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Challenging the Aesthetics and Functionality of Metals in Contemporary Blacksmithing

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Challenging the Aesthetics and Functionality of Metals in Contemporary Blacksmithing Challenging the Aesthetics and Functionality of Metals in Contemporary Blacksmithing By Justin Lucas Student Number: s212423967 Submitted in fulfilment/partial fulfilment of the requirements for the degree of Master of Technology: Fine Art qualification be awarded at the Nelson Mandela University April 2019 Supervisor: David Jones M.TECH (PET) Declaration I, Justin Lucas & 212423967, hereby declare that the treatise/ dissertation/ thesis for Master of Technology: Fine Art to be awarded is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification. i Acknowledgements My sincere gratitude and appreciation for the support from fellow students at Nelson Mandela University. My gratitude especially to my supervisor, Mr. David Austen Jones, for his advice and exceptional knowledge, for being a great mentor and always placing his students before himself. To Miss Wentzel for giving a helping hand and advice when needed, and to the University for providing the space to perform the trade of blacksmithing within a safe environment. Also to Fanie Moller, a practising blacksmith from Plettenberg Bay, for sharing with me the knowledge he has attained over the many years, and for inviting me to work in an actual smithy for a few months. Finally, to my mother and father, Thea and Martin, who worked hard to provide me with an opportunity they never had. I cannot thank you enough for your sponsorship and guidance. ii Abstract A forge allows the creation of both utilitarian craftwork and artworks. It is difficult to find blacksmiths who are willing to pass on their knowledge, particularly in South Africa where the art of blacksmithing is practised by a small number of individuals who rely on their labour for an income. This dissertation documents the building of a forge and what is needed to practise the art of blacksmithing, sourcing of the materials, and the application of blacksmithing to make pleasing artefacts. The document includes the processes of forge tool-making, providing an avenue for future students to fabricate tools and use the processes for art-making as well as list of suppliers and list of blacksmiths in South Africa. iii Table of Contents Declaration i Acknowledgements ii Abstract iii List of Figures vii Chapter 1 : Introduction 1 1.1 Purpose 1 1.2 Rationale 1 1.2.1 Background 1 1.2.2 Personal triggers 2 1.2.3 Previous research 3 1.3 Problem statement 9 1.4 Research question 9 1.4.1 Main questions 9 1.5 Objectives 10 1.6 Theoretical framework 12 1.6.1 History 12 1.6.2 Materials 14 1.6.3 Introduction to the tools and processes of blacksmithing 17 1.6.4 Intent 22 1.6.5 Creating blacksmith objects 22 1.7 Research design and methodology 22 1.71 Philosophical world view 23 iv 1.7.2 Research strategy 24 1.7.3 Research design 24 1.7.4 Methods of sampling and data gathering 25 1.7.5 Methods of data analysis (data types) 25 1.7.6 Quality control (validating data) 26 1.8 Ethical consideration 27 Chapter 2 : Blacksmithing: History to Modern Day 28 2.1.1 History of blacksmithing 28 2.1.2 Blacksmithing in Africa 29 2.1.3 Blacksmithing in South Africa 30 2.1.4 Blacksmithing in Port Elizabeth 31 2.2.1 Blacksmiths visited 33 Chapter 3 : Construction of Forge and Tools Required 44 3.1 Actual work 44 3.2 Building a chimney 57 3.3 Iron 63 3.4 Tools 64 3.4.1 Four basic hammers 64 3.4.2 Tongs 67 3.4.3 Anvils 72 3.4.4 Hardies 73 3.4.5 Vises 75 3.4.6 Modern tools 77 Chapter 4 : Artefacts and Products 84 4.1 Artefacts 84 v 4.2 Blacksmith products 125 4.3 Collaboration with a blacksmith 131 Chapter 5 : Conclusion 139 List of references 142 vi List of Figures Fig. 1 The Iron Screen, Jean Tijou 3 Fig. 2 Cubi XII (1963), stainless steel, David Smith 5 Fig. 3 Kashief Booley 6 Fig. 4 Chaise Muse, copper and stainless steel, Conrad Hicks 7 Fig. 5 Fallow Deer Buck, Wyre Forest, Gloucestershire 8 Fig. 6 Data triangulation 27 Fig. 7 Port Elizabeth head count 31 Fig. 8 Village Blacksmith forge 33 Fig. 9 Vises 34 Fig. 10 Tools 35 Fig. 11 C-clamps and pliers 35 Fig. 12 Village Blacksmith anvil 36 Fig 13 Amano Designs propane forge 37 Fig. 14 Amano Designs coal forge 38 Fig. 15 Pneumatic hammer 39 Fig. 16 Hammers and tongs 40 Fig. 17 Anvil with steel base 41 Fig. 18 John McQaude artefacts 42 Fig. 19 Fanie Moller artefact 43 Fig. 20 Coal forge 44 Fig. 21 Brake drum 45 Fig. 22 Steel plate 46 Fig. 23 Cut steel plate 46 vii Fig. 24 Reinforcing 47 Fig. 25a Bolts and nuts 48 Fig. 25b Reinforcing frame with fire pot 48 Fig. 26 Hearth 49 Fig. 27 Flat bar 50 Fig. 28 Fire pot the correct way 51 Fig. 29 Forge walls 52 Fig. 30 Legs 53 Fig. 31 Welded pipe 54 Fig. 32 Fire pot bolted pipe 55 Fig. 33 Centrifugal blower 55 Fig. 34 Ash dump 56 Fig. 35 Forge chimney 57 Fig. 36 Welding the flue 58 Fig. 37 Welded flat bar 59 Fig. 38 Chimney hood 60 Fig. 39 Welding chimney cap to angle iron 61 Fig. 40 Chimney cap 62 Fig. 41 Working chimney 63 Fig. 42 Cross peen 65 Fig. 43 Ball peen 66 Fig. 44 Straight peen 66 Fig. 45 Sledgehammer 67 viii Fig. 46 Needle nose or scroll tongs 68 Fig. 47 Small jaw tongs 69 Fig. 48 Wolf jaw tongs 69 Fig. 49 Flat jaw tongs 70 Fig. 50 Open jaw tongs 70 Fig. 51 Anvil 71 Fig. 52 Anvil anatomy 72 Fig. 53 Hot cut hardy 74 Fig. 54 Hardy tools mate 74 Fig. 55 Post vise 75 Fig. 56 Bench vise 76 Fig. 57 Bending fork 77 Fig. 58 Drill press 78 Fig. 59 Handheld grinders 79 Fig. 60 Plasma cutter 80 Fig. 61 Welder 81 Fig. 62 Propane forge 82 Fig. 63 Jigs 83 Fig. 64 Polynesian mask 84 Fig. 65 Material for Polynesian mask 85 Fig. 66 Hammering shapes 86 ix Fig. 67 Shaping curves 86 Fig. 68 Cutting a pattern 87 Fig. 69 Clay and steel 88 Fig. 70 Steel heating and shaping 88 Fig. 71 Turtle sculpture 89 Fig. 72 The frame 90 Fig. 73 Textured steel 91 Fig. 74 Hammer pattern 91 Fig. 75 Untitled 92 Fig. 76 Untitled 92 Fig. 77 Top of turtle shell 93 Fig. 78 Plasma cutting 94 Fig. 79 Propane forge heating steel plates 95 Fig. 80 Side view curved shell 95 Fig. 81 Post vise assistance 96 Fig. 82 Turtle scrolls 97 Fig. 83 The pillars 98 Fig. 84 Pillars on frame 99 Fig. 85 Collars on the sides 100 Fig. 86 Untitled 101 Fig. 87 Turtle fins 102 x Fig. 88 Fin shaping 103 Fig. 89 Untitled 103 Fig. 90 Fins joined to frame 104 Fig. 91 Belly 105 Fig. 92 Rivets before 106 Fig. 93 Rivets after 107 Fig. 94 Cold forging a rivet 104 Fig. 95 Copper belly 108 Fig. 96 Frame for copper texture 109 Fig. 97 Untitled 110 Fig. 98 Untitled 110 Fig. 99 Neck collar 111 Fig. 100 Back fins 112 Fig. 101 Riveting back fins 113 Fig. 102 Untitled 114 Fig. 103 The stand 115 Fig. 104 Hand comparison 116 Fig. 105 Preheating 117 Fig. 106 Big tongs 118 Fig. 107 Pneumatic hammering 119 Fig. 108 Twisting the bar 120 xi Fig. 109 Legs 121 Fig. 110 Chain 122 Fig. 111 Coil rolling 123 Fig. 112 Forge hook 124 Fig. 113 Flat bar measurements 125 Fig. 114 Z-Shape 126 Fig. 115 Untitled 126 Fig. 116 Untitled 127 Fig. 117 Untitled 127 Fig. 118 Untitled 128 Fig. 119 Rivet 128 Fig. 120 Untitled 129 Fig. 121 Untitled 130 Fig. 122 Copper Horse 131 Fig. 123 Preparations 132 Fig. 124 Untitled 133 Fig. 125 Planishing hammer tools 134 Fig. 126 Working with planishing hammer 134 Fig. 127 Untitled 135 Fig. 128 Chisels and copper 136 Fig. 129 Copper to copper 137 Fig. 130 Horse on gate 138 xii Chapter 1 : Introduction 1.1 Purpose The purpose of this study is to research the art and craft of blacksmithing in South Africa with the intention of building a forge at the Nelson Mandela University in order to create aesthetically pleasing artefacts and to determine the viability of blacksmithing as a career. 1.2 Rationale 1.2.1 Background There was a time when every village had a blacksmith with the skill to craft hinges, horse shoes, agricultural tools and weapons. It took thousands of years to develop the art of blacksmithing, which became an important tool in man’s cultural development and subsequent civilization (Appalachian Blacksmiths Association 2015). Iron is an abundant material found in the earth’s crust while natural coal is used in the working of iron. The physical properties of iron offer so much more than copper or bronze as it is stronger, and does not break or crack on impact. It has many uses, especially in construction and for making weapons. Blacksmithing was born at the start of the Iron Age with the Hittites, who made their home in an area that was known as Anatolia (Ares 2004). Iron metallurgy spread rapidly from the Near East, carried from Cyprus to the Aegean by the Greeks, and then to Sicily, Italy, and onwards by means of the trading undertaken by the Phoenicians (Ares 2004).
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