Moving Metal Magazine
Moving Metal Magazine is a bimonthly electronic magazine designed to offer content for beginner, intermediate and experienced blacksmiths; and, to join together a worldwide group of craftspeople. We will feature the smiths you know and some you may not. In addition to these features, we will publish news, articles and features about events, associations, how-tos, and a wide variety of information. Moving Metal seeks to support the community of blacksmiths worldwide who are keeping and growing a craft that is one of human society’s earliest occupations. Editorial and promotional content will entertain, inform, educate and promote on behalf of this community. Looking to be good stewards of the planet, Moving Metal will be published in electronic form only. That also means you can take it with you on your mobile device wherever you go. Content submissions are welcome with the right of final editing for style, tone, voice and length by the Moving Metal team. Editorial and graphic content contained in each issue may not be used in any form, printed or digital, without the permission of the editor and only with attribution. Editor: Dan Grubbs Contact: Moving Metal Magazine 13605 Jesse James Farm Rd. Kearney, Missouri 64060 USA 816-729-4422 movingmetalmagazine@gmail.com Instagram Twitter MeWe Facebook
Photo: J.MT Photography
Forged in Fire champion Derek Melton gives us a rundown on the induction heater he is using in his shop. page 42
Savannah Taylor shows that age and gender are just not that relevant when you’re motivated and creative. page 22
Iron work can dramatically enhance architectural elements. Brandon Lee Dearing shows how his work sets off a room. page 30
From the Editor 3 Fighting the Dragon 5 Profile: Torbjörn Åhman 7 ABANA national curriculum 13 The Master’s Realm 16
Billy Salyers: A blacksmithing renaissance Videos You May Have Missed Product review: Smith’s Workwear pants
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that many know because of his popular YouTube channel. Last time we checked, he had more than 615,000 followers. Be sure to read the profile story about Torbjörn Åhman and get a more detailed picture of the man who rarely speaks in his videos. Young smiths will be the subject of frequent content in Moving Metal. Their contributions are helping create a sustainable craft into the future. We have two to introduce you to in this issue.
From the Editor Welcome to the first issue of Moving Metal Magazine. As our masthead describes, our purpose is to join together a worldwide group of craftspeople to help form a community. We hope each issue gives you something to take away whether you’re a beginning hobbyist or a seasoned professional. Moving Metal is not setting out to supplant or replace existing publications that many dedicated people have worked on for decades. We salute those efforts and welcome collaboration with them. The national associations and many state or chapter affiliates all work hard to help their members. I am happy to be a member of the Blacksmith’s Association of Missouri. We want this publication to be part of that same tide that raises all boats. In that spirit of unity, the ABANA education committed and Executive Director Janie Grela give us some insights into the formation of their national curriculum. I see that effort as a great way to help ensure excellence and accountability. To use the vernacular, I am stoked to offer our readers a contribution from renowned blacksmith Brian Brazeal. In his piece Brazeal will bring us his expertise in word and photo. This issue he will show his approach to making pickup tongs. You can see our cover story features a craftsman
Brandon Lee Dearing joins us to write about his start in the craft and movement into architectural blacksmithing that he and his dad have integrated into their family business. Living on their 45 acres the Dearings produce some stunning architectural elements that feature their iron work. Speaking of young smiths, how about the artful work of Savannah Taylor? Like many, Savannah was introduced to blacksmithing as a young girl and set herself on a course to becoming a blacksmith. Still in high school, we know she will take her work to a whole new level as she progresses in her skills. A self-motivated girl, she’s even milling the wood to build her own shop. Our publication wouldn’t be complete without the contribution from Forged in Fire champions Billy Salyers and Derek Melton. Billy will bring us his view about what he sees as a renaissance of blacksmithing. Induction heaters are growing in popularity, so be sure to check out Derek Melton’s primer on induction heaters. You’ll learn a few things. In our regular column we lightheartedly call “Fighting the Dragon,” Ric Michaelson shares a note about thinking ahead when it comes to safety. Blacksmithing is not without risks, so keeping an eye on safety in your shop is always worth talking about. Many blacksmiths are people of faith. Moving Metal won’t be bashful or restrict these contributors or those featured on our pages from expressing themselves in such a way. Each issue won’t be perfect and it won’t be without disagreement. Blacksmiths are passionate people, and that’s a good thing. Keep your passion strong and the craft will live on.
Fighting the Dra Moving Metal Magazine offers some insights on safety around the forge and in the shop.
Safety lessons learned first hand – or the hard way, as they say – are usually the lessons that really stick with you. In order to save you a bit of misery, I invite you to learn from my mistake. Before I even had my little shop set up, I encountered my first near miss that showed me just how thin the line is between an in-tact body and a trip to the emergency room. My dad, who is also interested in blacksmithing, offered me use of his 100-pound anvil until he had the time to get his own forge setup. I took him up on his offer and it was not long before I was driving home with it in the back of my SUV. While driving, I was hoping I did not slam on the brakes or get into an accident causing the anvil to fly over the rows of seats. Note to self: secure heavy objects in vehicles.
by Ric Michae
edge of the 100-pound anvil graze th rect hit and I’m confident it would ha had fallen a different way. The anvil c or groin or ribs.
Once I composed myself and got off to discover my phone was not in my p injured, it would have been difficult to have shouted for neighbors, but who me.
Once home I began to plan ahead and open all the doors I’d need to pass through when I’d carry the anvil to the place I was storing it. Once I thought I was ready, I headed to my vehicle to retrieve the anvil. I picked up the anvil in the crooks of my elbows and began taking steps to my shed. A few feet from the open door of my shed was a patch of undisturbed snow. What I didn’t know was that underneath the snow was a sheet of acrylic plastic – an accident waiting to happen. Loaded with the weight of the anvil, I stepped into this patch of snow and the viscosity of the snow on the acrylic sheet caused my feet to slip out from under me. I quickly came crashing down to the ground. However, in what seemed like slow motion, I saw a bottom corner
In the span of just a few minutes, I h my brain.
1. Ensure a safe path is clear wh especially if carrying it. Be very awar I also realized a hand cart or dolly wo
agon
elson
he shin of my right leg. A more diave fractured my leg. But, think if I could have landed on my face or head
to move my anvil. So, let’s let our tools do the work for us.
the icy acrylic sheet, I stood back up pocket. If I had been more seriously o contact anyone to help me. I could knows if anyone would have heard
3. In this age, it’s just plain silly not to have a mobile phone on you while you work, especially if you’re going to be in a workshop alone. Let’s face it, blacksmithing is not a risk-free activity. But we can become so familiar with our workshops that we take some things for granted. It’s not until I had my near-anvil experience that I made the commitment to always carrying my cell phone when working in and around my shop.
had three key safety issue burned into
hen transporting any heavy load, re of your surrounds in some detail. ould have been a wiser choice for me
2. Don’t neglect keeping your work area and surroundings free of clutter. Keep things tidy and organized. Not only does this help in finding what you need, it keeps things out of your way.
I’ll admit it took me a while to settle myself following this brush with possible severe injury. It was then that I saw the value in practice runs when considering a potentially dangerous activity. I learned that I needed to be more aware of my surroundings and mindful of the potential dangers around me. Until next time, stay safe out there.
d e r l u t a t Fea of Me r e v Mo
Swedish blacksmith
Torbjörn Åhman
‘I think the passion is in
Moving Metal recently connected with the famous YouTuber blacksmith, Torbjörn Åhman, the Thunder Bear himself. He shared how he got his start and his thoughts about his path as a blacksmith.
MM: When people watch your videos, many think you must have a long history in blacksmithing. Can you tell the story of when and what got you started in blacksmithing and what motivated you to pursue the craft?
forge and started some simple projects, and suddenly I was hooked again.
Åhman: To begin with I have always had a strong creative side. I love to build and create things, whatever it may be.
Åhman: I’m not sure. I think the passion is in the process of making. To see if you’re able to make what you set up to do, and figure out a way to move forward. Solving problems is part of the fun but also a challenge and it can be frustrating at times when you don’t know how to do something and you realize you just need to dive in and see if it works.
My mother is an archaeologist and through the years she has attended several courses in experimental archeology, to get a deeper understanding for some of her work. At one point, when I was 15
MM: You clearly have a passion for what you are doing in your shops, where do you think that passion comes from?
n the process of making.’ years old, she brought me with her on a week-long class in ancient iron making. There we learned how to make charcoal, roast bog ore and smelt this ore in small bloomery furnaces. Alongside we also got a chance to try blacksmithing, making simple things like hooks and door catches. This is where my interest in blacksmithing first started. I bought an anvil and tinkered a bit in my father’s back yard, but then school and other things became more important and the anvil was put aside for many years. My partner and I decided we wanted to move to a place where we had space for a workshop. I brought home the anvil from my mother’s house, who was tired of it sitting in her cellar. I built a
MM: You’ve written that Otto Samuelsson was one of the first smiths that taught you. What were the key things you took away from Mr. Samuelsson back then? Åhman: That was a short class, but I remember I realized how important it was to think ahead, and have a plan for what to do with your next heat. MM: In other artforms, people can point to a style of an artist’s work. Can you describe what you think your style is for your projects? Åhman: I don’t think I have a particular style, but I like things to be functional first. In many cases the process or the nature of the material is giving you the design. Most traditional styles comes from this
A sense of humor is a valued trait for blacksmiths. Certainly something Åhman demonstrates in his videos. I think. That said I also get inspired by the work of other craftsmen and that can probably shine through at times. MM: I think you moved your family onto a property in 2008 in Sweden, and among other things built a greenhouse and workshops. What was your motivation to move? Åhman: The motivation was to get our own place with a garden and a peaceful place for kids to grow up. The choice was easy since it belonged to my partner’s grandmother. She and I took it over and renovated the house before moving in. MM: It’s clear you enjoy what you do on your YouTube channel. And, congratulations for surpassing 615,000 subscribers – a significant achievement. You provide your audience with a wide variety of projects interrupted by scenes from around your homestead. How do you go about picking a proj-
ect you want to forge that you will feature on your YouTube channel? Åhman: It’s not so easy to answer. I don’t have a great master plan. It can be that I want to try something that I never have done before, maybe it involves a technique new to me. Sometimes people ask me to make something specific, and if it feels right I go ahead. Sometimes I try to make something seasonal, like for Halloween or Christmas. For the most part something just pops up in my head and wheels start spinning. It can be frustrating at times to figure out a new project, but if I can’t think of something I have a pretty long list of things in my notebook. MM: It seems building relationships with other YouTube blacksmiths is a good way to grow an audience. Which YouTube channels do you watch and who would you like to connect with going forward? Any future collaborations?
Åhman: The collaborations I have done so far were mostly to show my support and having a fun time, not to grow my audience. For a smaller channel it can probably be a good thing. I follow most of the smiths your readers follow, but I’m struggling to keep up and watch all their videos. Here are a few: Alec Steele - I have been following him since he was 13 I think. Mark Aspery - Huge source of inspiration. Great teacher and fun to watch and read. I have his books. Black Bear Forge - Also a comprehensive source of inspiration and information for anyone interested in the craft with step-by-step instructions for most of his projects. Brian Brazeal - I was early on very influenced by his work, especially the techniques he teaches when hand forging blacksmithing tools. Some others are Gary Huston, Joey van der Steeg, Joshua De Lisle, Big Dog Forge and Daniel Moss who all have great channels. There are so many talented smiths and craftspeople out there. I hesitate to pick anyone in particular. I look up to anyone who has made something that triggers my mind. When I see something beautiful, my first thought is almost always - how did they do that or what processes were used to reach that final piece? Looking at old ironwork can be very inspiring and also bring up a lot of questions about how things were made. If we could go back in time, I wonder what we could learn from the long-gone masters, like Samuel Yellin or even the local village blacksmiths. Much of the know-how and knowledge was never passed on, which is sad. I don’t have any planned collaborations, but I am open for suggestions. MM: Why do you stick with coal forging? Åhman: I think the coal forge is the most versatile. You can heat both small and reasonably large areas.
How do you pronounce his name? >> launch video You can isolate a heat to a specific part and you can chose the size of the fire to a degree. I also have an experimental oil-fired forge that is similar to a gas forge. I use it sometimes when heating larger stock or have several pieces going at the same time. Propane gas is pretty expensive here in Sweden, and I don’t quite like the safety issues involved with large quantities of gas in my shop. MM: Most of our readers will not know what you do for a living. Could you tell us what your job is? Åhman: For the last three years or so, making content for my channel has been my job. It does not generate a huge amount of money but enough to let me focus on new projects. Previously, for almost 20 years, I worked with 3D computer graphics, doing visualization, animation, game design, and photo-realistic product imagery. All very creative but almost everything you make never leaves the virtual world which is a big contrast to crafting something with your hands. I do miss the undo-button from time to time though. MM: What projects are you considering in the near future? Are you taking commissions? Åhman: I’m currently upgrading my air hammer with a proper lubrication system. It was missing when I got the hammer. It will probably not rank as a blockbuster video, but for many viewers it doesn’t really matter what I do, they like to follow along. After that I will think of something new. In general I don’t commit to commissions since I like to focus on new videos instead of making stuff for sale. But if the request involves something I like to make, I might. MM: Can you give us a rundown of the machines
and equipment you have in your shop, including anything you know about your anvil?
give us three things you know now that you wish you knew when you started smithing?
Åhman: At this point I’m using:
Åhman: Metal does not always move as you expect it to do at first. It takes a bit of experience to better judge how to tackle a particular problem. So instead of planning out a project from start to finish, with assumptions, go ahead and make a test piece or two. That will teach you how to make a part right. Although I succeed from time to time with a first try, it always goes much better the second or third time I make something.
Bêché 75kg air hammer Abno 25kg mechanical spring hammer Arboga drill press Aldell bench/post grinder Kemppi MIG welder ESAB MMA welder Shop saw Belt grinder 2”x72” 2 swage blocks 2 post vices 3 Kohlswa anvils Home-built coal forge Oil-fired furnace And just a few hammers and chisels. Most of the equipment is second hand and did not cost me a fortune as some may think. My large 400-pound anvil is an A1 Kohlswa anvil. A1 is their designation for the English pattern style. I bought it from a gentleman who had it sitting in a barn for many years. It originally came from a saw mill where it was used to straighten saw blades apparently. MM: There are a number of hammers in your shop. Can you describe your go to hammer you use for most of your work on projects? Åhman: Yes, you can’t have too many hammers, right? My favorite hammer is an old TOR’s hammer weighing 900g plus the handle. It’s a Swedish style hammer with a pretty narrow pein and a heavily crowned and slightly rounded face. They can still be bought from Hultafors who incorporated TOR’s line of hammers into their production when they bought the company many years ago. I’d like to remind everyone to remember to dress your hammer face. It’s one of the most common mistakes by the beginner when they buy a new hammer. Remove all sharp corners and make it smooth. MM: For smiths with a bit less experience, can you
Make notes. It will help you during a project and certainly afterwards when you are asked to make another one. I’m not terribly good at it myself, but my videos could come in handy one day. Don’t underestimate the time you need for a project, and don’t sell anything too cheap. Both will come back and bite you. MM: A few videos show your children in the shop or around the homestead. How early can parents or mentors introduce blacksmithing to kids? In your opinion, how early can actual training begin? Åhman: I don’t think there is a lower limit really. The child needs some strength to swing a hammer naturally, and to move steel you need some weight, so I guess that is the limit here. But you don’t have to forge to learn, just being around and maybe lend a helping hand can spark interest for the craft. MM: Any other thoughts about your blacksmithing that you’d like to share? Åhman: I’m a bit curious about what the future brings us when it comes to fuels and heating. Using coal and gas isn’t really sustainable, although our consumption is minute compared to industrial applications. Maybe we all need to go back and use plain old charcoal. It can be produced with fewer environmental impact compared to coal and it’s renewable. It’s hot and relatively clean. Induction heating is another possible option and Derek Melton’s article here is informative.
Visit Åhman’s YouTube channel here.
ABANA’s National Curriculum and certification help set co for future smiths By ABANA Education Committee and Janie Grela, ABANA Executive Director
This year has been a year of development for the Artist-Blacksmith Association of North America. ABANA is the primary national organization for blacksmiths and has perpetuated the noble art of blacksmithing for nearly 50 years. Established in 1973 by a group of smiths who recognized that the skills and traditions of blacksmithing needed to be preserved and passed on through teaching. ABANA membership is now more than 3,100 strong and more than 50 affiliates all over the country and also representing members in thirty-two countries. In the spirit of ABANA’s founding vision, the association is embarking on a new endeavor: the ABANA National Curriculum.
Launching the curriculum ABANA Education Committee Co-chair, Doug Eichert, visited Southern California in 2018 and was impressed with educational offerings that the California Blacksmith Association (CBA) provided to their membership. “I remember doing research about blacksmithing in California before my visit,” Eichert recalls. “I saw Vista Forge teaching Levels I-III of the CBA curriculum and I was thinking, why don’t the rest of the affiliates have something like this to offer?” While there, Eichert struck for John Williams while he was demonstrating at a CBA workshop.
Williams, who is from California, was already participating in the CBA’s curriculum at that time. When both were appointed to the ABANA board of directors in 2019 they had already developed a good working rapport with each other. From the outset, Williams was outspoken about fully adopting the CBA curriculum at a national level. He joined Eichert as Co-chair of the Education Committee, and they immediately started working out how to incorporate what the CBA was doing but on a national level. They remained mindful of how ABANA was best able to serve its membership and affiliates and so they constructed a strategy and stated their case. ABANA President C. Leigh Morrell and the executive committee agreed, recognizing the importance of sharing a successful and practical working curriculum with members, affiliates, and the blacksmithing world at large.
Adopting an affiliate’s approach The education committee made a motion before the board to fully adopt the CBA curriculum as the National Curriculum, which passed unanimously. This was made possible with the help and generosity of the CBA, who have been trailblazers as an ABANA affiliate and in no small part due to Mark Aspery who developed much of the current curriculum, as well as John McLellan.
m ourse
“The National Curriculum focuses the affiliated member toward the common goal of advancing one’s skill set,“ Eichert said. ABANA’s active affiliates are a dynamic part of how blacksmiths are engaged and mentored in the art form. Affiliates across the nation have partnered with ABANA to offer National Curriculum classes. The committee is also looking into the possibility of utilizing mobile classrooms to make the National Curriculum accessible to a broader audience.
Accredited instructors needed To make all this possible, the first order of business is establishing a nationwide network of instructors over the next five years. These accredited National Curriculum instructors will teach and evaluate the progress of students during workshops and conferences across the country. ABANA is currently accepting applications for instructor positions. Zoom sessions will be scheduled for instructor training in the National Curriculum Level III Grille, beginning May 6 and run weekly through to September. Those interested may apply for a place by clicking here. There is a limit of 15 spaces for the training. Preference will be given to motivated and experienced smiths who are willing to teach the National Curriculum as instructors at the local affiliate, regional and national level. It is not required to be an ABANA member to follow the curriculum; however, being a member
will have many advantages. ABANA members who complete each level will receive a certificate that recognizes their hard work and achievement. Also, members who are involved with the curriculum will have a designation on ABANA’s on-line membership directory, noting their achievements for each level attained. This directory is a searchable database that helps connect blacksmiths with opportunities such as teaching, exhibitions, continuing education, commission work and collaborations. For a smith who wants to receive National Curriculum instructor designation, ABANA membership is a prerequisite.
Perpetuating the art There is value in creation. The ability to forge metal to yield to the vision and sophistication of one’s imaginings is a wealth gained through practice and patience. The Artist-Blacksmith’s Association of North America aims to stoke the aspirations of blacksmiths everywhere. The National Curriculum is a tool for the accomplished and student alike, to perpetuate the noble art of blacksmithing. For information on becoming an ABANA member visit www.abana.org Photo above: The new home of ABANA headquarters and gallery in Johnston, Pennsylvania.
The M
Brian B
Pickup tong design I came up with this design for these tongs after working with Alfred Habermann (1930-2008), one of the great European artist blacksmiths. He was made an honorary ABANA member in 1980. He did not use tongs exactly like these for hammer making. I have always called them a modified Habermann pickup tong. They have a few modifications that make them the best tong that I have ever seen or used for making top tools and hammers. The first modification is the hole placement which came as a result of adding the drawn out corner at the first bend. Not only does this make it easier to make this style of tong, but it allows you to open the jaws wider without having your reins open as wide. You can hold everything from a sledgehammer to the smallest tool with a comfortable grip. Habermann’s rivet was closer to the first bend. The next modification is the proportion of the jaw arms. The shorter arm to the longer arm proportion is important for holding all sizes of tools securely. Finally, the addition of the turned up ends of the jaw acts as a stop or register while you forge your fuller lines for hammers or the struck and working ends of top tools. I would emphasize the importance of the drawn out corners not only
Master’s Realm
Brazeal shares his expertise and wisdom
for the use of the tong but also the making and maintaining of the proper lines and angles of the tong. Not only are these corners strong but the ease of making the lines, angles and corners free handed without any jigs is nice.
Flat jaw tongs design This is one of the most common styles of tongs because it’s easy to make for beginning blacksmiths. But don’t let ease cause you to rush. The reason I chose to offer this example here in Moving Metal Magazine was to emphasize not to forge too much too fast. I used rebar in the first couple of steps to show this. You can see the evidence of the starting stock up until the jaws are tapers and boss before punching. The last step shown in the photo at right that is ready for riveting was made with 3/4-inch round mild steel. I won’t go into step-by-step comments here but simply invite you to click on my video below.
You can see dozens more of Brazeal’s instructional videos at his YouTube channel and you can follow him at his Instragram account.
Forged in Fire champion Billy Salyers drops his story on us and proposes that blacksmithing is experiencing...
than two years I was a Forged another year I was a full-time
Blacksmithing has been called the king of crafts. It’s also been called a dying art. Nearly pushed to extinction by the industrial revolution and the digital age. How wonderful that its resurrection can be partially credited to the factors that caused its decline. Digital media provides a means for aspiring smiths to learn, on some level, from talented smiths across the world. Industry provides affordable tools easily sourced by any beginner until such a time he or she can begin to forge higher quality tools. Mine is such a story. I’ve been a hands-on guy my entire life. Taking apart toys as a kid to see how they worked, I saw something in my children’s generation that was missing, a love for manual labor and a lack of skill for it in the absence of that love. I set out to fix that, at least with my children. We started summer projects, building sailboats, raising chickens, etc. But it was when we decided to use my grandfather’s anvil and hammers and learn to forge a knife that the renaissance began for us. We fell in love. Our first projects were crude by any standard, but that is the joy of learning. There is always room for improvement. We took the route of learning how to make the tools we needed to make the things we wanted to make. In less
But the Renaissance was mor to make better and better tool becoming part of a communit diately upon striking hammer to a group of smiths, many wh years, all of whom were excite interested in learning their wa tools and encouragement eve
I’ve found this to be nearly un greatest mentors in the craft i rightly view me as a competit as an opportunity to pour his new generation.
Blacksmiths have been called cause they can make their ow petuate their craft throughout that the smiths who share the renaissance do one better. Th times beyond their own.
Because of the encouragemen support my family with fire an nearly the last year overseas a faith using smithing and fundi ing hand-forged roses. I’ve ha across the country and to oth
There is something about the
A Renaissance in the Greatest of Crafts
d in Fire Champion, and in bladesmith.
re than just about learning ls or blades. It was about ty of creators. Almost immer to steel, we were introduced ho had seen more than 70 ed to see a few “yunguns” ays. They shared knowledge, ery step of the way.
niversally true. One of my is a bladesmith who might tor, but instead, he treats me decades of knowledge into a
d the king of craftsmen bewn tools and therefore pert their lifetimes. I would argue eir knowledge as part of the hey share their craft into life-
nt I’ve been given, I now help nd steel. My son has spent as a missionary sharing his ing his way to do so by makad the opportunity to travel her countries to do the same.
e ring of the anvil that draws
people near, something that make them want to stop and see. In ancient times blacksmiths would work with their backs to the doors of their shop. This had a twofold effect. It blocked the sunlight allowing them to see the colors of the steel more easily. But is also guarded their work from prying eyes and protected their secrets. Today, smiths work with open doors, and with rolling cameras for that matter. We share our work because we love to see other people share the excitement we feel for this great craft. Does this mean that sometimes people use our ideas as their own? Of course. But to borrow the words a cantankerous old farrier once shared with me, “If they can make it better than I can, I’ll buy it from them ... I ain’t bought one yet.” Now, don’t mistake what I’m saying there. There are plenty of more talented smiths than me in this world, but that just drives me to be better. And teaching others who will one day exceed my skill, makes me better still. Many people credit shows like Forged in Fire with the renaissance in smithing, and certainly a fair share of credit is due, but the real reason we are experiencing a renaissance in the king of crafts is because the craftsmen and craftswomen have graciously stepped out of the doorway and welcomed us into their shops to learn. And for that great gift, we should all be grateful. God bless and forge on!
Savannah Taylor
Blacksmithing gives a path to artistic exp
One of our goals at Moving Metal Magazine is to help grow the craft by featuring young people taking up the hammer. Here we introduce you to teen blacksmith Savannah Taylor. She lives with her parents, and doting dog Darcy, on their 21-acre hobby farm in Statesville, North Carolina. MM: Savannah, you indicated your fascination with blacksmithing began at age 13. How did you get exposed that it captured your attention so? Taylor: I heard about blacksmithing because a few people I knew at the time were getting interested in it. I really wanted to try it because I’ve always loved working with my hands and creating. My parents were very supportive and found a local blacksmith that I could get a couple classes from. MM: Still just 17, many will be surprised at your craftsmanship. Do you think being a teen blacksmith limits you in any way?
first projects you were ready to show the world? Taylor: It was probably around a year till I felt comfortable showing my work. The first projects I was proud of were some towel rings, fire pokers, and other simple items. Looking back I cringe at how some of those projects looked, but it’s pretty cool to be able to see all the progress I’ve made since then. MM: Your work today shows refinement. Did you have a tutor along the way? Taylor: I took a weekend class a few years back that taught some of the basic techniques of blacksmithing. Then later on a friend of mine gave me a knifemaking class. Since then I have not had any other classes, so I’m mostly self taught. There are also a couple local blacksmiths who have helped me out at times with various things. MM: Would you say your Amish background has
North Carolina teen pression Taylor: I’ve found it very difficult at times to keep up with school and still have enough time to keep up with orders. Also, because of my age I’ve had less blacksmithing and life experience, so I feel that limits me sometimes.
MM: Describe early days when you actually began in your small forging area in your backyard. What were your first tools? Your first projects? Taylor: My early set up was a homemade coal forge and a railroad track anvil. My dad built me a small lean-to off of our barn for my first shop. I made a lot of hooks, fire pokers, and some really awful knives. MM: Your Etsy page indicates you worked on your technique and craft until you could proudly call yourself a blacksmith. How long was it before you felt ready to call yourself that? What were those
had any influence on your work? How about your approach to blacksmithing?
Taylor: My family’s Amish background has mainly influenced my work ethic. I’ve always been very inspired by the dedication and hard work the Amish put into their craft. When it comes to blacksmithing, I try to have the same dedication and attention to detail I see in their work. MM: Do you see making blacksmithing as your career or is it more of a side gig for you? Taylor: I think eventually I would like to blacksmith full time, but for the time being it’ll be just a side gig. For now I’m really not sure what I want to do. I’m looking at various options right now, particularly welding. MM: I’ve read a few comments you made in Instagram posts that you are practicing on a given
project. Do you practice a project a lot before you come to a version with which you’re satisfied?
favoring most of the time. Are there any pieces of equipment you’d like to add to your shop?
Taylor: I usually come up with an idea and sketch it out a few different ways. Sometimes the first time I forge it out I’m perfectly happy with it, but then there are times that I make a project a few more times until I like it.
Taylor: My new shop is still a work in progress so there’s a lot I still want to add to it. I’ve slowly collected various tools through the years, and I prefer not to use power tools when I don’t have to. So when it comes to equipment, I don’t have a huge variety of that.
MM: You seem to favor the small ornamental and functional pieces. Is that your sweet spot or do you also forge other items? Taylor: I do particularly love the ornamental and artistic side of blacksmithing, but occasionally I’ll make tools that I need such as tongs, punches, chisels, etc. MM: There is quite an organic feel to your pieces. Is that intentional? Taylor: Yes that’s intentional. I would say my style right now could be described as simple elegance. I love my work to look delicate and beautiful and be functional at the same time. MM: We’re all aware there is a gender disparity in blacksmithing. Does this inspire you, motivate you? Taylor: I honestly don’t think about it very much. I realize there aren’t nearly as many female as male blacksmiths, but I do think more women are getting into the craft than people realize. MM: Do you have any smiths you look up to? Who have been your influences and inspiration? Taylor: I really am inspired and influenced by so many different smiths, but I would say particularly Roy Adams and Joey Van Der Steeg. They’re so incredibly skilled, and I learn a lot just from looking at their work. I also love Jenny Pickford’s work. Her sculptures are beautiful, and I’d love to do work like that at some point. MM: Describe your current shop set up, your key equipment or machines, what hammers you’re
I mainly use cross-peen and ball-peen hammers. Ball-peen hammers are sometimes my favorite for very delicate work. I’d love to have a larger tool collection in general and at some point get a power hammer. MM: You helped fabricate your own coal forge. Describe the design choices and if you would change anything today now that you’ve used it for a while. Taylor: The blacksmith, Scott Beam, who fabricated it actually helped me make most of my design choices. I really didn’t know much about what I wanted. I just knew I needed an upgrade. I chose most of the sizes for it based on the size of Scott’s forge. After using it for a while, there’s still nothing I would want changed on it. It’s pretty much my dream forge! MM: Your forge is solid fuel. Do you have a gas forge in your shop? Taylor: I don’t use a gas forge for anything right now. I really prefer coal because it can reach such high temperatures, and that comes in very handy for forge welding. Even though gas forges are much cleaner I have a lot more fun using coal. MM: Your Instagram description lists the famous Bible verse from Colossians about doing good work enthusiastically. Would you describe yourself as a person of faith? Taylor: Yes I would describe myself as a person of faith. It really plays the biggest role in my life because it affects every area of my life, even my work.
Above: Savanna working with Scott Beam to fabricate her coal forge. Savanna working at her forge and anvil in her shop.
My faith in Jesus is really the most important thing to me in life. MM: I’ve seen a photo of your beautiful Great Pyrenees. Is it performing as an livestock guardian dog on the farm? Can you describe the farm? Taylor: Darcy isn’t really a LGD. My family just loves Great Pyrenees because they’re super friendly and very protective. I live on a small hobby farm. It’s about 21 acres, and we raise goats and sometimes chickens and pigs. We also have a couple horses and pet pot-bellied pigs. MM: What kinds of projects are you hoping to make in your future? Taylor: I want to do some larger scale ornamental work. I’ve actually designed a pretty large sculpture that I hope to get started on sometime this year. I also hope to develop more toolmaking skills. I’ve always wanted to learn how to make hammers. MM: Have you done any collaboration work with other smith? Is there a smith you’d like to collaborate with? Taylor: I’ve really not done any collaboration with any other smiths yet. At some point I really want to collaborate with Billy Salyers (Yellow Rose Forge). Billy makes some of the most beautiful knives I’ve ever seen, so I would absolutely love to work with him.
Similar to the pieces at left, you can find more examples of Savannah Taylor’s work on Instagram.
Videos you may have missed
Each issue, Moving Metal Magazine will present six videos that have something of interest for readers that likely have slipped under most people’s radar. If you know of a video others may have not seen and you think is worthy to share, be sure to let us know.
Slowing down a belt grinder by Make Everything
Site fitting a forged gate by Phoenix Forge
Forge a classic hair pin by Survival of the Fittest
Oak leaf hook rack by Oscar Duck
Folsom knot table lamp by Stone County Ironworks
Blacksmith’s treadle hammer (unique) by Jim Cooper
Brandon Lee Dearing welds blacksmithing to family business
I’m a third-generation craftsman. For as long as I can remember, I’ve worked with my hands. My father has a background in construction and drywall that he learned from his father, and in the early 1990s he began refinishing and selling antiques. He launched into antiques full time and from there he developed an eye for old world European furniture and design. He used those skills to start a business reproducing architectural elements patterned after the old-world styles. Instead of taking old wood and refinishing it, he began building new pieces and distressing them to look centuries old. He builds book cases, tables, fireplace mantles and beams for high-end homes around the country. My brothers, sisters and I grew up working summers in his business. I remember when I was six my dad would sit me in his lap in front of the bandsaw and teach me to cut out shapes from the wood. At 14 I was introduced to the world of blacksmithing. Growing up on a farm I was always carrying knives in the woods, I spent hours trying to hone the cutting edges of my blades, only to have them quickly dull after using them. My dad knew of a guy who forged his own blades. He had been blacksmithing since he was eight after a custom knife maker took him under his wing and showed him how to forge. My dad asked this bladesmith if there was a better way for me to sharpen my knives, a better whetstone I could use or a different sharpening technique. He said the main problem was the quality of knives I was using. He offered to teach me how to forge knives from good steel. I showed up at his shop and he introduced me to The majority of heating steel and shaping it with a hammer, as what we do comes well as how to heat treat and temper knives for a much better, sharper, and tougher blade. from being self-
taught. Constantly experimenting with new finishes for our woodwork, or new ways to bend and shape hot metal.
After spending time with him, my dad was inspired to buy a forge and an anvil, and we began thinking of ways to improve the products we offer. It comes naturally in a small business to try and innovate and improve.
We began to incorporate hand-forged iron into the furniture and design elements that we offered. Europe and early America were full of examples of iron forged into design elements. We learned how to forge iron hand rails, fire screens, door pulls, barn door tracks, and iron brackets used to bolt ceiling truss beams. The woodwork and the blacksmithing both work well together. We often forge lag bolts, straps or braces out of iron to help mount our doors, tie our tables together or support our trusses. The majority of what we do comes from being self-taught. Constantly experimenting with new finishes for our woodwork, or new ways to bend and shape hot metal.
I like the idea of combining different materials to help make products that will last generations. So much of our modern culture focuses on quantity rather than quality, speed rather than style. I believe that many people are getting tired of our throw-away society. I think that our culture is starting more and more to look back at the way things used to be done, how things used to be built. In that way I believe that blacksmithing can tell a story. If something is hand forged, no two pieces are exactly alike. And as you swing the hammer, you’re in complete control of how you’d like the project to turn out. You can forge something simple and practical, or test your creativity, twisting and bending and shaping the steel to add decorative flourishes to your work. When I turned 18, I decided to continue working with my hands to help pay my way through college. Early on though I chose to continue working with my hands in the family business and started branching out in selling products of my own in Kansas City, Missouri. My father and I continue to work together on projects for his business and he helps me with mine. Part of what we want to start doing is offering classes online on how make the things that we do, and help people as they want to start working with their hands and making things around their homes that at the end of the day they can be proud of. Selling a product is one thing, but we also want to inspire the kind of people who would love to be able to build their own fireplace mantle, or their own shutters, or forge their own knife. I enjoy being able to put my mark on something that at the end of the day will stand the test of time. As a Christian I believe in doing anything I’m engaged in to the best of my ability. Often times I’m working on small details that few people would ever notice, highlighting the steel after it’s been forged, distressing the wood so it looks authentically aged, getting a wood glaze to match just right. I continue to work in a variety of different disciplines. People who work with their hands or seek to preserve a time-honored craft, are in my experience a very welcoming community who will take time out of their schedules to help introduce you to their passion if they sense you sincerely want to learn.
I was fortunate to be introduced into woodworking by my father who was already a very established designer and craftsman, often called a Renaissance Man by his clients, I was able to learn the skills of blacksmithing by a world-class bladesmith who’s been forging since he was eight, I was taught leather working from a custom saddle maker who runs a leather shop that he took over from his father-in-law. A few years ago I was introduced to silversmithing and was able to start working with different precious metals. I was able to learn trapping and snaring from one of the best trappers in the country. Just a few decades ago, blacksmithing was considered a dying art. But now this ancient craft and others like it are experiencing a renaissance, with young men and women like myself able to innovate and try new things, while at the same time learning from previous generations.
Induction heaters Brushing away the scale of confusion Contributing smith and Forged In Fire champion, Derek Melton, writes to clear some of the confusion around the Chinese-made 15kw machines and to provide some guidance for those looking to add one to their shop.
My first exposure to an induction forge was at the shop of Clay Spencer in 2019. I took a power hammer tooling class in which we used the induction machine to do some of the forging. I was unable to stop thinking about these incredible machines for months afterwards. I don’t pretend to know all there is about the science and technology behind an induction machine, but I can cover the basics. As I understand it, an induction heater uses electromagnetic induction to create friction in the molecules of a conductive material, such as steel. The heater is built with an electronic oscillator that sends high-frequency AC power through the magnet creating a magnetic field into which a steel can be passed. The resistance of the molecules of the steel causes it to heat from inside.
Growing Use These machines have found a spot in some blacksmiths’ shops now because they can quickly and cleanly heat steel to forging (even welding) temperatures without using an externally applied heat source such as coal, propane, natural gas, etc. When I began shopping for an induction heater for forging purposes, I found the process to be a bit confusing. A quick search on eBay showed all kinds of different machines, many with varying numbers of water ports, different paint schemes, and prices that varied to a wide degree. After many questions and a good bit of research, I believe I can say with confidence that the Chinese company LiHua is the primary manufacturer of most of the machines found online. The different colors, number of water ports and the front panels seem to change based on the model year in which they’re made. From what I could gather, it seems that there are many vendors who
buy these machines in bulk for resale. Therefore, an online vendor in 2021 could be selling machines made years ago, which may look different but have the same performance statistics. I also found that the popular U.S. Solid brand of induction heater, is in fact a re-branded, re-painted LiHua LH-15 unit. Based on my experience and the experience of others who have followed my web guide, I think that most of the machines sold online appear to be of similar quality. Prices in 2020 ranged from $600 to $1,100 for what I believe to be the same machine. After doing my initial research I decided to purchase a 15kw 220-volt machine. I watched the sub-$700 models on eBay for a year before I bought mine and during that time, I noticed they would occasionally be unavailable for a time but then later re-stocked with certain vendors. If you’re okay not having local, U.S.-based support, keep watching eBay or AliExpress for a 15kw induction heater until you see one that you like that fits your budget. My experience buying the machine was painless, it arrived in a wooden shipping crate, well packed with cardboard and foam and with two pre-made (albeit too large) coils. After unpacking, I made slight modifications to my induction heater to meet my own quality and safety standards.
Needed Modifications Many of these units come with dangerously exposed wiring terminals on the back of the machine. On mine, the ground was at the bottom on the outside in the rear, just below the water out ports while the 220-volt terminals were located near the top under an open, hinged lid. I did not like having these wires and terminals carrying 220 volts so exposed and vulnerable, so I added a small junction box with strain relief for the main wire. I then re-routed the ground inside the case and used
some good, shrink-fit ring terminals to attach the wires inside the case. I added a digital aquarium thermometer to monitor the water temperatures in the cooler. I mounted it to the induction heater and can see the water temperature easily while forging. The goal is keeping water temperatures below 130 F in use and to see when the water temp is nearing freezing in winter.
Tubing and Coils If you’re living in a country that does not use metric fittings, you will need to make adapters to change from the 8 MM tubing to ¼-inch tubing and corresponding nuts. This will be the case if you want to make your own coils. I simply made an adapter using short sections of the original 8 MM tubing soldered to ¼-inch adapters. This allows me to use standard, off-the-shelf parts from a local hardware store to make my own coils. These induction heaters require a water-cooling system. Whether that be a turn-key cooling system you buy or one that you build, they absolutely will not function without it. The internals of the induction heater can get very hot, cooling them properly is key to longevity with these machines. A water chiller circulates cooled water through the machine and through the coil to manage the temperature. There are two primary requirements for the water-cooling system: sufficient pressure and a correct temperature range of the coolant. Without adequate water pressure or sufficient cooling, the machine will sound an alarm and shut down. This is a fail-safe to prevent you from damaging your machine. I decided to go the turn-key route and purchased the 110-volt WS-25L water chiller which is a 25-liter TIG welding cooler. An induction machine is only as effective as the coils you make for it. The coils should be appropriately sized for the material you are planning to heat. Just as a blacksmith may have dozens of types of tongs for various material, you will soon discover that you will have dozens of types of coils. A general rule of thumb is to make the coils with approximately 5 MM of space between the material being heated and the inside of the coil. Initially, I had trouble getting the material hot enough when trying to heat ½-inch square mild steel bar with the oversized 2½ -3-inch coil that came with my machine. I made my first couple of custom coils by
Melton’s induction heater setup, front and back, showing modifications with hose and wire arrangements and the 25 liter cooler.
winding ¼ inch copper refrigeration tubing around different sizes of pipe. After making the appropriately sized smaller coil, I was able to get a ½-inch bar to a spark-throwing welding heat in less than 30 seconds at full current. Copper coils will last longer with a bit of care. I coat them with Meeco Gasketing Cement and Furnace Sealant. It’s a somewhat sticky substance that dries to a hard, rubber like coating and resists temperatures up to 2,000 F. Having the coil coated with this sealant or a ceramic flexible tubing does not affect the heating capabilities at all and keeps you from making contact with the copper and causing a short, which almost always results in a startling shower of sparks and if done enough, can burn a hole in your copper tubing and allow water to suddenly spray out of the coils. I’ve found that I need to re-coat the coils occasionally as I wear through the coating from being careless with material in the coil. Coils will vary in their effectiveness based on the number of turns and the width between them. I have found that with these 15kw machines, too many turns can cause the machine to fault and not function correctly. For ‘standard’ coils I have found that 3-5 turns appears to work well. There are various other types of coils that can be made to allow the user to not have to pass material through a loop, sometimes these are referred to as “taco” coils, “pancake” coils, etc.
Cost Savings One of the most common concerns that people have when they see these machines is that they believe that they will greatly increase the cost of their electric bill. These machines are only drawing about 35 amps when the machine is engaged to heat material. Since it does that task so quickly,
that engagement period is typically very short. I have not found that my electric consumption has increased to a noticeable degree since moving primarily to induction heating for my work. In a nutshell, I have compared my electric bills over a six-month period between this year and last year and I can see no significant increase in my monthly payments. There may be a $10 or so difference but nothing extreme. I have however, seen a drastic decrease in the amount of propane I have had to buy, so I call that a win. I have found these machines to be extremely effective for forging and after using one for an extended period. I feel safe in saying that, if possible, I will always try to have one in my workshop. It has become a daily use tool and has changed my forging process for many of the products that I make in the shop. You can find an Induction Forge Facebook group.
Launch the Melton Forge Works podcast
Product Review: by Dan Grubbs
Clothing is not the first thing that comes to people’s mind when they think of tools. But, there’s not much out there that is as hard on clothing as blacksmithing. So, it made sense to offer a review of some carpenter pants that could be your next tool purchase. I’ve been wearing Smith’s Workwear clothing for about three years now with very happy results. I’ll give you a review of their basic carpenter pant that I wear on our homestead for chores and in our workshop. The thing that sets this pant apart from other value brands is the durability for the money.
Durability for the money Like most homesteaders, I have my share of Carhart products. I’ve never been displeased with any clothing from Carhart. However, my wife is frugal and made an online purchase of several Smith’s Workwear carpenter pants and I immediately put them through the paces on our 15 acres. Smith’s Workwear is a brand of the American company in Brooklyn, New York, originally known as the Brooklyn Overall Company which began in 1906. Their website indicates they are a family-owned fourth-generation company.
These carpenter pants are cut with plenty of room to move, kneel, bend, sit and other activities normal for an active homestead and shop. Features include a hammer loop, side plier pockets on the outside of the right thigh, deep front pockets and standard back pockets. The pockets are rivet reinforced at the stress points, and all elements are double stitched. The panels of the pants are sewn together with triple stitching.
Tough against abrasions The duck cloth is tightly woven, and its weight is sufficient enough to withstand abrading from the standard scrapes and scuffs that occur on a homestead or in an active workshop. It will protect the wearer’s skin from quite a bit, including welding activity. However, the cotton duck is also light enough to breathe so the wearer does not overheat in warmer temperatures. It’s certainly tougher than denim, yet light enough for a hot shop. I’m always bothered by the way leather belts end up with a kink caused from pressure by the top of the back belt loop. Smith’s Workwear not only provides wide belt loops, but also employs two back belt loops about an inch apart on these carpenter pants. This spreads the pressure on the belt and helps provide a more secure cinch while keeping the belt within the waistband with eight loops. A robust brass zipper is another key feature of these carpenter pants. The tab is easily gripped and worked smoothly up and down the teeth. Being brass, they resist corrosion and are more resistant to abrasion from actions around the workshop. I have not had a zipper failure in any way. The waist
carpenter pants band is secured with a large brass button grommeted through the material.
Passing the test of use After about two year’s worth of building projects, care of homestead animals, shop activities and house maintenance I finally did wear through the knee of my first pair. However, I will admit to a lot of kneeling work in limestone gravel in that period. Simple knee patching gives these well-constructed pants extended life. I’ve not had any other part or portion of the pants fail or wear out. Being cotton, there will be some minor shrinkage, much like a pair of denim jeans. They will wrinkle a bit from washing and drying, but wear will relax the material back to normal. Having spent many hard hours in these pants, I can highly recommend them to anyone needing a pair of good shop or work pants. Then, when you factor in the cost, it’s a no brainer. My wife purchased my first three pairs online for less than $20 each. Now I rotate them. Our happy find in these carpenter pants led us to purchase other Smith’s Workwear clothing, such as base layer flannel shirts and outer layer flannel shirt-jackets, and a knit cap for winter. You’ll likely have to find these at a reseller, such as Amazone or other. For a value-type brand, Smith’s Workwear performs like a premium brand with the stylings that you come to expect from the popular brand.