Rabbit Fields Farm in Mt. Vernon, WA. They are certifi ed organic and are grown by my friend Roslyn McNicholl.

Potluck stuff came from the people.

Also Kurly Fries. My close personal friend River Mitchelle brought his Kurly fry cart down to make fries, poutine and banana tempura. His website is Kurlys.com and he plans on coming down again next year

Andy Dohner built the smoker just in the nick of time so we could do this! How awesome is that?

Darryl Nelson brought the alder fi rewood for the smoker.

And a big thank you to all those who lent a hand over the weekend.

The cook shack will be open for business for the 40th conference and we will be cooking gumbo for the Friday night potluck. I would like to have gumbo and coff ee included in the conference fee (budget dependent, to be determined). We will also be cooking breakfast and lunch throughout the conference for donations.

Volunteering for the Cook Shack: I will put together a schedule for the 40th conference and folks who would like to sign up for a shift can get in touch with me a little closer to the conference.


Summit Arts July 2018

Roberto Giordani: Sculpture

The project focus was traditional joinery through the use of wedges and mortise and tenon. The class began with each of us forging two hand tools from 4140 - a narrow slot punch and a square drift sized to 1/2" the thickness of the bar stock we used for the project. Each student worked on his own sculpture with the help of a striker (we worked in teams of 2), using either 3/4" or 1"

Once all the hand tools were forged and fi nished, we punched and drifted the sections of bar that would serve to hold everything together in the fi nished sculpture. Punching and drifting these holes took some time, and extra care was taken to dress the punched hole to make for a good fi t to the other pieces of the sculpture.

Notes and Photographs by Clayton Tapper

Roberto Giordani


After punching and drifting holes and checking the fi tting of all the pieces, we next moved onto forging out the remainder of the sculpture. Roberto made clear to us that we could shape the material any way we wished and stray from the drawing at that point - the focus was on the joinery - but most of us made an eff ort to approximate the design Roberto had prepared. Most of the photos I took are during this part of the class - joinery components had been forged and we were working away shaping the diff erent pieces for the better part of two days.

Ben Cyzhold and Kellen Bateham

Peter Clark and Clayton Tapper

Kellen Bateham Stanford Siver


Ben Cyzhold was the only student to get the project completely fi nished in the allotted time - his fi nished piece is shown in the last photo. All in all the class was very productive - each student was able to keep up, the class off ered many hours of working with a striker (some of us had limited experience working with one), and provided some excellent exposure to mechanical joinery.

Editor's note: Roberto Giordani, based in Italy, has come twice to Summit Arts on Mt. Hood, bringing a lot of artistry, talent and technique to his workshops. If an opportunity arises for you to take a class with him, take it. Find out more about Roberto at his website:

http://www.robertogiordani.com/Roberto Giordani has an art institute in Italy:

Arts Factory International AcademyTraining Courses | Research and Experimental

Art | Cultural Events

Find out more: http://www.corsiferrobattuto.com/en/

Ben Cyzhold's fi nished piece.

Roberto Giordani - Summit Arts July 2018


Next, we sink the edges of the plate to curved surfaces with a straight edge.

These shapes work well to create interesting sculptural forms that can be combined with both stock and forged material.

Mentoring Center September 2018

Jeff Cawley: That Sinking FeelingSinking and Raising Methods to Forge Sculptural Components and Other PartsBy Jeff Cawley, Photographs by Jim von Mosch

Medium thickness sheet or plate steel gives us a lot of opportunity to create interesting and useful space fi lling. This presentation focuses on using 10 to 12 gage steel to forge components for sculpture and domestic implements.

Sinking and raising methods involve sinking the metal into dies or other shapes or stretching the material around a form such as a ball. This requires tooling and we will focus on tooling up with found and repurposed items and tools. Commercial swage blocks are wonderful to use, but can be expensive. Many alternatives such as gas cylinder ends or pipe sections work well and can be gotten for little money and a bit of time. Likewise there are many specialized commercial hammer options, but be aware that a lot of good work can be done with repurposed garage sale ball pein hammers.

The following demos use 1/8” steel. In general 10 to 12 gage is good working range. Heavier material is more diffi cult to work and doesn’t usually add that much to the perception of mass for smaller items. Thinner sheet literally feels “tinny” and may not satisfy the customer.

The fi rst part of demo uses the bottom of a gas cylinder as a swage to sink bowl shapes. The curved edges of the cylinder base also work well to drape the material.

Combining the sinking and draping operations with a center sunk into a smaller pipe section lets us create a pleasing form for a candle holder.


The companion methods to sinking into a depression are raising the material over a form. The demo used two stake forms, the fi rst a hitch ball ground down to a reasonable curved surface and the second a smaller diameter form shaped from a pneumatic hammer bit.

Sinking a dome into a large piece of plate makes the base, and roughly rounded tapers make the stalk of the candle holder.

The fi nal result is shown below.

In the next part we sink steel to form candle cups. The heated blank is fi rst sunk into the pipe section with the ball pein and then “squared up” with a purpose built set hammer. The set hammer was made from a machinery pin of the appropriate diameter and a handle welded on the side. Although I don’t know the type of steel, it is tough enough that it has held up to frequent use for three years.

The set hammer squares the bases of the candle cup and enables an electric or wax votive to sit securely in the cup.

The small radius stakes work well for forms such as eyebrows, mustaches and the like.


Another interesting option is to forge structural steel such as angle iron. For example, angle is a great starting material for noses and similar shapes.

Likewise sinking a disc with a pre-punched hole creates a useful eye form. This can be used as is or can be amped up by adding a glass blank or a marble. The adhesive E6000 works well to join glass and steel and is widely available.

These tools and methods can produce a great pile of useful components we can weld together into interesting items. For example, we can take the pieces made in this demo and with some assembly, produce a fun Groucho mask.

G

o make

so

meth

ing...N

OW!!!

Support Your Local Northwest Blacksmith Association!Donate an item to the40th Anniversary Conference Auction May 24-26, 2019

ProudlyCelebrating

40 Years Thanksto Your

Support!

NWBA

www.blacksmith.org

Follow Jeff Cawley at Cawley Forge on FaceBookhttps://www.facebook.com/Cawley-Forge-211459332395662/


August 12th-15th, 2018, 11 smiths gathered at the Summit Arts Camp (formerly the Cascadia Center for Art and Craft) in Government Camp, Oregon. The goals were a collaborative project for the on-site Sculpture Garden and conversation around issues of inclusivity in blacksmithing. The event, organized by Rachel David (LA), Lisa Geertsen (WA), and Anne Bujold (TN), brought women from across the country, ranging in age, experience, and metalworking interests.

Beginning the organizing process in 2017, invitations were sent to female and transgender smiths from across the country to meet at the Summit Arts Camp (SAC). Our original vision was to have an open invitation to women, queer, transgender, people of color, and gender non-conforming smiths in a less formal format, but logistical limitations required us to rethink our parameters. Instead, we developed a small group project that would be donated to the Sculpture Garden at the SAC. It was critical to include smiths from a variety of locations in order to gain perspective on the geographic diff erences in the blacksmithing community.Attendees included Ryna Cady (WA), Monica Coyne (CA), Alice Garrett (Australia), Ann Klicka (WI), Heather McLarty (CA), Lynda Metcalfe (NC), Caitlin Morris (MD), and Leslie Tharp (FL). All participants are skilled metal workers, each with experience ranging from 5 to over 30 years. Most participants have multiple components to their careers, including functional and sculptural work, and several have active teaching schedules or work with community education facilities.

This event, and the work leading up to it, generated a lot of discussion on the topics of inclusivity and representation in the fi eld. This step towards addressing the lack of diversity in blacksmithing has real value. By developing awareness through listening to the experiences of others, we work towards building a community that truly supports, encourages, and educates people regardless of constructs of race, gender, sexuality, gender orientation, or physical limitations. In recognizing these issues, and learning about the nuances involved, we can begin to consider how to be agents of change. As Geertsen asserts, “this organization is to be built on an attitude of support for those who have felt like they are on the fringe of the blacksmithing community. It is our challenge and our strength to hold an open mind to those who want to see this group grow and succeed.”

Each participant brought their own unique geographic, generational, and political concerns to Mt. Hood. Our commonality is a desire to see a fi eld that makes space for, and supports, those who are marginalized in the larger culture and underrepresented in the metal arts world. We delved into deep conversation about factors that shape our craft, including historical, cultural, and political forces in the world in which we live. We discussed ways to provide space for traditionally underrepresented groups to access blacksmithing - spaces that are inclusive yet might not include everyone simultaneously - and our bigger dreams for being part of a world that operates with less cruelty and more compassion.

Society of Inclusive Blacksmiths: Forging Our FutureBy Anne Bujold, Photographs by Michelle Smith-Lewis

Blacksmithing is a demanding craft. Complex problem solving, spatial reasoning, and math skills inform decision making; exercising these skills builds competence. Blacksmithing is not about brute strength - it is about understanding the nuances of material manipulation and responding in the moment to the immediacy of hot iron. Minorities in the fi eld provide a role model to others who do not fi t the stereotypical image of a blacksmith and communicate that there is a place for them.

Clockwise from far left: Monica Coyne, Anne Bujold, Rachel David, Lisa Geertsen, Ryna Cady, Caitlin Morris, Alice Garrett, Leslie Tharp, Ann Klicka, Heather McLarty

Rachel David, Lisa Geertsen, Alice Garrett, Caitlin Morris, Monica Coyne


Inspirations for this project came from many sources, including Latifa Sayadi’s Striking Women: Mild As Steel, published in 2012. Sayadi is a Tunisian/German artist blacksmith based in Berlin, Germany, and her book is a compendium of images by female metalsmiths from around the globe. The introduction describes a series of events held in Germany in the early 2000s where women smiths gathered to share skills and make art. Alice Garrett, who was visiting from Australia, is part of an organization in her home country called Blacksmith Doris which hosts women-only blacksmithing events. This was the fi rst time any of the American participants have been part of a project intentionally designed, directed, and completed in a space without male colleagues. We applied for several grants to make this event possible. We have tremendous gratitude for the support we received, including Al Bart Grants from the NWBA and funds raised at the NWBA 2018 Spring Conference auction. I worked closely with SAC director Betsy Valian, completing grant applications to the Regional Arts and Culture Council and the Oregon Cultural Trust. We were recipients of a $5,000 grant from the OCT in the Creativity category, and also received funding from private donors, including a matching grant from Microsoft. Pratt Fine Arts Center provided steel for the project, and Tharp worked to arrange food donations from Franz Bakery, Fred Meyer, and New Seasons, a Portland-based grocery. Harnessing a variety of resources to support this complex project, from fi nancial contributions to direct material donations, made it a feasible endeavor.

We recognized that in order to promote future projects, we needed to capture high-quality, dynamic images of this event. As a component of the funding, we budgeted to hire Seattle-based documentary photographer Michelle Smith-Lewis. Smith-Lewis specializes in performance photography, and her talent in capturing the drama and energy of the room is palpable in the images that accompany this article.

As our grant proposals developed, we needed a project design to accompany our applications. David, Coyne, and Klicka worked remotely as the design team. In a series of design “sprints,” they drafted the project over the phone and via email. Initially conceived as an archway, the design evolved into a bench after consideration of installation issues on the Forest Service property where is SAC is located, liability, and feasibility.

The joinery was a critical component in this design, and as McLarty notes, “blacksmithing is full of connections. Rivets and mortise and tenon joints are traditional connections used to join metal. Used by artist-blacksmiths in a contemporary sculpture, they are authentic and soulful ways to connect us to our past, in a present where technology-based solutions are often used at the expense of human connection.”

Clockwise from top left: Caitlin Morris, Alice Garrett, Lynda Metcalfe, Rachel David, Ann Klicka.

Left to right: Lisa Geertsen, Leslie Tharp, Ann Klicka, Alice Garrett

Photo courtesy workshop participant


The shop at the SAC is rustic, with a dirt fl oor, and several propane forges, anvils, vises, and a tire hammer. Before the event, a spreadsheet shared in Google Docs allowed the group to assess what tools were needed and account for what each person could provide. Most hand tools were brought to the site, either shipped ahead or packed in carry-on luggage. The bench design was enlarged to full scale and the full-sized drawing was shipped from New Orleans to Seattle, and the steel was cut at Pratt Fine Arts Center before heading to Mt. Hood.

The project was divided into fi ve teams, each headed by a driver who worked with strikers to complete components. The scale of the material and upsets desired required the use of many hands in each element. As the project came together, participants rotated seamlessly into and out of diff erent teams in

order to accomplish tasks. One group took on heading each rivet, others forged tenons, drifted holes, formed the sheet metal for the seats, and curved elements using the fl y press provided by Orion Forge. Everyone dug in with enthusiasm and incredible energy, including a marathon 22-hour fi nal work day. The product of the build, a sculptural bench, provides seating for two or three people, sitting adjacent yet looking out to diff erent perspectives. People can sit side-by-side, but their view is not the same. We can sit on an equal plane but bring diff erent perspectives which, when shared, open an opportunity for a more complex understanding of the world.

Left to right: Lisa Geertsen, Lynda Metcalfe, Heather McLarty, Anne Bujold

Rachel David striking for Linda Metcalfe. Leslie Tharp and Lisa Geertsen

Marathon work day. Photo courtesy workshop participant



Our conversations helped us better understand some of the regional diff erences in blacksmithing communities across the country. The Pacifi c Northwest diff ers in its culture from Florida or Louisiana. It is important to understand how people in other locations might have unique challenges in accessing information, tools, and support. There are a lot of women in the PNW and California blacksmithing communities, but understanding that this is more an anomaly than an average is helpful when thinking about the work to be done moving forward. Looking beyond gender divisions, blacksmithing lacks racial diversity, and fi nding ways to address this is critically important.

At the conclusion of the build, alongside the sense of accomplishment, we recognized that working in a space with only women was, indeed, a unique and valuable experience. The opportunity to be in a shop where, for the fi rst time, participant’s gender was a non-issue, was something that no one except for Garrett had experienced. As one smith explained, “in every scenario, I can remember there has always been at least the hint of a gender divide to navigate, and it sometimes gets in the way of the reason I’m there - the metalwork.” We were neither praised for being good at things despite our gender, nor made to feel less-than because of it.

Ann Klicka, Caitlin Morris, Alice Garrett

Leslie Tharp, Anne Bujold, Caitlin Morris. Lisa Geertsen, Ann Klicka, Leslie Tharp, Alice Garrett.

Alice Garrett and Ann Klicka.

Heather McLarty and Anne Bujold.

Left to right: Caitlin Morris, Alice Garrett, Ryna Cady, Heather McLarty, Rachel David, Monica Coyne, Anne Bujold,

Ann Klicka.


At the conclusion of our time at the SAC, we settled on the name the Society of Inclusive Blacksmiths (SIB). The hashtag #societyofi nclusiveblacksmiths is available for use by anyone who wants to participate on Instagram. We are working towards a self-published book to document the build and share our experience with the larger craft community. By showing role models that do not fi t the stereotypical image of a blacksmith, we can help to shift the perception that this craft is only for those who fi t a certain image. As the conversation that began on Mt. Hood continues, it is exciting to imagine tangible outcomes beyond this fi rst project. In the future, inclusiveblacksmiths.com will host a gallery of Smith-Lewis’s images and include resources and ways for smiths to connect. There is active discussion about what the group might facilitate – events for specifi c communities, professional development information, resources for allies, a list of women/LGBTQIA friendly shops to work for, or scholarships for educational pursuits. There are many ways to think about supporting underrepresented people in their pursuit of smithing, and the format of this organization is yet to be determined – whether it becomes a formal entity with membership, or remains an ethical framework that any interested person or group can adopt. This initial gathering is not an exclusive group setting out to take on these issues alone. This requires a much broader conversation, with smiths from across the country, of all ages, races, genders, and demographics, to engage in this work. Everyone who is passionate about blacksmithing process should have access and support, and we can build a culture that strives to make that the reality. These conversations are challenging, and there will be missteps and mistakes, but we cannot sit safely on the sidelines and hope that someone else will do the work. As smiths start to consider how race and gender have shaped the aesthetics and values of this fi eld, we can start to examine what role each of us plays in either perpetuating or challenging the dominant paradigm. Many folks might not immediately see the connection between forging metal and issues of inclusivity, but it is clear that by supporting a diverse community of makers, the fi eld as a whole will thrive. Diversity of perspective is fertile ground for innovation, and it is through both an appreciation of history and an eye towards the future that blacksmithing can be a space of truly unlimited potential. As Tharp keenly observed, “each person reading this has a lot of power to make ripples in this fi eld. I think it's hard to remember how infl uential we can be but in so many large and small ways our actions and words all add up and lead to meaningful change. It's kind of incredible.”

Back row from left: Leslie Tharp, Monica Coyne, Ann Klicka, Rachel David, Alice Garret, Caitlin MorrisFront row from left: Heather McLarty, Anne Bujold, Lisa Geertsen, Ryna Cady, Lynda Metcalfe

We would like to express our deepest thanks to the NWBA, the Summit Arts Center and Betsy Valian, the Oregon Cultural Trust, Pratt Fine Art Center, Franz Bakery, Fred Meyer, Michelle Smith-Lewis, Microsoft, Lois Bujold, Orion Forge/Hunter Dahlberg, Kellen Bateham, Susan Lammers, Fred Meyer, and New Seasons Market for their support in making this event possible.



Jim put out a great deal of information while demonstrating square and round tenons.

Tenons: First tools out of his kit were a "butcher", "side set", and "set hammer". These were made from tool steel, but only the working end was hardened. The struck end is left to yield under the hardened face of the smith's hammer. The butcher had about a 30 degree bevel, the side set a

45 degree angle, the set hammer dead fl at with nice square sharp corners. These tools can be made from mild steel and super quenched (or brined) but will not last as long as ones made from tool steel. The eyes are straight, not hour glass, for easy handle replacement. Since these tools are not swung, just struck there is not the stress trying to separate the handle and head.

Using a square and white pencil, the mass to become the tenon is laid out carefully.

You want to keep everything square and even.

The white line corners are marked with a cold chisel, then scored with a hack saw. The edge of the butcher will "feel" the score at a high heat. First the butcher then side set to take the notch down to almost the diameter of the tenon.

The fl at set hammer takes the sides of the tenon down to the bottom of the notch. A square edge of the anvil works as a bottom tool in conjunction with the set hammer.

A crotch hold (between the legs) lets the smith rotate and move the bar forward and back. If you are forging a round tenon, work the material in the standard Square to Octagonal to Round sequence. The set hammer can be a big help here but your hand hammer has a role as well. A monkey tool (slightly over sized hole in a bar or block on end of pipe) is driven onto the tenon, squaring and slightly upsetting the shoulders.

Jim's monkey tools

Shop monkey tool w/pipe body

Driving on the monkey tool.Set hammer starts out angled then

levels out

Side Set enlarges butcher cut

Butcher enlarges hack saw cut

Mentoring Center November 2018Jim Von Mosch: Mortise and Tenon Joinery for a Smith Working Solo

By Hardie Swage Photographs by Dan Bowyer

Scoring with hacksaw.


The tenon is a slip fi t into the monkey tool, don't try to reduce diameter with this tool. An undersized tenon will upset and fi ll the mortise when riveted. The tenon is hot and the mortise bar cold. If it is a square tenon work to the right cross section and bust the corners. An oversize monkey tool will square up the corners of the parent bar. If the bar bounces when using these tools it is too cold.

A mortise is just a hole in a bar that the tenon will be driven into and riveted over. Square and round tenons require square and round mortises.

Punch and drift for round, slit and drift for square. Drifts have a long lead in taper, a parallel sides body and a short exit taper that needs to be slightly longer than the bar thickness. Square mortise can be in line with the bar sides or on the diamond. Drifts can be tool steel or mild. The bar is hot so they take on heat, pick up tongs or gloved hands are suggested.

The caulking tool is a hand held tool with a slightly rounded edge that is off set to one side. This allows you to push some of the swell behind the tenon in to fi ll any small gaps.

Tips: • Laying out railings metric works

better than inches/feet. Easier to divide the spacing's of the vertical; pickets.

• Painted his tools diff erent colors indicating those to be used on hot and those not.

• Key to good work a strong vice well anchored to bench or stand. Grips better the long way rather than the short.

• Tool steel is slightly larger than mild steel in any specifi c size. Good for drifts that compensate foe swelling when material being drifted is hot.

Working end caulking tool

Left and Above: setting a square tenon in a square mortise.

Follow Jim von Mosch at his website:Mountain Brook Forge

https://www.mountainbrookforge.com/and on FaceBook:

https://www.facebook.com/Mountain-Brook-Forge-242627185764817/

Above: setting a round tenon in a round mortise.


NWBA 2018 Calendar of EventsDecember 15 Mentoring Center Open Forge, Longview WADecember 31, 2018 NWBA Election Ballots Must Be Postmarked by Dec. 31, 2018January 12, 2019 NWBA Election Ballot Count, Nimba Anvils, Port Townsend, WA

Schedule of Board of Directors’ Meetings in 2019:

• January 26, 2019 at 1 pm in the Longview Library (or telecommute)

• April 27, 2019 at 1 pm in the Longview Library (or telecommute)

• July 27, 2019 at 1 pm in the Longview Library (or telecommute)

• October 19, 2019 at 11 am in the Longview Library (or telecommute)

• Any NWBA member is welcome to attend in person, or telecommute via “GoToMeeting.”

Long Range Calendar: May 24-26, 2019 NWBA 40th Anniversary Conference, Longview WAOctober 25-27, 2019 NWBA SWAPTOBERFEST III, Longview WA

Find the details of these events at www.blacksmith.org/events/

Submit your blacksmith events: www.blacksmith.org/submit-event

"Melvin Edwards: Seen in Oklahoma

at Alexander Gray Associates,

featuring sculptures composed of found industrial materials – chains, barbed

wire, and steel parts – from Oklahoma

scrap yards."

???Show 'em you can do better than that! Make something grand for the gallery at the 40th Anniversary NWBA Spring Conference 2019!

WE CHALLENGE YOU TO SHOW US YOUR REAL ART!

(using this art to make it!!)

IT IS NEVER TO EARLY TO CREATE SOMETHING FOR THE GALLERY. 2019 IS A BIG MILESTONE, MAKE A SPECIAL PIECE TO COMMEMORATE THE OCCASION, OR BRING

SOMETHING MEMORABLE FROM CONFERENCES PAST.


Blacksmithing Schools Around the NorthwestBackwoods BlacksmithBetween Sutherlin and Elkton Oregon on Hwy 138.Instructor and owner is Gene BlandBeginning blacksmithing, tool making, organic and garden art.541 459 [email protected]

Bridgetown Forge1812 North Columbia Blvd.Portland, OR, 97217http://[email protected]: 503-804-1524New classes are being developed on a continuous basis, and classes to be off ered in near future include: power hammer work, forging a cleaver, forging a sushi knife, hammer-making, and axe-making.

Cascadia Center For Arts & Crafts P.O. Box 64Government Camp, Oregon 97028http://www.cascadiaart.org/Blacksmithing, Visual Arts, Painting & Drawing, Photography, Fiber Arts, Glass, Jewelry

Clackamas Community College19600 Molalla AvenueOregon City, Oregon 97045Phone: 503-594-6000Website: http://www.clackamas.edu/Off ering blacksmithing classes under the Welding Technology program.

Clatsop Community College1651 Lexington AvenueAstoria, OR 97103Phone: 503-325-0910Toll Free 1-855-252-8767;Website: http://www.clatsopcc.edu/Blacksmithing classes are taught through the Historic Preservation Program

David LischDavidLisch.com Knife making and blacksmith classes in Yelm WA Email: [email protected]

FIRE HORSE FORGEDavid Tuthill Owner/Instructor1415 NW 49th StreetBallard, WA 98107Knife making, Axe making and more!Website: https://www.fi rehorseforge.co/classes/

Incandescent Ironworks Ltd.Spokane, WA509-456-8321At Incandescent Ironworks I teach introductory and intermediate blacksmithing, introductory and intermediate knife making, and tailored instruction on selected smithing topics.Contact: Steve McGrew:[email protected]/blcl.html

Old West ForgePO BOX 2105White Salmon, WA 98672(509) 493-4418For additional details contact Tim Middaugh:[email protected] classes are listed at www.oldwestforge.com

Pratt Fine Arts Center1902 South Main StreetSeattle, WA 98144http://www.pratt.org/Phone: 206.328.2200Fax: 206.328.1260Email: [email protected]

Thorne Metals Studio13751 Daybreak LnAnacortes, WA 98221(360) 293 8257Current classes are listed at: http://learnblacksmithing.com

Yamhill Valley Heritage Center11275 SW Durham Ln., McMinnville, OR 97128Located South of McMinnville on Highway 18 at the intersection of Durham LanePhone: [email protected]://www.yamhillcountyhistory.org/yamhill-valley-heritage-center

If you would like to list your blacksmith school here, please send your information to [email protected].

Editor’s note: As a 501(c)3 non-profi t organization there are limitations to how we are allowed promote our members’ businesses. The listings will now include contact information and one descriptive sentence for your school, a policy subject to change. To publicize your class you may send your event listing to the editor for inclusion in our online calendar. A short paragraph about the class and time, location, and fee information only please. Please send information about your events, school and class listings to [email protected]


Northwest Blacksmith Association“To promote and preserve the Art and Craft of Blacksmithing while building friendship and good will.”

Th e NorthWest Blacksmith Association is a Washington corporation and a 501 (c) 3 non-profi t charitable organization founded in 1979. Now over 450 strong and growing. We have something to off er to anyone with an interest in blacksmithing, from the beginner to the serious professional.

Members of the N.W.B.A. receive our award-winning newsletter Th e Hot Iron News, the opportunity to attend N.W.B.A. semi-annual conferences, frequent hands on workshops and events, and the camaraderie and support of hundreds of blacksmith enthusiasts.

Signature: ___________________________ Date:____________Print Name: __________________________________________Address: _____________________________________________City: ________________________________________________ State: _____________________________ Zip: ______________Phone: ______________________________________________*E-mail: _____________________________________________*(if you are already registered as a user at www.blacksmith.org your website user account will be updated to allow member privileges only if you use the same email address as the one used to register on the website)

Mail to: NorthWest Blacksmith Association 4742 42nd Ave. S.W. #185 Seattle, WA 98116To apply online and pay by credit/debit card go to: www.blacksmith.org

Dues are: $60 in U.S.A.$70 outside U.S.A.☐ New Member☐ Renewing Member

NWBA membership is valid for one year from the date of signup. Renewals are sent out on a quarterly basis, look for your renewal letter sometime in the 3 month period around the anniversary of your registering for membership.

2018 MEMBERSHIP REGISTRATION FORM

RELEASE OF LIABILITYI hereby acknowledge that I have voluntarily applied to become a member of the NorthWest Blacksmith Association, NWBA.I understand that blacksmithing is an inherently dangerous activity that involves certain risks and dangers. I acknowledge and understand that those risks include the potential for bodily injury.Nevertheless, in full knowledge and understanding of the above risks, hazards, or dangers, I freely, voluntarily and knowingly agree to assume those risks. By my signature below, I hereby agree to assume all responsibility for myself and my property and hereby release and discharge Northwest Blacksmith Association, NWBA; it‘s members, employees, representatives, associates, independent contractors, and board from any and all claims, demands, damages, expenses, and any other liability for injuries or damages of any description which may occur as a result of my participation in this organization as a member. Th is Release shall be legally binding on heirs, my assigns, successors, estate, legal guardians, executors and me.If I am signing this agreement on behalf of another person, I certify that all representations are true with respect to the participant and that I am the participant’s legal guardian or custodial parent with full authority to bind the participant and myself to the terms of the Release.I have carefully read this Release and fully understand its contents. I am aware that in signing this Release I am releasing and waiving certain rights that I may have and enter into this contract on behalf of myself and/or my family of my own free will.THIS IS A RELEASE OF LIABILITY DO NOT SIGN THIS REGISTRATION FORM AND RELEASE IF YOU DO NOT UNDERSTAND IT OR DO NOT AGREE WITH ITS TERMS.


QuickandDirtyTools.com

Have an idea for a demonstration you want to give? We need able demonstrators to fi ll

our Mentoring Center fourth Saturday of the

month schedule for 2019.

Contact Lee Cordochorea to discuss it:

[email protected]


ATTENTION MEMBERSAre you receiving our informative monthly email

announcements? Sign up online: http://blacksmith.org/sign-up-email-announcements/Get the up to the minute details of NWBA events

and news.

For sale: Quality blacksmith coal, coke and charcoal.

Contact Jim von Mosch at Mountain Brook Forge

509-493-2246 or [email protected] for price and availability.

Free to members, $10 for non-members Classifi ed ads are 50 words, text only.

Email to: [email protected] submit online: http://blacksmith.org/hot-iron-news-advertisement-submission-form/Download Ad Specifi cation and Pricing Sheet online at: http://blacksmith.org/advertising-hot-iron-news/If you have any questions do not hesitate to contact editor Amy Mook at [email protected]

Classifi ed Ads

Whitlox Wood-Fired Forges are specially designed for forging with raw wood or charcoal fuel. All our forges are made from 11 gauge steel and double lined with kaowool and fi rebrick for super long life. Use discount code NWBA for a $50 discount on any full size forge at www.whitloxhomestead.com. Phone: 503-952-6540

Advertising SubmissionsMail to: NWBA42nd Ave SW #185Seattle, WA 98116

Announcements that are of general interest to blacksmiths and not specifi cally in the business interest of an individual will be printed free of charge in the Hot Iron News, at the discrepancy of the editor and within the guidelines of the NWBA Board of Directors. Submit your announcements for publication in the NWBA Hot Iron News and our website.

Your Ad Here! Members can post 50 word classifi ed ads for

FREE.

NON PROFIT USPostage

Paid TEKS SERVICES

A publication of the Northwest Blacksmith Association4742 42nd Ave SW #185Seattle WA 98116

Postmaster: Address Service Requested

www.blacksmith.org


Society of Inclusive Blacksmiths: Bench Project TeamBack row: Caitlin Morris, Rachel David, Monica Coyne, Leslie Tharp, Alice Garrett, Heather McLarty, Ryna Cady

Front row: Anne Bujold, Lynda Metcalfe, Lisa Geertsen, Ann KlickaStory on page 28

hot iron news · hot iron newshti n page 3 2018-4 the hot iron news is the oﬃ cial publication of...

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