Vol 23 No 4 - New England Blacksmiths

To discover, to help
Sept. 2003
New England
Blacksmiths
VOL. 23 NO. 4
Our
25th
Year
1978-2003
Some 30 years ago
Portugal issued
stamps commemorating progress in
industry. This is
the stamp honoring our craft as the
foundation upon
which so much has
been built.
Inside this issue:
Page,
3 President’s message &
letters
4 Flux Formula
5 Brentwood & Lamson
Farm
6 GMBA report
Fall 2003
7 I learned from Uncle
Bud
8 Bud’s lesson #12
10 Demo trailer update
14 Beyond Technique
15
16 A Viking Age project
17 Election Notice
18 Video Library
19 Tailgate
12 Bud Heaton, Big
Thank You
13 Around New England
13 Which way is Right
Visit us on line
www.newenglandblacksmiths.org
Page 1
www.newenglandblacksmiths.com
New England Blacksmiths
Contact information for NEB officers and directors
Ian Eddy - President
P O Box 169
Saxtons River VT 05154
phone: 802-869-2828
aanviliee@vermontel.net
David Burtt - Vice President
203 Flying Point Road
Freeport, ME 04032
phone: 207-865-1627
fpforge@juno.com
Ian Walker - Secretary
RR 1 Box 1005
Stonington, ME 04681
phone: 207-367-5103
diwalk@acadia.net
Tim Blanchard - Treasurer
18 Hayes Ave.
Beverly MA 01915
Phone: 978-927-3546
timb88@msn.com
Marc Godbout, Membership
2 Manning St.
Derry, NH 03038
Phone 603-785-4512
marc@ironringforge.com
Ralph Sproul - NH Rep.
99 Winnepocket Rd
Webster, NH 03303
phone: 603-746-3783
brhlbsmt@mcttelecom.com
Bob Gilbert - NH Rep.
339 Middle Rd.
Brentwood, NH 03833
Phone: 603-642-5440
hollygnp@aol.com
Fred Mikkelsen - RI Rep & Editor
23 Waterman Dr.
N.Scituate, RI 02857-2036
phone: 401-647-3086
fred@trollshammerforge.com
Owen Bostrom—RI Rep.
99 Chase Hill RD
Ashaway, RI 02804
Phone: 401-377-2611
obostrom@cox.net
The New England Blacksmiths, an affiliate of the Artists-Blacksmith’s Association of North America, is
devoted to the preservation and advancement of blacksmithing.
Fall 2003
Joel Wentworth - ME Rep.
Overlook Hill Rd.
Union, ME 04862
phone: 207-785-4268
jgwsr@tidewater.net
Ed Grove- Me Rep.
828 Haley Town Road
Brownfield, ME 04010
Phone: 207-935-2262
Engro828@pivot.net
Bob Bordeaux - VT Rep.
P.O. Box 353
Richmond, VT 05474
phone: 802-434-4004
hotanvil1@aol.com
Lucian Avery - VT Rep.
736 Mackville Rd
Hardwick, VT 05843
phone: 802-472-3899
Lavery@pshift.com
Harry Dunning - MA Rep.
P O Box 92
Colrain, MA 01340
phone: 413-624-8888
W2HMD@aol.com
Rick Korinek - MA Rep.
46 Joseph Rd
Framingham, MA 01701
phone: 508-877-8815
Korineks@rcn.com
Ted Jones - CT Rep.
722 Raymond Hill Rd
Oakdale, CT 06370
Phone: 860-848-7101
Connsmith722@aol.com
David Hageman - CT Rep.
6 Dickinson Rd.
Colchester, CT.
860-267-0659
hagemanneb@yahoo.com
Letters to the editor, articles, technical tips, tools
for sale, or other materials which furthers these
ends, will be considered for publication in this
newsletter. The New England Blacksmiths disclaim
any responsibility or liability for damages or injuries
as a result of any design, construction, manufacture,
use or other activity undertaken as a result of the use
or application of information contained in the newsletter of the New England Blacksmiths.
Page 2
These are the folks who have volunteered
to represent your interests in the NEB. Do
they know how you feel? Do they have the
information you need? That’s what they
are there for.
Keep in touch with them!
The saddest words
from voice or pen,
are just these few,
“It might have been.”
Our newest Members, Welcome!
Connecticut
Dave Buckley
Hugh Schoelzel
Ron Zurell
Massachusetts
David King
Robinson Lee
Michael Moore
Ellen Parker
Wayne Reetz
Maine
Steve Smith
New Hampshire
Doug Craighead
Jiro Masuda
Rhode Island
John Barnes
Thanks to all
Contributors to this issue:
Add your name to this list
Become a contributor!
Next newsletter deadline:
December 15th, 2003
Ian Eddy
George Dixon
Tim Blanchard
Keith Leavitt
Jim Fecteau
Ralph Sproul
New England Blacksmiths
The President’s Message:
Dear members,
I hope you all have had a pleasant summer. We
are staring Fall in the face, and with the coming of this
season comes the Fall meet. Rick Korinek has been
working hard on this event for a while and has lined
up an excellent demonstrator in Nol Putnam. It should
be an interesting meet and demonstration. As we
know, any event of this magnitude needs a group of
volunteers to pull it off successfully, and I know that
Rick still needs some people to help. If you have a
couple of hours to give before, during, or after the
meet - contact Rick. He has organized a list of areas
in which he can use help - just a little bit of your time
will make a big difference! Rick can be reached at :
korineks@rcn.net or 508-877-8815. More details
about the meet are to be found elsewhere in the newsletter and in the upcoming registration packet.
Also this Summer, we have seen the acquisition
of the new demonstration trailer and a series of workshops hosted by board member Ralph Sproul to make
a demo forge and other equipment needed to outfit it.
The trailer should be present at the meet, so stop by
and see this new addition to our regional educational
efforts and offer a hearty thanks to all those who
worked hard to make it happen.
This Fall the board will be revisiting our by-laws
to attempt to clarify some sections and up-date some
others. Once that is done, we will present the revisions
to you for acceptance.
Finally, this Fall there are state rep. positions up
We have lost another friend
“Maurice Haines has passed away over the summer.” was the sad news that Roger Dardinski
delivered to me for inclusion in the newsletter.
Many of us are working with tools we purchased
from Maurice over the many years he “saved”
them from the scrap yard and melt down. We either went to his place, the Merrimack Valley
Forge, in Haverhill, MA or were part of the mob
that would descend on his old truck when he
would pull into a site where the NEB was holding
a meet. More than just a tool dealer and smith, he
was good friend to many and will be missed, our
sincere condolences to his widow and family.
Fall 2003
Page 3
for election. As a board, we are working to fulfill
our educational mission and to keep the organization in a healthy financial state. We meet generally
four times a year to conduct business. I hope that
some of you will be interested in running for the
board and giving some time for the benefit of the
membership. Details of upcoming state rep vacancies will be found else where in the newsletter. I
hope to see many of you at the meet. 'Till then,
happy hammering.
Ian Eddy
Preparedness
For all your days prepare,
Meet them ever alikeWhen you are the anvil, bear
When you are the hammer, strike
Annon.
A letter To all NEB Members,
The planning and work for the meet are well underway. It should be a good one. You will be receiving
registration packages in the mail soon.
The purpose of this posting is to let you know about
the need we have for volunteers to help put on the
meet. As you probabally guessed, the meet does not
just run itself. Many people are needed to make it a
success. Please take some time to review the volunteer list on page 4, and think about helping out by volunteering for one of the positions. We have structured responsibilities so that you can help out and
still see most of the demonstration and participate in
the other activities.
Thanks for your help ahead of time and special thanks
for those listed who are coordinating various activities.
See you at Brentwood in October.
-Rick Korinek
Opportunities to Volunteer at the Fall Meet,
Brentwood Recreation Center:
Saturday September 27th. 8:30 AM. Set up pavilion
walls and other structural work. Six volunteers
needed. Half to full day of work, depending on number of volunteers. Bob Gilbert, coordinator (Thanks,
Bob RK). Pre-registration not required, just show up
ready to work. Work gloves recommended.
New England Blacksmiths
Friday, October 3rd. 9 AM to 5 PM. Prepare
Brentwood site for meet, including clean and set
up building, pavilion seating, green coal area, rope
off parking, camping and tail gate sites, set up
demo. Station, signs and more. Lunch provided. Twelve volunteers needed. Again, sign-up
not needed, just show up ready to work.
Pre-conference (mail-in) registration. Receive
mail-in registration forms and money, create registration list and print name tags. Work with meet
organizer and on-site registration coordinator. Ongoing September thru October 3rd. This position
has been filled by Marc Godbout. Thanks!
On-site registration. Friday, Saturday and Sunday,
October 3-5. Duties include check-in members
who have pre-registered, register people who have
not, and sign up people who want to join the
NEB. There are several positions needed:
1.
Coordinator. Supervise the registration process during the meet. This person need not be present at registration for the entire time, but there
Friday evening and Saturday morning. This person also has the responsibility to see that the registration table is adequately staffed with assistants. David Hageman has agreed to fill this position. Thank you David!
2.
Assistants. We need approximately 5 people
to help with the registration process and staff the
reg. table for a 2-hour shift each. This will allow
you to help out and still see most of the demonstra-
tion. Persons interested in helping out should contact
David Hageman at hagemannneb@yahoo.com
Green Coal (Hands-on) Forging Station. Ongoing
during the meet. Staff the NEB building and supervise meet participants using the NEB’s forging
stations. Assist and instruct participants in proper
safety measures and basic forging techniques. Note: Safety glasses must be worn by
all persons in the Green Coal and Demonstration areas. Volunteers staffing the green coal area will be
asked to work 2-hour shifts. Bob Menard has agreed
to coordinate the Green Coal area (Again,
Thanks). To signup for a shift,Contact Bob directly
at ballandchainforge@yahoo.com
Safety Staff. It is my request that all NEB Directors,
present at the meet, should pay particular attention to
assure that the meet activities take place in a safe
manner. In particular, I would like NEB Directors to
watch to make sure that all persons in the Green Coal
and demonstration areas wear safety glasses. This
includes talking to, or reminding participants without
glasses to put them on immediately. As in the past,
safety glasses will be available for sale at the Meet.
Saturday Evening Meal. We need 2 people to help
Karen Dardinski, the caterer deliver and serve dinner. This will take place between 5 and 7 PM Saturday in the Brentwood building. Please contact me at
korineks@rcn.com to help with
this.
To Flux or not to Flux, that is the questionFlux Formula: Worth a try?
From the Florida Clinker Breaker credited to Walt Scadden’s traveling
companion, Bob Becker.
This inexpensive flux, unlike borax, won’t bleed out later in the life of
the weld.
Mix an equal weight of powdered iron oxide (from a pottery supply)
and boric acid (roach killing powder, which is 100% boric acid).
The editor thinks this may be the mix used in the “Black Magic Flux”
used by the smiths at Mystic Seaport. FWM
Fall 2003
Page 4
New England Blacksmiths
New England Blacksmiths Teaching Center
Brentwood, NH
October 3,4,5
NEB Fall Meet
with Nol Putnam
Sept. 27 Saturday. 8:30 AM. Pre Fall Meet workday at Brentwood to set up the
pavilion and other chores. Volunteers are welcome.
Oct. 11 Saturday, 8:30 AM. Workday to take
down Pavilion side panels and
clean up site from the Meet.
Volunteers are welcome.
November 1 Saturday 8:30 AM. Workshop on
Lamson Farm Blacksmith Shop: Sign in, please!
On August 3rd 2003, nine blacksmiths showed
up at the Lamson Farm Shop to discuss the possibility
of future gatherings there. It was decided to continue
our get-togethers there every six to eight weeks so as
to fit most of our busy schedules. Topics discused
included a “group participation project”, the upcoming Lamson Farm Days, and rebuilding the shop’s
power hammer.
The group participation project will be the
sign seen above. It is to be made on a continuing basis
with no deadline, but the major objective is to learn
traditional joinery and hand hammering for the elements in the sign. The Frame will be offset corners
with rivets, and the ends of the frame perimeter will
Fall 2003
Page 5
floral design and instruction with
Lucian Avery. Fee $40.00. Register with Lucian
Avery 802-472-3899
lavery@psmith.com or Tim Blanchard, 978-927-3546
timb88@msn.com.
November 22, 8:30 AM. Open Forge. Work on your
own project and or improve
your forging skills. Knowledgeable instructor will be
on hand. Fee $25.00
December 6, 9:00 AM. Workshop making a Patio
Chair. Instructor, Bob Menard.
Fee $40.00 Register with Bob Menard, ballandchainforge@yahoo.com,
207-878-2217 or Tim Blanchard, 978-927-2546
timb88@msn.com.
December 13 8:30 AM Beginner's workshop. Larry
Stilwell, Instructor. Fee.
$35.00. Register with Larry , 603-895-3281 stilwell@briarwoodfarm.com
be fishtail scrolls. The sign will be constructed with a
sheet metal background providing a terra cotta color to
show up the forge welded and upset letters which will
also be fastened by rivets.
It took Brad Loggans, Ralph Sproul, Patrick
Thornton, Bob Phillips, Ray Ciemny, Carl T, Doug
Craighead, Michael Pentengill, and John Rzucidlo
about an hour and a half to plan for the new signs design
and construction ideas. Chip Lyon and Steve Workman,
the two Lamson Farm commissioners on hand during the
day, were quick to give their blessings as a great project
for the enhancement of the building.
Ray Ciemney drew out the letters to scale that
you see in the picture attached. From there, the forge was
lit, and the project started with some correct sized stock
to fit the project. The first letters you can see were the
“I” and the “O”. Now the fun begins and the project is
well underway for the next get together which will be the
demo at “Lamson Farm Days” on Sept 27th.
Want to know more
about what going on at
the farm?
Contact:
Ralph Sproul, NH Rep.
New England Blacksmiths
Green Mountain Blacksmiths Association at Jim Fecteau’s
A report from Ralph Sproul
The Green Mountain Blacksmiths Association (GMBA) and the “Assorted Soul’s” had it’s
meeting at Jim Fecteau’s shop in Huntington,
Vermont on July 27th, 2003.
It was a nice turn out of 25 blacksmiths that
wanted to see Jim was up to lately. Jim was making a series of hinges for a customer as well as
some really large 3/8 x 6 flat bar hinges for some
heavy doors for another customer. Jim also discussed a project being bid on for a garden supply
company in Vermont of a large semi circle rail
with decorative panels and the discussion ensued
of how to form the rails, bend the panels around
the curve, and some design elements being considered for the proposed rail.
Lucian Avery then stepped up to show the
commission he was working on. It was a pair of
crows forged from 6” pipe. Lucian had done a
curve, and some design elements being considered
for the proposed rail commission for a customer of
a heron earlier on and it had led to this job. They
were well underway and everyone had questions
on how he’d done such a nice job of his project.
Lucian went on to explain how he’d done research
on size and many pictures studied of the crows he
was to create. Then the 6” pipe was necked down,
marked, cut out, forged to shape by section, and
configured into the birds he showed us at this stage
of completion. The birds were approximately 18”
long. Lucian had two different “poses” he created
each bird in to give one a more “aggressive look”
as he put it, and I believe he had successfully
Fall 2003
Page 6
achieved that. You can decide from the picture.
Russel Spees took over the forge to make a
striker which he then demonstrated it’s use with a
quartz rock from outside in the driveway - to show
us how to start a fire with a high carbon striker and
some tinder.
The informal meeting had a passing of the hat
to raise funds for the postage and mailings for the
next gathering and the auction to raise funds for the
GMBA’s benefit was held. Anyone interested in
participating or joining the GMBA could contact
Kirsten Reese, Jim Fecteau, Chris Caswell,
Lucian Avery, Bob Bordeaux, or Ralph Sproul
with their questions.
(Will Lucian help your Editor do an article
on how to forge those fantastic crows? Stay tuned for
further developments!) Fred Mikkelsen
New England Blacksmiths
On July 19th a memorial and interment was held at the Cushing Maine cemetery for “our Uncle Bud”, this is the remembrance
written and read by Keith A. Leavitt, teacher and blacksmith.
I LEARNED FROM UNCLE BUD
I met Bud Oggier for the first time in the summer of 1984 at the ABANA blacksmiths conference in DePere,
Wisconsin. My introduction to forging hot iron occurred the summer before at the Haystack crafts school in
Maine. Demetri Gerakaris and Doug Wilson were my teachers and the only
"real smiths" I had ever met prior to my introduction to "Uncle Bud."
At my age (66), I am forever trying to recall, with old acquaintances, "Where did we meet?" Not so with
Bud Oggier! One remembers! (with fondness).
Here is why I will always remember: Demitri and Doug had encouraged our class to join ABANA
(Artist Blacksmiths Association of North America), so I made the drive to Wisconsin alone in '84. Not
knowing anyone at the gathering, I began to inquire around to see if there might be other people from Maine
in attendance. Finally, someone enthusiastically exclaimed, "You must know Bud Oggier!?"
I was directed to a boisterous group of men over in the corner of a field who were throwing tomahawks
at a post. As I approached, cautiously, I spied a man under a cap labeled "Bud." "Would you be Mr. Oggier?" I queried. Without so much as a nanosecond of hesitation he extended his hand with, "That would be
my father, but he has been dead for years... they call me "Bud."
As I mentioned that I was from Maine, he fired back, "Do you belong to the New England Blacksmiths?" "No." "Well, why not!?" was his retort. Meanwhile, a little too close for comfort, there was a continual "whiz-whiz-thud" as a tall, bearded, longhaired wild looking guy with a booming voice called out,
"Haw-haw-haw, let's see you match that throw!" Gerry Galuza turned out to be the blade wielding marksman. He suggested that I better come to the next NEB meet in the fall, to be held at his forge on the coast of
Maine. The rest is history. Nineteen years later, with an accumulation of knowledge and fond memories, I
am proud to recall the first encounter with my "Uncle Bud".
Unique-- direct-- even crusty, may describe Bud's personality. A little put off at first, I soon came to realize Bud was a master at banter, or the "soft insult," and if he insulted you it meant he liked you. He surely
liked a lot of people!
To have our own master blacksmith as an instate resource and mentor was a treasure for those of us
trying to learn and teach blacksmithing. From 1984 on, I was attempting to teach the craft to high school
kids. I appreciated Bud for a couple of reasons in particular. First he was practical; he was about process
and tools and iron. Technique and "how to" were high on his list of priorities. This was just what I needed
personally, and as a metals teacher.
Bud's passion for hot iron artistry rubbed off on one of my students directly at an NEB meet in the late
80's. For years Bud was instrumental in overseeing the "competition" which usually happened after supper
on Saturday evenings. Teams of 2- 3 blacksmiths would be given an assignment to be completed within
time constraints and certain dimensional requirements. I usually brought several students to these meets and
they were paired off with an experienced smith. Mike Walker was rather small for his age as an eleventh
grader, but what he lacked in stature he made up for in looks and personality.
Paired with hulking master smith, George Martell, Mike threw his weight into the competition, literally. Stationed at a large, bellows-style forge, the boy would climb right up on the bellows at the end of the
up-stroke and ride it down! As they double struck at the anvil, it sounded like "wham-tink, wham-tink,
wham-tink." Filled with excitement, Mike would keep running up to Bud for a dimension check, which Bud
obliged by sliding the jaws of an adjustable wrench over the bar. At the final measurement, ("Times up")
Bud informed the boy the fit was too loose. Not to be daunted by the master, Mike protested - "mass was
lost to scale." Much to my surprise, Bud allowed as how he could accept that excuse this time, but ....
Returning home to the school shop, Mike proceeded to forge a 5 inch preying mantis which he then
took to the next meet at the Hancock Shaker village for display. A museum visitor inquired how much he
Fall 2003
Page 7
New England Blacksmiths
wanted for it-- Mike replied $200-- she broke out her check book and cut him a check on the spot!
For the next two years the boy was a motivated student, to say the least. Today I credit Bud Oggier for directly inspiring this boy to excel in art blacksmithing.
In 1996, Eric Williams, another of my students, could not attend the spring meet but said I could take his
large jack-in-the-pulpit mirror frame to place on display. Surrounded by hinges, latches and other more traditional work, the botanical piece looked really out of place. I was feeling quite self conscience and wishing I
had not brought if, when from out of nowhere, my Uncle Bud sidled up and quietly remarked, "Tell your kids
they do real nice work." WOW! After telling Eric what Bud Oggier had said, I was able to convince him and
his family to send him to the next ABANA conference at Alfred, NY. Eric, his dad, and I crated up the ornate
frame with mirror and sent it along for display. Eric decided to join the military after high school, but wrote
his parents that he can't wait to open his own forge after his tour of duty is over.
Fortunately, thanks to Joel Wentworth, last fall at the Union Maine meet, I had an opportunity to thank
Bud for all he had meant to my students and myself,. For years we had one of Bud's practical admonitions
prominently displayed in the school shop, i.e.
"Before I let any work leave my shop,
I run my fingers all over it to make sure there are no offensive rough or sharp places."
Good practical advice as usual.
I am proud to say that "I learned from Uncle Bud." What a legacy he has left us. Keith Leavitt
Bud Oggier’s Lesson # 12 with
Jean
Hi, Jean! Last time you said you were going to
make a pair of tongs at home similar to the pair we
made here, but a different size. Did you?”
"No I made three. Here they are.”
“Say, they look fine. They look like they’re
3/8”, 1/2” and 5/8”.”
“When I made the first pair I thought I
might as well get started on a full set. I plan to
make them up to 1” by 1/8” steps.”
“Great, Jean. The work you’re doing now
tells me you’ve learned and can do all the basic
forging skills. So it’s time you learned a little
about decorating.
One of the most common decorations is a
twist. Many different effects can be made with
one. Let’s start out with a plain twist in a 1/2"
square bar.
Get the bar hot, bright red, in the area you
want to twist. When the piece is ready we'll put it
in the vise, put this twisting wrench on it where we
want the twist to end, and twist. This twisting
wrench was made by welding a piece of 1/2” rod
on the end of the fixed jaw of an old monkey
Fall 2003
Page 8
wrench to give us another handle. It is adjustable to
any size within its range. To make an even twist, the
heat must be even throughout the length of the twist. If
it isn’t, the twist will be faster where it is hotter, and
that doesn’t look right.
Well, looks like the piece is hot enough, so
here we go. Piece in the vise, put on the wrench and
twist. I’ve twisted this one full turn now, so to
straighten it, I’ll put it in the vise across the corners of
the straight sections and tighten up. Now turn it one
quarter turn and tighten again. This will not mark or
damage the piece because the dimension across the
corners of the untwisted part is the same as the outside
diameter of the twisted part. In order to be sure that
the untwisted parts are parallel with each other, put a
short piece of flat stock on top of each end, and sight
across them. If the flat pieces don’t line up, tighten or
loosen the twist to correct it.
OK, Jean, you try it. That looks pretty even, so
straighten it, check it for being parallel, correct it.
There, that looks great! I like my twists quite open,
about one turn in 3”. You might like them tighter or
looser, it’s up to you.
Jean, you could make this twist with any type
of wrench that would fit, but if it has two handles so
you can use one hand on each handle, you won’t bend
or distort it as much. If, while making a twist longer
New England Blacksmiths
than this you see the twist getting more open as
you progress, pour a little water on the section that
is twisting too fast, to cool it off, and keep on going. The bar will twist the most where it is hottest.
Jean, these are nice looking twists, but in
my opinion they are lacking something. They need
a little more to make them look great. I rarely use a
plain twist, so to me they look unfinished. Let’s
make another pair and see if we can’t help them a
little.
In the area we are going to twist, if we
score a line in the middle of each face for the
length of the twist, I think you’ll be pleased. To do
this, first mark the line on each face being sure
they all start and finish at the same place on each
end. Then score it with a cold chisel, not more than
1/8” deep. The chisel I use has one end of the cutting edge rounded. Now to start the cut, set the unrounded end of the chisel at the end of your
marked line and make a cut. Raise the rounded end
and slide the chisel forward and hit again. Continue this for the full length of the cut. By sliding
the chisel toward you about half its length, the previous cut helps guide it and keeps the line straight.
Jean, my eyes have reached the point
where I can no longer really see what is going on a
hot piece. This job could all be done hot if you can
see well enough. I normally put a rather shallow
score in cold, and then re-cut it hot. The chisel I
use hot has a radius on each end so that the start
and finish of the groove doesn’t end abruptly, but
runs out gradually.
There, all four sides are scored. Do you
think you can see well enough to do this hot? Why
not try it! OK, now to heat the piece and re-cut it.
See how I slide the chisel towards me after each
cut?
Jean, when we put these grooves in we
raised a small ridge along each edge of the cut. If
you’re fussy, this should be removed; I’m fussy!
We can either remove it with a flatter or a file. I’m
going to use the flatter. Don’t hit too hard, just
enough to knock down the bulge. Now to twist it,
same method as before. OK, out of the fire, into
the vise, twist, straighten, and check for parallel.
Jean, you can see how the twist is progressing better if you brush off the scale a couple of
times during the twist; it only takes a stroke or
two. This piece has cooled off enough now so we
Fall 2003
Page 9
can see it, so let’s take a look. There, see how much
life the scores add to the twist? I think it is much nicer.
Go ahead with yours. Before you start, Jean, you better put a center punch mark where the groove is supposed to start and finish so you can see it. Fine, your
piece is hot, go for it! Don’t score too deeply, about
1/8” is good. Great, reheat and twist, straighten, check
for parallel, and let’s look. That looks good. See how
much the twist did for the appearance of the flat bar
and how much the score in the center of each side
added?
Jean, we could have put two scores on each
side about 1/8” in from the edge and gotten another
interesting effect. You are only limited by your imagination. Don’t be afraid to experiment. No matter what
surface treatment you use, the twisting technique is the
same.
Let’s try a different type of twist. This time
let’s use this 3/8” spring swage that fits in the hardie
and see what happens. This spring swage is just a top
and bottom swage hooked together with a flat loop of
1/4” x 1” stock that keeps them in line and gives me a
free hand.
Get the piece hot, slip it between the swages
with a corner up. You strike, Jean, not too hard. Good,
keep going, easy now, stop. Now to straighten a little.
See, we now have what looks like a 3/8” diameter rod
in the middle with a fin about 1/8” thick coming out of
each side. If you do a good job of keeping the hits
even, the edges of the fins will be pretty straight. I always clean them up a little with a file so they look
more even. OK, let’s heat it up and twist. If you want
to use this twist again, use a pair of swages 1/8”
smaller than the bar size and you’ll come out OK.
If you are working with square stock, remember to put your piece in with a corner up before you
start to hit on the swage. It works just as well on round
stock, but the fins won’t be as wide. OK, let’s twist.
Out of the fire, twist, straighten, check for parallel.
There, look at that. I think it looks fine, and it certainly
looks different.
Well, let’s try another one and see what happens. This time, first we’ll put in a plain twist, just like
the first time. Ready, here we go. Heat, twist,
straighten, check for level, and done.
Is yours ready yet? OK, now reheat and then
forge it back to its original size. Be careful not to go
below the original size and keep the sides square. Finish it off with the flatter. Good! Now I’ll reheat it and
New England Blacksmiths
untwist it one quarter turn less that the first time.
Heat, twist, straighten, check for level, wire brush
and look. See, the piece now has a series of points
sticking up. It’s called a thorn twist.
Your turn, Jean. Remember, when you
forge down, all you want to do is get it back to its
original size. Wherever there was a ridge on the
twist, it gets forged flat, but the valleys are still
there. The sharp edges on the sides become the
points when you untwist. Remember, count how
much you twist to start, and untwist one-quarter
turn less.
Remember how much the score improved the plain
twist we made first? Let’s see what a similar score
would do for this thorn twist. Score it first, then
twist, now to forge it down. Now re-score, untwist
and look. Now you have a diamond pattern on all
four sides. If we put two lines or scores on each
side both times, we would have the same pattern,
but there would be twice as many diamonds. In
scoring for this diamond twist, it is important to
the end result to keep the scores the same depth to
get good looking diamonds.
See, Jean, all the variations we’ve been able to
get by slight changes or additions to the plain twist we
made first? Some other variations you could try is to
weld a bundle of rods together like 1/4” square on
each side in the center of a 1/4” x 1” bar and twist; or
two 3/8” square and two 3/8” rounds welded together
at the ends and twisted. Any combination of bars can
be used, the edges scored or depressions put in them.
It all depends on what you can dream up and what
pleases you.
Well, Jean, I hope this session gave you some
hints as to what can be done with twists. Don’t be
afraid to try something new; experiment!”
Author’s note: My original assignment was to
prepare a series of articles for someone who had never
seen a blacksmith shop and take them through the
steps of basic forging. I think I have done this. If I
have not given enough detail to any phase, drop me a
line and I’ll try to cover them. Unless I hear from
some of you, this will be the last article in this series.
I'll miss Jean!
(“And we miss you, Uncle Bud”)
My thanks to Larry Brown and the New Jersey Blacksmiths for
this series in digital format. FWM
Demo Trailer Update
Ralph pickup picking up the new trailer
The Boys working on the Demo forge
Would you like to hold a one day event, Demo,
or Mini-Meet but don’t have a shop near you or
the ability to round up equipment?
The NEB demo trailer is the ultimate solution!
It is also the end of your major excuse!
Fall 2003
Page 10
New England Blacksmiths
Trailer Contents:
Please check off the trailer contents when you pick up the trailer and note any
missing, damaged or added items. If your checklist does not match the next
users list, you will be responsible for any missing or damaged items.
More copies of this form – one to be mailed to the trailer manager before use.
Toolbox with manual, oil, light bulbs, tire pressure checker, electrical tape, duct tape, regular screwdriver,
mechanics wire, Phillips screwdriver, adjustable wrench, etc.
Spare tire with air in it
Jack for changing tire & 4 way lug wrench
Demo coal forge with 2 handles, wheel/axle assembly, and stock supports
Hand crank blower with mounting bar & flex hose
Anvil stand
Post vice accessory with foot & T bolt
4 Nylon tie down straps
Other items needed in trailer
Anvil & spacer blocks for stand purchase anvil/repair? (see page 12!)
Post drill accessory and chuck key mount drill & get chuck & key at Ralph’s
“Quite”Electric blower
purchase or find and rebuild
Three 10” stack/pipe sections
Jim? Ralph?
Forge eyebrow
have stock, make at Ralph’s
Windscreen
have stock, make at Ralph’s
Trailer floor painted
Jim to finish painting floor
Fire tools
forge out? or donations?
Quench tank
find or buy (stainless, or alum.)
Coal hod & or buckets
find or buy
2 wheel chock blocks
make
2 or 3 keyed alike padlocks
buy
NEB Trailer Lettering
? – funds /possible swap with Vermont man
Accessories rack
get wood and make at Ralph’s
Plywood floor inserts
get and make at Ralph’s
Landing gear flat pad/foot
Jim? or Ralph’s on Oct 3rd.
Light bulbs with spare lenses
buy
Light adapters 1) Four way flat with spade terminals & wire loom to splice to yours
2) Four way round to four way flat plug
3) Six way round to four way flat plug
have materials -make up (Ralph)
Fall 2003
Page 11
New England Blacksmiths
180# Bud Heaton !
180# Fisher !
Bud Heaton donated an anvil ! - I can't say it any better than that.
I would like to thank Bud Heaton for the exceptional donation he made to the portable demo trailer and
forging station for the NEB!!!
If you don’t happen to know Bud Heaton… this is a perfect example of his smiling face that you’ll see
at many NEB functions. He is known as the “Yoda of welding” and by many for his railroad hat (summer version – not this one) that he wears to many of the blacksmithing events he attends.
It is a pleasure to talk with Bud as he’s a wealth of information on tools, welding, shop set up, the good
old days……you name it, if it’s blacksmithing - Bud would like to talk to you about it. To have Bud Heaton as
a member of the NEB is a fine example of the caliber of people you get to meet and learn from when attending
an NEB meet, workshop at SCM, or other blacksmithing functions he attends.
Our hat’s off to you Bud, you’ve gone way beyond the call of duty on this one, and we sure appreciate
it. Many people have donated items to the NEW demo trailer.
Ron Gilpin donated a Post Drill
Tom Rulke donated a Post Vice
And Rick Korinek donated a Hand Crank Blower.
Many others donated time to the workshops needed to complete the trailer and demo forge, anvil stand, and
misc equipment for the project.
The demo trailer left for a maiden voyage to be used in three demos being presented by the Green
Mountain Blacksmiths. The trailer and Bud’s anvil will be at the Fall meet to see the equipment that will be
available for public demos in the near future.
The anvil Bud donated had a couple of nicks and chips in the edges……so being the guy he is…….he
just couldn’t let it go out that way! He had to send along the TIG welding rod for ME to repair it (with instructions on how to use it!!) God I love this guy!
Please step up to Bud Heaton and say thanks some time…….you’ll be glad you did.
Ralph Sproul
Fall 2003
Page 12
New England Blacksmiths
Around New England
New Hampshire
Sept. 27th, Lamson Farm Days
Contact Ralph Sproul
Oct. 3-5, NEB Fall Meet with Nol Putnam @
Brentwood, NH
Vermont
Sept. 13th, ART HOP in
Burlington, VT contact Lucian Avery
Sept. 20th, Harvest Festival at Shelburn Farms in
Shelburn, VT contact Lucian Avery
Rhode Island
Southern Bunch at SCM in Narragansett, RI
Sept. 27th—October 25th - Nov. 22nd—Dec. 27th
Oct 4th & Dec. 7th the Southern Bunch reopens the
Hanaway Blacksmith Shop on Great Road in Lincoln,
RI
If compasses always point North,
Which way should your anvil point?
Anvil Pointing
A post from ABANA’s “theforge” e-mail list as found in the
New Jersey Blacksmiths’ newsletter
by George Dixon
I can recall playing around with which way the horn worked
best, left or right, with my first anvil. When I got to Samuel
Yellin’s shop, some years later, I was pointing the horn to the right.. .I’m right-handed so perhaps that was
why. Every anvil in the shop was pointed to the left. I turned the one I was to use to the right... .force of habit.
The shop foreman, the son of a blacksmith but a machinist by training, asked “why in the #%$@!“ I was doing
that.
Maybe a year later, a very old man came to visit the shop. He had worked for Yellin in the 1920’s. He toured
the shop and then paused. He noted one anvil was pointing to the right. “At least one anvil is set correct” says
he. So I talked to him about what he meant. He stated, in a manner that made clear that he thought everyone
knew this, that industrial blacksmiths set their heel to the right and ornamental blacksmiths set their horn to the
right. Industrial smiths use more hardy tools and punch more holes (pritchel means punch, basically) while ornamental smiths use the horn more for curves and such.
It is interesting to note that he had worked there when only ornamental work was done, so accordingly each
anvil horn pointed right. The Yellin shop shifted from ornamental to industrial work during WWII, and ornamental did not come back until the brief period from the 1980’s to 1992 when the shop was closed. So, by his
reckoning, the anvils were re-set during the war and the break in continuity in blacksmithing had left them that
way.
It seems like there is a lot of what was the tradition in our past that may have been forgotten except for
an occasional echo.
Fall 2003
Page 13
New England Blacksmiths
New England Blacksmiths
2003 Fall Meet:
Blacksmithing – Beyond Technique
An exploration of how and why we blacksmith
With Nol Putnam, Demonstrator
The first time this Editor remembers “art” being
given a specific place in a NEB meet was in the
Fall of 1989 when Lisa Hoag tried to get a rough
and tumble gang to fess up to the fact that some
things are more pleasing to the eye than others and
to encourage us to ponder why that is so.
In the fall of 1995, Doug Wilson really got our attention when he challenged us to roll-play as client
and provider for 3 imaginary projects. We got “off
our butts” and did several hands on “Concept to
Completion“ projects that stimulated our creativity
but we, somehow, remained in denial of having
any!
In the spring of 1999, Peter Catchpole forced our
hands and minds to work as teams in a very rewarding and exciting “Great Panel Project” that
once again tried to awaken a realization that ideas
drive what we do and technique is how we do it.
How many times have you strolled through a meet
gallery and sketch/scribbled notes to yourself
about an inspiring design, “Hey, that’s a great
idea! I could use that to enhance a project I’m
working on.”
Rick Korinek and Nol Putnam ask this question of
us, “Do you understand that you develop technique
so that you can more satisfyingly translate the project you see in your mind to the one you produce at
forge and anvil?”
Nol sent an article by British Artist/Blacksmith,
Peter Parkinson, to Rick that will help get you
thinking of the relastionship of what we do to what
drives us to do it. The following are excerpts from
that article.
After going to the 2002 ABANA Conference in
LaCrosse. Wisconsin in 2002, I wrote a report,
which was published in the BABA magazine Artist
Blacksmith. I talked about the balance of amateur
and professional membership in ABANA and
BABA, and made the point that - the LaCrosse
programme followed an essentially how-do-you-do
it format. Nothing wrong with that, but sadly
alongside this, there was no slide lecture proFall 2003
Page 14
gramme at all. The featured demonstrators did theirstuff at the anvil, but never had an opportunity to
show the range of their work. So it was very easy to
leave at the end of the Conference little the wiser
about what people did, even If I knew somewhat
more about how they did ft. I discussed this Technique rather than ideas emphasis with a professional
American smith, who agreed, and looking across the
area of trade stands and tool dealers; added,” I
guess we are still having a love affair- with technology.”
Clearly if nobody is interested, you don’t put an
item in the programme. But I think people should be
interested. If they are not, they are missing something. After all, what is blacksmithing all about? Is it
simply to do with hammering a piece of hot metal or
is it about creating a piece of work? Surely what
someone makes is at least as interesting as how they
go about making it. The finished piece is crucial. It is
still going to be there after they put down the hammer. (In many cases, it will be there long after they
have put it down for the last time). Having seen
someone work at the anvil, the opportunity to see
more of their work and hear them talk about it is a
valuable experience.
What I am talking about is, I think, essentially an
attitude of mind. If, blacksmithing is seen as a
large catalogue of things to make and ways to
make them - then by all means go down the list.
But if you see it as a creative craft with as much
opportunity for self-expression, as say jewelry, ceramics or textiles, then considering how things
look, understanding new ideas and appreciating
when the boundaries are being pushed, is vital.
This, surely, is what justifies the word Artist in
the Association’s title. If you want to create something which is really your own it helps to look at
other peoples work and appreciate their thinking.
Years ago, a silversmith friend of mine studied at a
College of Art in London. One of his introductory
projects as a young student was to raise a copper
bowl using a large, smooth pebble as a hammer and
another as a stake, both selected from the College
parking lot. The point of the project was to say that
it’s not the tools that make the work - it’s you. Don’t
worry about the equipment, just make a beautiful
bowl. And that is an attitude of mind. When I drive
my car, I am far more interested in where I am going,
than the process of steering, operating the pedals or
New England Blacksmiths
changing gear it’s a European car). The car is a
means to an end. In the same way I am, - and
maybe this is just me, - more interested in seeing
what people make in their own workshops, than
examining their tools and special equipment and
watching them forging. So what people design and
make, the ideas that drive them, how they go about
designing and where the ideas come from are all
crucial, and a Conference or Meet provides a rare
opportunity to see and discuss these things.
Forging is a means to an end. It is constantly
challenging and satisfying as an activity. You are
given some wonderful toys and encouraged to play
with fire, which your Mother told you not to, and I
love it. But when I design and make something
for a client, they see a piece of metalwork, and
make judgments about it which are more to do
with its appearance, quality, finish, feel and
usefulness, than how it is made. Crudely, if they
don’t like the look of it, they don’t buy it.
So I feel there is a whole other side to blacksmithing, which needs to be looked at. Indeed it is
mostly about looking. There is a set of values;
judgments and considerations, which are to do
with design and aesthetics, and are at least as important to blacksmithing as the shape of the hammer or the kind of steel you use to make punches.
It is not that American smiths are not making interesting and beautiful work, they are. It is just that
for some reason, considering these qualities doesn’t seem to be on the Conference agenda.
One of the first things you have to learn as an art
student is to sit there as part of a group and listen
to criticism of your work by tutors and fellow students. The lesson is that they are criticizing the
work - not you. Each person introduces a piece of
their work, which is examined and reviewed in
turn. The aim is to discuss what is good, what is
bad, what might be improved and importantly to
give reasons for the opinions. In doing this, each
individual has to
make honest judgments and try to analyze and put
into words what they really think. Being obliged
to look and make reasoned judgments is a very
important way of developing your aesthetic
judgment, and helps you to look at your own
work objectively and critically.
Some things you see may be just plain awful, in
which case you can do better. Others may be so
Fall 2003
Page 15
superb that they provide a standard to aspire to. But
before you dismiss the poor piece, because you actually could do better, and the superb piece because
you’ll never be that good, it is worth asking yourself in
each case - what is the idea of this piece of work?
What is it about?
What the piece is about is the crucial question. What
are the ideas behind the appearance? What is the
maker trying to do? What is the maker trying to say?
We are used to a novel, song, or piece of poetry being
about something, but we are less used to asking the
same question of a piece of craftwork. Is the poor
piece in fact a good idea, let down by poor craftsmanship? Or does the dazzling quality of making in the
superb piece, obscure a pretty banal idea? Would you
prefer a good idea poorly made, or a poor idea well
made? Once you have begun to find answers to the
questions, you will discover ideas, worth making
your own. Here I quote Elizabeth Brim “The challenge is to process the information you gather, internalize it, and make something that no one has
ever seen before”.
It is this aspect, which I feel is missing from Conferences the sense that blacksmithing, is a creative activity. The work is there but the discussion isn’t. And before someone says, “But we haven’t all been to Art
School, or learnt to draw, let me add that neither have
most of the people I have taught on short courses. I
have been teaching both full time, degree level students and short course amateurs for long enough to be
convinced that there is a remarkable level of creativity
in people, if they are just encouraged to look for it and
use it. And it is that creative approach which has fired
up smiths all over the world and lead to the contemporary blacksmithing phenomenon. We should celebrate
it and nurture it.
Peter Parkinson
Editor Rambles:
I broke my leg, just above the ankle, the Monday before I
was to leave for the J.P. Campbell Folk School and the
workshop I was to teach entitled “Viking Age Domestic
Iron, Items important to everyday life”. It was a BIG disappointment to me to miss out on a chance of a lifetime.
On the next page, you will find a worksheet for one of the
projects I developed for the session that I geared toward
beginners.
I’m on the mend and may get to see you at the Fall Meet.
Your Editor, Fred Mikkelsen
New England Blacksmiths
A Simple Penannular Ring Clasp
6-1/4” of 1/4” sq ms
Mark at 1-1/2”& 2-3/4”
Using these marks as a
guide, use wrench & vise
to twist.
Twist the 2-3/4” section 2
complete turns. Try for a nice
even twist. Use water bottle
to control twisting.
Draw the 1-1/2” end out to 3” for hook end (SOR)
Draw the 2” end out to 3-1/2” for scrolled end (SOR)
Tightly scroll the long end 1 & 1/2 turns
Curl a serpentine hook on the other end and make
sure it faces the same way as the scroll.
Develop the final shape using care not to damage the
twist. A wooden mallet and stump works well. Attach
the pin and adjust.
Wire brush and use a wax/linseed oil finish.
The pin is made from 3-1/2” of 3/16” rnd.
Draw a square taper and a 1-1/4” flat on one
end.
These pins proclaimed the social standing and wealth of the wearer. This one represents a person of very basic standing. You may wear it proudly though as it was created by your own hand!
Fall 2003
Page 16
New England Blacksmiths
The Fall Meet will include the election of 6
of the State Reps as BOD Members
My records show the following:
The dir/rep up for election are:
CT
Ted Jones
RI
Fred Mikkelsen
MA
Rick Korinek
NH
Bob Gilbert
ME
Joel Wentworth
In VT Lucian Avery has asked to not be considered for re-election and Jim Facteau has been nominated to run for the position. Additional nominations
will be accepted from the floor of the business meeting or contact Ed Grove, Chairman of the Nominating Committee, prior to the meeting.
(In the April issue I featured a “fish key fob” that was inspired
by the work of Jim Facteau who had been inspired by Lucian
Avery. Editor)
Hi All,
I have been an NEB member for, I think its been, 4
years now and it’s time I give back a little of what I’ve
taken. NEB has a lot of real good things going on right
now and I would like to be a part of that. So please
vote for me to be one of the next VT Reps. of NEB,
for the next term.
Thank you, James Fecteau
NEW ENGLAND BLACKSMITHS MEMBERSHIP FORM
Dues are $20.00/yr. (Canadian: $32.00) due each January 1.
Send checks to: NEB Membership
2 Manning St.
Derry, NH 03038
Name ______________________________________________ Date_______________
Business name, if applicable___________________________________________________
Address ____________________________________________
Phone _____________
City _______________________ State_______ Zip________
Fax _______________
E-mail____________________________________________________________________
Web Site__________________________________________________________________
Occupation________________________________________ Year of birth______________
Check forging skill:
__Beginner
__Intermediate
__Advanced
Blacksmithing areas of interest ________________________________________________
Check all that apply:
__Teach Blacksmithing
__Teach Related Metalworking Skills
Which skills?________________________________________
__Do Public Smithing Demos
__Demo Fee (Amount:
__Would hold NEB Office
__ABANA Member
) __Require Travel $
Any demonstrator or demonstration requests for NEB Meets?_________________________
Comments:
Fall 2003
Page 17
New England Blacksmiths
The EXPANDED N.E.B. VIDEO
LIBRARY, 2003
The following tapes are for rental only:
“Power Hammer Forging” 5 tapes 2 hrs. Each
By Clifton Ralph
“Treadle Hammer”
By Clay Spencer
Tape #1 Introduction, Making tools, "Wizard head
Knocker"
Tape #2 Shovels, Quench Formula, "Dogwood & Iris
Blossoms
Tape #3 Candle Holder, Tool making, Discussion Decorative panels.
Tape #4 Tempering Ranges, Small Bowl, Free Standing
Cross.
Tape #5 Working Flat Stock, Making tools.
“Woodwrights Shop”
By Roy Underhill
Tape #1 Making an Axe, Chisel from Bog Iron, Anderson
Forge
Tape #2 making a forge from Brake drum, Anvil From
Junk
Yard steel, Spike Dogs, Heat-treating Chisel, Roy and Peter Ross make a Cant Hook.
“Forge and Anvil” Vol. #1
By Elmer Roush
Beginning Blacksmithing - 5 projects, Thumb Latch,
Colonial American Hardware and Fixtures
"New Additions, Tapes"
NOMMA ED. Foundation 1997 Video series
“Basic of Forging”, 1 hr 30 min.
“Learn how to Forge”
By Bill Epps
Tape #1 Forged Animal heads- Dragon, Long horn Steer,
Ram, Horse.
Tape #2 Making Tongs- Three joints, Twisted, Traditional,
Champion. Three types of Jaws- Rat tail, Wolf, Bolt
Tape #3 Leaves and Flowers- Five leaves: Cut
Vein, Folded Raised Vein, Peapod, Oak. Five Flowers:
Trumpet, Morning Glory, Dogwood, Calla Lilly, Rose Bud
Tape #4 Bugs and Birds- Scorpion, Snail, Dragonfly,
Hummingbird, Swimming Swan, Winged Swan.
Fall 2003
Page 18
“The Power Hammer Cycle”
How to cure the Bang-Tap-Miss Blues (1 hr)
By Dave Manzer
The following Tapes may be Rented or copies purchased:
George Dixon @ Cassidy Bros Forge 1990
Bud Oggier 1991
Francis Whitaker @ South County Museum 1991
Tapes #1 and #2
Francis Whitaker, A Yellin-esque Quatrafoil
Peter Renzetti @ Camp Leslie 1991
Tapes #1 and #2
"Uncle Bud Roast” 1992
Rob Gunter, @ South County Museum 1993
Rob Jordan, @ Orleans, MA, 1994
Frank Turley, @ Stratham, NH, 1995
Carl Close and Bob Compton, @ Manchester, NH, 1996
Rob Lyons @ Brentwood, 2001
Suffolk Latch, H+L and Butterfly Hinges
L-tec Welding + Cutting Systems Safety-composite
(45 min.)
Audio Tape by Walt Scadden
"How to survive in Business as an Artist, Craftsman or
Creative Person."
Rental fee is $40/ tape. This "fee" is returned to
the member upon its timely return to the library assuming it
has not been damaged in any way. Tapes that are
available to be purchased can be done so for a fee of
$10/ tape, which includes postage. This is a new
service to our membership and gives everyone the
opportunity to build their own blacksmithing library.
Make checks payable to: NEB and forward to:
Tom Perkins
NEB Video Librarian
141B North St.
Georgetown, Mass. 01833
I can be reached either by phone or email.
Phone # 978-352-2735
Email perkinst79@yahoo.com
An idea:
Buy a video from a commercial source (see tailgate
page) and then after you’ve watched it enough
times to have memorized it and driven your family
crazy, donate it to the library!
New England Blacksmiths
Tailgate Sales Area
Rusty stuff from here to there
No adds submitted this quarter!
Free adds to members
Contact 400 smiths at one time!
So I’ve taken the liberty of featuring some commercial
adds that have been sent to me in recent months.
Bell’s Novelty Casting Company II Inc.
3620 Valley View Drive
Oxford, AL 36203
(256) 237-1060 877-327-6235
Web. www.bellsandmore.com
Castings, blacksmith tools and more currently looking
for dealers to market our products.
Jerry Hoffmann Publishes the
Blacksmiths Journal each month.
This month he has an editorial
(not a common thing for him to do)
Relating to what will be part of our Fall Meet
With Nol Putnam.
800-944-6134
Www.blacksmithsjournal.com
Rocky Comfort Forge
6323 Pat Thomas Parkway
Quincy, FL 32351
Free catalog of videos featuring 21 Master Blacksmiths
Request by mail
or e-mail <rockycomfortforge@gdsys.net>
Nancy Zastrow is currently working on a book about
outdoor metal creations. Featuring gates, fences, grills,
and sculptures. She is interested in collecting subject
material based on the criteria that the items “benefit”
the space where they are installed. To submit your
work, contact her at:
12800 Hammontown Rd. ; Silver Spring, MD 20904
(301) 622-0897
Or e-mail <nzastrow@erols.com>
Maybe next year!
George Dixon publishes “The Traditional Metalsmith”
A quarterly of advanced techniques and sells “Yellin”
type tools.
1229 Bee Tree Lake Road
Swannanoa, NC 28778
www.traditionalmetalsmith.com
Fall 2003
Page 19
New England Blacksmiths
NEB Stuff by Mail
Get T-shirts, sweatshirts and other good stuff featuring our great logo
By sending a check or money order made out to new England blacksmiths
Mail to:
Why wait for the next Meet,
Neb Stuff c/o Dondi LaRue
P.O. Box 58
Summer clearance specials!
Ashby, MA 01431-0058
Please remember to tell us what you want, how many and what size. We will try to honor color selection, but
color depends on stock at hand. Tell us your second and third color choices. Chose T-shirts in 100% cotton or
50/50 cotton/poly blend, let us know. Total your order and remember to add postage. Payment to: New England
Blacksmiths. Please include your mailing address and phone number.
Before 9:00pm, you can call Dondi at (978) 386-0066
T-shirts
Adult 100% cotton . . . . . . . . . . . . .$10.00
“ “
“
long sleeve . . $15.00
Kids. . . . . . . . . . . . . . . . . . . . . . . . $ 6.00
Adult 50/50 cotton/ poly . . $7.50
now only $5.00
Sweatshirts
Adult crew neck . . . . . . . . . . . . . . $18.00
Adult hooded . . . . . . . . . . . $25.00
Others
Postage for the average order $4.00
FIRST CLASS MAIL
New England Blacksmiths
Fred Mikkelsen, - Editor
23 Waterman Dr.
North Scituate, RI 02857-2036
Patch, NEB logo . . . . . . . . . . . . . . $ 3.00
NEB caps . . . . . . . . . . . . . . . . . . . $12.00