Jul aug 2013 fabricator

Ornamental and Miscellaneous Metal

Fabricator ®

The official publication of the National Ornamental & Miscellaneous Metals Association

July / August 2013 $6.00 US

Mitch Heitler Award for Excellence

Boyler’s Ornamental is 2013 best in class Gate reaches back to the Wright time, 44

Mike Boyler

Shop Talk Colorizing bronze with premixed patinas, 14

Shop Talk Rosettes with you in mind, 25

Member Talk Nielbock’s old world meets new world, 34

Biz Talk How to change behavior of sales staff, 54

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Questions? Contact: Liz Johnson, Member Care & Operations Manager: (888) 516-8585, ext. 101, liz@nomma.org 2013-07-fab

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Inside

July / August 2013 Vol. 54, No. 4

Member Talk

NOMMA Network NOMMA chapters have successful meetings........................... 10

The Upper Midwest Chapter, Northeast Chapter, and Gulf Coast Network Group meetings showcase speakers and demos.

NOMMA grieves loss of Ed Mack. 11 Shop Talk Colorizing bronze with premixed patinas..................... 14

This article introduces the reader to methods of applying pre-mixed patinas to bronze, copper, and brass.

By Ronald Young

“Uncle Bob” Walsh shows you how to design and lay out rosettes.

Story, page 25.

Mitch Heitler Award Profile Reaching back to the Wright time.........................44

Boyler shop lands ‘best of the best’ Heitler Award using 100-year-old techniques to restore Frank Lloyd Wright landmark gates and grilles.

By Molly Badgett

Shop Talk Rosettes with you in mind............ 25

In this article, you will learn how to design and layout round or square rosettes in any size to suit your project’s needs.

By Robert “Uncle Bob” Walsh

Old world meets new........................... 34

Carlos Nielbock builds C.A.N. Art Handworks into company that makes history relevant today and wins Top Job awards.

By Linda M. Erbele Biz Talk So, you’ve changed your sales strategy?........................... 54

How do you change the behavior of a resistant sales team to match your new goals? Here are seven ways how.

By Dave Kahle What’s Hot! Industry News.................................... 61 Products Benders............................................... 60 Notchers.............................................. 62 Suppler Members............................. 58 New Members.................................... 59 Ad Index................................................ 65

President’s Letter........... 7

Exec. Director’s Letter.... 8

NEF................................... 12

Metal Moment............... 66

NOMMA sets high goals.

The question behind the question.

Remembering a good friend — Todd Kinnikin.

NOMMA ListServ Q&A: Oilrubbed bronze finish on steel

About the cover Boyler’s Ornamental Iron Inc., Bettendorf, IA, recreated this intricate entrance-door gate to win NOMMA’s Mitch Heitler Award for Excellence as the best of the best Top Job winners. See story on page 44.

July / August 2013 n Fabricator

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President’s Letter

NOMMA sets high goals

By J.R. Molina

all past, current, and potential members.

As I stated at METALfab 2013 in With membership as our Albuquerque, NM, your top priority, I sent a personal NOMMA Board of Directors is letter to some potential Texas working hard on NOMMA’s NOMMA members introducing strategic plan; more specifically, them to their trade association.

NOMMA’s “BHAG,” otherwise In the letter, I explained some of J.R. Molina, Big the great benefits of becoming a known as the “Big Hairy D Metalworks, Audacious Goal.” With the NOMMA member, such as the is president addition of Cathy Vequist, Greg of NOMMA. NEF Online streaming videos, Bailey, Henry Wheeler, and NOMMA ListServ, NEF WebiDave White Jr. to the Board of nars, and the many free downDirectors, the Board is comloads on NOMMA’s website. prised of strong individuals to lead us My personal goal is to reach at least through the possible tough times 700 members before METALfab 2014 ahead. (we have 551 members now). This goal is achievable but will require help from Membership goals the entire membership.

During our June meeting in Dallas, As Bruce Witter and I mentioned TX, NOMMA’s Board members vigorat the last METALfab convention, ously examined the association’s plan for members are a vital part to NOMMA’s the upcoming year. The Board ranked success. Each member’s participation increasing membership as the top priand involvement augments the bounority, and it outlined three objectives: tiful knowledge and resources that NOMMA promotes and shares. n Developing a new marketing plan to encourage both new and continued The NOMMA staff and board memmembership; bers are working hard to advance the association by making improvements n Re-evaluating NOMMA’s current benefits to add new value-driven bensuch as the possible tiered dues plan, a efits and eliminate benefits that are no new marketing plan, and current memlonger vital; and ber benefits review. n Creating a tiered dues membership for the association.

A call to members In late April, the NOMMA staff, With these goals in mind, NOMMA with the help of Gina Pietrocola and needs help from its membership. We’re Cathy Vequist, distributed an email sur- asking members to sponsor one of their vey to the membership. The results con- vendors or subcontractors or even a past firmed NOMMA’s membership demomember who understands NOMMA’s graphics and current benefits used or value, but can’t afford the dues. not used by members. I appreciate and With the increase in membership, want to thank each of you who comNOMMA can continue growing and pleted and returned the survey. assisting members in achieving greater The information collected will help success. As always, the NOMMA staff the Board develop a tiered dues memand Board members are here for you bership plan. Our objectives for the and look forward to your continued tiered dues plan are to: involvement with the association. n maintain our current members, n generate new members, and n make membership affordable to

July / August 2013 n Fabricator

Dedicated to the success of our members and industry.

NOMMA O FFICERS

President J.R. Molina, Big D Metalworks, Dallas, TX President-Elect Mark Koenke, Germantown Iron & Steel Corp.

Jackson, WI Vice President/Treasurer Allyn Moseley, Heirloom Stair & Iron, Campobello, SC Immediate Past President Will Keeler, Keeler Iron Works, Memphis, TN

F ABRICATOR D I RECTORS

Greg Bailey, Bailey Metal Fabricators, Mitchell, SD Keith Majka, Majka Railing Co. Inc., Paterson, NJ Tina Tennikait, Superior Fence & Orn. Iron, Cottage Hills, IL Greg Terrill, Division 5 Metalworks, Kalamazoo, MI Cathy Vequist, Pinpoint Solutions, Jupiter, FL Henry Wheeler, Wheeler Ornamental Metals, Dothan, AL

S U PPLI ER D I RECTORS

Rick Ralston, Feeney Inc., Eugene, OR Mark Sisson, Mac Metals Inc., Kearny, NJ Dave White Jr., Locinox USA, Countryside, IL

NOMMA E DUCATION F OU N DATION O FFICERS

Co-Chairs Roger Carlsen, Ephraim Forge Inc., Frankfort, IL Lynn Parquette, Mueller Ornamental Iron Works Inc., Elite Architectural Metal Supply LLC, Elk Grove Village, IL Treasurer Mike Boyler, Boyler’s Ornamental Iron Inc., Bettendorf, IA

NEF T RUSTEES

Heidi Bischmann, Milwaukee, WI Carl Grainger, Grainger Metal Works, Nichols, SC Mark Koenke, Germantown Iron & Steel Corp., Jackson, WI Christopher Maitner, Christopher Metal Fabricating, Grand Rapids, MI Rob Rolves, Foreman Fabricators, St. Louis, MO

NOMMA C HAPTERS

Chesapeake Bay Patty Koppers, President, Koppers Fabricators Inc. Forestville, MD 813-248-3348 Florida Marco Vasquez, President, Pinpoint Solutions, Jupiter, FL, 561-801-7549 Gulf Coast Charles Perez, President, B & O Machine Welding, Brookhaven, MS, 985-630-6943 Northeast Keith Majka, President, Majka Railing Co. Inc., Paterson, NJ, 973-247-7603 Pacific Northwest Gale Schmidt, President, A2 Fabrication Inc., Milwaukie, OR, 503-771-2000 Upper Midwest Mark O’Malley, President, O’Malley Welding & Fabricating Inc., Yorkville, IL, 630-553-1604

NOMMA S TAFF

Executive Director, J. Todd Daniel, CAE Meetings & Exposition Manager; NEF Executive Director, Martha Pennington Member Care & Operations Manager, Liz Johnson Editor, Robin Sherman Sales Director, Sherry Theien

F ABRICATOR E DITORIAL A DVISORY B OARD

Terry Barrett, Pinpoint Solutions, Jupiter, FL Doug Bracken, Wiemann Metalcraft, Tulsa, OK Bill Coleman, Arc Angels, Dunedin, FL Nancy Hayden, Tesko Enterprises, Norridge, IL Chris Holt, Steel Welding, Freedom, PA Rob Rolves, Foreman Fabricators, St. Louis, MO

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Ornamental & Miscellaneous Metal Fabricator (ISSN 0191-5940), is the official publication of the National Ornamental & Miscellaneous Metals Association (NOMMA).

O&MM Fabricator / NOMMA 805 South Glynn St., Ste. 127, #311 Fayetteville, GA 30214 Editorial We love articles!

Send story ideas, letters, press releases, and product news to: Fabricator at address above. Ph/Fax: 888-516-8585.

E-mail: fabricator@nomma.org.

Advertise Reach 8,000 fabricators For information, call Sherry Theien, Ph: 815-282-6000. Email stheien@att. net. Ads are due on the first Friday of the month preceding the cover date. Send ads to: Fabricator at address above.

Email ads to: fabricator@nomma.org (max. 5 megs by e-mail). Or upload ads to our website where a downloadable media kit is available: www.nomma.org.

Membership Join NOMMA! Beyond the magazine, enjoy more benefits as a NOMMA member. To join, call 888-5168585, ext. 101. For a list of benefits, see membership ad in this issue.

Exhibit in METALfab Exhibit at METALfab, NOMMA’s annual convention and trade show. For more information, contact Martha Pennington at 888-516-8585, ext. 104, or martha@nomma.org.

Subscriptions Subscription questions?

Call 888-516-8585. Send subscription address changes to: Fabricator Subscriptions, 805 South Glynn St., Ste. 127, #311, Fayetteville, GA 30214. Fax: 888516-8585, or fabricator@nomma.org.

1-year: U.S., Canada, Mexico — $30 2-year: U.S., Canada, Mexico — $50 1-year: all other countries — $44 2-year: all other countries — $78 Payment in U.S. dollars by check drawn on U.S. bank or money order. For NOMMA members, a year’s subscription is a part of membership dues.

NOMMA Buyer’s Guide Published each December as a separate issue. Deadline for all advertising materials is October 31. Contact Sherry Theien at 815-282-6000 or stheien@att.net.

Opinions expressed in Fabricator are not necessarily those of the editors or NOMMA. Articles appearing in Fabricator may not be reproduced in whole or in part without the express permission of NOMMA.

© 2013 National Ornamental & Miscellaneous Metals Association 8

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How to reach us

Executive Director’s Letter

The question behind the question

By Todd Daniel

people by being a role model and providing regular training.

During the June Board Meeting The most remarkable aspect in Dallas, TX, Board members of the book is that it shows how were treated to a leadership to transform a negative workclass conducted by Merritt place into a positive one. BehavFelmly, Ph.D. Dr. Felmly, a iors, such as playing the “blame long-time business coach and game,” victim thinking, comTodd Daniel is executive trainer for Big D Metalworks, plaining, whining, and procrasdirector of led the board in a four-hour tination, are all negative energy.

NOMMA. session titled, “QBQ: A Pathway By “flipping” questions, the To Personal Accountability.” negatives can become posiHis talk was based on the popular tives. For example, our presenter said book titled QBQ: The Question Behind that we should not ask “why,” “when,” the Question by John G. Miller, who or “who” questions. Rather, we should encourages personal accountability at ask “what” and “how” questions. Plus, work and home. Pointing fingers and our questions should contain an “I” blaming others won’t solve problems, the and not a “we,” “they,” or “you.” And, author says. Rather, the solution is to use thirdly, the question should focus on the power of personal accountability. action. For example, “How can I help To shift your attitude, Miller says, our team make deadlines?” learn to ask “the question behind the question.” Instead of asking, “Who Shop Training dropped the ball?” or “Why won’t manThis book has been used for trainagement support me?,” we should ask ing at Big D Metalworks, and I would “What can I do to contribute?” and recommend it for any shop. The 137“How can I help solve the page publication costs $13.90 at problem?”

Amazon.com and can serve as Each chapter tells a short the textbook for a great training story that incorporates a princlass. Plus, the entire book only ciple. My favorite is about the takes about two hours to read. restaurant server whose cusQBQ is a new way of thinktomer asks for a Diet Coke. ing for many people; a frequent The restaurant only sells Pepsi question is, “How far should products, so the server had his I go in helping my coworkers?” The book is NOT sugmanager purchase a Diet Coke gesting that you do other people’s work from a nearby store. The point is, the for them; a chapter is devoted to setting server could have said, “Sorry, we don’t carry that,” but instead he takes responsi- boundaries. While you should help and bility and performs an act of outstanding contribute to ensure the success of your coworkers and team, as an accountable customer service. person you should first focus on excelAnother takeaway is the futility ling at your own job. of changing other people’s behavior.

Rather, bring out the positive side of F I LE S, U R JO B P RO CA LL FO R YO

TI PS

Do you have an award-winning project? Do you have useful, how-to, step-by-step tips to share? Have you solved an interesting fabrication problem? Do you have high-resoluton photos? Contact Editor Robin Sherman at nomma.editor@att.net.

Fabricator n July / August 2013

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The NOMMA Network

NOMMA chapters have awesome spring meetings At the Northeast Chapter meeting member Philippe Fiers of Armadillo Metalworks Inc., left, leads a finishing demo, featuring blackened steel techniques and cast iron finishing processes.

Eric Cuper of Cuper Studios LLC, left, showed attendees various forging techniques.

Traditionally, the Gulf Coast group, left, holds a dinner social the evening before a meeting. Shown is Carol and Charles Perez, B & O Machine & Welding; Randy LeBlanc, Metal Head Inc.; and Brock Sanders, A-1 Southern Iron Works.

Upper Midwest Chapter

Bruce and Mike Boyler of Boyler’s Orn. Iron Inc., top, learn about galvanizing prep during the tour of AZZ Galvanizing in Dixon, IL. Upper Midwest Chapter president Mark O’Malley, O’Malley Welding & Fabricating Inc., above, opens up the meeting. Note that Dixon, IL is the childhood home of Ronald Reagan, which explains the photo in the background.

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The Upper Midwest Chapter held their meeting on Friday, May 10 at AZZ Galvanizing, Dixon, IL. A great turnout of about 30 people was present to tour the facility and listen to a presentation on prepping for galvanizing. There was also discussion on preparing your galvanized work for powder coating.

After the tour, attendees enjoyed lunch and a history presentation at the nearby Dixon Historical Society. For the evening social, everyone enjoyed a great Italian dinner at The Basil Tree.

A “thank you” goes to NOMMA member AZZ Galvanizing for being a gracious host.

Northeast Chapter

NOMMA’s Northeast Chapter held a joint meeting on June 1 with two ABANA chapters at the shop of Cuper Studios LLC, Easton, PA. The event had a turnout of 59 people and featured demos by NOMMA members Eric Cuper of Cuper Studios LLC and Philippe Fiers of Armadillo Metalworks Inc. Eric gave a forging demo, followed by a finishing demo by Philippe, who showed some blackened steel/cast iron finishing processes.

The event also featured a tailgate gear sale, coffee, and donuts, and an “Iron in the Hat” door prize drawing.

A thanks goes to the New Jersey Blacksmiths Association and PennsylFabricator n July / August 2013

In Memoriam

NOMMA grieves the loss of Ed Mack

Gulf Coast NOMMA Network president Charles Perez of B & O Machine Welding welcomes attendees and gives announcements.

vania Artists Blacksmiths Association for their support and participation.

Gulf Coast NOMMA Network

Gulf Coast members held their spring meeting on June 22 at the shop of Metal Head Inc., Lafayette, LA. The event started with a social the evening before, where attendees enjoyed delicious seafood.

On Saturday, the action began with coffee and donuts and a visit from a local supplier. For the morning session, Henry Wheeler reviewed a book titled The Question Behind the Question. Next, NOMMA Executive Director Todd Daniel took the stage to give an update on NOMMA activities, especially in the area of technical affairs.

Afterwards, James Minter Jr. gave a presentation on finishing tools.

Lunch was a delicious catered Cajun meal, which was followed by the popular “Buck in A Bucket” door prize drawing.

In the afternoon, the action resumed with a shop tour and some mini demos, including a demonstration of power hammer jigs and a twisting demo that featured mixed metal types. Following the demos, attendees began crafting items for the NEF auction, and fabricated rosettes made of copper and steel, and a NOMMA logo design.

A thanks goes to Randy and Monique LeBlanc of Metal Head for serving as wonderful hosts for the day.

July / August 2013 n Fabricator

Edward Mack, 63, passed on June 6 after a lengthy illness. He was the founder of Fine Architectural Metalsmiths and the Center for Metal Arts, Florida, NY. Ed was a lover of the arts and a passionate teacher, who was always full of new ideas.

He was NOMMA’s current membership chair, a position he had held since 2010. He also held the same position in 1999–2001 and helped NOMMA reach its 1,000-member goal.

In addition, he was a past NOMMA director and co-founder of the Northeast Chapter. As part of his vision to foster the metalworking arts, Ed opened the Center for Metal Arts

in 2003, which continues to operate.

His firm is a regular award winner in the Top Job contest and received the Mitch Heitler Award for Excellence in 2005. Most recently, he received the Julius Blum Award in 2012 for his outstanding contributions to the industry. He presented at METALfab and chapter meetings and helped to create an industry literature guide in 1997. Ed was a great friend, brother, and colleague to the NOMMA family.

He is survived by Rhoda Weber Mack, his wife of 40 years, and daughters Ariel and Ryanne, and their families. In addition, he is survived by his brother David Mack and sister Lisa Mack Ryan.

A memorial service was held June 16. Gifts can be made in his memory to the National Ornamental Metal Museum, 374 Metal Museum Dr., Memphis, TN 38106.

Call for Speakers METALfab2014 If you have a topic that you would like to share with METALfab2014 attendees at the convention, March 12—15, in St. Louis/St.

Charles, MO, please contact: Lynn Parquette NEF METALfab education chair lynn@ornamentaliron.net

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NOMMA Education Foundation

In partnership with the National Ornamental & Miscellaneous Metals Association

Remembering a good friend — Todd Kinnikin Grant honoring Kinnikin to help get fabricators to METALfab

By Roger Carlsen NEF Co-Chair, Ephraim Forge Inc.

I knew when we lost Todd we lost a true craftsman in our industry and that sending flowers from the chapter would not be enough to honor his memory.”

That Friday evening, Mark O’Malley and I were the Mark went on to tell me how he had met Todd and proverbial “ships that pass in the night.” Things were why he meant so much to him. not going as Mark had planned, and he had the “I had met Todd through the various chapter hovering cloud of just loosing a good friend. By meetings and at the METALfab convention. As I mid-morning things just were not getting any better recall Todd’s company had won the Mitch Heitler and finally he said, “It’s time to get out of here, take a Todd Kinnikin, Award three years in a row, and in the middle of that long drive to do some thinking and go say good-bye owner Eureka run they were the host to the UMWC for a meeting.

Forge, former to my friend.”

I decided to take my whole crew to St. Louis for the NOMMA board Earlier that same week, I had been in contact with member. weekend. When we arrived at Todd’s shop, my crew Mike Kinnikin who was planning to go down to St and I were blown away by the artisanship and creativLouis to see his father, Todd, once more before Todd ity of the work being done. left us. That was just not to be. I got the call from Mike that “I later had the opportunity to serve on the NOMMA afternoon of his father’s passing. I spent the rest of the week Board with Todd. I grew to respect his straight-forward debating whether I would still be making that trip, but by Friviews and appreciated knowing exactly where he stood. And day morning I had decided that even though I could not look with those thoughts in mind, I definitely knew that there was into Todd’s eyes and say, “I’ll see you on the other side buddy,” something else we needed to do other than just send flowers.

I could hug his family and share their loss.

By early afternoon, I had things wrapped up around the The idea blossoms shop and headed south. We have probably all had the expe“While driving back home that night, the beginnings of rience of racing around to get things together before runa tribute started to form in my mind. As president of the ning out the door and starting on that journey we wished we Upper Midwest Chapter of NOMMA, I consulted with my never had to make. Speeding down the highway at a breakboard and we unanimously decided that we would honor neck pace, the closer we get to our destination the slower we Todd with a memorial grant. Being aware that the next would go until when we were almost there when we would METALfab convention was going to be in Saint Charles, drive around, slowly, aimlessly, stalling, until finally we knew MO, right in Todd’s backyard, we felt the urgency to put the it was time to go in. grant in place. Many of the NOMMA awards are named for It was 7:30 p.m. when I finally walked through the door people from past generations of the organization. We wanted of the funeral home and hugged everyone. Mike Kinnikin to begin a new generation of awards and grants with some of said, “You just missed O’Malley by half an hour, we didn’t our contemporaries being honored. And thus the Todd Kinreally expect anyone to be coming down . . . thank you all.” nikin Memorial METALfab Grant was created.”

I wondered if Mark and I might be staying at the same hotel I told Mark I thought this was really a wonderful way to and later could have a couple of beers. No such luck. I looked honor the memory of Todd, but what exactly will the grant in every parking lot at each hotel on the way to my bed for provide? Mark said that the grant would provide a full registration to METALfab as well as a spouse registration. This the night, no O’Malley. Somewhere along Interstate 55, we did pass each other in the night, me heading south and Mark grant would be open to any owner or employee of a member shop. It would assist someone who could not attend the conheading north. vention due to monetary constraints. He went on to say that At our next Upper Midwest Chapter meeting when I saw the individual would fill out an application that would require, Mark O’Malley, I asked him where he had stayed that night.

He said, “I just had so much on my mind I needed to do a lot among other things, a written reason for wanting to attend of thinking, and I do some of my best thinking while driving. the convention and what they expect to get out of attending DO N AT E!

For more information on donating to the NOMMA Education Foundation Contact NEF Executive Director Martha Pennington, 888-516-8585 x 104, martha@nomma.org.

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Fabricator n July / August 2013

the convention. The selection committee will review the grant applications anonymously, and the winner will be announced at the Upper Midwest Chapter meeting in January.

“Mark,” I said, “do you really have enough spare time on your hands to be able to fund this grant and administer it? This will take a lot of time with the organization of the grant and keeping track of funds and in the general administration of it.”

“Ah,” said Mark “this is where I was hoping NEF (NOMMA Education Foundation) would be here to help us. With NEF accepting the contributions to the grant, donations would be tax deductible. NEF could also help with the creation of applications, donation forms, and other materials.”

“NEF would be honored to do that for you Mark,” I said, “but . . . how is the grant going to be funded?”

Upper Midwest Chapter seeds grant

Mark shared that so far the grant is being funded with seed money from the Upper Midwest Chapter and two individual donors, each donating $500. Currently there are funds to provide grants for the next two conventions. NEF will be accepting donations that can be specifically earmarked for this fund. We are also exploring other sources for donations.

The bottom line is, as a chapter, we need to raise about $800 per year to fund this ongoing grant.

“Mark, I completely understand you’re wishing to keep the memory of Todd Kinnikin alive,” I said, “but what was it that made you decide to do it by creating this grant?”

“In order to explain this Roger, I need to start with my

July / August 2013 n Fabricator

own personal experience. I was not even familiar with NOMMA when I attended my first METALfab convention at Nashville in 1999. I had received a free trade show pass and planned to attend the trade show only. Upon flying in, I realized that the trade show did not open until later that afternoon, too late for me to still fly out that evening.

“I was encouraged by Mike Boyler, to sit in on a NOMMA education seminar and proceeded to become hooked on the knowledge sharing of NOMMA. I began to realize how little I knew and how much I could learn from my peer group in NOMMA. “Soon after the convention, I joined NOMMA and became aware of additional benefits, such as the ListServ, the Fabricator magazine, the supplier list, etc. Because of these experiences, my goal became to send someone to METALfab who might not have been able to attend due to a financial situation. I would like to have someone experience that ‘A-HA’ moment I had. I want people to understand that attending METALfab is an asset not an expense. I would hope they could realize the advantages of face-to-face contact with suppliers and other fabricators and the camaraderie of talking to a peer in the hallway or later on at the bar is priceless. Ultimately the goal is to have Todd Kinnikin’s knowledge, creativity, and passion live on to help others to expand their horizons and possibly opening the door for a newcomer to be a future generation NOMMA leader.

13

Shop Shop Talk Talk

Coloring bronze wÄąth premixed patÄąnas n

This article introduces the reader to methods of applying pre-mixed patinas to bronze, copper, and brass.

By Ronald Young To practice the art of patina is to collaborate with nature and time. Freshly cast bronze glows red or gold, then gradually develops a natural patina of deep brown, black, or green over its surface.

Patinas, however, need not be natural. For centuries, metal workers have induced artificial patinas by chemical and other means offering an immense variety of coloration possible with bronze. In the modern day, artificial patinas are a great option for enhancing the looks of gates, handrails, fences, and metal trim on buildings.

A patina is the thin layer that forms on the surface of a metal after it is exposed to various compounds in the environment (gases, water vapor, salts, and oxides) that react with the air to form acids, and in turn, react with the metal. Different environments create patinas of different colors on a metal depending on the concentrations of the active chemicals that are present.

14

This article will outline the process involved in applying pre-mixed patinas to bronze, copper, and brass. Along with practical advice concerning patina methods, surface treatments, and safety measures, I’ve also included a sample patina recipe of my own for those interested in mixing their own chemicals to create patinas with various colors and textures.

Metals

I do most of my patinas on five popular metals: sheet copper, sheet brass, cast Everdur silicon bronze, cast 85/3-5 red brass (technically, an 85/3-5 red brass has less zinc than most brasses), and tin bronze. With 85% copper, red brass is the copper alloy that produces the widest range of patina colors. Everdur bronze, consisting of 95% copper and 4% silicon, works almost as well.

Pre-mixed vs. chemicals

Several companies make pre-mixed patina formulas. Depending on the process used to apply the Fabricator n July / August 2013

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patina to the metal, these pre-mixed patinas will develop into a particular color and texture. The ease of not purchasing, storing, and mixing chemicals make this a popular solution to those applying patinas to structures or surfaces where an exact color isn’t as desired as it might be for a sculptor.

Still, mixing your own chemicals is an option as they can be mixed according to specific formulas to create certain texture and color effects.

Industrial grade chemicals are sufficient, but be sure to follow a patina formula, varying it slightly to achieve a desired effect.

Surface preparation

Before you apply any kind of patina, you must prepare the surface to receive the patina or etch the surface to create a slight or heavy “tooth,” depending on whether it is a hot or cold patina. This will result in a better bond between the metal and the patina.

Proper cleaning is crucial because the smallest trace of a foreign substance, such as dirt, grease, or oil can prevent the patina solution from predictably reacting with the metal when you are in an unclean area. Even small contaminations of oil or other forms of moisture from hands can cause a failed patina. Gates and fences must be cleaned particularly well in the corners and areas that can collect dirt and foreign substances. This part of the patina process will either make or ruin a desired patina.

Two methods for cleaning a surface for a patina are sandblasting and abrasives.

1 Sandblasting

The sand scours away oily deposits as well as other surface contamination making additional cleaning unnecessary. Besides leaving the surface chemically and mechanically clean, sandblasting creates the surface “tooth” that improves the bond of the patina.

Make sure to use clean media for your blasting and clean the metal afterward to ensure no handprints remain.

The main disadvantage of sandblasting is it requires more materials, but you may also wish to use another July / August 2013 n Fabricator

Liver of sulfur (statuary brown) basecoat at the San Diego Stock Exchange Applying a basecoat can give depth to the subsequent greens, browns, blues, or other hues.

Also, with a basecoat, you can use the upper-coat patina for special effects, such as modeling or shading, by simply rubbing the colored patina with steel wool or bronze wool to expose the darker base coat.

Liver of sulfur is one of the most common chemical patinas for bronze, copper, and brass, but it is also a good base for almost any other patina. It also works well for large outside bronzes because it is relatively easy to apply and provides an attractive and relatively warm coloration.

You should mix this solution fresh each time you patina. It is enough for a small amount, such as for a sculpture about 16-inches high. The basecoat must be washed thoroughly before any other patinas are applied.

This sculpture outside of the San Diego Stock Exchange is an example of a liver of sulfur patina applied to a large sculpture. Liver of sulfur is a good base for almost any other patina, but it also works for large outside bronzes structures because it is relatively easy to apply and provides and attractive and relatively warm uniform coloration. Liver of sulfur will darken over time, no matter what coating is applied.

n Liver of Sulfur:

1 teaspoon n Distilled Water (warm): 1 pint Patina color varies widely and has many variables including: n the alloy of the metal, n surface preparation, n patina solution mixture, cleaning method when you have done a lot of delicate hand-chasing on the metal to which you’re applying the patina.

2 Abrasives

A common way to clean bronze is simply to rub it with an abrasive. Common abrasive cleaners include abrasive cloths, powdered pumice, 3M Scotch Brite pads, and copper, brass, or stainless steel wire brushes. For hard to

n temperature of the water and

metal,

n method of application, n humidity and n drying methods and times and

(air dry vs. towel dry will produce different results).

Your job is to limit the number of variables as much as possible to get repeatable and predictable results. reach places, try steel wool or abrasive cleaning compounds, such as pumice.

Successive abrasive steps, including sanding and polishing with a buffing compound, may be necessary to remove scratches left by the wire brush and to achieve the desired surface.

And even if sandblasting is used, you may want to use an abrasive to ensure corners and nooks of a fence, gate, or structure are properly prepared.

17

Safety

Safety measures must be observed for all steps in patina application.

Always use eye protection and colorfree gloves when applying a patina.

Additionally in smaller indoor areas a ventilation system must be used.

Patina application

Once the surfaces are clean and have the texture desired by blasting or polishing, apply the patina solution in the proper strength and within as much of a controlled environment as possible so that consistent results can be achieved and colors can be duplicated from day-to-day or project-to-project.

Surface preparation is critical but so is the use of distilled water and mixing at the correct ratios and at the same temperature. Applying patina in extremely hot, humid, or cold conditions, or to metals that are themselves hot or cold, will limit your chances for success and repeatability.

Though the heating of surfaces

Surface preparation is critical but so is the use of distilled water and mixing at the correct ratios and at the same temperature. Applying

patina in extremely hot, humid, or cold conditions, or to metals that are themselves hot or cold, will limit your chances for success and repeatability. before applying a patina can create unique and distinct colors, most pre-mixed solutions will be applied at room temperature.

This technique is of particular use in coloring large surface areas or outdoor structures because it eliminates

the problem of heating or uniformly heating a large object and allows you to work outdoors.

Pre-mixed patinas, typically used for long-term outdoor color applications, such as on decorative bronzes, might be applied as layers and would include cycles of one to three applications and drying periods that might last from an hour to days until the desired color is developed.

You might also use multiple layers when you want a “mottled” look with each layer having a different color.

Many, if not most, pre-mixed patinas, however, react quickly and characteristically require only one layer.

Patinas often involve one or more of following three basic application techniques that we’ll discuss: 1 Brushing 2 Sponging 3 Spraying Specialized application methods, wrapping, burying, and fuming, com-

In loving memory of two of NOMMA’s great artisans

Ed Mack Fine Architectural Metalsmiths

Todd Kinnikin Eureka Forge

The powerful passion, creativity, and love that you gave our industry will always be remembered.

18

Fabricator n July / August 2013

Applying patina step-by-step

Heating the object, above, in preparation for a hot patina application.

bined with suitable formulas and colors add more possibilities for color.

As a rule, when you apply a patina remove all excess solutions so that the surface is left barely moist and allow the metal to dry thoroughly between applications. You may repeat this cycle of alternating applications and thorough drying until the patina has developed the color, thickness, and degree of opacity desired.

But, let the first application dry and then leave the piece alone for 24 hours to allow time for the patina to bite into the metal so that applying additional solution or other treatment will build on, rather than remove, the first layer.

Generally, let the patina develop slowly 20

Above, a finished gold patina.

Applying the gold patina, left, using a spray bottle.

surface of the structure. b Then, with a dry brush and using light, rapid strokes in all directions, thin out the solution on the surface. c When the brush gets too wet to do a proper job, replace it with a dry one. d Continue this process until the whole surface is almost dry; let the object dry thoroughly before the next application.

This technique produces an even patina. For a mottled effect, do not thin the solution with the dry brush.

2 Sponging

and naturally. This slow formation creates a stable and even surface that has bonded well to the metal beneath.

1 Brushing

a Take a natural bristle brush and apply the solution to wet the entire

a Wipe the solution onto the surface with a natural or synthetic sponge. It produces a mottled or textured surface effect. Drug store bath sponges work well, too. b For the first coat, energetic kneading with the moist sponge is often required to help break down surface tension and to ensure the bronze has been sufficiently covered with solution. Once the application is complete, the surface should be barely moist. c To remove excess wetness, dab over the wet surface with a dry sponge, Fabricator n July / August 2013

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Sample cold patina formula

nium chloride.

Using heat with this patina can result in a variety of colors. For a gray-green color on bronze, heat the solution before applying it. Or, after applying the cold solution, rinse the metal in very hot water. The metal will turn chalky and develop blotches of orange, green, and brown that will completely cover the surface. To prevent the chalkiness, add a protective coat of lacquer to the piece when it is dry.

This patina works well on copper structures, such as roofs. But, on copper and brass, I advise using only one coat of patina because the next application may peel or flake off. To compensate for the lack of repeated applications, make the solution strong (six ounces copper chloride and 1 ounce ammonium chloride per pint of distilled water).

After about six months of being outdoors, this patina will lighten to a mint-like green.

Apple green, with variations — an indoor or outdoor patina Apple green patina on bronze I have successfully used the following formula and its variations for years on brass, bronze, and copper. It adheres well to the surface of the metal. n Copper Chloride: 3 ounces n Ammonium Chloride: 1/2 ounce n Distilled Water: 1 pint Note: Always add chemicals to distilled water, not the other way around.

To apply the solution, use a brush, sponge, spray bottle, or even a paint roller. Leave the piece to dry for at least four hours. For a more bluegreen color, use more ammo-

3 Spraying

Solution sprayed on too abundantly or unevenly collects in hollows or runs down vertical surfaces. To prevent this, coat the surface evenly with a fine mist. Pre-mixed solutions reduce the surface tension of the metal aid in spreading the patina solution evenly over the metal because they contain a glycerin and silicone compound.

The chief disadvantage of spraying is the health hazard involved. When this technique is used, adequate ventilation and a facemask fitted with the correct filter are essential.

22

Protecting patinas

The patina surface must be protected with a lacquer within a few hours after application because cold patinas do not bond well to the metal surface for 2–3 weeks. Be sure that the first layer of lacquer soaks into the oxide and bonds to the metal. Do this by thinning up to 40% with a good solvent.

Once cured, apply 2–3 additional layers of lacquer, thinned to no more than that recommended on the can.

Once the final layer has set and cured, wax may be applied. Beware of waxes with strong solvent contents because they may disturb the lacquer, or you can wait until the lacquer is fully dry.

The patina will bond with the metal while under the lacquer.

For your information

n

and then let the object stand.

Different textures and patterns of sponges produce unique effects.

About the author Ron Young of Sculpt Nouveau, www.sculptnouveau.com, is highly regarded for his knowledge and use of patinas. He is the author of the two books on the subject: Methods for Modern Sculptors and Contemporary Patination.

Ron received his MA and MFA in Art from Long Beach State and UCLA and studied bronze casting with the Pomadora brothers in Italy receiving a Roman Art Degree.

He has since taught or been director at many leading art schools and foundries.

Fabricator n July / August 2013

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Shop Talk

Rosettes wıth you ın mind n

In this article, you will learn how to design and layout round or square rosettes in any size to suit your project’s needs.

July / August 2013 n Fabricator

By Robert “Uncle Bob” Walsh The word rose is interesting because it is used in different ways. As a noun, it is the flower.

The large, round stained glass window behind the alter in many older churches is called a rose window. A rose head on a pump in a water fountain produces a large round spray pattern. Many welding shops have a rosebud tip for their torch.

In verb form, the sun rose at 6:30 am. The young man rose to the occasion.

In adjective form, heat the metal until it is rose or cherry red in color, but not orange.

Then there are sayings: You must be cold; your cheeks are rosy. He came out of that deal smelling like a rose.

When ette is added as a suffix to a word, it means the new word describes a smaller version of the word it is attached to. A rosette is generally smaller than

25

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the actual rose flower. Although, you and I just might change that!

Let’s draw.

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Design

Get yourself a cup of good coffee. I like a little half and half in mine. Next, get some paper, a pencil, and a soft eraser. Remember, good erasers are soft and erase. Good erasers are self-cleaning. They do this by shedding little rolls or beads of spent eraser on your paper. Poor erasers are hard, grind into your paper, and are not self-cleaning.

1 Let’s start by freehand drawing a 3 x 3-inch square on your paper (figure 1, above). Next, bisect your square with horizontal and vertical lines (figure 2).

2 Coming out from the center intersection by about a third of the distance between the center and the perimeter square, draw dots (figure 3). The intersection in the center and these dots will be where you will drill holes. The outside holes are decorative and will be where your petal lines terminate. Let’s draw these holes to establish the size of the holes (figure 4). I’ve drawn these quite large and ornamental.

Size your holes as is appropriate for your project.

3 Now, just as we have been doing when laying out our acanthus leaves, draw “S” curves by starting in the corners and ending just before the bisecting lines (figure 5). Run these lines down to our decorative holes (figure 6).

Note. I like to keep the lines between the petals close together so the space between them is minimal. This is Fabricator n July / August 2013

because when you put some body in the rosette by making the petals convex, it will pull metal in from the petal sides making the spaces between the petals larger.

4 Add some veins. Now we have a pattern (figure 7).

If you are drawing for a client presentation, to illustrate the convex shape of the rosette petals, curve the vein lines showing movement in the petal towards you (figure 8).

Tip. Layout five lines (a pentagon) on a sheet of paper.

Then when you need something with five points, lay a second sheet of paper over the first and hold the overlaid papers up against a window so you can see through them.

On your blank paper, mark dots on your center and five peripheral locations. Connect the dots and draw your rosette. I often draw the rosettes in a comfortable size to work with, and then on a copy machine, reduce the drawing (pattern) to the size I need.

Let’s raise the bar

Let’s draw another square. After bisecting the square and adding our decorative holes again, draw your “S” curves (figure 9). This time, as when we tightened up our acanthus leaf petals for facets, we will tighten up our “S” curves to make room for facets. Now, add facets on each side of your petals (figure 10). To make the rosettes more decorative, let’s make our petal veins double lines (figure 11).

What is this about? Spicing up our rosette. When rosettes become larger, they often need to become more ornamental.

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July / August 2013 n Fabricator

27

To make your rosettes even more ornamental, layering works well. Layering also gives us options when filling spaces. If you are filling a round space, layering two rosettes that are the same size will give you a round, layered rosette (figure 12).

However, if you need to fill a square space (figure 13), make the rosette closest to you smaller. Make the rosette so from corner to corner; it is the same distance as the larger rosette is in height and width.

If you are drawing, it might be time to re-fill your coffee cup. Go ahead, I’ll wait. . . .

Implied motion

Let’s draw a rosette that has implied motion, a spinning rosette.

1 Start with five lines (figure 14).

Make each leg about 2 inches long.

2 On your five lines, draw dots locating where you would like your petal tips to be (figure 15).

3 Add “C” curves that start in the

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center and arc around to the dot on the line next to the line you started from (figure 16). These lines will be the vein lines of your petals.

4 Draw “C” curves starting at the tips of your leaves (figure 17). What we are doing is exactly what we did when we laid out our acanthus leaves.

5 It is “S” curve time. Off your leaf tips, add “S” curves (figure 18). Actually, they are “S” with the half of a second “S” added to it.

6 Tighten up your “C” and “S” curves and add facets on both sides of your petals (figure 19).

If you would like to embellish your rosette, just as we did when we drew our acanthus leaves, add curved lines on top of your petals (figure 20). Add a decorative rivet head in the center and you are in business.

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At this point, I would like to step away from rosettes and look at the layout of a “fan.” I’m sure there is a sophisticated word to describe these decorative elements, but I don’t know what it is?

Let’s draw a fan.

Start with your “C” scroll (figure 21). Off this scroll, just like you would when drawing an acanthus leaf, draw in your main petal veins (figure 22).

Now add “S” curves to these petal veins (figure 23). Or, keep your “S” curves tight and add facets in between the petals and on the sides (figure 24).

An alternative to the central veins in your fan is cutting ovals (figure 25), which are used often and look great.

An oval looks better than a circle because an oval is two radiuses combined and a circle has only one radius.

A circle is a simple shape and an oval is a compound shape with a major and minor radius. The “C” scroll below the fan is a compound shape also. The “C” scroll combines two spirals (the ends) with a radius in the center.

Construction

Typically, the construction of a rosette would go like this.

1 Establish your artwork on paper.

2 Spray glue your paper pattern directly onto your metal.

Continued on page 32 Fabricator n July / August 2013

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Three flattening tools. After dishing the petals, rosettes are placed on these tools.

The bolt or stud is then placed in the center of the rosette and driven down, flattening the center of the rosette and trueing everything up. Shims are often placed under the center of the rosette, so the flattened center is higher than the tips of the petals.

Joint gate project (4 gates), below, by blacksmith Tom Latane and Bob Walsh.

Tom made the rosettes and cane latch.

Because the number of rosettes warranted the time to make the tooling, above, Tom made the top and bottom tools. Fender washers with the zinc pickled off were heated, dropped into the bottom tool and bang, formed with the top tool.

Various rosettes. The top two rosettes are aluminum. The center rosettes are bronze, and the veining was done with a hinged veining tool. This tool was used from the back side to create the raised petal veins, and then from the front side to recess the lines between the main petals and side facets. The rosettes in the bottom row are steel.

30

Fabricator n July / August 2013

Large bronze (alloy 655) exterior rosette, right.

Forged scrolls and construction

by Gary Ameling (Ohio).

Small rosette, below.

Double vein lines were put in with a walking chisel.

Spinning rosette, above. Aluminum construction. Vein lines were put in the aluminum with a hinged veining tool.

Hot stamped and filed railing termination rosette, right.

July / August 2013 n Fabricator

31

Because rosettes do not have any curved lines on them (unlike acanthus

leaves), often it is faster and easier to cut yourself a rosette pattern and then mark around the perimeter of your pattern on the metal.

Continued from page 28 Note Because rosettes do not have any curved lines on them (unlike acanthus leaves), often it is faster and easier to cut yourself a rosette pattern and then trace around the perimeter of your pattern on the metal.

3 Cut out your blank.

4 Incise your petal lines with a walking chisel. Use a rub-

ber pad under the metal if your metal is thin.

5 Burn off your pattern if it was glued onto your metal.

6 Clean up, deepen your incised lines.

7 Turn your rosette over and into wood or a soft backup material, push from the backside to create a convex front side. Wood pushing tools are more forgiving than rounded steel on thin material. Wood does not produce lumps on the front side of thin metal as steel often does.

8 Address the tips of your rosette as is appropriate for your design.

9 Turn right-side-up, and over a flat surface, push the center of your rosette down, so it is flat (see main photo, page 30) Good luck. The joy is in the journey.

Uncle Bob

For your information

n

About the author Robert “Uncle Bob� Walsh has been a fabricator/ artist/blacksmith for 30 years. For 10 years, his shop was in downtown Minneapolis.

After the invention of the fax machine (allowing an easy interchange of sketches), he moved to semi-rural Wisconsin where he set up a cottage industry with fellow shop owners that has been chugging along for 20 years. Their ironwork can be found throughout the upper Midwest.

R. Walsh Gate & Railing 306 Lake St., Pepin, WI 54759 715-442-3102 robertwalsh@robertwalsh.com www.robertwalsh.com 32

Fabricator n July / August 2013

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Member Talk

Old world meets new n

Carlos Nielbock builds C.A.N. Art Handworks into company that makes history relevant today and wins Top Job awards while doing it.

What Carl Nielbock has learned

“When business is suffering, you’ve got to get tougher,” Nielbock says.

“Like everyone else, I was crying when business evaporated. You’ve got to be more aggressive, call old clients.”

n

“Hang in there. If you can make it another month, there’ll be another day.”

n

“I have to like the job, too. If I don’t like the client or the project, I don’t do it.”

n

By Linda M. Erbele Carlos Nielbock came to the United States almost 30 years ago with $50 in his pocket and the training he had acquired in an old-world apprenticeship. He fell in love with the country and the American dream.

Learning the trade

In 1984, at the age of 24, Nielbock came to Detroit from Germany to search for his father, whom he had not seen since he was two. The young man was born in the northern German town of Celle, the son of an African-American G.I. and a German girl.

“My dad was sent back to the U.S. in 1962 or 1963,” Nielbock said. “I never really got to know him.”

As a young man, Carlos found some letters that his father

had written his mother, and decided to come to the U.S. to find his father. The return address on an old envelope was all he had to go on.

While his father was no longer at the old address, he still lived on that street. The address on the envelope belonged to an abandoned house, but the man who answered the door of the house next to it knew Carlos’ father’s brother, and within a few hours, his father himself came walking in the door, thrilled to see his son.

Nielbock stayed with his father the three months his tourist visa allowed, then returned to Germany just long enough to pack his things and get the proper paperwork to come to the United States.

“I didn’t know anything about American culture other than what I saw on TV. But I loved it,” he said.

The young man moved in with his father and quickly set

Preceding page, C.A.N. Art Handworks low-altitude wind turbine won the 2013 Top Job Gold Award for “Unusual Ornamental Fabrication.” When the economy started to slow, “I had to find a new way to put my skills to use,” owner Carlos Nielbock says.

“Green energy was the only thing that kind of sparkled.”

July / August 2013 n Fabricator

35

The wind turbine blades were assembled in sections, below. In additon to the 2013 NOMMA Top Job award, the turbine also won recognition at the 2011 Detroit Maker Faire, including an Editor’s Choice and an Awesome award. Maker Faire ribbons go to those who have demonstrated great creativity, ingenuity, and innovation.

The wind turbine hub during the installation process, right, had a permanent anchoring and scaffolding system for assembly. The turbine, produces electricity and was made with recycled metals and retired auto parts. A significant amount of time went into the engineering and overall functionality.

36

about learning the country and making a living.

He first learned metalworking from the Catholic school he attended during his teen years in Germany, at which monks taught a whole line of skilled trades, including book-binding, house-painting, woodworking, carpentry, and metal working.

“Out of all of those, I liked the fire, the sparks and the action in the forge,” Nielbock said. “You can’t learn blacksmithing, forging, and metalsmithing from a book. It’s got to be hands-on.

I was fortunate to get that. It gave me the foundation for what I am doing now.”

After he finished school, he apprenticed with metalworkers in Germany, but by his early 20s, found himself ready for a change.

“I was disappointed in Germany, actually,” Nielbock said. “I already knew I was pretty good. I wanted to work on those castles and beautiful churches, the exciting places. But you have to work in the system, work with the guilds and reach a certain amount of maturity.”

The guilds in Germany were fairly structured. In America, he found employment at a Detroit metalworking shop, where his old-world training was well utilized. He learned the language and his way around in less than a year.

In 1986, he was working for a NOMMA member who created window bars. Nielbock says he dusted off an old anvil, got the forge together and started making creative things. His creation of a life-sized seagull in flight won the NOMMA member a Gold award in sculpture back in the 1980s.

“I proudly got a raise to $5 an hour,” Nielbock says.

From there, he discovered the Small Business Administration. He attended seminars about responding to government RFPs and learned how to approach clients. He also learned the basics of being in business.

“Before you know it, I was bidding to restore ornaments at the Library of Congress,” he said.

Although he didn’t get that job, it showed him the size and body of work that was out there. In a short time, he Fabricator n July / August 2013

Above, Carl Nielbock works on a balcony in his shop. The main challenge was stripping each balcony to the bare metal because of the thick corrosion and delaminating. The materials used were traditionally fabricated wrought iron.

The Henry Ford Museum, Dearborn, MI, needed four balconies restored.

Above in the shop, all the balconies required custom built frames for the entire restoration process. C.A.N. Art Handworks won a “Restoration” Gold Award in NOMMA’s 2013 Top Job contest for this project.

started his own business, working out of his father’s home until he could afford a building of his own.

Finding customers — making the business successful

Railings were among his new company’s first projects.

“Levi Stokes, from the Motown music group The Four Tops, was one of my first jobs,” Nielbock says. “It went pretty good and I made a few other things.”

When Mike and Marion Illitch, owners of the Detroit Tigers, bought the old Fox Theater in Detroit and began to restore it, Nielbock saw opportunity.

July / August 2013 n Fabricator

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The balcony installation process with Carlos Nielbock on the mechanical lift. “The whole building is a replica . . . the balconies of the building represent the balconies of Independence Hall in Philadelphia.”

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“I walked in there and said, ‘I’m the guy who can do the work,’” he says.

And he got the job. “It was just like I learned it. All that ornamental detail was what the old guys did as a gift for themselves after they had finished work.”

The old theater opened in 1928, designed by C. Howard Crane with a blend of Burmese, Chinese, Indian and Persian motifs. Its renovation led to a renewed interest in other historic buildings in the area, and Nielbock says he is still drawing from that market of architectural and ornamental requirements for downtown canopies, bronze doors, and light fixtures.

Additionally, he’s found a market in the affluent Detroit suburbs of Bloomfield and Grosse Pointe, where executives want “top shelf ” artistic touches for their estates.

He hired his son as lead fabricator, his daughter as administrator and customer contact and his father as the property manager. He named the business using his initials C.A.N. Art Handworks. He has three welders, a cold-saw, a hand fortress and a large layout table inside the shop and a large layout table outside.

He works with any metal, he says, including iron, steel, pewter and bronze.

“We look for challenging jobs,” he said. “The more exotic the metal and the job, the better.”

In addition to his son as a fabricator, he has had two apprentices, but the business stays fairly lean.

“When a big project comes up, we bring in human resources to gear up for it,” Nielbock said.

Vision and dreams

Nielbock is passionate about his adopted hometown. He believes that in many ways, Detroit epitomizes the pioneering spirit of America. He is confident that the “can-do” outlook that marked America’s beginning is one of the things that the country will Fabricator n July / August 2013

A closeup portion of one of the balconies.

Robert O Derrick Inc., Detroit, MI, was the original architect in 1929, Carlos Nielbock says. Below, one of the four custom built frames for the museum balconies. Each balcony required its own custom-built frame for the restoration process.

persevere through its hard times.

“The Henry Ford Museum is one of the greatest institutions to preserve the industrial revolution in all its nuances,” Nielbock says. “A lot of things around the museum encompass the whole story of America.”

He was excited about the opportunity to repair the historic balconies on the front of the museum. (see sidebar, page 40.)

July / August 2013 n Fabricator

39

Winning 2 golds is a family affair and not without inspiration

amount of corrosion proved to be the biggest challenge, requiring chiseling down to the solid material, but with patience and effort, it was removed.

Missing wrought iron elements were replaced with new Windmill challenge was designing lowwrought iron. After each balcony was restored, it was hotaltitude device to withstand 40 mph winds dip, zinc galvanized and given a black pewter patina.

One gold-medal-winning NOMMA member has comThe Henry Ford Museum is also the site of the Maker bined a passion for the old ways with modern technology Faire-Detroit, an annual two-day extravaganza of ideas to both create business and give back to the community. and inventions, where some 400 entrants display their C.A.N. Art Handworks of Detroit earned two Top Job experiential gadgets.

Gold awards at the NOMMA C.A.N. Art Handworks created METALfab2013 in Albuquerque a low-altitude wind turbine from last March. One was for the restorecycled materials and automotive ration of the 1934 balconies on the parts obtained within an eightHenry Ford Museum in Detroit. mile radius of the company. It was The other was for a wind turentered in the Faire. bine, made completely of recycled “A couple of years ago when materials. the economy just didn’t want to recover, I had to find a new way to The Henry Ford Museum in put my skills to use. Green energy Detroit showcases the history of Above left to right, graduate was the only thing that kind of the U.S. automobile in this counapprentice Shiray Cottingham; daughter, nurse, consultant sparkled, ” Nielbock says. try and inspires visitors with the Beverly Nielbock; owner So the fabricator created the American traditions of ingenuity, Carlos Nielbock; daughter, windmill, using the best ideas from resourcefulness, and innovation. administrative manager Belinda European and American windOver the decades since the Nielbock; son, lead fabricator, mills. Nielbock designed all the museum opened, the exposed artist Keenan Nielbock. Left, Carlos’ father Clarence Cheeks. components and used galvanized wrought-iron railings of the balconies had become delaminated and sheet metal, steel piping for stabiliextensively corroded. zation, as well as other reused materials, all from within an “Rust and all this stuff would rain down on the pedes8-mile radius of his shop. trians,” Carlos Nielbock, owner and founder of C.A.N. Art The most difficult challenge was designing a low-altitude Handworks, says. “The whole building is a replica, in parwindmill that could withstand extreme high winds (40+ mph). Anchored beneath the ground using structural steel ticular, the balconies of the building represent the balcoand masonry, it took about two years to get the wind turbine nies of Independence Hall in Philadelphia.” electrically functional and able to withstand the weather. It The four old balconies were carefully removed and won four blue ribbons at the Maker Faire and an Unusual stripped of all coating and corrosion to identify elements Ornamental Fabrication — Gold at METALfab2013. that needed replacement and repair. The tremendous “The Henry is one of the great Colonial Revival buildings of our time,” says Christian Overland, executive vice-president of the Henry Ford Museum. “The front side is a copy of Independence Hall. The balconies are very ornate. It was very important work. [Nielbock] was the only blacksmith and ironworker artist that could do it. As a national historic landmark, the work had to be in concert with the Department of Interior’s standards for historic preservation.”

“Over the years I’d built up my portfolio,” Nielbock says. “It all came together right there.”

Nielbock says many of the exhibits at the museum were created by skilled craftsmen.

40

Fabricator n July / August 2013

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“We need those skilled trades,” Nielbock says. “If you want to rebuild the country, you must have the skills that originally built it.”

He has worked with both the University of Michigan and Lawrence Technical University to help develop a curriculum that will administer technical know-how and deliver hands-on experience. That kind of education, he says, will provide young people the opportunity and ability to do anything, including forging their future.

His passion for history led him to a study of the old Detroit city hall, which was demolished in 1961.

Built as Detroit’s showpiece in 1871, the building towered over the city at 180 feet tall. It was topped with a clock tower that housed the largest (at the time) clock in the United States, guarded by four 14-foot tall sandstone

“You have to capture people’s imaginations . . . to motivate them. When you

are working on a real-life project of significance, you give them a challenge and an experience to last a lifetime,” Carlos Nielbock

statues representing Art, Commerce, Industry, and Justice. Later, four more statues of Detroit pioneers were added.

“The building was built with sculptures — things that make you humble,” Nielbock says.

Pieces of the old building, including the statues, are now scattered through-

out Detroit, some in various departments belonging to the city.

He set to work on the problem of putting it back together.

“I came up with a plan to take charge of those pieces and appropriate them for the city,” Nielbock says. “Now we must find a consensus with the different city departments and all the different owners.”

Joel Stone, curator of the Detroit Historic Commission is very supportive.

“He approached us about recreating the cupola from Detroit’s old city hall,” Stone says. “The pieces are not in very good shape. They were taken down roughly and stored roughly. Nielbock is developing financial backing for it.

He seems to have a good plan.”

It will take a lot of volunteer effort and community work to accomplish the project. Nielbock believes that restoring some of the grandeur from the old city hall will not only serve as a history lesson, it will utilize and train young people in the skilled trades that will enable them to create a future.

“You have to capture people’s imaginations in order to motivate them.

When you are working on a real-life project of significance, you give them a challenge and an experience to last a lifetime,” Nielbock said.

In addition to the statues, there are cannons and a number of other artifacts in need of restoration.

“Cannons and all kinds of stuff that built this country are just waiting for skilled hands to put them back together so they can be on view for another generation,” he added.

C.A.N. Art Handworks consists of Nielbock, his daughter Belinda Nielbock, who serves as the administrative manager, his son Keenan Nielbock, lead fabricator and his father Clarence Cheeks, who does facility management and maintenance. Shiray Cottingham, currently an apprentice, will be graduating to journeyman shortly.

Training philosophy

Nielbock trains apprentices by putting them to work on projects at a beginners level and gradually increasing the complexity as they learn. He observes and assists as needed. He believes that direct involvement in real 42

Fabricator n July / August 2013

Enthusiastic about 3D

In spite of his love of history and his old-world training, Nielbock is not stuck in the past. He does his best to stay current with technology.

“In the last five years I’ve opened myself up to everything that is new,” he says.

The company uses TechShop to develop a CAD print of some projects.

For a monthly membership, TechShop offers the use of a variety of equipment, including 3D software and printers, CNC routers, milling machines, plasma cutters, and metal lathes.

“I’m very enthused about 3D scanning and printing with virtual assembly.” Nielbock says. He has attended seminars on 3D scanning and likes the use of it for large projects.

He used the technology when he created smaller bronze replicas of Detroit’s famous Spirit of Detroit to be used to raise money for its restoration.

The Spirit is a 26-foot bronze sculpture created by Marshall Frederick for the city in 1955. Nielbock used the scanning function to calculate dimensions so he could create to-scale miniatures of the statue.

Although he sees a division between the old ways and the new high-tech, he is excited by the possibilities and believes that with good communications, miracles can come from a partnership of the new and old.

For your information

n

projects is meaningful and makes for the best learning experience.

The company is in a 10,000 square foot three-story building. The production line, located on the first floor, can be geared to whatever project needs to be worked on. The top level is Nielbock’s apartment and design studio.

C.A.N. Art Handworks used to do everything down to the finish and installation of a project, but since becoming a member of NOMMA, Nielbock says they have enjoyed having access to the variety of suppliers.

“You can use a prefabricated component and connect it to your handmade component,” he says. “This is a big thing in making it easier for the fabricator to realize complex designs.”

C.A.N. Art Handworks Carlos Nielbock, owner 2264 Wilkins St., Detroit, MI 48207 313-392-0116 cnielbock@sbcglobal.net Henry Ford Musuem Christian Overland, exec. vice president 734-276-0492 Detroit Historical Society Joel Stone, curator 313-297-8366 joels@detroithistorical.org About the author Linda Erbele is an Atlantabased writer. She spent 20 years in the communications industry before going back to school to get a degree in journalism.

She spent a few years working for a newspaper and has been a free-lance writer specializing in business and travel since 2003.

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Frank Lloyd Wright’s only remaining hotel in the world, the Park Inn Hotel (and City National Bank) in Mason City, IA. Boyler’s Ornamental Iron Inc. recreated the intricate entrance-door gates, sidelight grilles, and window grilles.

Above, President Michael Boyler, left, secured and oversaw the project, and Brian Felts, shop foreman.

Reaching back to the Wright time n

Boyler’s shop lands ‘best of the best’ Heitler Award using 100-year-old techniques to restore Frank Lloyd Wright landmark gates and grilles.

By Molly Badgett No doubt the most popular architect in history, the late Frank Lloyd Wright earned a large, international community of followers who are serious about his legendary craft. It’s their strong allegiance to Wright’s work that set the standard for a project that was awarded NOMMA’s Mitch Heitler Award for Excellence.

The winner of the award, Boyler’s Ornamental Iron, Inc., in Bettendorf, IA, recreated intricate entrance-door gates, sidelight grilles and window grilles to Wright’s only remaining hotel in the world, the Park Inn Hotel in Mason City, IA. The challenge was to craft the pieces in a manner so exacting to the originals as to please the most discerning Wright historian.

44

For your information

n

Mitch Heitler Award Job Profile

Sources n http://wrightonthepark.org n www.traditional-building.com/ Previous-Issues-12/ AugustProject12Bergland.html n www.stoneycreekinn.com/hotel/ travel/masoncity-parkinn/info/ info1.do n www.architectmagazine.com/ architects/last-wright.aspx n http://iagenweb.org/cerrogordo/ history/cg_hist_MCPrairieArch.htm Michael Boyler, president Boyler’s Ornamental Iron Inc. 4407 State St. Bettendorf, IA 52722-6172 www.boyleriron.com boyleriron@aol.com 800-798-4766 About the author Molly A. Badgett is a freelance writer based in Atlanta, GA. She often covers issues related to U.S. manufacturing.

Fabricator n July / August 2013

One of the original 14 clerestory-window grilles, above, that survived for decades as yard fencing. All of the grilles originally were the same size. The section above was shortened and modified for use as a gate. Others were shortened, as needed, for a patio fence.

All the grilles were completely disassembled and bead-blasted.

The parts were then straightened or replaced to restore them to their original dimensions. The restored grilles were shop-primed before they were delivered to the job site.

July / August 2013 n Fabricator

While the window grilles were the first elements delivered on the job (shown installed above), they weren’t without their own challenges.

Problems with the window openings arose after the foundation of the bank building had to be redone. During the 1926 renovation, the building’s main floor was made two feet lower and a middle floor was added to the bank. To return the building to its 1910 state, the main floor had to be raised two feet and the middle floor had to be eliminated.

45

Gate details shown after installation Rob Rolves, NOMMA Top Job committee chair, says he was most impressed with the time-consuming alignment work needed on the job. “I could totally understand the level of skill and patience.

They used several old-fashioned techniques. A lot of things were pinned,” he said. “It was a very precise project that took a fair amount of layout and precision to fit the way it did.”

By all accounts, the challenge was met.

Today, the gates and grilles welcome visitors to that historic hotel in grand fashion. Without a single weld, the bronze or steel elements are intricately pieced together with mortises, pins, or screws, just as Wright’s craftsmen would have done in 1910, the year the hotel and adjoining City National Bank were completed.

“This is what NOMMA fabricators are about,” says Rob Rolves, vice president, Foreman Fabricators Inc., St. Louis, MO, and chair of NOMMA’s Top Job committee. “These guys got down to the nitty-gritty.”

Rolves says he was most impressed with the time-consuming alignment work needed on the job. “I could totally understand the level of skill and patience. They used several oldfashioned techniques. A lot of things were pinned,” he says. “It was a very precise project that took a fair amount of layout and precision to fit the way it did.”

46

Fabricator n July / August 2013

Fabricating the gate

Solid bronze bars Bronze bars made up the two 4- x 8-foot gates (weighing 1,320 pounds each) and the 14.5-inch x 81-inch sidelight grilles (weighing 232 pounds each): n 1.50-inch-square hinge posts n 1.50-inch x 3-inch center-frame

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Full-scale plot of center design panel, which was used for sizing and positioning of all the parts.

In the Boylers’ blood

The “they” he refers to is Mike Boyler, who secured and oversaw the project, and Brian Felts, both of Boyler’s Ornamental Iron. Felts, the primary fabricator on the project, was joined by

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fabricators Jason Cones, Scott Denison and Stephen Boyler (Mike’s nephew) on the detailed work.

Mike and his brothers, Bruce and Douglas, run the company founded originally as a blacksmith

The bronze bars came from several vendors so the bars were different, but similar, alloys. Any significant difference and the applied patina could have resulted in final colors of the pieces not matching.

shop by his grandfather, Frank W. Boyler, in 1902 in Davenport, IA. The three sons’ father, the late Richard Boyler, moved the business to Bettendorf, IA, after assuming ownership in 1949.

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The assembled center design panel, before being installed into the main frame.

The upper, split-bronze-bearing hinge blocks were threaded onto stainless steel all-thread bolts, far right. The bolts were then positioned and epoxied into the granite jamb.

Lower bronze thrust bearings, like the one below left, were set over stainless steel pins and placed into holes in the granite threshold stone. Thrust bearings with graphite plugs for continued lubrication were used on each side of the bearing spacer block.

A founding member of NOMMA and the Iowa Blacksmith and Welders Association, Richard Boyler also served as the president of an IBWA chapter, as well as president of the National Blacksmith and Welders Association. During his career he was honored with at least two notable awards, the IBWA’s Blacksmith of the Year award in 1963, and the NBWA’s President’s Award of Excellence in 1985.

But, Richard Boyler remained modest about the opportunities for awards, insinuating that winning an award of the Top Job variety, much less the Mitch Heitler Award, was not in the shop’s reach. Work at the Boyler shop, he seemed to believe, was far too functional.

“It’s not that he didn’t think we did good work,” Mike explained. “He just thought that we’d never get the chance to develop the type of work that would have the ability to win; that type of work is generally not available for us to do.

“He was friends with NOMMA folks who every year would take home 48

Gold awards, two or three at a time,” Mike added. “He never thought a shop from the Midwest that had the heritage we had, in blacksmithing, would win; (our work) is more toward the practical, everyday side of things.”

Ironically, it might very well be the functional practicality behind the ageold techniques studied and applied to the Park Inn Hotel project that ultimately landed the Mitch Heitler award.

Heading up the project was Brian Felts, the shop’s foreman, who brought to the task specialized training he had at the Les Compagnons du Devoir guild and the Ateliers SaintJacques workshop in France. These two intense, hands-on programs train today’s most skilled tradesmen, emphasizing functional and practical craftsmanship in centuries-old contexts.

Felts participated in these programs for nearly two years, leaving the Boyler shop for the opportunity that Mike Boyler had investigated when he served as president of NOMMA in 2002.

“I suggested NOMMA send folks to the guild to see how we can educate some of our younger guys,” Mike says. “Four of us spent 10 days there.

We came away from there with a good feeling between NOMMA and the guild; they offered to take in an apprentice … to study with them.”

The time Felts spent in France gave him the mechanical joinery skills he needed to take on the work of recreating the gates and grilles for the hotel.

The challenge was in the intricacy of the design, but he assured Mike that he was up to the task.

Initial fit-up assembly of the main frame, using temporary steel bolts.

Fabricator n July / August 2013

“I (had) done that kind of joinery before; quite a bit of it,” Felts says. “But I never had that many joints and parts.

This was the the biggest job, with so many individual pieces.”

Gates and grilles

The Boyler’s team worked on elements of the former bank portion of the Park Inn Hotel and National City Bank duplex. Located on the east side of the property, it now serves as the hotel’s ballroom and meetings facility.

The bank section was built with the look of security, so its main floor was enclosed in brick. The only available light came from some skylights, the front doors (secured with large, solidbronze gates) and their sidelights, and a series of clerestory windows (with steel grilles).

When the restoration was commissioned, the local non-profit, Wright on the Park Inc. (WOTP), initially was looking for a company to work on the clerestory window grilles; Boyler’s was recommended for the job by one of its vendors, Kloppenborg Foundry & Fan of Davenport, IA. Later, Boyler’s was approached by WOTP to recreate the gates and sidelight grilles for the former bank’s east-side front entrance, as well.

Like many pieces of the historic building, the original window grilles had been taken by curiosity collectors during the building’s several reconfigurations. At some point after 1926, when the bank’s two stories were reconfigured into three, the grilles ended up as fencing in the yard of a Clear Lake, IA, residence. Surprising to many watching the task under way, like other pieces the grilles were brought back home – relinquished after decades to WOTP for the sake of this most recent project.

Only 14 of the original 25 window grilles had survived, but they needed restoration. “They were a mess,” Mike says. “They had been cut down and chopped up.” The 11 others had to be produced from scratch and be as historically correct as possible.

“In keeping that in mind, we took one of the clerestory window grilles apart to study how it was made and found that everything was pinned and screwed,” Mike says. “None of those window grilles was welded anyplace.”

July / August 2013 n Fabricator

The Boyler’s crew devised a stratity and not take shortcuts,” Mike says. egy to produce the window grilles and, That was especially true on the shortly afterward, the bronze gates and gates, he added, because “with bronze, the sidelight grilles. They used a design you don’t get a second chance.” of the gates drawn by the project’s Getting Wright right supervising architect, the late Martha The Boyler’s crew started on the Huntington, AIA, who based her work gates by interpreting the architect’s on the windows’ design and some old design of the doors into material sizes photos of the original gates. based on field sizes and dimensions, “Once we had made the decision and using AutoCAD shop drawings as to how we were going to go about 1 of 2/7/11 1 for final approval on the submit it,Ad_2011:Layout then it was a matter making10:09 sure AM toPage job to be done. everyone did it to the best of their abil-

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“Once approved, we did full-scale plots on our plotter so we were able to lay the full-scale plot on our table to follow,” Mike says. “All the parts were cut and machined; some of the bigger joints were half-lap joints, mortised.”

They hadn’t prepared for all that precision machinery, so during the job they purchased a used Bridgeport milling machine. “It was our savior and our go-to machine for making all the joints and fitting all the holes accurately,” Mike says.

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9:44 AM

Many of the final connections were drilled and tapped during assembly.

Brian Felts, left, and Jason Cones, right, work on the final fit-up and make connections on the last key parts of the gates.

Page 1

Gate leaf after the oil-rubbed patina and final left. were buffed out before the gates were crated. Afterward, ADassembly, PROOF - Fingerprints 45-3454-ACF-121807-V2 “white-glove treatment was the rule,” Mike Boyler said. At right, the finished gates after their final assembly wait to be crated.

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The two sidelight grilles, left, after the oil-rubbed patina and final assembly. Right, one of the sidelight grilles installed on one side of the gate.

Another aspect of the project not anticipated: the challenge of putting a patina on a project so large and complex.

There was only one solution: to take the doors apart, to polish and apply the oil-rubbed patina to each piece individually, and to carefully put the pieces back together — only once — before shipping the set 220 miles to the job site.

“After the laborious task of screwing it all together, we had to take it apart. Once you got it all taken apart, the pieces had to go together exactly. You have to very careful that you don’t scratch anything,” Mike says.

Still, scratches would be the least of his concerns had things not gone so smoothly from the start of the well-executed process.

“The whole thing was a challenge . . . to develop the procedure and then carry it out and having it work,” Mike says.

“We were able to build these gates and put them together and they actually worked the first time. We didn’t have to redo anything.”

With 580 hours of fabrication in the project, the notion of getting it right the first time was critical. And while the bronze screws added to the thousands of loose parts and the tediousness of the job, welding would’ve been a bigger challenge.

“In this case, welding would’ve made the project more difficult. That build-up has to be removed and when you do that you get into the surface material,” Mike explained. “(Disturbing the surface finish) would’ve drastically increased the amount of finishing time. It’s a heat process; we would’ve risked a lot of distortion in the material because July / August 2013 n Fabricator

51

Massive restoration project was decades in the making Designed by noted architect Frank Lloyd Wright in 1909, the Mason City complex that housed a bank, office space, and upscale hotel opened to the public in 1910. During the financial crisis of the ’20s, however, City National Bank closed, and that portion of the building was remodeled and used as retail space for the next several decades.

The mid-section that housed law offices and other rented space stood in various stages of use or disrepair over the years, but the larger, west-side hotel slowly atrophied. It closed as a hotel in 1972. A stint as an apartment complex was short-lived as the three-story hotel continued to decay, only to eventually provide main-floor commercial space to various occupants.

A focus of community concern for many decades, the complex eventually was saved from likely destruction by local citizens who worked to have it placed on the National Register of Historic Places and on the state of Iowa’s Most Endangered Properties list.

Wright on the Park pushes the renovation forward

In 2005, Wright on the Park Inc., was formed to purchase the building; it bought the property from Mason City for $1. Starting with funds raised by other restoration efforts up to that point, the organization escalated the push

for renovation, ending up with more than $18 million in membership fees, private and corporate donations, state and federal grants, and tax credits. Renovation work began in 2010, a notable way to mark a centennial.

Bergland + Cram of Mason City served as the architectural firm, and Henkel Construction Company, also of Mason City, was the builder.

Today, the Wright-designed facility is considered a boutique hotel with 27 guest rooms vs. the original 41. The reduced number of rooms was the most significant alteration made in the renovation and was done to bring the hotel up to modern guest standards. The original rooms had been designed in the European style — small, and with shared bathrooms. The renovation combined two original rooms into one while maintaining one of the bathrooms’ footprints.

Prairie School style at forefront

While up-to-date in travel conveniences, the guest rooms are appointed with furnishings and décor inspired by the Prairie School style, of which Wright was a proponent, and defined by prairieschoolarchitecure.com as: . . . usually marked by its integration with the surrounding landscape, horizontal lines, flat or hipped roofs with broad eaves, windows assembled in horizontal bands, solid construc-

it all does a lot of moving. It would’ve created more problems.”

The patina process also would’ve been hard to get consistent from endto-end, he says, had it been done while the gates were assembled.

“Sometimes, what seems to be the hard way turns out to be the right way,” Mike says. “You learn there’s an advantage to fighting human nature to do it the easy way.”

In Brian Felts, for example, Mike recognizes an appreciation for doing things the way he learned in France, using joinery methods that are slower but correct, vs. methods that can simply help get a job done more quickly.

“The guild has always been about transferring knowledge from the masters to the apprentice,” Mike says. “The masters know which paths lead to success and which ones lead to failure. That principle is what matters.”

Other lessons learned

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Doing things right the first time and having the right equipment aren’t the only “musts” for a job of this nature, according to Mike.

Fabricator n July / August 2013

tion, craftsmanship, and restraint in the use of decoration. Horizontal lines were intended to unify the structure with the native prairie landscape of the Midwest.

Hotel amenities include the original art-glass skylight designed by Wright, a gentleman’s lounge, and a period-appropriate ladies’ parlor.

The space that originally served as the bank is now an 8,000-square-foot meeting space, with conference rooms.

After the 18-month work, the grand opening on September 10, 2011 celebrated with all rooms booked by Frank Lloyd Wright enthusiasts. No doubt, it created a host of self-proclaimed restoration critics.

“What it amounts to is there are a lot of eyes on these types of projects,” Mike Boyler said of the architect’s fans. “Some had been to his existing homes; some had stayed in them.

These people, for whatever reason, eat, sleep, and drink Frank Lloyd Wright.”

Always stay ready

And, as seems to always be the case, know how to hurry up after waiting.

When Mike was first approached about the Park Inn Hotel project, the estimated completion date was still two years away.

But because of unexpected, serious complications with the original foundation of the bank, measurements for the gates and window grilles couldn’t be taken until later in the process than had been planned.

Being late on the job wasn’t an option.

A highly anticipated public grand opening of the hotel was scheduled, and much of the funding and tax credits for the preservation project was tied to the project meeting its completion date.

Felts clearly remembers those last days on the job.

“We worked three or four weeks in a row that were just huge weeks trying to finish up,” he says. “We had a couple of weeks with 70, 80 hours. But, we made our deadline.”

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First of all, no matter how you plan, he says, it always takes longer than you think it will so you have to know your limits even while you stretch them.

“Don’t be afraid to take on a job as long as you know what your limits are,” he says. “That’s how you grow. Research, plan and execute.”

Your colleagues can help you

Another lesson: Look to help where you can find it, as with other NOMMA members.

“Know that your NOMMA brothers have your back,” Mike says. “Faced with a problem, they’re more willing to help than what you can imagine.”

On this job, NOMMA member companies Mac Metals Inc., Kearny, NJ, and Lewis Brass & Copper Company, Middle Village, NY, were instrumental in supplying the appropriate bronze alloys.

And when it came to getting advice, Mike says he looked to the late Todd Kinnikin, president of Eureka Forge, and to Roger D. Carlsen, president at Ephraim Forge Inc.

July / August 2013 n Fabricator

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Biz Talk

So, you’ve changed your sales strategy? n

Now, how do you change the behavior of a resistant sales team to match your new goals? It’s not impossible. Here are 7 ways how.

“In times of change, learners inherit the earth, while the learned find themselves beautifully equipped to deal with a world that no longer exists.”

— Eric Hoffer

By Dave Kahle Every client I deal with, in one way or another, eventually asks this question: “How do I change the behavior of an experienced sales person?”

The words may be different, but the question is the same. It’s a universal question. If you haven’t confronted the issue yet, it’s only a matter of time before you will.

Why ask for change?

Here’s the context in which this question surfaces. The company needs 54

© masterzphotofo — Fotolia.com

to make some change that impacts the sales force: A new compensation program, a new automation tool, a new sales process, a new way of working with inside salespeople — a new something.

Most sales forces are made up of a variety of people, ranging from the inexperienced rookies, to the veterans who have been around for anywhere from five to 25 years. The rookies are eager to learn and quick to adapt to the new thing, while most of the veterans are set in their ways and resistant to the new initiative.

The question of how to get the veterans to embrace and implement the new thing always comes up within the framework of a specific change that the company wants to make. From my perspective, however, it is a larger issue.

Fabricator n July / August 2013

The veterans may be resistant to the specific change being implemented today. But there will be another change next year, and again the year after that, and the year after that, and so on for the rest of our careers.

Today’s issue, whatever it is, is just a symptom of a larger problem. Like an iceberg, the veterans’ resistance to the new initiative is what you see above the surface, but beneath the tip is a much larger force with which to be reckoned.

It’s not resistance to this particular change; it’s resistance to any change that’s the issue. Ignore it today, and you’re likely to ram up against it again in the future. Sooner or later, every principal or sales executive is going to face the challenge of implementing change with experienced salespeople.

However, exceptions to the rule exist. Some experienced, veteran salespeople openly embrace the next thing and actually lead the way. But that kind of attitude is rare. If you have a veteran with a “change is great, let’s do it” attitude, be thankful. It is much

. . . it’s resistance to any change that’s the issue.

Ignore it today, and you’re likely to ram up against it again in the future. Sooner

or later, every principal or sales executive is going to face the challenge of implementing change with experienced salespeople. more likely that you’ll need to confront this issue with the experienced veterans.

The knee-jerk reaction is, of course, to say, “Do it this way, or find another job.” It really would be great if it were that simple.

However, many of these veteran sales people have been consistent performers in the past, and many execu-

tives feel loyalty to the people who have helped them build their business.

Additionally, the veterans are typically storehouses of product knowledge, well-entrenched in their good accounts, and adequate, if not superior, performers. So, while it’s easy to say, “Tell them to change or leave,” the reality is much more complex.

Here are seven essentials to changing the behavior of an experienced salesperson.

Seven steps to implementing change 1 Mandate the change. Too many

executives try to create serious change without being publicly committed to it themselves. This half-hearted commitment is obvious to the employees and provides them a mental escape. After all, if senior management isn’t really committed, why should they be? Don’t let that happen. If you want the change to stick, then put your personal power behind it. You announce it to everyone, you explain the rationale, you

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commit the assets of the company to it, and you let everyone know that this change is going to be how your company does business. You’ll see to it.

This implies that you can’t commit to every good idea that surfaces along the way. Beware of the “flavor of the month” temptation. You only have so much energy to invest in change, so make sure that this change is one of the few that you want to create.

I am continually amazed at the number of companies, [that] have never budgeted for training. Sales is a

complex, sophisticated job, where the superior performers create dramatically more revenue 2 Communicate clear expectations.

OK, you’ve mandated the change. Now for the company than the Ad Proof 77035-CB-4829-08 make sure those veteran salespeople average performers. know specifically what is expected of them. For example, you may be imple-

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menting a new sales force automation tool. You have mandated it publicly.

Now, sit down with each salesperson and say, “Mary, by May 1, we expect you to be using the customer master screen and call report function. By July 1, we expect you to use the quote system for every quote you do. By September 1, we expect you to be fully functional on all five modules.”

Follow up with a written memo saying the same thing. Now, everybody knows precisely what is expected.

3 Tie the behavior to some reward.

It would be nice if you could make 10% of their paycheck dependent on them meeting the expectations you set out. In most circumstances, the logistics of this is too difficult to pull off.

The principle still remains, however. Everything works better if you can create some kind of reward.

Maybe you can have a big banquet for every salesperson who has achieved the expectations. Include the spouses.

Maybe you can all go to a sports event.

Let everyone know, including the spouses, that this special occasion is only for those who make the change.

Of course, if you could tie part of their paycheck to the change. . . .

4 Train them. Only people who are eager to change will pick up the new behavior on their own. Everyone else, the 80%, will require specific and repetitive training in the thing that you want them to do. Don’t underestimate this. It’s a rule of thumb in sales force automaton projects, for example, that the cost of the training will be about as much as the cost of the software and hardware. If the new system cost you $2,500 per person, adequate training will cost $2,500 per person.

If you are not ready to bear this cost, don’t mandate the change.

I am continually amazed at the number of companies, while in other ways are progressive and well managed, have never budgeted for training. Sales is a complex, sophisticated job, where the superior performers create dramatically more revenue for the company than the average performers. In other words, good sales people sell more!

Why then, shouldn’t you make all of them better?

Fabricator n July / August 2013

Don’t fall into the class of companies who don’t realize that training is an on-going investment. Plan to pay to train them.

5 Support the changed behavior. Just because you’ve trained

them doesn’t mean that everyone “got it.” They’ll still need reminders, someone to talk to about specific questions, training manuals, websites to review the change. Set up your infrastructure for supporting the changed behavior before you begin the training.

6 Manage and monitor the change. In our management

system, we institute a formal, highly structured monthly meeting between the sales manager © masterzphotofo and the sales person. This regu— Fotolia.com lar, monthly conversation about the changes that are expected is one of the most powerful tools to bring about behavioral change At this point, you need to make and to monitor the sales growth and a determination. Is this a “can’t do” expectations. Ask questions like, issue, or is it a “won’t do” issue? In “What progress are you making?” “Are other words, is the problem that the you where you need to be?” “Why or salesperson just does not have the why not?” “What are you going to do now?” “How can I help?”

7 Be prepared to take action. After you have done all this, you really have invested the company’s assets in a significant effort to help this person make the change. What if he/she still doesn’t?

ability to do what you want him/ her to do? If so, then maybe they should be in another job in your company. Their current job may have grown beyond their capabilities. It happens.

On the other hand, the problem may not have anything to do with abilities, but lies in attitude.

Is the issue that they won’t do it?

If that’s the case, then it may now be time to part company with this individual.

The future of the sales force will be characterized by constant and rapid change. And every salesperson must be expected to be supportive of that change.

It’s part of the job description.

Resistance to today’s initiative will lead to even greater resistance to tomorrow’s.

The company who can consistently manage that change and systematically bring about changed behavior will have a serious competitive advantage over those whose sales people are locked in behaviors that used to work.

For your information

n

About the author Dave Kahle is a leading sales authority who has written nine books, presented in 47 states and eight countries, and has helped enrich tens of thousands of sales people and transform hundreds of sales organizations.

Sign up for his free weekly Ezine.

For a limited time, receive $547 of free bonuses with the purchase of his latest book, How to Sell Anything to Anyone Anytime.

Call for Nearest Dealer

800.331.1287 www.davekahle.com dave@davekahle.com July / August 2013 n Fabricator

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n

Nationwide Supplier members Albina Pipe Bending Co. Inc. (503) 692-6010

Alku Group of Companies

(905) 265-1093

Allen Architectural Metals Inc. (800) 204-3858

Alloy Casting Co. Inc. (972) 286-2368

American Punch Co.

(216) 731-4501

Ameristar Fence Products (918) 835-0898

Architectural Iron Designs Inc. (908) 757-2323

Atlas Metal Sales (800) 662-0143

AZZ Galvanizing (815) 618-8440

Banker Wire

(800) 523-6772

Geo. Bezdan Sales Ltd.

Carl Stahl DecorCable Innovations

(800) 444-6271

Century Group Inc.

(337) 527-5266

Cleveland Steel Tool Co.

(800) 446-4402

CM Iron Supply LLC

(480) 968-5121

CML USA Inc. Ercolina

(563) 391-7700

Colorado Waterjet Co.

(866) 532-5404

Custom Orn. Iron Works Ltd. (866) 464-4766

D&D Technologies (USA) Inc.

(714) 677-1300

D.J.A. Imports Ltd. (718) 324-6871

DAC Industries Inc.

EPi

(262) 786-9330

ETemplate Systems

(919) 676-2244

FabCAD Inc.

(800) 255-9032

Feeney Inc. (Feeney Architectural Products)

(800) 888-2418

C.R. Laurence Co. Inc.

Hartford Standard Co. Inc.

Lavi Industries

(323) 789-7800

(800) 213-9525

(270) 298-3227

Hayn Enterprises LLC (860) 257-0680

Cable Art Inc.

Eastern Metal Supply

Illinois Engineered Products Inc.

The Cable Connection

(800) 851-2961

Carell Corp.

(251) 937-0948

(800) 343-8154

Elite Architectural Metal Supply LLC

Ohio Gratings Inc.

Guardian Gate Hardware

House of Forgings LLC

(877) 664-4224

(888) 592-2240

ProCounsel

Eagle Bending Machines Inc.

(251) 937-0947

(336) 674-5654

O.K. Foundry Co. Inc.

Krando Metal Products

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Bridgeton Drafting Co. LLC (856) 205-1279

(800) 542-2379

NC Tool Co.

Glasswerks LA Inc.

Heritage Cast Iron USA

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King Architectural Metals

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(918) 592-1700

(866) 443-4848

(312) 850-3710

Indiana Gratings Inc.

(800) 634-1988

(847) 636-1233

(714) 670-8980

(410) 644-5932

(610) 543-4311

(800) 421-6144 (800) 624-6225

Lawler Foundry Corp.

(800) 624-9512

Lewis Brass & Copper Co. Inc. (718) 894-1442

Lift Master

(630) 279-3600

Locinox USA

(708) 579-0286

Mac Metals Inc.

(800) 631-9510

Marks U.S.A.

(631) 225-5400

McKey Perforating (262) 786-2700

Metabo Corp.

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Mittler Bros.

Machine & Tool

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King Architectural Metals - MD

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Julius Blum & Co. Inc.

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(828) 437-5348

Interstate Mfg. Associates Inc.

SECO South

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The G-S Co.

Hebo/ Stratford Gate Systems Inc.

(800) 888-9768

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Multi Sales Inc.

King Architectural Metals - CA

Big Blu Hammer Mfg.

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Industrial Coverage Corp.

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Pacific Stair Corp.

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South Camden Iron Works Inc. (856) 423-1107

Stairways Inc.

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Stephens Pipe and Steel

(225) 387-1838

Suhner Industrial Products Inc. (800) 323-6886

Sumter Coatings Inc.

(888) 471-3400

(214) 741-3014

Q-Railing USA Co. (714) 259-1372

RAMSET Automatic Gate Systems Inc.

TACO Metals

(305) 770-2373

Transpacific Industrial Supply Inc.

(909) 581-3058

Ransburg

Tri-State Shearing & Bending

Regency Railings Inc.

TS Distributors Inc.

Robinson Iron Corp.

Vogel Tool & Die, Div. of TES Tube Equipment Inc.

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Robinson Laser LLC

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Rockite, Div. of Hartline Products Co. Inc. (216) 291-2303

Rogers Mfg. Inc. (940) 325-7806

L.E. Sauer Machine Co.

(718) 485-2200

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The Wagner Companies

(888) 243-6914

Wasatch Steel Inc. (888) 486-4463

West Tennessee Ornamental Door

(901) 346-0662

(636) 225-5358

(800) 467-2464

NOMMA Gold Members NOMMA is pleased to welcome our newest Gold Members — companies who have been a member for 20 years or more.

These companies show a strong loyalty to both their industry and trade association. We thank them for their support. n Bracci Iron Works...................................... Brooklyn, NY

n Mainer Iron Works Inc.............................. Fort Smith, AR

n Armin Iron Works Inc................................ Pittsburgh, PA

n Picasso Gate Inc......................................... Cheyenne, WY

n Boes Iron Works Inc.................................. New Orleans, LA

n Republic Fence Co. Inc............................. Granada Hills, CA

n Broome Welding & Machine Co. Inc..... Galveston, TX

n Superior Fence & Orn. Iron...................... Cottage Hills, IL

n DoorKing of Texas Ltd.............................. Dallas, TX

n Western Architectural Iron Co................ Chicago, IL

n Hebo/Stratford Gate Systems Inc.......... Clackamas, OR n Johnston Products of Dallas Inc............ Cedar Hill, TX n King Architectural Metals........................ Dallas, TX 58

We greatly thank these companies for their two decades of loyalty and support.

Fabricator n July / August 2013

n

New NOMMA Members Meet Our Members NOMMA is proud of its 551 members. As members, fabricators and suppliers show support for both the association and entire industry. To get contact information on a member, see our Member Locator at www.nomma.org.

Members as of June 28, 2013 *Asterisk denotes returning members.

Gjertson Metalworks Ward, CO Steve Gjertson Fabricator

Austin Stairs LLC Austin, TX Robert Allen Fabricator

Gold Coast Metal Works Inc.* Huntington Bay, NY Alain Olivier Fabricator

Coastal Fabrication Co. Carmel, CA Thomas George Fabricator DuBose National Energy Services Clinton, NC Richard Rogers Fabricator Eastern Metal Supply* Charlotte, NC Olivia Bacon Nationwide Supplier

Gulf Coast Railings Inc.* Tomball, TX Nic Hurst Fabricator Hemi Systems Commerce, GA Tom Duello Fabricator Heritage Industries Inc.* Pittsburgh, PA Rob Gladu

Iron Club Thank you to the following individuals who have sponsored members for the new membership year. They are now an official member of the NOMMA Iron Club n Amos Glick, Compass Ironworks, Gap, PA n Tony Martinez, Big D Metalworks, Dallas, TX n JR Molina, Big D Metalworks, Dallas, TX NOMMA Membership Campaign We have kicked off the 2013–14 membership campaign. And yes, there are prizes! n Sponsor a member for a $75 discount off METALfab 2014 registration. n Sponsor 4 members and your registration is free!

To sponsor a member, simply encourage your suppliers, partners, contractors, and nearby fabricators to join.

If inviting them by email, you can send them this link: http://tinyurl. com/ca769do

Call for Speakers METALfab2014 If you’d like to speak at METALfab 2014, March 12—15, in St. Louis/St. Charles, MO, please contact Lynn Parquette, NEF METALfab education chair: lynn@ornamentaliron.net.

July / August 2013 n Fabricator

MTI Industries Metal Studios North Falmouth, MA Marc LaRochelle Fabricator

Fabricator Iron Art & Design New Holland, PA Steve Huyard Fabricator

Nationwide Industries Tampa, FL Stuart Itzkowitz Nationwide Supplier

Kervin Bros.

Ornamental Iron Inc.* Portland, OR Gary Kervin Fabricator

Offenhauser Co.* Houston, TX Robert Dillard Fabricator

Leesburg Concrete Co.* Leesburg, FL Shawn Thomas Fabricator

Robinson Laser LLC East Chicago, IN Henry Goff Nationwide Supplier

Longfords* Longford, Ireland Tony Nerney Fabricator

Titan Industries Inc. Deer Creek, IL Ryan McQueary Fabricator Vogel Tool & Die, Div. of TES Tube Equipment Inc.* Addison, IL Larry Siegal Nationwide Supplier Wrought Iron Art Ltd.* Oakville, ON Canada Oleg Shyshkin Fabricator

Ted Turner Company Inc.* Beltsville, MD Ted Turner Fabricator

LSI* Macungie, PA Justin Huddleston Fabricator

WITH A EMBOSSING MACHINE START GREAT FINISH The VIRLI-1 Electro-Mechanical Embossing Machine is now available, and at surpringly affordable cost. With it, plain-looking flat, round and square metal bars, pipe and rectangular and square tubing like those used in railings, safety and security guards and other ornamental works are turned into materials of distinction and beauty, to enhance their appearance, appeal and marketability. It can handle flats up to 21/2” x 3/8” and up to 1” rounds and squares, 11/2” pipe and 3” x 21/2” rectangular tubing at high and very effective production rates.

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59

NOMMA TechBulletin

Bulletin No. #3

Topic: Bending Resources Instead, read the article “Conquering the Tight Bend,” by Martha Stockton. The article covers proper bend appearance, as well as using sand, heat, and various dies. ☛ Find it: NOMMA website → Fabricator → Best of Fabricator Series → Fabrication → “Conquering the Tight Bend.”

How Do I Bend It?

Questions about bending often appear on the NOMMA ListServ discussion list. The following is a list of helpful resources. This information can also be found in our NOMMA Member Resource Manual, which is currently in production. Note that some of the website resources below require a member password.

Bending Brass Cap

A hot bending demonstration was recently given by the Upper Midwest Chapter of NOMMA.

An article on bronze cap forming was written by Alex Klahm in 1996. It is one of the most popular articles ever appearing in Fabricator and has become a “best practice” for our industry. The article covers hot and cold forming and using various tools like the Hossfeld Bender and Strait-O-Flex. ☛ Find it: NOMMA website → Architects → Architect Support → “Working With Bronze Cap Rail”

Large Radius Bend

Now it’s time to make a large radius bend, and we mean REALLY LARGE. Read the article by Ralph Schmidt of Production Machinery Inc., titled, “Tackling the Large Radius Bend.”

This excellent article covers cold roll techniques, common questions, and methods to avoid twisting and deformation. ☛ Find it: NOMMA website → Fabricator → Best of Fabricator Series → Fabrication → “Tackling the Large Radius Bend” Bending Job Too Big?

Bending Basics

The July 2007 edition of Fabricator’s Journal provides an introduction to bending. Plus, you’ll learn basic terms like “rolling,” “mandrels,” and “table forming.” ☛ Find it: NOMMA website → Member Resources → Fabrication Bulletins → “Handling the Curve”

For super large jobs or structural bending you’ll likely need the help of a third-party vendor. NOMMA has several members who provide bending services. You can obtain a listing from either our print or online Buyer’s Guide. ☛ Find it: NOMMA website → Buyer’s Guide → Services → Fabrication → Bending

Math Made Easy

Bending Videos

Lay out a stair in three easy steps by following an article that appeared in the May/June 2008 Fabricator. ☛ Find it: NOMMA website → Fabricator → Best of Fabricator → “Stair Theory” Best Trick Ever

Download the Best of Fabricator Tips & Tricks, flip to page 9, and you’ll learn how to mount a bender to your truck for doing field work. Titled “Bending on the Job Site,” the tip describes how to secure and power a bender on an installation truck ☛ Find it: NOMMA website → Fabricator → Best of Fabricator Series → “Best of Fabricator Tips & Tricks.”

Tight Radius Curve

Don’t waste material trying to figure out how to bend without creases and cracks.

Before attempting a job it’s always a good idea to watch a few online videos first to pick up tips and to prepare yourself for possible challenges. To see many videos, go to YouTube.com and type in either “tube bending” or “pipe bending.” ☛ Find it: YouTube.com → Type “Tube Bending” or “Pipe Bending.”

Tips for Tight Bends n Fill the pipe with sand. n Heat solid material. n Use compression dies. n Use mandrels. n User wiper dies.

Great resource: The Pipe & Tubing Bending Manual by John Gillanders. Cost: $196. While pricey, the book is loaded with information on methods, equipment, and reference data.

The Tractor Bender

How cool is this? Wade Ranck of Eagle Machine & Welding Inc. shows how he powers his bender with a John Deere tractor engine.

Once the engine is cranked up, the machine can easily bend 2-inch galvanized pipe. ☛ Find it: NOMMA website → Member Resources → Videos/ Webinars → Tutorials → “Hydraulic Bending.”

TechBulletin is published by the National Ornamental and Miscellaneous Metals Association, 805 South Glynn St., Ste. 127 #311, Fayetteville, GA 30214, (888) 516-8585, Fax: (888) 279-7994, nommainfo@ nomma.org, www.nomma.org. By using the information in this document, the reader agrees to not hold liable the author, NOMMA, or the Board of Directors for any damages (including consequential, exemplary, or incidental).

What’s Hot? n Colorado Waterjet named “Company to Watch” finalist Colorado WaterJet (CWJ), ing industries that appreciate Berthoud, CO, a leader in abrathe precision that Colorado sive waterjet shape cutting, WaterJet can offer, the company joins a select group of Colosays that artists and construcrado companies recognized tion companies also use the as a Colorado Companies to company’s services.

Watch finalist. This selection Their latest addition of the acknowledges the company’s Mach 4C WaterJet machine hard work, growth, and success Dan Nibbelink, provides 5-axis cutting that Colorado represented by its commitment WaterJet owner now makes them even more to creating new possibilities for versatile. its clients, and the company’s contri“We pride ourselves on being able bution to business development in the to meet the needs of a variety of cusstate. tomers. We have a unique ability to Colorado Companies to Watch work with exotic and difficult materials honors second-stage companies that and provide quick turnaround times, develop valuable products and serwhich gives us an edge in this indusvices, create quality jobs, enrich comtry,” says Dan Nibbelink, owner and munities, and create new industries founder. “We continue to stay up-tothroughout Colorado. The year-long date on new processes, technology, and program is hosted by the Colorado capabilities to give our customers the Office of Economic Development and best experience. the Edward Lowe Foundation.

“Colorado Companies to Watch is The capabilities of the Colorado pleased to recognize Colorado WaterWaterJet facility makes it stand out Jet as a 2013 Finalist. Based in Beramong other machining companies. thoud, Colorado WaterJet is growing Machine shops and manufacturing its footprint and contribution to Colofacilities come to Colorado Waterjet rado’s economy. We look forward to because they can dramatically speed supporting Colorado WaterJet’s longup the machining process and reduce term success in our state,” said Sam costs, the company says.

Bailey, Program Director, Colorado As a cold-cutting process, waterjet Companies to Watch. cutting doesn’t harden edges or warp Contact 970-532-5404 materials. In addition to manufacturwww.coloradowaterjet.com

July / August 2013 n Fabricator

Industry News

News Brief Wagner adds Bystronic laser cutting system The Wagner Companies, Milwaukee, WI, has added a Bystronic BySprint Fiber Laser Cutting System to its manufacturing operation.

The BySprint Fiber provides high-efficient cutting, integrated automation, and high energy efficiency, Wagner says. It can cut thin to medium-thick sheet materials including steel, aluminum, stainless steel, and other non-ferrous metals.

Unlike CO2 laser cutting systems, gas is no longer required, which reduces operating costs.

The laser cutting system uses 4,000 watts of focused power to process steel plates up to ⅝ inch, aluminum up to ⅜ inch, stainless steel up to 1/2 inch, galvanized steel up to ⁄ inch, and other non-ferrous metals up to ⁄ inch.

The laser features a 60 x 120inch bed and uses cutting edge software for accuracy and reliability. .

The BySprint Fiber laser cutting system also includes the ByTrans Extended Loading System which allows for fast job processing; a complete loading and unloading cycle takes only 60 seconds and makes the laser cutting system fully automatic.

Contact 888-243-6914 www.wagnercompanies.com

61

What’s Hot? n 5-Station fabrication center Kalamazoo Metal Muncher The Kalamazoo Metal Muncher 5-Station Fabrication Center features two-cylinder, two-person operation allowing the punch and shear end to be operated separately, independently, and simultaneously at full capacity and speed. The company says its MM-Series includes punch press, flat bar/plate shear, coper, notcher, angle shear and accessories for Braking, Pipe Notching and many others.

Trends according to Kalamazoo Fabricators, in general, are looking to streamline the fabrication process from material in to finished goods out the door. Stand-alone notchers, while useful, take up floor space and perform only one operation in the process. Versatile, multi-functional, multi-opera-

Products: Notchers

tor equipment saves time in setup and processing, and eliminates the need to move material from machine to machine throughout the facility.

From the notching end, the company sees more fabricators trending toward accessory notching tables to help with material handling. This gives the operator more room to handle larger parts.

Contact 269.492.0268 www.kalamazoometalmuncher.com Pipe notcher Vogel Tool & Die Introduced in the 1930s, the company’s Arc-Fit pipe notcher is considered an industry staple, Vogel says. The company makes hand-operated notching tools and 110 volt-powered units.

Tools can notch 90° joints, angles, and for even adding drainholes for gal-

vanizing. Sizes range from ¼-inch OD up to six inches. Vogel’s tools are sharpenable for long life.

Trends according to Vogel The company sees more smaller shops bringing gate and panel manufacturing in house. The reason is often to reduce lead times for ordering premade components and to be more flexible in a challenging environment.

Vogel says it is also finding more shops going with power notching tools because it offers a 110 volt, 25-ton power unit for under $4,000.

Contact 800-272-8946 www.VogelTool .com

Need to Notch?

Call Vogel!

Depend on Vogel for tools for pipe notching, picket press forming, custom pierced pickets and more.

Vogel Tool are proudly made in USA for over 75 years.

800-272-8946 www.VogelTool.com 62

Fabricator n July / August 2013

What’s Hot? n

Products: Notchers

Several notcher styles Woodward-Fab

Woodward-Fab offers several styles of tube/pipe notchers, from abrasive belt notchers, punching type, and hole saw notchers.

Punching type notchers are low cost, requiring no consumables, such as cutters, and are the fastest notching of all styles, the company says. Punching notchers make 90° notches in seconds repeatably simply by pulling on a handle. A power version is also available for high production work.

< < < < < < < < < < < < < < < < < < < < < <

Woodward-Fab industrial holesaw-type notcher is the Model WFN6, constructed of heavy flex resistant plate, using precision needle bearings for ultra-smooth spindle travel. The Model WFN6 makes various angle notches in tube up to 2½ inches in diameter using standard hole saw blades.

Trends according to Woodward-Fab The company has seen increased sales of its “easier-to-use” notchers, such as the WFN series of hand-operated punches. Woodward-Fab believes the trend is toward ease of use with little or no training required.

Contact 800-391-5419 www.woodwardfab.com Variable speed tube notcher Mittler Brothers Macine & Tool The Variable Speed Ultimate Tube Notcher can produce the highest quality notch/cope in a small amount of time,

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July / August 2013 n Fabricator

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Mittler Bros. says. With its 75 to 250 RPM adjustable cutter, it also can handle thick and thin wall tubing. The standard vise allows it to notch up to 2-inch OD tubes and upgrade options are available.

An adjustable height vise for offset notching is optional. No coolant is needed, and no dust or excessive noise produced.

Contact 636-745-7757 www.mittlerbros.com CNC corner notcher Carell Corporation The new AV226/PA-CNC corner notcher and punching machine

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63

What’s Hot? n

Products: Notchers

offers cutting precision equal to 0.1°.

The hydraulic notching machine is designed with system-regulating blades by means of an NC electronic control system distinguishable from other notchers due to NC-controlled, singularly moving blades, according to Carell.

This Hydraulic Corner Notcher uses a patented, self-regulating gap adjustment that allows precision shearing of both thin and thick materials. No assistance is required.

The AV226/PA-CNC is heavy duty.

The work bed is constructed of GS500 cast alloy, precision machined, and stress

relieved. It is capable of cutting from the apex of the notch or from the end.

Trends according to Carrell The need to stay competitive in today’s expanding global markets demands high accuracy and consistent dependable repeatability. Carell CNC automatic notchers accelerate production while maintaining quality.

Contact 251-937-0948 www.carellcorp.com Notching stations Multicyl Primarily used for fabrication applications with sheet metal and tubing, Multicyl offers complete turnkey fabricating solutions using its patented line of air over oil cylinders, including tube notching, corner notching, and edge notching.

Trends according to Multicyl Multicyl machines are typically small bench mounted presses that run

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on shop air with no electrics required.

According to the company, it has combined the traditional Multicyl notch stations with tooling from other vendors to produce “the most efficient cost effective notching stations on the market allowing for double-sided notching in a single machine cycle.”

As production demands continue to dictate the need for quick and inexpensive modular fabricating solutions, Multicyl says it sees the trend for this continuing into the near future and beyond.

Contact 800-388-6359 www.multicyl.com

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Or email pmiller@restoremedia.com

64

Fabricator n July / August 2013 Fabricator RM house ad.indd 1

10/14/2011 12:45:08 PM

n

Advertiser’s Index A thanks to the following advertisers for their support of O&MM Fabricator magazine.

Pg Company

Website

Pg Company

Website

26 Albina Pipe Bending Co................www.albinapipebending.com

56 Hougen Mfg. Inc................................................... www.hougen.com

37 Allen Architectural Metals Inc....................www.allenmetals.com

40 International Gate Devices.................................www.intlgate.com

24 Architectural Iron Designs Inc.............www.archirondesign.com

68 The Iron Shop...............................................www.theironshop.com

64 Artist-Blacksmith’s Assoc. of North America Inc.................................................www.abana.org

67 King Architectural Metal............................... www.kingmetals.com

62 Atlas Metal Sales............................................. www.atlasmetal.com 27 Big Blu Hammer Mfg. Co. / Oak Hill Iron Works................................www.bigbluhammer.com

38 Lapeyre Stair................................................... www.lapeyrestair.com 19 Lawler Foundry Corp................................www.lawlerfoundry.com 18 Lawler Foundry Corp. II...........................www.lawlerfoundry.com 2 Lewis Brass & Copper Co. Inc..................... www.lewisbrass.com

56 Blacksmiths Depot / Kayne & Son Custom Hardware Inc...................... www.blacksmithsdepot.com

13 Marks U.S.A.........................................................www.marksusa.com

32 Julius Blum & Co. Inc.....................................www.juliusblum.com

47 Mittler Bros. Machine & Tool...................... www.mittlerbros.com

28 The Cable Connection................. www.thecableconnection.com

57 Pat Mooney Inc.....................................www.patmooneysaws.com

63 John C. Campbell Folk School.......................www.folkschool.org

63 NC Tool Company Inc........................................www.nctoolco.com

39 Carell Corporation........................................... www.carellcorp.com

55 Ramset Automatic Gate Systems................ www.ramsetinc.com

21 Chicago Metal Rolled Products Co...................... www.cmrp.com

55 R & D Hydraulics Mfg. & Machine Co....................www.rdhs.com

59 COLE-TUVE Inc..................................................... www.coletuve.com

42 Regency Railings.....................................www.regencyrailings.com

53 Colorado Waterjet Co........................www.coloradowaterjet.com

11 Rogers Mfg. Inc........................................ www.rogers-mfg-inc.com

45 Custom Ornamental Iron Works Ltd.....................................www.customironworks.com

51 Sharpe Products.................................... www.sharpeproducts.com

15 D & D Technologies (USA) Inc............... www.ddtechglobal.com

6 Shop Outfitters/ Lockdown Securities............................... www.shopoutfitters.com

16 D.J.A. Imports Ltd........................................... www.djaimports.com

59 Simonian Bender.................................www.simonianbender.com

61 Doringer Cold Saw............................................. www.doringer.com

33 Stairways Inc.................................................................. 800-231-0793

39 Eagle Bending Machines Inc........................... www.eaglebendingmachines.com

49 Sumter Coatings Inc..............................www.sumtercoatings.com

52 Eberl Iron Works Inc..........................................www.eberliron.com

64 Traditional Building....................... www.traditional-building.com

9 FabCad Inc............................................................... www.fabcad.com

50 Tri-State Shearing & Bending.................................... 718-485-2200

23 Feeney Inc...........................................................www.feeneyinc.com

62 Vogel Tool & Die LLC........................................ www.vogeltool.com

47 Goddard Manufacturing Co...............www.spiral-staircases.com

41 The Wagner Companies.................www.wagnercompanies.com

29 Hebo - Stratford Gate Systems Inc.....www.drivewaygates.com

53 Weaver’s Iron Works........................ www.weaversironworks.com

Your advertising contact for O&MM Fabricator NOMMA Buyer’s Guide NOMMA website CO NTAC T

Sherry Theien Advertising Director 8392 Leesburg Ct. Rockford, IL 61114 815-282-6000 815-282-8002 fax stheien@att.net July / August 2013 n Fabricator

43 TACO Metals Inc.............................................. www.tacorailing.com

Advertise in the 2014 NOMMA Buyer’s Guide Your one-stop resource for shop and office personnel The Buyer’s Guide is available in 3 versions: 1) print, 2) online, and 3) database.

Closing date November 30, 2013 Contact Sherry Theien, 815-282-6000; 815-282-8002 fax; stheien@att.net 65

n

From the NOMMA ListServ

Metal Moment

Help with oil-rubbed bronze finish on steel Patrick Cardine, Cardine Studios, www.cardinestudios.com, Bealeton, VA, posted a question on the NOMMA ListServe:

We have never settled on a “oil-rubbed bronze finish on steel” for interior work. I have tried different things but have never locked onto something. We get requests for this all the time and it’s always a problem. We need something somewhat durable and easy to touch up in the field, I’m not crazy about paint as an option either. Any tried and true recipes out there?

Here are responses from NOMMA members:

We had Accessa Coatings Solutions, Indianapolis, IN, (www.accessa.biz) make up a paint for us that matches the the oil-rubbed bronze door hardware well. It has a metallic quality to it so it’s not just “paint” as far as the look.

It is a catalyzed polyurethane, so it’s durable inside or exterior. And it sprays thru our electrostatic gun.

Sur-Fin Chemical Corp. (www.surfinchemical.com), Los Angeles, CA, makes products that are essentially a powdered bronze in a carrier to which you apply chemical patinas to get the desired effect. Can work well, but it’s messy and takes some practice to get it right.

John McLellan

McLellan Blacksmithing We’ve been creating and Loomis, CA applying custom faux finishes on both interior and exterior steel work since the mid-90s and The traditional finish for when it comes to “oil-rubbed interior steel is oil/wax. bronze” finish, there is no one Mix 1 pound paste wax, ¼ cup finish that everyone accepts. The boiled linseed oil, and lighting vs. hardware vs.

1 cup turpentine. With a rosebud plumbing manufacturers all have torch, heat the metal 200–300 their own versions of “ORB,” degrees and brush on the wax which is were most homeownmixture (it will melt immediers/designers get their ideas ately and smoke some). Let it from. It seems to us that the dry, then buff with a soft cloth. most common one (in Chicago A sample of an oil-rubbed bronze finish, which was If you have areas where you area) is using a satin black base entered in a past Top Job contest. Fabricator: Christopher have ground a weld, apply some Metal Fabricating Inc., Grand Rapids, MI. with a bronze glaze lightly heat to that spot beforehand applied on top. Depending on to get some color to the area. what coating you use, you may have to apply a clearcoat Makes for a beatiful finish. If its oil-rubbed bronze they after applying the bronze color. The powder manufacturers want, then they have to pay for bronze—not steel. now have oil-rubbed bronze colors available, too. I hope Lloyd Hughes Lloyd K Hughes Metalsmithing this helps.

Mel Drendel Creative Iron Solutions Naperville, IL

What we have done is sandblast the steel and then “burnish” it with a brass wire wheel or cup brush. The brass transfers onto the steel to create a nice, durable finish. Then it can be lacquered or waxed or both. You can add metal die to the wax or lacquer to play with the shades; we have done samples using patina to give the final product a slightly browner color.

South Hackensack, NJ

David B. Gore La Forge De Style

Lexington, KY

Join NOMMA . . .

to get your questions answered on the ListServ

The NOMMA Listserv is an ongoing email discussion list where NOMMA members can get quick answers at no charge to their important questions. It is a most valuable benefit for NOMMA members. If you are a NOMMA member and not subscribed, contact support@nomma.org. If you are not a NOMMA member, we encourage you to join your industry’s trade association.

TA LK TO US

Something on your mind? Got something to say? Got an idea? Got a tip? Got a gripe? Do you have a story to tell?

Fabricator magazine would like to interview you for a Metal Moment story. Please contact editor Todd Daniel at todd@nomma.org.

66

Fabricator n July / August 2013

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