Before we get to the interview I wanted to mention today’s sponsors,
First we have the Adirondack Folk School. It’s a non-profit school located in Lake Luzerne, in upstate New York. The blacksmithing program at the Folk School includes 24 classes with an incredible line of blacksmithing instructors this year. To see the complete list of classes or to register, visit their website: www.adirondackfolkschool.org.
I’d also like to thank the New England Blacksmiths, the ABANA affiliate serving Connecticut, Massachusetts, Vermont, New Hampshire, Maine and Rhode Island. Who by the way will be driving the ABANA 2020 Conference in Saratoga, NY
Check us out at http://www.newenglandblacksmiths.org/
Also They will be offering the Age of Iron weekend event at the Hancock Shaker Village in Pittsfield, Massachusetts, It’s happening the 1st weekend in August, 3rd and 4th.
Those interested in further details can contact Cindy Dickinson at [email protected]
or DM @HayBudden on Twitter or Instagram. If you mention I’m here for the blacksmithing you’ll get an extra $5 off at the door!
Thanks NEB!
OK, let’s dive right into this interview with Pete.
What We Talked About
Guest Links
Before we get to the interview I wanted to mention today’s sponsors,
First we have the Adirondack Folk School. It’s a non-profit school located in Lake Luzerne, in upstate New York. The blacksmithing program at the Folk School includes 24 classes with an incredible line of blacksmithing instructors this year. To see the complete list of classes or to register, visit their website: www.adirondackfolkschool.org.
I’d also like to thank the New England Blacksmiths, the ABANA affiliate serving Connecticut, Massachusetts, Vermont, New Hampshire, Maine and Rhode Island. Who by the way will be driving the ABANA 2020 Conference in Saratoga, NY Check us out at http://www.newenglandblacksmiths.org/ Also They will be offering the Age of Iron weekend event at the Hancock Shaker Village in Pittsfield, Massachusetts, It’s happening the 1st weekend in August, 3rd and 4th.
Those interested in further details can contact Cindy Dickinson at [email protected] or DM @HayBudden on Twitter or Instagram. If you mention I’m here for the blacksmithing you’ll get an extra $5 off at the door!
Thanks NEB!
OK, let’s dive right into this interview with Pete.
What We Talked About
Guest Links
I’d also like to thank today’s sponsor, Even Heat, they manufacture the finest heat treat ovens available, Even Heat Kiln was founded in 1948 and has steadily grown to become a major kiln manufacturer. Find your next heat treat oven at evenheat-kiln.com.
Maegan's website - www.ironmaeganmetalworks.com
I’d also like to thank today’s sponsor, Even Heat, they manufacture the finest heat treat ovens available, Even Heat Kiln was founded in 1948 and has steadily grown to become a major kiln manufacturer. Find your next heat treat oven at evenheat-kiln.com.
Maegan's website - www.ironmaeganmetalworks.com
]]>“Blacksmithing can be a portal to so many fascinating realms, far beyond the iron itself.” And that is the essence of how our interview went, I’m grateful to have Jeffery on the show to share his wisdom in so many realms and the same gratitude goes, of course, to those of you who continue to listen, thank you.
I’d also like to thank today’s sponsor, Even Heat, they manufacture the finest heat treat ovens available, Even Heat Kiln was founded in 1948 and has steadily grown to become a major kiln manufacturer. Find your next heat treat oven at evenheat-kiln.com.
Jeffery Funk's Website - http://jeffreyfunkmetalworker.com/
The New Agrarian School - http://www.newagrarianschool.org/
]]>“Blacksmithing can be a portal to so many fascinating realms, far beyond the iron itself.” And that is the essence of how our interview went, I’m grateful to have Jeffery on the show to share his wisdom in so many realms and the same gratitude goes, of course, to those of you who continue to listen, thank you.
I’d also like to thank today’s sponsor, Even Heat, they manufacture the finest heat treat ovens available, Even Heat Kiln was founded in 1948 and has steadily grown to become a major kiln manufacturer. Find your next heat treat oven at evenheat-kiln.com.
Jeffery Funk's Website - http://jeffreyfunkmetalworker.com/
The New Agrarian School - http://www.newagrarianschool.org/
]]>I've decided on a different format for this year's podcast. I sat down recently and came up with 3 main topics and questions within each topic. I will ask the next 10 or so guests the same questions and hopefully dive deep into their Design Process, Forging Process and Tool Making. Those are the 3 topics I’ll be asking my guests for the bulk of this year’s podcasts.
This podcast is sponsored by Evenheat, they manufacture the finest heat treat ovens available, Even Heat Kiln was founded in 1948 and has steadily grown to become a major kiln manufacturer. Find your next heat treat oven at evenheat-kiln.com.
]]>
I've decided on a different format for this year's podcast. I sat down recently and came up with 3 main topics and questions within each topic. I will ask the next 10 or so guests the same questions and hopefully dive deep into their Design Process, Forging Process and Tool Making. Those are the 3 topics I’ll be asking my guests for the bulk of this year’s podcasts.
This podcast is sponsored by Evenheat, they manufacture the finest heat treat ovens available, Even Heat Kiln was founded in 1948 and has steadily grown to become a major kiln manufacturer. Find your next heat treat oven at evenheat-kiln.com.
]]>
The exhibition submissions need to be sent to Hereford for 1st March:
Measured Making Exhibition
c/o Delyth Done
Hereford College of Arts
College Road
Hereford
HR1 1EB, United Kingdom
Please include your full address.
Hereford College of the Arts will be posting more details on their Instagram page @herefordanvils.
I wanted to let you know this podcast is sponsored by Evenheat, they manufacture the finest heat treat ovens available, Even Heat Kiln was founded in 1948 and has steadily grown to become a major kiln manufacturer. I know Patrick Quinn at the Center for Metal arts has one and is happy with it, so find your next heat treat oven at evenheat-kiln.com.
Guest Links
The exhibition submissions need to be sent to Hereford for 1st March:
Measured Making Exhibition
c/o Delyth Done
Hereford College of Arts
College Road
Hereford
HR1 1EB, United Kingdom
Please include your full address.
Hereford College of the Arts will be posting more details on their Instagram page @herefordanvils.
I wanted to let you know this podcast is sponsored by Evenheat, they manufacture the finest heat treat ovens available, Even Heat Kiln was founded in 1948 and has steadily grown to become a major kiln manufacturer. I know Patrick Quinn at the Center for Metal arts has one and is happy with it, so find your next heat treat oven at evenheat-kiln.com.
Guest Links
What We Talked About
Guest Links
What We Talked About
Guest Links
If you have an event or class you would like to submit, send an email to [email protected] and I will send you the details I need for the press release.
]]>
If you have an event or class you would like to submit, send an email to [email protected] and I will send you the details I need for the press release.
]]>
Before we get to the interview I wanted to mention today’s sponsor is again provided on behalf of the New England Blacksmiths, an ABANA affiliate serving Connecticut, Massachusetts, Vermont, New Hampshire, Maine, and Rhode Island. And also will be driving the ABANA 2020 Conference in Saratoga, NY
They’ve got a great website, check it out at http://www.newenglandblacksmiths.org/
What We Talked About
Guest Links
Before we get to the interview I wanted to mention today’s sponsor is again provided on behalf of the New England Blacksmiths, an ABANA affiliate serving Connecticut, Massachusetts, Vermont, New Hampshire, Maine, and Rhode Island. And also will be driving the ABANA 2020 Conference in Saratoga, NY They’ve got a great website, check it out at http://www.newenglandblacksmiths.org/
What We Talked About
Guest Links
If you have an event or class you would like to submit, send an email to [email protected] and I will send you the details I need for the press release.
OK, I’ll go in Alphabetic order here:
If you have an event or class you would like to submit, send an email to [email protected] and I will send you the details I need for the press release.
OK, I’ll go in Alphabetic order here:
]]>
If you have an event or class you would like to submit, send an email to [email protected] and I will send you the details I need for the press release.
If you have an event or class you would like to submit, send an email to [email protected] and I will send you the details I need for the press release.
]]>
If you have an event or class you would like to submit, send an email to [email protected] and I will send you the details I need for the press release.
OK, I’ll go in Alphabetic order here:
If you have an event or class you would like to submit, send an email to [email protected] and I will send you the details I need for the press release.
OK, I’ll go in Alphabetic order here:
]]>What We Talked About
Guest Links
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Guest Links
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>If you have an event or class you would like to submit, send an email to [email protected] and I will send you the details I need for the press release.
OK, I’ll go in Alphabetic order here:
]]>
If you have an event or class you would like to submit, send an email to [email protected] and I will send you the details I need for the press release.
OK, I’ll go in Alphabetic order here:
]]>
If you have an event or class you would like to submit, send an email to [email protected] and I will send you the details I need for the press release.
If you have an event or class you would like to submit, send an email to [email protected] and I will send you the details I need for the press release.
]]>First I talk with Payne Anne Chassen and Sylvia Andrassy, they are in Pampano Beach, Florida for the FABA SE Regional meet. The meet was held at the Guild, a non-profit folk art school started by Shaun Williams and Sylvia Andrassy. Payne was demonstrating a corner shelf with antique glass bulbs incorporated into the design.
Then I talk to Dennis Dusek who was demonstrating garden tools at the Weaverville Hammer-in, this is held at the Jake Jackson Museum Weaverville, California. He walked around and spoke with the other demonstrators that were there, Monica Coyne, Brett Moten, Dan Perkins, Victoria Ritter and Mark Aspery.
Links:
Facebook page for FABA SE
]]>
First I talk with Payne Anne Chassen and Sylvia Andrassy, they are in Pampano Beach, Florida for the FABA SE Regional meet. The meet was held at the Guild, a non-profit folk art school started by Shaun Williams and Sylvia Andrassy. Payne was demonstrating a corner shelf with antique glass bulbs incorporated into the design.
Then I talk to Dennis Dusek who was demonstrating garden tools at the Weaverville Hammer-in, this is held at the Jake Jackson Museum Weaverville, California. He walked around and spoke with the other demonstrators that were there, Monica Coyne, Brett Moten, Dan Perkins, Victoria Ritter and Mark Aspery.
Links:
Facebook page for FABA SE
]]>
And they happen to be the sponsor for today’s episode. There is still time to get the early bird discount of $165 for all 3 days if you register before March 22nd. The demonstrator line-up is:
Zeevik Gottlieb, Lynda Metcalfe, Ellen Durkan, Haley Woodword, Colby Brinkman, David Lisch, Mark Aspery, Darryl Nelson and Paul Boulay.
To register, head over to www.calsmith.org and click on the events tab for the online registration button.
What We Talked About
Guest Links
And they happen to be the sponsor for today’s episode. There is still time to get the early bird discount of $165 for all 3 days if you register before March 22nd. The demonstrator line-up is:
Zeevik Gottlieb, Lynda Metcalfe, Ellen Durkan, Haley Woodword, Colby Brinkman, David Lisch, Mark Aspery, Darryl Nelson and Paul Boulay.
To register, head over to www.calsmith.org and click on the events tab for the online registration button.
What We Talked About
Guest Links
If you have an event or class you would like to submit, send an email to [email protected] and I will send you the details I need for the press release.
If you have an event or class you would like to submit, send an email to [email protected] and I will send you the details I need for the press release.
]]>
What We Talked About
A Big Thank You to today’s sponsor - Eureka Springs School of the Arts, http://essa-art.org/ or give them a call (479) 253-5384.
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
A Big Thank You to today’s sponsor - Eureka Springs School of the Arts, http://essa-art.org/ or give them a call (479) 253-5384.
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>This week I’ve got Michael Whipps from Melbourne Australia, btw he goes by Whipps. He’s a metal worker who makes custom spherical firepits with his wife in Australia and he started blacksmithing about 6 months ago. The reason I have him on today is to talk about his new podcast “Metal Sculpture Show”. I think I’ve mentioned this before to you guys, I started a podcast network called The Burn Network, basically, it’s a collection of metalworking podcasts. The reason I started it was to encourage other blacksmith’s or metal workers to start their own podcasts and I would help them get started, show them the ropes of the podcast tech world, provide the hosting and continued support. To have a searchable network that offers relevant and different podcasts to our community of metal workers. So, Whipps contacted me 7 months ago about wanting to start a podcast on the network and have it be about metal art sculpture. We worked through the details of how this is a huge time consumer while being a labor of love for fellow artists, the equipment to work with, recording software, techniques of being a host of a show, etc and now, here we are talking about his podcast and his first 4 episodes that were just released a few days ago!
If anyone is interested in listening to the “master feed” of the Burn Network, just search for The Burn Network in your podcast apps, iTunes, Spotify and online at www.theburnnetwork.com. If anyone is interested in starting a podcast and wants to know more info on what it takes, drop me a line at [email protected].
What We Talked About
Guest Links
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
This week I’ve got Michael Whipps from Melbourne Australia, btw he goes by Whipps. He’s a metal worker who makes custom spherical firepits with his wife in Australia and he started blacksmithing about 6 months ago. The reason I have him on today is to talk about his new podcast “Metal Sculpture Show”. I think I’ve mentioned this before to you guys, I started a podcast network called The Burn Network, basically, it’s a collection of metalworking podcasts. The reason I started it was to encourage other blacksmith’s or metal workers to start their own podcasts and I would help them get started, show them the ropes of the podcast tech world, provide the hosting and continued support. To have a searchable network that offers relevant and different podcasts to our community of metal workers. So, Whipps contacted me 7 months ago about wanting to start a podcast on the network and have it be about metal art sculpture. We worked through the details of how this is a huge time consumer while being a labor of love for fellow artists, the equipment to work with, recording software, techniques of being a host of a show, etc and now, here we are talking about his podcast and his first 4 episodes that were just released a few days ago!
If anyone is interested in listening to the “master feed” of the Burn Network, just search for The Burn Network in your podcast apps, iTunes, Spotify and online at www.theburnnetwork.com. If anyone is interested in starting a podcast and wants to know more info on what it takes, drop me a line at [email protected].
What We Talked About
Guest Links
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
And that brings us to our sponsor for today’s episode and that’s the 2018 CBA Spring Conference organizers.
To register, head over to www.calsmith.org and click on the events tab for the online registration button.
What We Talked About
Guest Links
And that brings us to our sponsor for today’s episode and that’s the 2018 CBA Spring Conference organizers.
To register, head over to www.calsmith.org and click on the events tab for the online registration button.
What We Talked About
Guest Links
If you have an event or class you would like to submit, send an email to [email protected] and I will send you the details I need for the press release.
If you have an event or class you would like to submit, send an email to [email protected] and I will send you the details I need for the press release.
]]>To register, head over to www.calsmith.org and click on the events tab for the online conference registration button.
What We Talked About
Guest Links
To register, head over to www.calsmith.org and click on the events tab for the online conference registration button.
What We Talked About
Guest Links
Now I’d like to take the time to thank our sponsors for today’s episode and that’s the Eureka Springs School of the Arts, aka ESSA. It’s a non-profit school located in Eureka Springs, Arkansas. This year, they are celebrating 20 years of teaching the arts! To see the complete list of classes for 2018, visit the website, http://essa-art.org/ or give them a call (479) 253-5384.
OK, here is the article titled “An American Blacksmith in Cuba” by Serene Silva.
]]>Now I’d like to take the time to thank our sponsors for today’s episode and that’s the Eureka Springs School of the Arts, aka ESSA. It’s a non-profit school located in Eureka Springs, Arkansas. This year, they are celebrating 20 years of teaching the arts! To see the complete list of classes for 2018, visit the website, http://essa-art.org/ or give them a call (479) 253-5384.
OK, here is the article titled “An American Blacksmith in Cuba” by Serene Silva.
]]>What We Talked About
Guest Links
A Big Thank You to today’s sponsor – CBA Spring Conference, www.calsmith.org
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Guest Links
A Big Thank You to today’s sponsor – CBA Spring Conference, www.calsmith.org
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>If you have an event or class you would like to submit, send an email to [email protected] and I will send you the details I need for the press release.
This year is the bi-annual ABANA conference which will be held in Richmond Virginia June 27th – 30th, registration is open on the abana.org website.
Also, this year’s CBA Spring conference is held in Placerville, CA, just outside of Sacramento, the dates are April 12th – 14th and registration just opened on their website, www.calsmith.org, this year it’s $180 for the 3-day event.
As of Jan 1 Haystack Mountain School of Crafts, application process opens for the two blacksmith summer sessions they will be holding. The two classes are: on June 10th Patrick Quinn is teaching "Thinking Big, Working Small", it’s a 2 week session. Workshop students will explore sculptural forms through forged, riveted, and mechanically fastened parts. Working with thin gauge plate and other small-scale industrial materials, focus and emphasis will be placed on creating small-scale sculptural pieces using joinery techniques, paired with inspiration from large-scale public works.
June 24-July 6, 2018 , Marc Maiorana, Heirloom Iron This workshop will teach students to create ironwares for the home that will stand the test of time.
DEADLINES:
March 1 for applicants seeking scholarship support for a workshop
April 1 for general workshop applications
Adam's Forge is a non-profit org founded in 2002. This organization offers a regular schedule of blacksmith and metalworking classes. They are starting a fundraising campaign to build a new forge home at the Heritage Square Museum in Los Angeles. This is a call for art from all the blacksmiths out there to help raise funds for the relocation and the new smithy building. They are hosting a one day annual festival for the public on Sunday, February 18th. You can donate hand-forged items that they can sell at the festival, be sure to add your touch mark and send it in before the end of January. Mail your metal donations to Adam's Forge at 2640 North San Fernando Rd, Los Angeles, CA 90065. This info will be in the show notes of this episode as well.
They are also accepting cash donations and another donor has stepped up to match dollar for dollar donations, up to $5000!
All of the details are on the Adam's Forge website which is www.adamsforge.org
If you have an event or class you would like to submit, send an email to [email protected] and I will send you the details I need for the press release.
This year is the bi-annual ABANA conference which will be held in Richmond Virginia June 27th – 30th, registration is open on the abana.org website.
Also, this year’s CBA Spring conference is held in Placerville, CA, just outside of Sacramento, the dates are April 12th – 14th and registration just opened on their website, www.calsmith.org, this year it’s $180 for the 3-day event.
As of Jan 1 Haystack Mountain School of Crafts, application process opens for the two blacksmith summer sessions they will be holding. The two classes are: on June 10th Patrick Quinn is teaching "Thinking Big, Working Small", it’s a 2 week session. Workshop students will explore sculptural forms through forged, riveted, and mechanically fastened parts. Working with thin gauge plate and other small-scale industrial materials, focus and emphasis will be placed on creating small-scale sculptural pieces using joinery techniques, paired with inspiration from large-scale public works.
June 24-July 6, 2018 , Marc Maiorana, Heirloom Iron This workshop will teach students to create ironwares for the home that will stand the test of time.
DEADLINES:
March 1 for applicants seeking scholarship support for a workshop
April 1 for general workshop applications
Adam's Forge is a non-profit org founded in 2002. This organization offers a regular schedule of blacksmith and metalworking classes. They are starting a fundraising campaign to build a new forge home at the Heritage Square Museum in Los Angeles. This is a call for art from all the blacksmiths out there to help raise funds for the relocation and the new smithy building. They are hosting a one day annual festival for the public on Sunday, February 18th. You can donate hand-forged items that they can sell at the festival, be sure to add your touch mark and send it in before the end of January. Mail your metal donations to Adam's Forge at 2640 North San Fernando Rd, Los Angeles, CA 90065. This info will be in the show notes of this episode as well. They are also accepting cash donations and another donor has stepped up to match dollar for dollar donations, up to $5000! All of the details are on the Adam's Forge website which is www.adamsforge.org .
]]>This week I’ve got Evan Wilson from Austin, Texas who is the program director for the blacksmith shop at this nonprofit community organization called Mobile Loaves and Fishes. The Community Forge & Woodshop empowers their community of homeless members to engage in the creation of timeless crafts while also earning a dignified income. Through blacksmithing, woodworking and a range of other projects, the men and women in this Community Works program become part of a restorative journey toward social contribution, financial stability and a mastery of handcrafting skills.
Their craftsmen and artists receive 100% of the profit from the sale of their products, enabling them to become more settled and experience greater stability in Community First! Village. They also encounter a greater sense of purpose, healing, and friendships — foundational components of life that every person needs and deserves.
What We Talked About
Guest Links
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>This week I’ve got Evan Wilson from Austin, Texas who is the program director for the blacksmith shop at this nonprofit community organization called Mobile Loaves and Fishes. The Community Forge & Woodshop empowers their community of homeless members to engage in the creation of timeless crafts while also earning a dignified income. Through blacksmithing, woodworking and a range of other projects, the men and women in this Community Works program become part of a restorative journey toward social contribution, financial stability and a mastery of handcrafting skills.
Their craftsmen and artists receive 100% of the profit from the sale of their products, enabling them to become more settled and experience greater stability in Community First! Village. They also encounter a greater sense of purpose, healing, and friendships — foundational components of life that every person needs and deserves.
What We Talked About
Guest Links
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Links
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Links
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>I’ve never thought about it and Mike Mumford says he’s never thought about it either, so he went out to his shop and found that most of his tongs are right-handed, but found two bolt tongs that are left-handed. So, I too, went to my shop to see what I owned. I have 6 pairs of right-handed tongs made by Dennis Dusek, a few random tailgate pairs that are right handed and only two that are left-handed. Those two were made and given to me by Uri Hofi and Zeevik Gottlieb.
Here is what the article by Mike said:
I’ve never thought about it and Mike Mumford says he’s never thought about it either, so he went out to his shop and found that most of his tongs are right-handed, but found two bolt tongs that are left-handed. So, I too, went to my shop to see what I owned. I have 6 pairs of right-handed tongs made by Dennis Dusek, a few random tailgate pairs that are right handed and only two that are left-handed. Those two were made and given to me by Uri Hofi and Zeevik Gottlieb.
Here is what the article by Mike said:
If you have an event or class you would like to submit, send an email to [email protected] and I will send you the details I need for the press release.
I have to apologize for not releasing this on Nov 1st, 5 days ago. I was visiting my family in Virginia Beach and before that, I attended the FABA conference in Ocala Florida watching the incredibly talented master blacksmith and sculptor Claudio Bottero who is from Italy.
Now onto the first announcement which is a special announcement about a possible upcoming Tire Hammer Building class, this announcement is to see much interest there would be for this class. Let me tell you the scoop and then you can decide if you would like to attend it:
Tire Hammer Build class instructed by Clay Spencer
The dates would be April 19th-22nd, with a pre-work session on the weekend preceding the workshop, they are shooting for about 12-15 participants with everyone leaving with a finished hammer
Held in Troy Ohio at the SOFA facility
Approximate cost $1500
If interested contact Mike Brennan at [email protected] by November 30th
Details will be available soon on the SOFA website at https://sofablacksmiths.org/
Payment should NOT be sent at this time. Just an email to express interest.
If you have an event or class you would like to submit, send an email to [email protected] and I will send you the details I need for the press release.
I have to apologize for not releasing this on Nov 1st, 5 days ago. I was visiting my family in Virginia Beach and before that, I attended the FABA conference in Ocala Florida watching the incredibly talented master blacksmith and sculptor Claudio Bottero who is from Italy.
Now onto the first announcement which is a special announcement about a possible upcoming Tire Hammer Building class, this announcement is to see much interest there would be for this class. Let me tell you the scoop and then you can decide if you would like to attend it:
Tire Hammer Build class instructed by Clay Spencer
The dates would be April 19th-22nd, with a pre-work session on the weekend preceding the workshop, they are shooting for about 12-15 participants with everyone leaving with a finished hammer
Held in Troy Ohio at the SOFA facility
Approximate cost $1500
If interested contact Mike Brennan at [email protected] by November 30th
Details will be available soon on the SOFA website at https://sofablacksmiths.org/
Payment should NOT be sent at this time. Just an email to express interest.
]]>What We Talked About
Guest Links
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Guest Links
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>If you have an event or class you would like to submit, send an email to [email protected] and I will send you the details I need for the press release.
If you have an event or class you would like to submit, send an email to [email protected] and I will send you the details I need for the press release.
]]>That leads me to today’s sponsor, a big thank you goes out to SOFA and the Quad State Round Up Conference which started in 1977, 40 years ago. The dates of the conference are September 22 to the 24th at the Miami County Fairgrounds in Troy, Ohio.
The demonstrators are Peter Braspenninx, Michael Bendele, Joe Bonifas (those two cats attended the very first Quadstate in 1977 and have only missed one to this day), Kevin Cashen, Nathan Allen, Richard Sullivan and Benjamin Lockhart with Danielle Russel. I’ve been asked to create a short film about the Quad State history for the Opening Ceremony this year. Don’t miss this year’s event, it’s a very special one with its 40th anniversary and I have a feeling the tailgate sales are going to be unbelievable this year. Please visit the website, www.sofablacksmiths.org to access the online registration form and other details.
What We Talked About
Guest Links
A Big Thank You to today’s sponsor – SOFA Quad State Round Up, www.sofablacksmiths.org
]]>That leads me to today’s sponsor, a big thank you goes out to SOFA and the Quad State Round Up Conference which started in 1977, 40 years ago. The dates of the conference are September 22 to the 24th at the Miami County Fairgrounds in Troy, Ohio.
The demonstrators are Peter Braspenninx, Michael Bendele, Joe Bonifas (those two cats attended the very first Quadstate in 1977 and have only missed one to this day), Kevin Cashen, Nathan Allen, Richard Sullivan and Benjamin Lockhart with Danielle Russel. I’ve been asked to create a short film about the Quad State history for the Opening Ceremony this year. Don’t miss this year’s event, it’s a very special one with its 40th anniversary and I have a feeling the tailgate sales are going to be unbelievable this year. Please visit the website, www.sofablacksmiths.org to access the online registration form and other details.
What We Talked About
Guest Links
A Big Thank You to today’s sponsor – SOFA Quad State Round Up, www.sofablacksmiths.org
]]>What We Talked About
Guest Links
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Guest Links
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
OK, this is the September Buzz Bulletin, announcing events and classes happening in September 2017:
OK, this is the September Buzz Bulletin, announcing events and classes happening in September 2017:
]]>
Today’s episode sponsorship provided on behalf of New England Blacksmiths, the ABANA affiliate serving Connecticut, Massachusetts, Vermont, New Hampshire, Maine and Rhode Island.
Check us out at
http://www.newenglandblacksmiths.org/
In fact they have an event comping up called the Age of Iron at Hancock Shaker Village, Pittsfield, MA it’s happening the 1st weekend in August, 5th and 6th for the whole weekend.
And here’s an insider’s tip for my listeners, any visitor that says they are there for the "Blacksmithing demonstrations", or for the "Age of Iron" will get the discounted group rate for admission to the village, this includes all exhibits, not just the Blacksmithing demo. For more details of this event go to their website www.hancockshakervillage.org
For further details contact Cindy Dickinson at the village, she’s the education director [email protected]
or DM @HayBudden on Twitter or Instagram, Stephen Conner.
What We Talked About
Guest Links
A Big Thank You to today’s sponsor – New England Blacksmiths
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>Today’s episode sponsorship provided on behalf of New England Blacksmiths, the ABANA affiliate serving Connecticut, Massachusetts, Vermont, New Hampshire, Maine and Rhode Island. Check us out at http://www.newenglandblacksmiths.org/ In fact they have an event comping up called the Age of Iron at Hancock Shaker Village, Pittsfield, MA it’s happening the 1st weekend in August, 5th and 6th for the whole weekend. And here’s an insider’s tip for my listeners, any visitor that says they are there for the "Blacksmithing demonstrations", or for the "Age of Iron" will get the discounted group rate for admission to the village, this includes all exhibits, not just the Blacksmithing demo. For more details of this event go to their website www.hancockshakervillage.org For further details contact Cindy Dickinson at the village, she’s the education director [email protected] or DM @HayBudden on Twitter or Instagram, Stephen Conner.
What We Talked About
Guest Links
A Big Thank You to today’s sponsor – New England Blacksmiths
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>But first I want to thank our sponsor today and that’s Bob Menard of the Ball and Chain Forge in Portland, Maine. He’s been making a tool that allows a blacksmith to increase the weight of their anvil by 30lbs and to make tools without the need for a large swage block with pass through holes, it’s the BCF Anvil Block and he’s been making them for 5 years in his forge in Maine.
It is a 30lb block of cast iron that has 2 square holes passing through, 1" and 1 3/8". The size is 3 1/2" wide x 6 1/2" long x 4" high, so it fits on top of the anvil face and firmly secures to any anvil size with a top bracket and chains.
The current price is $200 including shipping in the continental US. For more information contact Bob through email, [email protected].
Thanks Bob Menard and Ball and Chain Forge!
What We Talked About
Guest Links
Metal Inc website - http://www.metalincorporated.com/about-the-metal-collaborative/
A Big Thank You to today’s sponsor – Bob Menard of the Ball and Chain Forge, http://www.ballandchainforge.com/tooling_1?_rdr
]]>But first I want to thank our sponsor today and that’s Bob Menard of the Ball and Chain Forge in Portland, Maine. He’s been making a tool that allows a blacksmith to increase the weight of their anvil by 30lbs and to make tools without the need for a large swage block with pass through holes, it’s the BCF Anvil Block and he’s been making them for 5 years in his forge in Maine.
It is a 30lb block of cast iron that has 2 square holes passing through, 1" and 1 3/8". The size is 3 1/2" wide x 6 1/2" long x 4" high, so it fits on top of the anvil face and firmly secures to any anvil size with a top bracket and chains.
The current price is $200 including shipping in the continental US. For more information contact Bob through email, [email protected].
Thanks Bob Menard and Ball and Chain Forge!
What We Talked About
Guest Links
Metal Inc website - http://www.metalincorporated.com/about-the-metal-collaborative/
A Big Thank You to today’s sponsor – Bob Menard of the Ball and Chain Forge, http://www.ballandchainforge.com/tooling_1?_rdr
]]>
OK, This is the June Buzz Bulletin, announcing events and classes happening in July 2017:
OK, This is the June Buzz Bulletin, announcing events and classes happening in July 2017:
]]>Before I get to the interview I wanted to tell you who the guest will be for the next Blacksmith’s Pub podcast, that’s Eve McClanahan, I’m excited to hear this one, I know she studied dance at New York University and is a blacksmith as well, tune in this Friday, May 26th for Jesse Savage and Rick Barter’s 9th episode with Eve.
What We Talked About
Guest Links
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>Before I get to the interview I wanted to tell you who the guest will be for the next Blacksmith’s Pub podcast, that’s Eve McClanahan, I’m excited to hear this one, I know she studied dance at New York University and is a blacksmith as well, tune in this Friday, May 26th for Jesse Savage and Rick Barter’s 9th episode with Eve.
What We Talked About
Guest Links
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Guest Links:
Center for Metal Arts website – www.centerformetalarts.com
Patrick’s email for internship questions - [email protected]
Seth Gould Instagram - @sethgould
Thanks so much for your support!
]]>
What We Talked About
Guest Links:
Center for Metal Arts website – www.centerformetalarts.com
Patrick’s email for internship questions - [email protected]
Seth Gould Instagram - @sethgould
Thanks so much for your support!
]]>
]]>
But first I’d like to thank our sponsor today and that’s the Southern Blacksmith Association, they are hosting their 18th bi-annual Conference. The Philip Simmons Artist Blacksmith Guild is hosting this four-day conference at the Lion’s Club Fair Grounds in Madison, Georgia, it’s right around the corner on your calendars….Thursday through Sunday, May 18 - 21st, 2017.
Their demonstrator lineup is outstanding! You can see Zeevik Gottlieb, Shelton Browder, Gordon Williams, and Michael Saari!
Other conference events include Green Coal and Cold Coal classes, family programs, the Local Talent Forge, Iron in the Hat, forge and tool box raffles, a variety of vendors, a Friday night Banquet, Auction, and Forging Competition.
Head on over to their conference website, www.sbaconference.com for more details and the registration form, it’s $55 in advance, $65 at the gate.
Thanks, SBA!
I also wanted to tell you about a new blacksmith podcast called The Blacksmith’s Pub, I know I’ve mentioned this to you guys already, but their latest episode released last week is all about Damascus with Dave Kurdyla. You can listen to the episode in iTunes, and Stitcher or from their website, www.theblacksmithspub.com.
What We Talked About
Guest Links
A Big Thank You to today’s sponsor – SBA Conference
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>But first I’d like to thank our sponsor today and that’s the Southern Blacksmith Association, they are hosting their 18th bi-annual Conference. The Philip Simmons Artist Blacksmith Guild is hosting this four-day conference at the Lion’s Club Fair Grounds in Madison, Georgia, it’s right around the corner on your calendars….Thursday through Sunday, May 18 - 21st, 2017.
Their demonstrator lineup is outstanding! You can see Zeevik Gottlieb, Shelton Browder, Gordon Williams, and Michael Saari!
Other conference events include Green Coal and Cold Coal classes, family programs, the Local Talent Forge, Iron in the Hat, forge and tool box raffles, a variety of vendors, a Friday night Banquet, Auction, and Forging Competition.
Head on over to their conference website, www.sbaconference.com for more details and the registration form, it’s $55 in advance, $65 at the gate.
Thanks, SBA!
I also wanted to tell you about a new blacksmith podcast called The Blacksmith’s Pub, I know I’ve mentioned this to you guys already, but their latest episode released last week is all about Damascus with Dave Kurdyla. You can listen to the episode in iTunes, and Stitcher or from their website, www.theblacksmithspub.com.
What We Talked About
Guest Links
A Big Thank You to today’s sponsor – SBA Conference
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>Before we get to the bulletin I would like to mention in case you didn’t know, there is another blacksmith podcast out there that you can listen to, it’s called the Blacksmith’s Pub with Jesse Savage and Rick Barter having conversations about specific blacksmith topics and techniques and sometimes they have guests on the show too, you can listen to the show in iTunes, Stitcher and from their website www.theblacksmithspub.com.
]]>
Before we get to the bulletin I would like to mention in case you didn’t know, there is another blacksmith podcast out there that you can listen to, it’s called the Blacksmith’s Pub with Jesse Savage and Rick Barter having conversations about specific blacksmith topics and techniques and sometimes they have guests on the show too, you can listen to the show in iTunes, Stitcher and from their website www.theblacksmithspub.com.
]]>
The reason I started this podcast 3 years ago was to help create a tighter knit blacksmith community around the world, to aid and encourage forging new connections by having casual conversations every week so we can learn a little something about our peers. I thought I would talk about a few of the connections I’ve made over the past 3 years and about some of the connections that a few listeners have made by listening to the podcast. Then I’ll jump right into another JayBurn Journal (an article written by Jay Burnham Kidwell) about different kinds of forging connections such as riveting, hot metal wrapping, mortise and tenon and such.
Summary:
Hot Connections
Forge Welding
Arc Welding
MIG Welding
Tig Welding
Oxy/acetelyne, oxy/propane gas welding
Oxy/acetelyne, oxy/propane gas brazing and soldering
Forge brazing
Forge soldering
Mortise and Tenon
Hot Rivets
Cold Connections are:
Copper rivets
Collars and wraps
Claydon Connections
Tension connections
Nuts and bolts
Articulated connections
Socket bearing connections
Collaring – to determine the length of the collar material: measure around the pieces to be collared plus 2 ½ times the thickness of the collar material. This will be the cut length before beveling the ends.
Square Tenons – Upset the end of the bar a ½”, then do another upset just under the first upset, use a side set or spring fuller to establish the tenon and the shoulder. Then draw out the tenon, even up the shoulder edges with a monkey tool and check fir size and fit with the mortise. The tenon should extend about 1 ½ times the diameter of the tenon through the mortise hole.
Pass- through connections – using a slitting chisel and a swage block that is a little bigger than the pass through stock.
Stuart Hill’s connection using a square tube that is twice the thickness of the pieces to be joined.
Arno Muller’s corner connection – forge a square corner with an upset at the 90 degree bend and then forge out a tongue from the outside corner. Repeat this with another piece of square stock and join the two tongues in an opposite fashion.
Oval Rivets by Mark Aspery – from his Volume III book titled, “Mastering the Fundamentals of Traditional Joinery” available at www.MarkAspery.com.
]]>
The reason I started this podcast 3 years ago was to help create a tighter knit blacksmith community around the world, to aid and encourage forging new connections by having casual conversations every week so we can learn a little something about our peers. I thought I would talk about a few of the connections I’ve made over the past 3 years and about some of the connections that a few listeners have made by listening to the podcast. Then I’ll jump right into another JayBurn Journal (an article written by Jay Burnham Kidwell) about different kinds of forging connections such as riveting, hot metal wrapping, mortise and tenon and such.
Summary:
Hot Connections
Forge Welding
Arc Welding
MIG Welding
Tig Welding
Oxy/acetelyne, oxy/propane gas welding
Oxy/acetelyne, oxy/propane gas brazing and soldering
Forge brazing
Forge soldering
Mortise and Tenon
Hot Rivets
Cold Connections are:
Copper rivets
Collars and wraps
Claydon Connections
Tension connections
Nuts and bolts
Articulated connections
Socket bearing connections
Collaring – to determine the length of the collar material: measure around the pieces to be collared plus 2 ½ times the thickness of the collar material. This will be the cut length before beveling the ends.
Square Tenons – Upset the end of the bar a ½”, then do another upset just under the first upset, use a side set or spring fuller to establish the tenon and the shoulder. Then draw out the tenon, even up the shoulder edges with a monkey tool and check fir size and fit with the mortise. The tenon should extend about 1 ½ times the diameter of the tenon through the mortise hole.
Pass- through connections – using a slitting chisel and a swage block that is a little bigger than the pass through stock.
Stuart Hill’s connection using a square tube that is twice the thickness of the pieces to be joined.
Arno Muller’s corner connection – forge a square corner with an upset at the 90 degree bend and then forge out a tongue from the outside corner. Repeat this with another piece of square stock and join the two tongues in an opposite fashion.
Oval Rivets by Mark Aspery – from his Volume III book titled, “Mastering the Fundamentals of Traditional Joinery” available at www.MarkAspery.com.
]]>
What We Talked About
Guest Links
A Big Thank You to today’s sponsor – Southern Blacksmith Association, Their bi-annual conference May 18th - 21st.
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Guest Links
A Big Thank You to today’s sponsor – Southern Blacksmith Association, Their bi-annual conference May 18th - 21st.
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>But before we get into the interview I wanted to tell you guys about the Hammer making online class with Patrick Quinn. It’s going to be an online course where Patrick is walking you through the steps of forging a 2.25lb straight peen hammer with a striker. You will learn how to measure, punch and drift the hole, forge the cheeks, forge the peen and fuller around the face and peen. The majority of the work will be done with sledge- hammers and a striker; focus will be placed on proper striking technique. All heat-treating steps will be covered, including hardening, tempering, and finishing (polishing the faces). Handle making will also be covered so you will have the knowledge to make a handled straight peen hammer ready to use!
I know a bunch of you have been waiting a long time for this class to release and it will be available for purchase on March 9th. I have to tell you this was an epic project for me, because it included
I learned a lot about filming techniques, course development, instructional design, instructor voice over recording and of course lots and lots of video editing. And the course came out really nice, rich with information, has a good flow from module to module and clear close-up video shots of the techniques I’m really proud of the course content, how Patrick seamlessly teaches each step of the process of forging a 2.25 lb straight peen hammer. I think you guys are really going to like it and we have a fun blooper reel from filming day and voice over recording day. So keep March 9th in your mind for you to visit www.blacksmitheracademy.com to find out more details on the course and to purchase it. The price is $35 for the online course and once you sign up for it you will have access to the course forever.
What We Talked About
Guest Links
]]>
But before we get into the interview I wanted to tell you guys about the Hammer making online class with Patrick Quinn. It’s going to be an online course where Patrick is walking you through the steps of forging a 2.25lb straight peen hammer with a striker. You will learn how to measure, punch and drift the hole, forge the cheeks, forge the peen and fuller around the face and peen. The majority of the work will be done with sledge- hammers and a striker; focus will be placed on proper striking technique. All heat-treating steps will be covered, including hardening, tempering, and finishing (polishing the faces). Handle making will also be covered so you will have the knowledge to make a handled straight peen hammer ready to use!
I know a bunch of you have been waiting a long time for this class to release and it will be available for purchase on March 9th. I have to tell you this was an epic project for me, because it included
I learned a lot about filming techniques, course development, instructional design, instructor voice over recording and of course lots and lots of video editing. And the course came out really nice, rich with information, has a good flow from module to module and clear close-up video shots of the techniques I’m really proud of the course content, how Patrick seamlessly teaches each step of the process of forging a 2.25 lb straight peen hammer. I think you guys are really going to like it and we have a fun blooper reel from filming day and voice over recording day. So keep March 9th in your mind for you to visit www.blacksmitheracademy.com to find out more details on the course and to purchase it. The price is $35 for the online course and once you sign up for it you will have access to the course forever.
What We Talked About
Guest Links
]]>
Show Notes:
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>Show Notes:
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>“Ms. Caitlin hangs out with the misfits and scallywags. She sings loudly and out of tune. She is partial to walks in the rain. But the most important thing is this: Caitlin loves blacksmithing.
The Vermont native runs Ms. Caitlin’s School of Blacksmithing in Maryland, which is dedicated to sharing the craft with as many unsuspecting people as possible. She also teaches at other schools up and down the east coast.“
We had a great interview discussing her background and some great info on scholarships, how she has secured a few and some tips on how you can.
What We Talked About
Guest Links
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
“Ms. Caitlin hangs out with the misfits and scallywags. She sings loudly and out of tune. She is partial to walks in the rain. But the most important thing is this: Caitlin loves blacksmithing. The Vermont native runs Ms. Caitlin’s School of Blacksmithing in Maryland, which is dedicated to sharing the craft with as many unsuspecting people as possible. She also teaches at other schools up and down the east coast.“
We had a great interview discussing her background and some great info on scholarships, how she has secured a few and some tips on how you can.
What We Talked About
Guest Links
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
What We Talked About
Nu Iron Age show dates – May 24, 2017 – May 27, 2017
Where – New Orleans
Entry Deadline: 4/21/17
Deadline to receive artwork May 20th
Media REQUIREMENTS:
Images - Minimum: 1, Maximum: 6
Entry Fee (Nu Iron Age): $35.00
Blacksmiths; those that shape steel through fire and force, have often taken a backseat in the realm of modern art and design, deferring instead to function and tradition. The last 2 decades have seen a new generation of blacksmith evolve. They express an openness, and desire to engage with the art and design world. By organizing a show of contemporary forged iron work the hope is to connect blacksmithing with the wider conversation of metal work, contemporary craft, and the contemporary art world. This show will create a platform for relevant work within a fresh context.
This show will happen in conjunction with this year’s SNAG conference. The SNAG (Society of North American Goldsmiths) 2017 Convention’s theme is “nexus; a connection or hub”. “Nexus: A Connection of Ideas” will focus on motivating thinkers, collectors, and makers, to bring new and old, materials, techniques, and ideas together in New Orleans. As the conversation grows between the forging process and design; and as people connect their personal work to the greater field. The hope is that this show will help provide a contemporary space, one of sharing, connecting, and collaborating, a time-honored art form, a new Iron age.
HOW TO ENTER
Please submit digital images only into the Café system (you need an account, it’s free). Each artist is welcome to submit up to three (3) entries. Images should be a minimum of 300 ppi, cannot exceed 5 MB each, and must be in JPG format. Limit of two images per entry (one full view and one detail image).
ELIGIBLE MEDIA
Work must be produced from forged steel, contain some forged steel or reference the process of forging in some way. Other materials may be incorporated or used in the work submitted. Entries must be the complete work of the submitting artist. Kits or commercially designed works will not be accepted. All work must have been completed within the past two years (2014-2016).
NUMBER OF ENTRIES + ENTRY FEE
Each artist is limited to three (3) entries. There is a $35 (USD) non-refundable fee, for up to three (3) entries. Payments must be submitted online at the time of application.
SIZE LIMITATIONS
All work must be ready for installation. We reserve the right to exclude any entry that presents complex installation or assembly problems. If work is to be delivered and installed by the artist, complicated installation prohibitions may be waived.
SALES
A 30% commission will be retained from all work sold during the exhibition. Works which are not for sale must be clearly marked as such (NFS).
PUBLICITY
The exhibition will be publicized regionally, nationally and internationally. GDAC reserves the right to use photographs or digital images of any accepted work for the purpose of publicity. SNAG publications, Metalsmith magazine and local papers will advertise the show.
DELIVERY + RETURN OF WORK
Artists are responsible for pre-paying all shipping charges to and from the exhibition site. Accepted works must be hand-delivered or shipped according to the instructions provided in the Artist Contract upon selection No work may be withdrawn before the close of the exhibition. Sending an entry to this exhibition shall imply an agreement on the part of the sender to all conditions above.
Juror: Our juror for the show will be David Houston of the Bo Bartlett Center.
Links
Rachel’s Red Metal Business Facebook page - https://www.facebook.com/redmetal1245?pnref=lhc
Rachel’s Red Metal Website - http://redmetal.net/
Call for Entry website: https://www.callforentry.org/festivals_unique_info.php?ID=4075
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
What We Talked About
Nu Iron Age show dates – May 24, 2017 – May 27, 2017
Where – New Orleans
Entry Deadline: 4/21/17
Deadline to receive artwork May 20th
Media REQUIREMENTS: Images - Minimum: 1, Maximum: 6 Entry Fee (Nu Iron Age): $35.00
Blacksmiths; those that shape steel through fire and force, have often taken a backseat in the realm of modern art and design, deferring instead to function and tradition. The last 2 decades have seen a new generation of blacksmith evolve. They express an openness, and desire to engage with the art and design world. By organizing a show of contemporary forged iron work the hope is to connect blacksmithing with the wider conversation of metal work, contemporary craft, and the contemporary art world. This show will create a platform for relevant work within a fresh context.
This show will happen in conjunction with this year’s SNAG conference. The SNAG (Society of North American Goldsmiths) 2017 Convention’s theme is “nexus; a connection or hub”. “Nexus: A Connection of Ideas” will focus on motivating thinkers, collectors, and makers, to bring new and old, materials, techniques, and ideas together in New Orleans. As the conversation grows between the forging process and design; and as people connect their personal work to the greater field. The hope is that this show will help provide a contemporary space, one of sharing, connecting, and collaborating, a time-honored art form, a new Iron age.
HOW TO ENTER Please submit digital images only into the Café system (you need an account, it’s free). Each artist is welcome to submit up to three (3) entries. Images should be a minimum of 300 ppi, cannot exceed 5 MB each, and must be in JPG format. Limit of two images per entry (one full view and one detail image).
ELIGIBLE MEDIA Work must be produced from forged steel, contain some forged steel or reference the process of forging in some way. Other materials may be incorporated or used in the work submitted. Entries must be the complete work of the submitting artist. Kits or commercially designed works will not be accepted. All work must have been completed within the past two years (2014-2016).
NUMBER OF ENTRIES + ENTRY FEE Each artist is limited to three (3) entries. There is a $35 (USD) non-refundable fee, for up to three (3) entries. Payments must be submitted online at the time of application. SIZE LIMITATIONS All work must be ready for installation. We reserve the right to exclude any entry that presents complex installation or assembly problems. If work is to be delivered and installed by the artist, complicated installation prohibitions may be waived. SALES A 30% commission will be retained from all work sold during the exhibition. Works which are not for sale must be clearly marked as such (NFS). PUBLICITY The exhibition will be publicized regionally, nationally and internationally. GDAC reserves the right to use photographs or digital images of any accepted work for the purpose of publicity. SNAG publications, Metalsmith magazine and local papers will advertise the show. DELIVERY + RETURN OF WORK Artists are responsible for pre-paying all shipping charges to and from the exhibition site. Accepted works must be hand-delivered or shipped according to the instructions provided in the Artist Contract upon selection No work may be withdrawn before the close of the exhibition. Sending an entry to this exhibition shall imply an agreement on the part of the sender to all conditions above. Juror: Our juror for the show will be David Houston of the Bo Bartlett Center.
Links
Rachel’s Red Metal Business Facebook page - https://www.facebook.com/redmetal1245?pnref=lhc
Rachel’s Red Metal Website - http://redmetal.net/
Call for Entry website: https://www.callforentry.org/festivals_unique_info.php?ID=4075
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>Show Notes:
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>Show Notes:
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>The Artist Blacksmith Association of North America, AKA ABANA is a non-profit organization that began in 1973 to perpetuate the noble art of blacksmithing. ABANA encourages and facilitates the training of blacksmiths and exposes the art of blacksmithing to the public.
Head on over to the website, www.abana.org , where you can learn about their membership benefits and sign up to be added to their mailing list, which is the best way to learn about affiliate and regional events and other blacksmithing announcements. Thank you ABANA!
What We Talked About
Guest Links
A Big Thank You to today’s sponsor – ABANA, www.abana.org
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>The Artist Blacksmith Association of North America, AKA ABANA is a non-profit organization that began in 1973 to perpetuate the noble art of blacksmithing. ABANA encourages and facilitates the training of blacksmiths and exposes the art of blacksmithing to the public.
Head on over to the website, www.abana.org , where you can learn about their membership benefits and sign up to be added to their mailing list, which is the best way to learn about affiliate and regional events and other blacksmithing announcements. Thank you ABANA!
What We Talked About
Guest Links
A Big Thank You to today’s sponsor – ABANA, www.abana.org
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>The Artist Blacksmith Association of North America, AKA ABANA is a non-profit organization that began in 1973 to perpetuate the noble art of blacksmithing. ABANA encourages and facilitates the training of blacksmiths and exposes the art of blacksmithing to the public.
Head on over to the website, www.abana.org , where you can learn about their membership benefits and sign up to be added to their mailing list, which is the best way to learn about affiliate and regional events and other blacksmithing announcements. Thank you ABANA!
What We Talked About
Guest Links
A Big Thank You to today’s sponsor – ABANA, www.abana.org
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
The Artist Blacksmith Association of North America, AKA ABANA is a non-profit organization that began in 1973 to perpetuate the noble art of blacksmithing. ABANA encourages and facilitates the training of blacksmiths and exposes the art of blacksmithing to the public.
Head on over to the website, www.abana.org , where you can learn about their membership benefits and sign up to be added to their mailing list, which is the best way to learn about affiliate and regional events and other blacksmithing announcements. Thank you ABANA!
What We Talked About
Guest Links
A Big Thank You to today’s sponsor – ABANA, www.abana.org
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
What We Talked About
Guest Links
A Big Thank You to today’s sponsor – Fleming College
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
What We Talked About
Guest Links
A Big Thank You to today’s sponsor – Fleming College
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
Daniel grew up in North Carolina and has been working in the world of metal for more than thirty years. He is one of the most respected members of his craft, and well known among the smithing community. His work has appeared at the American Craft Museum in NY, and in gallery exhibitions around the world.
We Talked About:
How Daniel refines the design of a piece; does he usually draw versions of it first?
Regarding the 4 legs of the table, we talk through the process of making the feet and ankles (they are my favorite part). It looks like he split and drifted the area of the core of the body where two bands come through and are upset to stay there. Then he continued the chiseled line of the split down to the feet. How are the feet made to look so realistic, did he practice this technique on mild steel scraps before forging with the wrought iron?
We talk about the middle of the table, where the 8 stringer bands come together and how it looks like a puzzle to me.
Guest Links:
A Big Thank You to today’s sponsor – ABANA
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>Daniel grew up in North Carolina and has been working in the world of metal for more than thirty years. He is one of the most respected members of his craft, and well known among the smithing community. His work has appeared at the American Craft Museum in NY, and in gallery exhibitions around the world.
We Talked About:
How Daniel refines the design of a piece; does he usually draw versions of it first?
Regarding the 4 legs of the table, we talk through the process of making the feet and ankles (they are my favorite part). It looks like he split and drifted the area of the core of the body where two bands come through and are upset to stay there. Then he continued the chiseled line of the split down to the feet. How are the feet made to look so realistic, did he practice this technique on mild steel scraps before forging with the wrought iron?
We talk about the middle of the table, where the 8 stringer bands come together and how it looks like a puzzle to me.
Guest Links:
A Big Thank You to today’s sponsor – ABANA
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>A re-write, done in September of 2016, of the article Daniel Miller wrote for the Spring 2002 edition of the “Anvil’s Ring”.
“The Least of These” : One smith’s wonderings and wanderings about why and for whom he keeps doing this work.
By Daniel Miller
“We have taken a great social movement and turned it into a tiresome little aristocracy working with high skill for the very rich.”
When I came across this rather despairing and depressing remark in the lead essay for a catalog which accompanied a recent show at the American Craft Museum, it jumped off the page at me, for it so clearly stated a problem that has gnawed at my conscience for many years. The author of this remark was C. R. Ashbee, one of the founders of the Arts and Crafts movement in England, which thrived between the 1880’s and around 1915. He was commenting on the devolution of that movement, which had originally been envisioned as a means to ennoble, empower, and enrich the lives of common people by bringing simple, but beautifully designed and made craft objects within their reach.
Many of us run into the sad paradox that the better our work becomes, the less accessible it becomes to anyone whose financial means remotely resembles our own. My sense of discomfort with this paradox, and an accompanying sense of guilt, or at least complicity, grew as I watched what seemed like a commendable desire on my part—to have each piece I make be better, more complex, perhaps even more consequential than the last—placing my work beyond the reach of anyone but “the very rich”. At one point, when my father asked me about a rather extensive (for me) architectural project I was doing, I replied, “the assignment is ‘make us something that makes us look much richer than we looked last year.’” My father chided me for being cynical. I responded that I was just being accurate, but in hindsight, I realize that he was right. My discomfort or guilt had started to express itself as cynicism—that sure sign of emotional retreat and surrender.
My first response (a knee-jerk one) to my realization about where this kind of work was taking me was a decision to redirect my efforts—no more bidding on large ostentatious architectural jobs. Instead of decorating gigantic architectural wedding cakes with flourishes of wrought iron icing, I would try to make small nourishing whole grain wrought iron buns and muffins. I would excavate my soul and try to bring forth some nourishment. This change did seem to be a positive step. I was finally making work that meant much more to me—some of which seemed to expose my interior to me with more clarity that I would ever have expected to be possible. But I soon discovered that it still didn’t address the basic problem. The sheer work, combined with the new effort of exploration, innovation, and blind wandering that these pieces required of me made my “wrought iron icing projects” seem downright efficient. Well, that’s a bit of an exaggeration, but the bottom line was that the work of my new direction was no more accessible to people of average, or less than average means than my earlier work had been. The problem seemed insoluble. What had once been a simple penchant for trying to stretch the envelope of my work had become an addiction. If I wouldn’t allow my work to become simpler, easier, more efficient, or repeated, my dream of an egalitarian and accessible art form would fade ever farther into the distance.
As with almost all of the solutions to the consequential problems in my life, this one was presented to me, not constructed by me, and as usual, I didn’t recognize it at first. The Episcopal Cathedral in a nearby city got in touch with me about my making a Pascal Light for them. I was told that a Pascal Light is a large candle stand for a very large candle used as part of the worship service from the night before Easter until Pentecost. It is also lit and used at all baptisms and all funerals. I realized, with a bit of trepidation, that I was being called upon to make a functional object that would be one of the central symbolic participants in a very public, communal rite of passage—the Easter service. But I was more concerned that I was to try to make an object, which, if it did its job, might bring insight, and lend emotional support to two other much more personal and private rites of passage—one joy-filled and celebratory; a baptism: and the other serious and difficult; a funeral. To do a piece like this justice, I would have to find, or conjure images and a form that would be able to convey, or embody, the ideas associated with the various uses of a Pascal Light. They include both the light and the dark sides of the Easter observances, as well as the ideas of birth and death, as seen from the vantage point of the gathering of a family. My job was to come up with images and forms that could be incorporated into a Pascal Light, that would be able to express these ideas and concerns.
I remembered that several years earlier I had made a small table in which I had explored many of these same ideas. It had been commissioned by a cousin of mine whom I had re-met, after many years, at family reunion. Considering our relationship, and the reunion at which we had re-found each other, it seemed a good idea to use the making of this table as an opportunity to try to explore the whole idea of family. At that large family reunion, I had been struck by the how clearly the family members there fell into three distinct groups—the children, the parents, and the grandparents. This is of course not a very remarkable observation; but I had never noticed it so clearly before because this was the first reunion I had been to as a member of anything other than the “children’s’” group, and children—rightfully—are too busy racing around and having fun to be making observations. Now that I was in the “parents’” group, and looking at the whole gathering rather abstractly, I could see that each group had a very different and separate function or job to do in relation to this whole thing called family. The children’s function was much more an issue of being rather than doing. They were that which gives the family a future—which keeps it alive. The grandparents’ function (at its best) seemed to me to be an interior one—an assessment of what life had meant, with the hopes of passing some insights and genuine help to the parents and children. Otherwise, they were working on closing the circle of their lives— hopefully, with grace. And in that particular environment, I couldn’t help seeing my own function as primarily being the link between the children and the elders, while at the same time being called upon to build something that might be called my own life.
So, it was with these ideas in mind that I set out to make the table that would be called “Three Generations in A Gyre”. A “gyre” is a spinning thing. This seemed to be an apt metaphor for all the families I had known—with each member spinning out his or her own life, yet always in relation to and influenced (for better or worse) by the other members spinning out theirs. And all of this within the edifice of that larger spinning thing—the family— held together, at the least, by shared DNA, and at the best (for the lucky ones) by love.
With these ideas in mind it becomes rather easy to “read” this table. It is of course, first of all, simply a functional object. But it is also a re-presentation—a snapshot made of iron—presenting to me again what I observed and then felt, at that reunion. The three legs give a body to those three noted generations. The tapered, hoop-like bands give arms to those bodies, which describe the function or job I saw each generation trying to do. The elders are just about to close their circles. My generation is relating the elders to the children. And the children—without a function that supports the structure yet—are simply reaching. They stand there with arms outstretched, in that immediately recognizable “pick me up right now” pose. The varying lengths, and degree of completeness of the three hoop, or arm forms give an impression of growth and upward motion, while the tight twists hint at an individual and overall spinning motion.
There is surely a risk that the “reading” of the forms and images in a table like this may become too clear, maybe even a little dull. But the first time I looked at this table completed, I couldn’t help sensing the presence of a little serpent in this garden, which I didn’t understand. The objects toward which the child’s outstretched arms were reaching looked quite undeniably like wounds.
It wasn’t until a year later, when I learned that my father had prostate cancer, that the significance of these wounds throughout the form of my table about family became clearer. The table now came to stand for me as an emblem of the nature of the extremely close relationship my father and I had with each other. We, of course, knew one another’s strengths—since everyone is willing to communicate about, and share their strengths. But, extraordinarily, we so trusted each other that we were able and willing to share, and expose, and explore one another’s weaknesses, dark places, and even wounds. So now the table had become a portrait of my own family—as a very simple three-legged structure, whose ability to penetrate and be penetrated, supported a platform upon which a feast could be served.
The fact that this table, which had so kindly and effectively helped me deal with a very difficult rite of passage of my own, would sit silently in the home of the person who had commissioned it never seemed quite right to me. I felt that if it had helped me in this way, it might be able to help others, but now it seemed to be almost hidden. It’s therefore not surprising that, as I worked on drawings for the Pascal Light, images from that three-legged portrait of a family, which I had made several years earlier kept coming to mind.
I had said very little about the symbolism of the table to the person who had commissioned it. Some images are too difficult, even if they live only in a symbolic world. So it was with a bit of trepidation that I showed a picture of this table, along with my drawings for the Pascal Light to the Dean of the Cathedral, and to the lady who had originally contacted me about it, and who also wanted to commission its making. I realized immediately, to my great relief, that they both were smitten, not with discomfort, but with a sense of recognition and familiarity. To my surprise, I found that this image—as abstract and distilled as it was—served them in exactly the same way it served me. It seemed to concretize and clarify a few of the ungraspable emotions which death makes more urgent, regarding both the potential and the genuine difficulties in achieving any real communication with our loved ones. Both of them spoke of how this piece seemed to directly address some of their own acquaintances and family members—both the fortunate ones, who had been able not to hide (or hide from) their own weaknesses and wounds, as well as the less fortunate ones, who had lived hidden, unshared lives.
This project seemed a kind of milestone for me, in that the level of clear communication of my own emotions was so high; but I still thought that it didn’t address the gnawing problem of my best and most extreme work only being available to people of extreme means. But even this resolved itself, albeit unexpectedly. The Dean had asked if I would bring the Pascal Light to his adult Sunday school class and try to share some of my ideas about it with them. Before the class convened, the large group got together for coffee, doughnuts, and conviviality. As I waited in the cloister, a young woman haltingly stepped out, spilling half her coffee. She was homeless, and clearly very mentally and physically challenged. She limped over to look more closely at this strange piece of ironwork, and smiled at it, and then at me. In a flash ,it struck me that this Pascal Light literally belonged to this woman just as much as it belonged to the Dean, or to the lady who had commissioned and paid for it. I couldn’t believe my good fortune: Finally a solution.
I so wanted to convey my happiness at this realization to the lady who had commissioned the piece but was a bit concerned that it might be taken as ingratitude. I decided to risk it, although I was not at all prepared for her response. “Oh no,” she said, “it belongs much more to her than it does to me because she has suffered so much more for it.”
Guest Links:
Daniel Miller's website http://millermetalsmith.com/gallery/index.php
Sponsor for today: ABANA, www.abana.org
]]>
A re-write, done in September of 2016, of the article Daniel Miller wrote for the Spring 2002 edition of the “Anvil’s Ring”.
“The Least of These” : One smith’s wonderings and wanderings about why and for whom he keeps doing this work.
By Daniel Miller
“We have taken a great social movement and turned it into a tiresome little aristocracy working with high skill for the very rich.”
When I came across this rather despairing and depressing remark in the lead essay for a catalog which accompanied a recent show at the American Craft Museum, it jumped off the page at me, for it so clearly stated a problem that has gnawed at my conscience for many years. The author of this remark was C. R. Ashbee, one of the founders of the Arts and Crafts movement in England, which thrived between the 1880’s and around 1915. He was commenting on the devolution of that movement, which had originally been envisioned as a means to ennoble, empower, and enrich the lives of common people by bringing simple, but beautifully designed and made craft objects within their reach.
Many of us run into the sad paradox that the better our work becomes, the less accessible it becomes to anyone whose financial means remotely resembles our own. My sense of discomfort with this paradox, and an accompanying sense of guilt, or at least complicity, grew as I watched what seemed like a commendable desire on my part—to have each piece I make be better, more complex, perhaps even more consequential than the last—placing my work beyond the reach of anyone but “the very rich”. At one point, when my father asked me about a rather extensive (for me) architectural project I was doing, I replied, “the assignment is ‘make us something that makes us look much richer than we looked last year.’” My father chided me for being cynical. I responded that I was just being accurate, but in hindsight, I realize that he was right. My discomfort or guilt had started to express itself as cynicism—that sure sign of emotional retreat and surrender.
My first response (a knee-jerk one) to my realization about where this kind of work was taking me was a decision to redirect my efforts—no more bidding on large ostentatious architectural jobs. Instead of decorating gigantic architectural wedding cakes with flourishes of wrought iron icing, I would try to make small nourishing whole grain wrought iron buns and muffins. I would excavate my soul and try to bring forth some nourishment. This change did seem to be a positive step. I was finally making work that meant much more to me—some of which seemed to expose my interior to me with more clarity that I would ever have expected to be possible. But I soon discovered that it still didn’t address the basic problem. The sheer work, combined with the new effort of exploration, innovation, and blind wandering that these pieces required of me made my “wrought iron icing projects” seem downright efficient. Well, that’s a bit of an exaggeration, but the bottom line was that the work of my new direction was no more accessible to people of average, or less than average means than my earlier work had been. The problem seemed insoluble. What had once been a simple penchant for trying to stretch the envelope of my work had become an addiction. If I wouldn’t allow my work to become simpler, easier, more efficient, or repeated, my dream of an egalitarian and accessible art form would fade ever farther into the distance.
As with almost all of the solutions to the consequential problems in my life, this one was presented to me, not constructed by me, and as usual, I didn’t recognize it at first. The Episcopal Cathedral in a nearby city got in touch with me about my making a Pascal Light for them. I was told that a Pascal Light is a large candle stand for a very large candle used as part of the worship service from the night before Easter until Pentecost. It is also lit and used at all baptisms and all funerals. I realized, with a bit of trepidation, that I was being called upon to make a functional object that would be one of the central symbolic participants in a very public, communal rite of passage—the Easter service. But I was more concerned that I was to try to make an object, which, if it did its job, might bring insight, and lend emotional support to two other much more personal and private rites of passage—one joy-filled and celebratory; a baptism: and the other serious and difficult; a funeral. To do a piece like this justice, I would have to find, or conjure images and a form that would be able to convey, or embody, the ideas associated with the various uses of a Pascal Light. They include both the light and the dark sides of the Easter observances, as well as the ideas of birth and death, as seen from the vantage point of the gathering of a family. My job was to come up with images and forms that could be incorporated into a Pascal Light, that would be able to express these ideas and concerns.
I remembered that several years earlier I had made a small table in which I had explored many of these same ideas. It had been commissioned by a cousin of mine whom I had re-met, after many years, at family reunion. Considering our relationship, and the reunion at which we had re-found each other, it seemed a good idea to use the making of this table as an opportunity to try to explore the whole idea of family. At that large family reunion, I had been struck by the how clearly the family members there fell into three distinct groups—the children, the parents, and the grandparents. This is of course not a very remarkable observation; but I had never noticed it so clearly before because this was the first reunion I had been to as a member of anything other than the “children’s’” group, and children—rightfully—are too busy racing around and having fun to be making observations. Now that I was in the “parents’” group, and looking at the whole gathering rather abstractly, I could see that each group had a very different and separate function or job to do in relation to this whole thing called family. The children’s function was much more an issue of being rather than doing. They were that which gives the family a future—which keeps it alive. The grandparents’ function (at its best) seemed to me to be an interior one—an assessment of what life had meant, with the hopes of passing some insights and genuine help to the parents and children. Otherwise, they were working on closing the circle of their lives— hopefully, with grace. And in that particular environment, I couldn’t help seeing my own function as primarily being the link between the children and the elders, while at the same time being called upon to build something that might be called my own life.
So, it was with these ideas in mind that I set out to make the table that would be called “Three Generations in A Gyre”. A “gyre” is a spinning thing. This seemed to be an apt metaphor for all the families I had known—with each member spinning out his or her own life, yet always in relation to and influenced (for better or worse) by the other members spinning out theirs. And all of this within the edifice of that larger spinning thing—the family— held together, at the least, by shared DNA, and at the best (for the lucky ones) by love.
With these ideas in mind it becomes rather easy to “read” this table. It is of course, first of all, simply a functional object. But it is also a re-presentation—a snapshot made of iron—presenting to me again what I observed and then felt, at that reunion. The three legs give a body to those three noted generations. The tapered, hoop-like bands give arms to those bodies, which describe the function or job I saw each generation trying to do. The elders are just about to close their circles. My generation is relating the elders to the children. And the children—without a function that supports the structure yet—are simply reaching. They stand there with arms outstretched, in that immediately recognizable “pick me up right now” pose. The varying lengths, and degree of completeness of the three hoop, or arm forms give an impression of growth and upward motion, while the tight twists hint at an individual and overall spinning motion.
There is surely a risk that the “reading” of the forms and images in a table like this may become too clear, maybe even a little dull. But the first time I looked at this table completed, I couldn’t help sensing the presence of a little serpent in this garden, which I didn’t understand. The objects toward which the child’s outstretched arms were reaching looked quite undeniably like wounds.
It wasn’t until a year later, when I learned that my father had prostate cancer, that the significance of these wounds throughout the form of my table about family became clearer. The table now came to stand for me as an emblem of the nature of the extremely close relationship my father and I had with each other. We, of course, knew one another’s strengths—since everyone is willing to communicate about, and share their strengths. But, extraordinarily, we so trusted each other that we were able and willing to share, and expose, and explore one another’s weaknesses, dark places, and even wounds. So now the table had become a portrait of my own family—as a very simple three-legged structure, whose ability to penetrate and be penetrated, supported a platform upon which a feast could be served.
The fact that this table, which had so kindly and effectively helped me deal with a very difficult rite of passage of my own, would sit silently in the home of the person who had commissioned it never seemed quite right to me. I felt that if it had helped me in this way, it might be able to help others, but now it seemed to be almost hidden. It’s therefore not surprising that, as I worked on drawings for the Pascal Light, images from that three-legged portrait of a family, which I had made several years earlier kept coming to mind.
I had said very little about the symbolism of the table to the person who had commissioned it. Some images are too difficult, even if they live only in a symbolic world. So it was with a bit of trepidation that I showed a picture of this table, along with my drawings for the Pascal Light to the Dean of the Cathedral, and to the lady who had originally contacted me about it, and who also wanted to commission its making. I realized immediately, to my great relief, that they both were smitten, not with discomfort, but with a sense of recognition and familiarity. To my surprise, I found that this image—as abstract and distilled as it was—served them in exactly the same way it served me. It seemed to concretize and clarify a few of the ungraspable emotions which death makes more urgent, regarding both the potential and the genuine difficulties in achieving any real communication with our loved ones. Both of them spoke of how this piece seemed to directly address some of their own acquaintances and family members—both the fortunate ones, who had been able not to hide (or hide from) their own weaknesses and wounds, as well as the less fortunate ones, who had lived hidden, unshared lives.
This project seemed a kind of milestone for me, in that the level of clear communication of my own emotions was so high; but I still thought that it didn’t address the gnawing problem of my best and most extreme work only being available to people of extreme means. But even this resolved itself, albeit unexpectedly. The Dean had asked if I would bring the Pascal Light to his adult Sunday school class and try to share some of my ideas about it with them. Before the class convened, the large group got together for coffee, doughnuts, and conviviality. As I waited in the cloister, a young woman haltingly stepped out, spilling half her coffee. She was homeless, and clearly very mentally and physically challenged. She limped over to look more closely at this strange piece of ironwork, and smiled at it, and then at me. In a flash ,it struck me that this Pascal Light literally belonged to this woman just as much as it belonged to the Dean, or to the lady who had commissioned and paid for it. I couldn’t believe my good fortune: Finally a solution.
I so wanted to convey my happiness at this realization to the lady who had commissioned the piece but was a bit concerned that it might be taken as ingratitude. I decided to risk it, although I was not at all prepared for her response. “Oh no,” she said, “it belongs much more to her than it does to me because she has suffered so much more for it.”
Guest Links:
Daniel Miller's website http://millermetalsmith.com/gallery/index.php
Sponsor for today: ABANA, www.abana.org
]]>
What We Talked About
Guest Links
A Big Thank You to today’s sponsor – Center for Metal Arts
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Guest Links
A Big Thank You to today’s sponsor – Center for Metal Arts
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
What We Talked About
“Bay 1 was the domain of heavy-metal forging, with the Davy Press and its attendant equipment dominating the northern end. In the south, glaring back at the Davy is the other workshop heavyweight – the mighty double-arch steam drop hammer. Used for fire-welding and metal forging, the drop hammer put on spectacular fireworks shows in the course of its daily duties. With its deafening bangs and lightning-quick blows to scorching billets, it belched flames and showered the workshop with fantastical streams of iron embers, terrifying apprentices, singeing eyebrows and igniting the fashionable newspaper hats donned by nearby blacksmiths.”
Guest Links
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
What We Talked About
“Bay 1 was the domain of heavy-metal forging, with the Davy Press and its attendant equipment dominating the northern end. In the south, glaring back at the Davy is the other workshop heavyweight – the mighty double-arch steam drop hammer. Used for fire-welding and metal forging, the drop hammer put on spectacular fireworks shows in the course of its daily duties. With its deafening bangs and lightning-quick blows to scorching billets, it belched flames and showered the workshop with fantastical streams of iron embers, terrifying apprentices, singeing eyebrows and igniting the fashionable newspaper hats donned by nearby blacksmiths.”
Guest Links
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Guest Links
A Big Thank You to today’s sponsor – Fleming College
Maybe more pictures
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Guest Links
A Big Thank You to today’s sponsor – Fleming College
Maybe more pictures
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>Guest appearances on this episode:
A Big Thank You to today’s sponsor – Southern Ohio Forge and Anvil, www.sofablacksmiths.org
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>Guest appearances on this episode:
A Big Thank You to today’s sponsor – Southern Ohio Forge and Anvil, www.sofablacksmiths.org
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Guest Links
A Big Thank You to today’s sponsor – Gameco Artisan Supplies
]]>What We Talked About
Guest Links
A Big Thank You to today’s sponsor – Gameco Artisan Supplies
]]>What We Talked About
Guest Links
A Big Thank You to today’s sponsor – Fleming College
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Guest Links
A Big Thank You to today’s sponsor – Fleming College
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
What We Talked About
Guest Links
A Big Thank You to today’s sponsor –Sothern Ohio Forge and Anvil organization, http://www.sofablacksmiths.org/index.html
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
What We Talked About
Guest Links
A Big Thank You to today’s sponsor –Sothern Ohio Forge and Anvil organization, http://www.sofablacksmiths.org/index.html
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
What We Talked About
Guest Links
A Big Thank You to today’s sponsor – www.Ypres2016.com
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
What We Talked About
Guest Links
A Big Thank You to today’s sponsor – www.Ypres2016.com
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
What We Talked About
What We Talked About
What We Talked About |
Guest Links
Thank you to Ypres 2016 International Blacksmithing Event, www.ypres2016.com
]]>What We Talked About
Guest Links
Thank you to Ypres 2016 International Blacksmithing Event, www.ypres2016.com
]]>What We Talked About
Guest Links
]]>What We Talked About
Guest Links
]]>What We Talked About
Guest Links
Living Design Studios, Inc website - http://livingdesignstudios.com/
A Big Thank You to today’s sponsor – www.ypres2016.com
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
What We Talked About
Guest Links
Living Design Studios, Inc website - http://livingdesignstudios.com/
A Big Thank You to today’s sponsor – www.ypres2016.com
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
What We Talked About
Here is Shona’s account of her panel design:
The Finnegan Brothers, Thoughts of Home
My Granddad, Jimmy Finnegan volunteered in 1914 when he was 17 years old leaving his blacksmithing apprenticeship to join the Royal Irish Rifles. While serving on the front line, as a sniper, he got word that his brother, Jonny Finnegan, was billeted nearby. The two brothers managed to send messages to each other and arranged a time and place to meet on the reserve line. Both borrowed bicycles and remarkably meet up and spent a short precious time together before returning to their regiments and the job of war. The brothers would not meet again until several years later, at the end of the war, home in their beloved Edinburgh. Jonny returning from fighting on the front line & Jimmy liberated from a German prisoner of war camp.
I wanted to capture the essence of the brother’s rendezvous, caught between the harsh reality of the war, death, despair and the ravaged landscape and their thoughts and chat of cherished family and friends many miles away back home in Edinburgh. The stunted trees represent the war torn landscape with the brothers greeting each other towards the center of the panel and memories of home symbolized by crow-stepped gabled houses and the tall tenement buildings of Edinburgh, home to the Finnegan family.
Shona Johnson Ratho Byres Forge April 2016
Guest Links
A Big Thank You to today’s sponsor – Ypres 2016 International Blacksmith Event, www.Ypres2016.com
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Here is Shona’s account of her panel design:
The Finnegan Brothers, Thoughts of Home
My Granddad, Jimmy Finnegan volunteered in 1914 when he was 17 years old leaving his blacksmithing apprenticeship to join the Royal Irish Rifles. While serving on the front line, as a sniper, he got word that his brother, Jonny Finnegan, was billeted nearby. The two brothers managed to send messages to each other and arranged a time and place to meet on the reserve line. Both borrowed bicycles and remarkably meet up and spent a short precious time together before returning to their regiments and the job of war. The brothers would not meet again until several years later, at the end of the war, home in their beloved Edinburgh. Jonny returning from fighting on the front line & Jimmy liberated from a German prisoner of war camp.
I wanted to capture the essence of the brother’s rendezvous, caught between the harsh reality of the war, death, despair and the ravaged landscape and their thoughts and chat of cherished family and friends many miles away back home in Edinburgh. The stunted trees represent the war torn landscape with the brothers greeting each other towards the center of the panel and memories of home symbolized by crow-stepped gabled houses and the tall tenement buildings of Edinburgh, home to the Finnegan family.
Shona Johnson Ratho Byres Forge April 2016
Guest Links
A Big Thank You to today’s sponsor – Ypres 2016 International Blacksmith Event, www.Ypres2016.com
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
What We Talked About
Guest Links
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
What We Talked About
Guest Links
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
What We Talked About
Guest Links
A Big Thank You to today’s sponsor – Ypres 2016 International Blacksmith event, www.2016.com
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Guest Links
A Big Thank You to today’s sponsor – Ypres 2016 International Blacksmith event, www.2016.com
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Guest Links
A Big Thank You to today’s sponsor – Ypres 2016 International Blacksmith event, www.Ypres2016.com
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Guest Links
A Big Thank You to today’s sponsor – Ypres 2016 International Blacksmith event, www.Ypres2016.com
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>Beginning Metal Sculpture
Basics of Knife Making
Fire Tools for the Coal Forge and Fireplace
Forging Edged Tools
Guest Links
]]>
Beginning Metal Sculpture
Basics of Knife Making
Fire Tools for the Coal Forge and Fireplace
Forging Edged Tools
Guest Links
]]>
What We Talked About
Guest Links
A Big Thank You to today’s sponsor – ABANA 2016 Conference, http://www.abana.org/Conferences/2016/index.html
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Guest Links
A Big Thank You to today’s sponsor – ABANA 2016 Conference, http://www.abana.org/Conferences/2016/index.html
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>His desire to give homage to those who proceeded him and his desire for information have led him to moderate several historical metal forums including the Society of American Silversmiths and Society of Arts & Crafts website. A creative innovator of materials and tools to create unique designs, Fred has attended and assisted in many workshops in metal and other media.
His focus in the past 30 years has been teaching metals classes. Teaching is a natural extension of his desire to share with others what he knows.
What We Talked About
Guest Links
Zweig Video on Chasing & Repousse
A Big Thank You to today’s sponsor – ABANA 2016 Conference, www.abana.org/2016slc .
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
His desire to give homage to those who proceeded him and his desire for information have led him to moderate several historical metal forums including the Society of American Silversmiths and Society of Arts & Crafts website. A creative innovator of materials and tools to create unique designs, Fred has attended and assisted in many workshops in metal and other media.
His focus in the past 30 years has been teaching metals classes. Teaching is a natural extension of his desire to share with others what he knows.
What We Talked About
Guest Links
Zweig Video on Chasing & Repousse
A Big Thank You to today’s sponsor – ABANA 2016 Conference, www.abana.org/2016slc .
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
He completed his academic studies with a Master’s Degree in art and did additional studies in welding and restoration. His knowledge and skill led to a professorship at University Gothenburg Sweden which, like Southern Illinois University Carbondale, is one of only a few colleges in the world to offer advanced art degrees with a focus on blacksmithing.
What We Talked About
Guest Links
A Big Thank You to today’s sponsor – ABANA 2016 Conference, http://www.abana.org/Conferences/2016/index.html
If you enjoyed this episode, I would love it if you would support the show by:
He completed his academic studies with a Master’s Degree in art and did additional studies in welding and restoration. His knowledge and skill led to a professorship at University Gothenburg Sweden which, like Southern Illinois University Carbondale, is one of only a few colleges in the world to offer advanced art degrees with a focus on blacksmithing.
What We Talked About
Guest Links
A Big Thank You to today’s sponsor – ABANA 2016 Conference, http://www.abana.org/Conferences/2016/index.html
If you enjoyed this episode, I would love it if you would support the show by:
What We Talked About
Guest Links
A Big Thank You to today’s sponsor – ABANA 2016 Conference in SLC, Utah.
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Guest Links
A Big Thank You to today’s sponsor – ABANA 2016 Conference in SLC, Utah.
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
SHORT CHRONOLOGY
2015 Mount Hood, USA. Teaching at C.B.A (California and Oregon Blacksmith Association).
2014 Anchiari (Tuscany), Personal exhibition.
2013 Sansepolcro (Tuscany). “Plasticity Iron”, personal exhibition at Franco Alessandrini Gallery.
2013 Bagno di Romagna. From iron to art”, personal exhibition at Palazzo del Capitano.
2012 Cesena. “Metamorphosis of metal”. Personal exhibition at Palazzo del Ridotto modern art gallery.
2012 Kolbermoor, Germany, “Iron Modern Sculptures”, collective exhibit.
2012 Barcelona, Spain. Impromptu performance at Forja Viva.
2012 San Francisco, USA. Forging performance at the C.B.A. Spring Conference.
2011 Helfstyn Castle, Czech Republic. “Sculptured by Fire”, personal exhibition.
2010 Brussel, Belgium. “Feu & Fer”, personal exhibition.
2006 Helfstyn Forum, Czech Republic. “Energies Meeting”, public performance.
2006 Kiruna, Sweden. Ice Sculpture at the Kiruna Snow Festival (“Meteor”, third prize).
2005 Stia (Tuscany), Forging performance contest, 1st prize.
2004 Chefchaouen, Morocco. Teacher at “Forging Fundamentals” international training course.
PUBLICATIONS
“CONTEMPORARY ITALIAN SMITHS”, Antonello Rizzo, edited by Rizzo, 2015
“IL LETTO E DINTORNI”, Giuseppe Ciscato, edited by Alinea, 2000
“LA MAGIA DEL FERRO BATTUTO ITALIANO”, Giuseppe Ciscato, edited by Alinea
“METAL DESIGN International 2008”, Elgass Peter, edited by Hephaistos Jahrbuch, 2008
“SCULTURE, Roberto Giordani”, edited by Petruzzi, 2007
“FROM FIRE TO FORM “, Mathew S. Clarke, edited by Schiffer, 2008
“I MAESTRI ITALIANI DEL FERRO BATTUTO 2“, Giuseppe Ciscato, edited by Alinea, 2007
“DAMASCUS“, Emilio Albericci, Flavio Galizzi and Luca Pizzi, edited by Rizzo, 2010
Guest Links
http://www.corsiferrobattuto.com/en/
http://www.giordaniscultura.it/index.html
http://www.robertogiordani.com/index.html
A Big Thank You to today’s sponsor – ABANA 2016 Conference
Maybe more pictures
If you enjoyed this episode, I would love it if you would support the show by:
What We Talked About
SHORT CHRONOLOGY
2015 Mount Hood, USA. Teaching at C.B.A (California and Oregon Blacksmith Association).
2014 Anchiari (Tuscany), Personal exhibition.
2013 Sansepolcro (Tuscany). “Plasticity Iron”, personal exhibition at Franco Alessandrini Gallery.
2013 Bagno di Romagna. From iron to art”, personal exhibition at Palazzo del Capitano.
2012 Cesena. “Metamorphosis of metal”. Personal exhibition at Palazzo del Ridotto modern art gallery.
2012 Kolbermoor, Germany, “Iron Modern Sculptures”, collective exhibit.
2012 Barcelona, Spain. Impromptu performance at Forja Viva.
2012 San Francisco, USA. Forging performance at the C.B.A. Spring Conference.
2011 Helfstyn Castle, Czech Republic. “Sculptured by Fire”, personal exhibition.
2010 Brussel, Belgium. “Feu & Fer”, personal exhibition.
2006 Helfstyn Forum, Czech Republic. “Energies Meeting”, public performance.
2006 Kiruna, Sweden. Ice Sculpture at the Kiruna Snow Festival (“Meteor”, third prize).
2005 Stia (Tuscany), Forging performance contest, 1st prize.
2004 Chefchaouen, Morocco. Teacher at “Forging Fundamentals” international training course.
PUBLICATIONS
“CONTEMPORARY ITALIAN SMITHS”, Antonello Rizzo, edited by Rizzo, 2015
“IL LETTO E DINTORNI”, Giuseppe Ciscato, edited by Alinea, 2000
“LA MAGIA DEL FERRO BATTUTO ITALIANO”, Giuseppe Ciscato, edited by Alinea
“METAL DESIGN International 2008”, Elgass Peter, edited by Hephaistos Jahrbuch, 2008
“SCULTURE, Roberto Giordani”, edited by Petruzzi, 2007
“FROM FIRE TO FORM “, Mathew S. Clarke, edited by Schiffer, 2008
“I MAESTRI ITALIANI DEL FERRO BATTUTO 2“, Giuseppe Ciscato, edited by Alinea, 2007
“DAMASCUS“, Emilio Albericci, Flavio Galizzi and Luca Pizzi, edited by Rizzo, 2010
Guest Links
http://www.corsiferrobattuto.com/en/ http://www.giordaniscultura.it/index.html http://www.robertogiordani.com/index.html
A Big Thank You to today’s sponsor – ABANA 2016 Conference
Maybe more pictures
If you enjoyed this episode, I would love it if you would support the show by:
What We Talked About
Guest Links
His website - http://www.brainpress.com/
The Ganoskin Project website - http://www.ganoksin.com/
A Big Thank You to today’s sponsor – ABANA 2016 Conference
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Guest Links
His website - http://www.brainpress.com/
The Ganoskin Project website - http://www.ganoksin.com/
A Big Thank You to today’s sponsor – ABANA 2016 Conference
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Monica Coyne’s Links:
Website – http://www.monicacoyneartistblacksmith.com/
Facebook - https://www.facebook.com/MonicaCoyneArtistBlacksmith
A Big Thank You to today’s sponsor – ABANA 2016 Conference, http://www.abana.org/Conferences/2016/index.html
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
What We Talked About
Monica Coyne’s Links:
Website – http://www.monicacoyneartistblacksmith.com/
Facebook - https://www.facebook.com/MonicaCoyneArtistBlacksmith
A Big Thank You to today’s sponsor – ABANA 2016 Conference, http://www.abana.org/Conferences/2016/index.html
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
Guest Intro:
Douglas Pryor lives in Rockland, California and works as a repousse artist, primarily making armor. When possible, he uses only hand tools to mimic the authentic conditions of ancient time periods. His main techniques are sculpting, raising, chasing and repousse. Douglas also moonlights as a parkour instructor. He’s been selected as one of the demonstrators for this year’s ABANA Conference in Salt Lake City.
What we talked about:
Guest Links:
A Big Thank You to today’s sponsor – ABANA 2016 Conference
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
Guest Intro:
Douglas Pryor lives in Rockland, California and works as a repousse artist, primarily making armor. When possible, he uses only hand tools to mimic the authentic conditions of ancient time periods. His main techniques are sculpting, raising, chasing and repousse. Douglas also moonlights as a parkour instructor. He’s been selected as one of the demonstrators for this year’s ABANA Conference in Salt Lake City.
What we talked about:
Guest Links:
A Big Thank You to today’s sponsor – ABANA 2016 Conference
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
|
What We Talked About
Guest Links
Stia Drawing and Design website - http://www.biennaleartefabbrile.it/the-championship/regulation-design-contest/
A Big Thank You to today’s sponsor – Adirondack Folk School, www.adirondackfolkschool.org
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
What We Talked About
Guest Links
Stia Drawing and Design website - http://www.biennaleartefabbrile.it/the-championship/regulation-design-contest/
A Big Thank You to today’s sponsor – Adirondack Folk School, www.adirondackfolkschool.org
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
What We Talked About
Guest Links
A Big Thank You to today’s sponsor – ABANA 2016 Salt Lake Conference
Maybe more pictures
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Guest Links
A Big Thank You to today’s sponsor – ABANA 2016 Salt Lake Conference
Maybe more pictures
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Guest Links
Patrick’s website - http://www.patrickjquinn.com/
The Center for Metal Arts website - http://www.centerformetalarts.com/
A Big Thank You to today’s sponsor – The Center for Metal Arts
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Guest Links
Patrick’s website - http://www.patrickjquinn.com/
The Center for Metal Arts website - http://www.centerformetalarts.com/
A Big Thank You to today’s sponsor – The Center for Metal Arts
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Guest Links
Thank you to today's sponsor the ABANA 2016 Salt Lake City Conference
]]>What We Talked About
Guest Links
Thank you to today's sponsor the ABANA 2016 Salt Lake City Conference
]]>What I cover in the podcast
Links
Book “The Art of Shouting Quietly” by Pete Mosely on Amazon
BABA - http://www.baba.org.uk/
A Big Thank You to today’s sponsor – Adirondack Folk School.
]]>What I cover in the podcast
Links
Book “The Art of Shouting Quietly” by Pete Mosely on Amazon
BABA - http://www.baba.org.uk/
A Big Thank You to today’s sponsor – Adirondack Folk School.
]]>Jerry Coe is a sculptural metalsmith who specializes in bronze. He's the founder of Coe Studios Architectural Lighting in Berkeley, California. His interest in blacksmithing began when he was a mountain climber and park ranger at Yosemite National Park. It was there that he became an apprentice stagecoach builder and has been blacksmithing full time since 1979. Jerry also enjoys tango dancing and is currently organizing a trip to Buenos Aires, Argentina with a large group of blacksmiths from around the world.
Guest Links
Thanks to ABANA for sponsorship!
]]>Jerry Coe is a sculptural metalsmith who specializes in bronze. He's the founder of Coe Studios Architectural Lighting in Berkeley, California. His interest in blacksmithing began when he was a mountain climber and park ranger at Yosemite National Park. It was there that he became an apprentice stagecoach builder and has been blacksmithing full time since 1979. Jerry also enjoys tango dancing and is currently organizing a trip to Buenos Aires, Argentina with a large group of blacksmiths from around the world.
Guest Links
Thanks to ABANA for sponsorship!
]]>What We Talked About
-200 ppm will cause a slight headache, fatigue, nausea and dizziness at 2-3 hours of exposure
-400 ppm will cause headache, fatigue, dizziness and nausea within 1-2 hours and is life threatening after 3 hours
-800 ppm will cause dizziness, nausea and convulsions within 45 minutes, unconsciousness within 2 hours and death in 2-3 hours
-1600 ppm causes death within 30 minutes
What We Talked About
-200 ppm will cause a slight headache, fatigue, nausea and dizziness at 2-3 hours of exposure
-400 ppm will cause headache, fatigue, dizziness and nausea within 1-2 hours and is life threatening after 3 hours
-800 ppm will cause dizziness, nausea and convulsions within 45 minutes, unconsciousness within 2 hours and death in 2-3 hours
-1600 ppm causes death within 30 minutes
What We Talked About
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Guest Links
Jake’s Website - http://www.jakejames.ca/the-blacksmith/
Jake’s Etsy page - https://www.etsy.com/ca/shop/JakeJamesBlacksmith
Jake’s Houzz.com page - http://www.houzz.com/pro/jake-james/jake-james-artist-blacksmith
A Big Thank You to today’s sponsor – www.ABANA.org
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Guest Links
Jake’s Website - http://www.jakejames.ca/the-blacksmith/
Jake’s Etsy page - https://www.etsy.com/ca/shop/JakeJamesBlacksmith
Jake’s Houzz.com page - http://www.houzz.com/pro/jake-james/jake-james-artist-blacksmith
A Big Thank You to today’s sponsor – www.ABANA.org
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>The theme of 2016 is “Education” for me, for BlacksmitHer radio, and for you! I thought it was fitting since the theme of this year’s ABANA conference is “education” too! A few things that are playing into this theme and the first one is super exciting to me!
I’m introducing BlacksmitHer Academy, www.blacksmitheracademy.com . The main mission of the academy is offer top notch blacksmithing education online. You will be able to learn from the best blacksmiths around the world right from your own home. It’s like I’m bringing the instructors to you – no travel expenses needed.
There will be:
So I have the first two live online workshops scheduled for January 20th, a Wednesday and January 28th, a Thursday. Both at 5pm PST and each workshop will cover 8 different ways of punching and drifting with Mark Aspery as the teacher.
He will cover 8 modules split into 2 workshops, each about 90 minutes in length.
By signing up and registering for the workshops, you’ll receive exclusive access to my private state-of-the-art virtual classroom where you can chit chat with each other and ask the instructor questions.
I will be hosting a few free live “Happy Hours” on Thirsty Thursdays Jan 7th and 14th in the classroom before the workshops so everyone can get a chance to check out the room, get used to it and chat with each other and about Mark’s Punch and Drift workshop. It’ll be fun, please join me at the “Happy Hour” events, I’ll be emailing my list details and I will post them on the BlacksmitHer website under the live blacksmithing classes tab, so stay tuned for those details.
I will have the registration sign up links set up soon, hopefully this week.
I’ve got a few educational things planned for my own growth in blacksmithing. I will be travelling to Argentina for 10 days in March with 30 other blacksmiths and architects. We are going to Buenos Aires, the Paris of Latin America. This city enjoyed a building boom for 50 years, from 1880-1930, as the capital of what was once one the ten wealthiest countries in the world. As a city lacking in major new construction over the last 80 years, Buenos Aires has felt the loss of the oral traditions of craft. Along with reviving craft, the populace is enthusiastic about the need to preserve their priceless architectural heritage. After we explore the city with locals on the first few days, we will divide into two groups. One group will present three days of blacksmithing demonstrations, 5 stations to be held in a public park, while the second group, US architects with an interest in preservation, will hold meetings and presentations to share their experiences, hear BA architects speak on their work, and seek solutions to current problems in preservation and adaptive re-use of historical buildings. We will be dancing the tango at night and one day we will experience gaucho life on an estancia or ranch. More information can be found on the website http://www.restorationcraftsmen.org/ and I will include some onsite interviews in future podcasts.
I’m’ also trying to plan a trip to Israel this year to take classes from Zeevik Gottleib and Uri Hofi. I don’t know if I told you but I have taken a few lessons from Zeevik online and I really want to learn more about their ergonomic forging and everything else they will teach me. I’m really looking forward to this plan coming together in 2016. Believe me, I’ll share everything I can from that experience.
As far as the direction of BlacksmitHer Radio, I sent out a survey a few months ago to my email list to find out what you wanted to hear and the results were overwhelmingly leaning towards learning new techniques and new projects. So I will be following the education theme to include reading more technical and “how to” articles from various ABANA Affiliate newsletters, with their permission of course!
Also by interviewing more Schools that offer blacksmith instruction and courses. And will interview the instructors too. I’ve interviewed one of them, the Adirondack Folk School in episode #45. I will be talking more about what courses they will be offering this year too.
I want to thank all of the sponsors of the show in 2015, they truly keep the show going, they cover the costs of the show, not all of the hours put into each episode but at least the hard costs of hosting the show are covered by the sponsors. I’ll admit I’m a bit picky when it comes to who I want sponsoring the show. I want them to be not only relevant to blacksmithing but I want them to have quality products to offer you
So see ya later 2015 looking back, I made a few mistakes, I’ve been Impatient, at times a little tactless, and hard to bear with through some episodes. I might not always ask the right questions of my guests or have the right guest for that matter. So my friends, I ask you to forgive my past mistakes and continue to bear with me as I forge ahead with this show and other endeavors I bring to you this year. Welcome to 2016, the here and now. I hope everyone has the best and safest year of their lives.
I’ll leave you with this quote from Mark Twain “Twenty years from now you will be more disappointed by the things that you didn’t do than by the ones you did do. So throw off the bowlines. Sail away from the safe harbor. Catch the trade winds in your sails. Explore. Dream. Discover.”
]]>The theme of 2016 is “Education” for me, for BlacksmitHer radio, and for you! I thought it was fitting since the theme of this year’s ABANA conference is “education” too! A few things that are playing into this theme and the first one is super exciting to me!
I’m introducing BlacksmitHer Academy, www.blacksmitheracademy.com . The main mission of the academy is offer top notch blacksmithing education online. You will be able to learn from the best blacksmiths around the world right from your own home. It’s like I’m bringing the instructors to you – no travel expenses needed.
There will be:
So I have the first two live online workshops scheduled for January 20th, a Wednesday and January 28th, a Thursday. Both at 5pm PST and each workshop will cover 8 different ways of punching and drifting with Mark Aspery as the teacher.
He will cover 8 modules split into 2 workshops, each about 90 minutes in length.
By signing up and registering for the workshops, you’ll receive exclusive access to my private state-of-the-art virtual classroom where you can chit chat with each other and ask the instructor questions.
I will be hosting a few free live “Happy Hours” on Thirsty Thursdays Jan 7th and 14th in the classroom before the workshops so everyone can get a chance to check out the room, get used to it and chat with each other and about Mark’s Punch and Drift workshop. It’ll be fun, please join me at the “Happy Hour” events, I’ll be emailing my list details and I will post them on the BlacksmitHer website under the live blacksmithing classes tab, so stay tuned for those details.
I will have the registration sign up links set up soon, hopefully this week.
I’ve got a few educational things planned for my own growth in blacksmithing. I will be travelling to Argentina for 10 days in March with 30 other blacksmiths and architects. We are going to Buenos Aires, the Paris of Latin America. This city enjoyed a building boom for 50 years, from 1880-1930, as the capital of what was once one the ten wealthiest countries in the world. As a city lacking in major new construction over the last 80 years, Buenos Aires has felt the loss of the oral traditions of craft. Along with reviving craft, the populace is enthusiastic about the need to preserve their priceless architectural heritage. After we explore the city with locals on the first few days, we will divide into two groups. One group will present three days of blacksmithing demonstrations, 5 stations to be held in a public park, while the second group, US architects with an interest in preservation, will hold meetings and presentations to share their experiences, hear BA architects speak on their work, and seek solutions to current problems in preservation and adaptive re-use of historical buildings. We will be dancing the tango at night and one day we will experience gaucho life on an estancia or ranch. More information can be found on the website http://www.restorationcraftsmen.org/ and I will include some onsite interviews in future podcasts.
I’m’ also trying to plan a trip to Israel this year to take classes from Zeevik Gottleib and Uri Hofi. I don’t know if I told you but I have taken a few lessons from Zeevik online and I really want to learn more about their ergonomic forging and everything else they will teach me. I’m really looking forward to this plan coming together in 2016. Believe me, I’ll share everything I can from that experience.
As far as the direction of BlacksmitHer Radio, I sent out a survey a few months ago to my email list to find out what you wanted to hear and the results were overwhelmingly leaning towards learning new techniques and new projects. So I will be following the education theme to include reading more technical and “how to” articles from various ABANA Affiliate newsletters, with their permission of course!
Also by interviewing more Schools that offer blacksmith instruction and courses. And will interview the instructors too. I’ve interviewed one of them, the Adirondack Folk School in episode #45. I will be talking more about what courses they will be offering this year too.
I want to thank all of the sponsors of the show in 2015, they truly keep the show going, they cover the costs of the show, not all of the hours put into each episode but at least the hard costs of hosting the show are covered by the sponsors. I’ll admit I’m a bit picky when it comes to who I want sponsoring the show. I want them to be not only relevant to blacksmithing but I want them to have quality products to offer you
So see ya later 2015 looking back, I made a few mistakes, I’ve been Impatient, at times a little tactless, and hard to bear with through some episodes. I might not always ask the right questions of my guests or have the right guest for that matter. So my friends, I ask you to forgive my past mistakes and continue to bear with me as I forge ahead with this show and other endeavors I bring to you this year. Welcome to 2016, the here and now. I hope everyone has the best and safest year of their lives.
I’ll leave you with this quote from Mark Twain “Twenty years from now you will be more disappointed by the things that you didn’t do than by the ones you did do. So throw off the bowlines. Sail away from the safe harbor. Catch the trade winds in your sails. Explore. Dream. Discover.”
]]>Well, 2015 has been excellent. We’ve shared so much content through BlacksmitHer Radio and I have to say it’s been so much fun and nothing short of EPIC?
Let’s re-cap what we’ve heard and learned:
Way back in January 2015 we found out about a touchmark that includes an anvil and gap-toothed smiley face…who was that, anyone??? That’s Dawn Raines touch mark from episode #14.
Jodie Bliss, episode #14, told us that she writes a business plan every 6 months to stay on the right path.
Then we heard straight from the owner of Nimba anvils, Jim Garrett in episode #16. How he and his brother became the owners and Jim’s latest project of 2 tons of forged bronze on a houseboat for a railing.
Randy McDaniel told us about his new Hydraulic Forging Press book that he recently published with SkipJack Press and we heard from the owner of Skipjack Press Al Krysan. They have a plethora of blacksmithing books.
Then in February Tom Willoughby talked about the cool factor and his anvil vultures in episode #19.
Tim Cisneros told us the story behind the “wave Bench” and can you remember who said this remark? “For every hammer blow there should be a pencil stroke.” That was Mark Aspery in episode #21.
We learned that Monica Coyne’s blacksmith shop runs totally off the grid. Then we hopped over to Australia to hear Mary Hackett talk about the women’s blacksmithing group called “Blacksmith Doris”.
Then it was back to Cali, Weaverville in fact and the collaborative bench project that won an award at the Western States Conference in March,
Carley Eisenburg talked about being on the Ellen DeGeneres show called Ellen’s Design Challenge and Todd Daniels from NOMMA said “to affiliate, the more you give the more you get”.
In April we heard Tobbe Malm talk about his Bolt Poetry and the Iron Rose Project in Norway.
May and June episodes were filled with great interviews of the CanIronX demonstrators: Albert Paley, Grant Haverstock, Zeevik Gottleib, Ian Hope Simpson, Lorelei Simms and her 7 generations of In the heat of July Dennis Dusek talked about his black-eye and how it was messing up his make-up routine in the mornings.
Michael Budd from Ireland told us this on taking risks: “Sometimes you have to learn a new technique for a job and even though it might take twice as long, it pushes you forward as a craftsperson, artist and designer. It's not the most cost-effective way to work, but if you always choose most the cost-effective way, you won't produce the most interesting work.”
In September we heard from a guy that out of his 2-car garage this active duty US Army Sargent offered free knife-making classes dubbed “Blade Therapy.” The organization is known as Resilience Forge and Nate Bocker is still bringing the therapeutic effects of blacksmithing to a wider community.
Then we met Lynda Metcalfe, how she was part of a team that won the NOMMA Top Job Silver Award for a decorative railing near Charlotte, NC. It took 475 hours for her to design, build and install the 30 foot railing.
Frosty the Lucky told us all about his T-burner and the Alaskan blacksmithing scene. Then we hopped across the country to upstate NY and learned about the Adirondack Folk School and their largest course is blacksmithing.
Over Halloween Mark Aspery and I talked about the upcoming teaching tents and forging competitions at ABANA’s main conference in Salk Lake, Utah in July 2016. Do you remember the hints he gave that will help you win the competitions? Listen to episode #46.
Then we met the new Hammer’s Blow editor, Dan Nauman, Wisconnie or Wisconsin. I’ve got to tell you guys something, I went to a Rocky Mtn Smith conference in 1998, this was when I met the infamous Francis Whitaker. Anyway I remember a demonstrator there who dropped an unfinished spiral basket in the slack tub, and he reached all the way down to the bottom, found it, all the while making a huge fuss of how gross the water was in the slack tub, he’s rooting around and then pulls out a completely beautiful finished spiral basket and said “see what the slack tub can do to your iron”….oh, everyone laughed and Francis nearly fell off his stool laughing.
On a more serious note Andy Blakney told us about Quick and Dirty Tool Company’s warehouse fire, Victor Plitt talked about his new online blacksmithing forum called “The Iron Forge Fire”
Kate Dinneen told us all about the upcoming Ypres, Belgium blacksmithing event to honor WWI veterans and their families. You know they are still looking for submittals for a panel design, you have until January 31st. Yes, I am submitting a design with Dennis Dusek, it’s about the American Field Service AKA AFS. “As German troops stormed into France in the summer of 1914, the American Colony in Paris inaugurated a volunteer ambulance service to transport the wounded from the front lines to the American Hospital on the outskirts of Paris.” Some of the drivers were women which was a big deal at the time. And 18 yr. old Ernest Hemingway was a driver for the AFS and used the experience as the basis of his novel A Farewell to Arms. So that’s our idea, what’s yours???
coppersmiths on her mother’s side!
We went across the “pond” to talk to Adriane Legge who told us about the 7 P’s, prior planning and preparation prevents piss poor performance. We stayed across the pond, in England and talked to Terrance Clark’s daughter Rebecca Knott and how she held her first hammer at the age of 3!
]]>
Well, 2015 has been excellent. We’ve shared so much content through BlacksmitHer Radio and I have to say it’s been so much fun and nothing short of EPIC?
Let’s re-cap what we’ve heard and learned:
Way back in January 2015 we found out about a touchmark that includes an anvil and gap-toothed smiley face…who was that, anyone??? That’s Dawn Raines touch mark from episode #14.
Jodie Bliss, episode #14, told us that she writes a business plan every 6 months to stay on the right path.
Then we heard straight from the owner of Nimba anvils, Jim Garrett in episode #16. How he and his brother became the owners and Jim’s latest project of 2 tons of forged bronze on a houseboat for a railing.
Randy McDaniel told us about his new Hydraulic Forging Press book that he recently published with SkipJack Press and we heard from the owner of Skipjack Press Al Krysan. They have a plethora of blacksmithing books.
Then in February Tom Willoughby talked about the cool factor and his anvil vultures in episode #19.
Tim Cisneros told us the story behind the “wave Bench” and can you remember who said this remark? “For every hammer blow there should be a pencil stroke.” That was Mark Aspery in episode #21.
We learned that Monica Coyne’s blacksmith shop runs totally off the grid. Then we hopped over to Australia to hear Mary Hackett talk about the women’s blacksmithing group called “Blacksmith Doris”.
Then it was back to Cali, Weaverville in fact and the collaborative bench project that won an award at the Western States Conference in March,
Carley Eisenburg talked about being on the Ellen DeGeneres show called Ellen’s Design Challenge and Todd Daniels from NOMMA said “to affiliate, the more you give the more you get”.
In April we heard Tobbe Malm talk about his Bolt Poetry and the Iron Rose Project in Norway.
May and June episodes were filled with great interviews of the CanIronX demonstrators: Albert Paley, Grant Haverstock, Zeevik Gottleib, Ian Hope Simpson, Lorelei Simms and her 7 generations of In the heat of July Dennis Dusek talked about his black-eye and how it was messing up his make-up routine in the mornings.
Michael Budd from Ireland told us this on taking risks: “Sometimes you have to learn a new technique for a job and even though it might take twice as long, it pushes you forward as a craftsperson, artist and designer. It's not the most cost-effective way to work, but if you always choose most the cost-effective way, you won't produce the most interesting work.”
In September we heard from a guy that out of his 2-car garage this active duty US Army Sargent offered free knife-making classes dubbed “Blade Therapy.” The organization is known as Resilience Forge and Nate Bocker is still bringing the therapeutic effects of blacksmithing to a wider community.
Then we met Lynda Metcalfe, how she was part of a team that won the NOMMA Top Job Silver Award for a decorative railing near Charlotte, NC. It took 475 hours for her to design, build and install the 30 foot railing.
Frosty the Lucky told us all about his T-burner and the Alaskan blacksmithing scene. Then we hopped across the country to upstate NY and learned about the Adirondack Folk School and their largest course is blacksmithing.
Over Halloween Mark Aspery and I talked about the upcoming teaching tents and forging competitions at ABANA’s main conference in Salk Lake, Utah in July 2016. Do you remember the hints he gave that will help you win the competitions? Listen to episode #46.
Then we met the new Hammer’s Blow editor, Dan Nauman, Wisconnie or Wisconsin. I’ve got to tell you guys something, I went to a Rocky Mtn Smith conference in 1998, this was when I met the infamous Francis Whitaker. Anyway I remember a demonstrator there who dropped an unfinished spiral basket in the slack tub, and he reached all the way down to the bottom, found it, all the while making a huge fuss of how gross the water was in the slack tub, he’s rooting around and then pulls out a completely beautiful finished spiral basket and said “see what the slack tub can do to your iron”….oh, everyone laughed and Francis nearly fell off his stool laughing.
On a more serious note Andy Blakney told us about Quick and Dirty Tool Company’s warehouse fire, Victor Plitt talked about his new online blacksmithing forum called “The Iron Forge Fire”
Kate Dinneen told us all about the upcoming Ypres, Belgium blacksmithing event to honor WWI veterans and their families. You know they are still looking for submittals for a panel design, you have until January 31st. Yes, I am submitting a design with Dennis Dusek, it’s about the American Field Service AKA AFS. “As German troops stormed into France in the summer of 1914, the American Colony in Paris inaugurated a volunteer ambulance service to transport the wounded from the front lines to the American Hospital on the outskirts of Paris.” Some of the drivers were women which was a big deal at the time. And 18 yr. old Ernest Hemingway was a driver for the AFS and used the experience as the basis of his novel A Farewell to Arms. So that’s our idea, what’s yours???
coppersmiths on her mother’s side!
We went across the “pond” to talk to Adriane Legge who told us about the 7 P’s, prior planning and preparation prevents piss poor performance. We stayed across the pond, in England and talked to Terrance Clark’s daughter Rebecca Knott and how she held her first hammer at the age of 3!
]]>
What We Talked About
Guest Links
A Big Thank You to today’s sponsor Nimba Anvils, www.nimbaanvils.com
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Guest Links
A Big Thank You to today’s sponsor Nimba Anvils, www.nimbaanvils.com
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>Forge welding seems to be one of the most controversial procedures in blacksmithing. Probably because it’s the most magical and scientific technique. Clarifying the process is difficult both in a live workshop and in a written article. Sharing the content in a podcast, audibly might be another way for you to absorb this magical process.
From the article:
“The basic requirements for a successful forge-weld are:
The areas to be welded should be brought to a bright orange or light yellow, wire brushed and fluxed.”
Flux means “to flow”, there are many fluxes to be used, “20 Mule Team Borax” is the one of choice by the author of the article.
Different alloys and carbon contents are talked about – how they will weld at different temperatures.
]]>Forge welding seems to be one of the most controversial procedures in blacksmithing. Probably because it’s the most magical and scientific technique. Clarifying the process is difficult both in a live workshop and in a written article. Sharing the content in a podcast, audibly might be another way for you to absorb this magical process.
From the article:
“The basic requirements for a successful forge-weld are:
The areas to be welded should be brought to a bright orange or light yellow, wire brushed and fluxed.”
Flux means “to flow”, there are many fluxes to be used, “20 Mule Team Borax” is the one of choice by the author of the article.
Different alloys and carbon contents are talked about – how they will weld at different temperatures.
]]>What We Talked About
Guest Links
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Guest Links
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What We Talked About
Guest Links
Iron Forge Fire website: http://www.theironforgefire.com/register/register
Facebook page - https://www.facebook.com/TheIronForgeFire
A Big Thank You to today’s sponsor – Nimba Anvils, www.nimbaanvils.com
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
What We Talked About
Guest Links
Iron Forge Fire website: http://www.theironforgefire.com/register/register
Facebook page - https://www.facebook.com/TheIronForgeFire
A Big Thank You to today’s sponsor – Nimba Anvils, www.nimbaanvils.com
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
What We Talked About
Guest Links
A Big Thank You to today’s sponsor – Nimba Anvils, www.nimbaanvils.com
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
What We Talked About
Guest Links
A Big Thank You to today’s sponsor – Nimba Anvils, www.nimbaanvils.com
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>
What we talked about
Links:
Dan’s Bighorn Forge website - http://www.bighornforge.com/
Facebook page for Bighorn Forge, Inc - https://www.facebook.com/Bighorn-Forge-Inc-202367173116761/
Bighorn’s Blog website - https://bighornforge.wordpress.com/
A Big Thank You to today’s sponsor – ABANA
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>What we talked about
Links:
Dan’s Bighorn Forge website - http://www.bighornforge.com/
Facebook page for Bighorn Forge, Inc - https://www.facebook.com/Bighorn-Forge-Inc-202367173116761/
Bighorn’s Blog website - https://bighornforge.wordpress.com/
A Big Thank You to today’s sponsor – ABANA
If you enjoyed this episode, I would love it if you would support the show by:
Thanks so much for your support!
]]>Welcome to Blacksmither Radio, it’s Episode number 47 and today I have a very special guest to mark a change in the Hammer’s Blow editorship. If you are unfamiliar with what the Hammer’s Blow is, it’s a quarterly publication of technical blacksmith projects offered by the non-profit org ABANA. And today I have Mark Aspery here to talk about the end of his time being editor of the Hammer’s Blow.
What we talk about:
I’m going to start scoping and I have a plan to scope from the conference and competitions! So What is scoping? It’s called Periscope and it’s a free app for your mobile device (Android or iOS devices) that allows me to broadcast a live stream from anywhere and interact with the people watching you through our mobile devices – and it’s for free! I will be live streaming from blacksmithing events and from some of my podcast interviews. It’s super easy to use too! I’ll have instructions on how to get the app and set up a free account on the blacksmither website, in the blog section, I’ll also include it in my email newsletters too, so be sure you are signed up to receive my weekly emails. You can sign up by clicking the subscribe box on the About page of Blacksmither.com. Once you start to follow me or my handle @blacksmithervic the Periscope app will notify you when I will start a live broadcast. And if you miss the live broadcast, don’t worry, the replays are available on Periscope for 24 hours after the broadcast goes live. If you watch any of my live scopes in the future, know that you can interact with me through a comments field and with others that are watching.
]]>
Welcome to Blacksmither Radio, it’s Episode number 47 and today I have a very special guest to mark a change in the Hammer’s Blow editorship. If you are unfamiliar with what the Hammer’s Blow is, it’s a quarterly publication of technical blacksmith projects offered by the non-profit org ABANA. And today I have Mark Aspery here to talk about the end of his time being editor of the Hammer’s Blow.
What we talk about:
I’m going to start scoping and I have a plan to scope from the conference and competitions! So What is scoping? It’s called Periscope and it’s a free app for your mobile device (Android or iOS devices) that allows me to broadcast a live stream from anywhere and interact with the people watching you through our mobile devices – and it’s for free! I will be live streaming from blacksmithing events and from some of my podcast interviews. It’s super easy to use too! I’ll have instructions on how to get the app and set up a free account on the blacksmither website, in the blog section, I’ll also include it in my email newsletters too, so be sure you are signed up to receive my weekly emails. You can sign up by clicking the subscribe box on the About page of Blacksmither.com. Once you start to follow me or my handle @blacksmithervic the Periscope app will notify you when I will start a live broadcast. And if you miss the live broadcast, don’t worry, the replays are available on Periscope for 24 hours after the broadcast goes live. If you watch any of my live scopes in the future, know that you can interact with me through a comments field and with others that are watching.
]]>