First things first!

rounding, squaring, tapering, drawing

The first project you will make is a hook.  This teaches you how to "square" a piece of round stock and "round" a piece of square stock.  After the stock is squared, you will draw and taper it to a point.  Then you will bend the hook using the anvil horn.  You can add a decorative twist to the shank by squaring it, placing one end in the vise, and twisting the other end with a wrench.  To attach the hook to the wall, you will learn two techniques.  A "Drive" hook uses a tapered point bent 90 deg. to the axis and is driven into a beam.  Or you will flatten the end and drift a hole with a punch so you can mount the hook with a nail or screw.  You can also make an "S" hook which hangs from a bar or pipe.

HOOKS

See step-by-step making of an "S" Hook

Whatever hook you make should be designed with it's purpose in mind.  Otherwise, why bother?  

A hook designed to hold the Jailer's key ring would obviously be different from a hook designed to hold a set of car keys.  Maybe for Christmas you'd like to make a set of hooks to hang stockings from the mantle.  But Mom said not to drive nails in the mantle!  Then make your hooks with a flat lip that sits on the mantle's edge.

Making hooks also introduces you to "form and function." Remember this--the village blacksmith made and sold fish hooks as well as hooks to hang heavy tack gear and harnesses on.  To make a hook for the sake of making a hook is only half the lesson.

UPSETTING

Newel post with upset end, twist; mortise & tenon joinery. By Jerry Allen

Upsetting is a technique most often used to make a ball finial on the end of a rod.  The end of the stock is heated and the stock is then placed in a vise.  By hammering the end, you "swell" the stock and thus, increase its section modulus.  As an example, upsetting allows you to make a 1" diameter ball on the end of a 1/2" diameter shaft.  If making a bolt, you would upset the end of the stock to make the bolt head.  Upsetting, then, is the technique that allows a blacksmith to increase the stock's section modulus and it can be done to the ends or to any other area along the shaft.

A coat rack has hooks with ball ends to protect the garments.  The ball ends are made by upsetting the stock.  Another common application is making a ball end on a tool handle.  The tool can then hang in a slot or U-shaped  hook.  This is a popular way to hang a set of fireplace tools (poker, shovel, broom) on the fireplace wall.

FULLERING

The fuller tool consists of a top and bottom bar and allows the stock to be "necked" down.  The heated stock is placed between the fullers (bars) and by hammering the top fuller, the stock is necked, or reduced in section modulus.  Because the top and bottom fuller are aligned in the same plane, the neck is created equally on both sides of the workpiece.  Fullering is done where transitions in width are required.  Whereas upsetting increases the section modulus, fullering reduces it.

After upsetting the end of the stock and starting the ball finial, the next step would be to fuller the stock immediately below the ball.  By fullering that area, the ball would be more pronounced.  In making a ladle handle, for example, you would fuller at the transition points such as going from round to flat and back to round.  In making a leaf and stem, you would fuller below the leaf to start the limb.

DRIFTING

Drifting is punching a hole through hot metal.  Bring the workpiece to orange heat and then punch the hole with a pointed punch.  Do this over the Pritchell hole on the anvil.  As the piece may deform, you will probably have to flatten it and re-punch it a few times.  You will also COUNTERSINK some drifts with the end of a ball peen or beveled tool to allow for flush riveting.

This is a difficult task for the beginner to learn because it's one of those "three-handed" jobs--one to swing the hammer, one to position the punch, and one to hold the workpiece.

TWISTING

Squared metal can be twisted to form a decorative accent.  The section to be twisted is brought to heat.  One end is placed in the vise and a wrench is used to twist the bar.  As to how many revolutions to make is up to you as the effect is purely artistic.

A twisting wrench is an easy tool to make.  Using 1/2" square stock, the bar is bent back and forth in the shape of a flattened "Z".  One throat is sized to twist 1/4" stock and the other is sized for 3/8" stock.  This tool, although simple, works ten times better than an adjustable end wrench or monkey wrench.

RIVETING

A rivet is a pin with one pre-made head.  The opposite head is set after joining the pieces.  A common nail head can serve as a rivet.  Rivets in all sizes and lengths can be found at a hardware supply or farm equipment store and are usually sold in bulk.  You can make rivets with steel stock by heating the metal and placing it in a vise with a tenon jig.  Rivets make for a sturdy fastener.  For most hobby projects, you can use malleable rivets that can be set cold with a ball peen.  For other jobs, you'll make the rivet and set it hot.  As a hot rivet cools, the heads will tighten against the workpieces.

HOT CUT

To cut or split the stock, you'll want to do it hot.  No hacksaws allowed! 

A "hot-cut Hardie" is a chisel that fits in the Hardie hole of the anvil and it is good for cutting stock to length.  Heat the stock, lay it on the Hardie at the cutting point, and strike the stock with the hammer.  Just don't cut all the way through or you will damage the Hardie.  Cut 3/4 through and then bend the stock back & forth until it breaks.

To split the stock lengthways you will need a helper to hold the stock in place on the anvil.  You will then position the "hot-cut" (basically a chisel with a hammer handle) on the workpiece and strike it with the hammer.  In this case, you will want to cut completely through the workpiece.  But you will first place a saddle on the anvil to protect the anvil face.  The  saddle is mild plate steel bent to cover a section of the anvil face.

PIERCING

Piercing can be done hot or cold.  Although the term often means "piercing a hole", for our purposes it means "piercing the surface."  Blacksmiths often decorate their work with piercing made by special-shaped punches and chisels (e.g.: a star, a half-moon, a hollow point punch to make "eyes", etc.).  VEINING is also a style of piercing and is done as an accent on leaves, etc.  

CHAMFERING

Squared edges are uncomfortable to the grip and you'll chamfer (bevel) them on the anvil.  Chamfering also removes the "factory look" of rolled square stock. 

FINISHING

Each time the iron is heated, the surface oxidizes and a small amount of scale appears.  Remove with a wire brush. The finished workpiece should be heated to a "black heat" which gives all surfaces an even, smoky, black color.  Additionally, soaking a finished workpiece overnight in a pail of tea gives a rich dark color.

When your project is cleaned and finished, you will apply a rustproofing agent at black heat.  For eating utensils, you must use a non-toxic oil such as mineral/vegetable oil.  Beeswax, and in the alternate, paraffin, is an excellent coating for general use.  Some blacksmiths prefer a mixture of Linseed oil and paste wax because it leaves a rich patina.  When applying these finishes, avoid overheating the workpiece or they will burn off.  These finishes should give off a slight amount of smoke when done at the right temperature.  {Motor oils (petroleum oils) are not recommended.}

You can also finish the workpiece with flat black spray paint or clear lacquer to rust proof it (Apply cold.)  To apply a gold color, use a brass brush at black heat and the brass will transfer.  Commercial pastes as well as tinting compounds are available in a wide assortment of colors.

2-tine fork

by Richard Shepherd

The 2-tine fork was a traditional colonial utensil. Making tines is difficult for beginners. Draw out end, then hot split. Bend one tine to side and work the other. When finished, bend it to side, then straighten the first, and finish it. Bend only at orange heat or tines will crack.

Photo by Lisa Allen.

Utensil rack

by Jerry Allen

This utensil rack was made from 1" x 1/8" stock.  To hang pots from the rack, use "S" hooks.  To hang utensils, design a hook in the handle (see 2-tine fork).  Photo by Lisa Allen.

Towel holder

awaiting photos

Candle holder

by Dave Allen

If you don't have a swage block, you can round the saucer edges using a ball peen--work the edge over the hardy hole (hot). Cups are made from 3/4" pipe and ends can be splayed on the horn. Handle and cup are riveted to saucer. Photo by Lisa Allen.

Railroad Spike Projects

Members of the Kootenay Blacksmiths Association entered their railroad spike projects in a contest (2004). Photo at left (click to enlarge) shows all of the entries. The far left is a spike trivet. Can you identify the rest of them? 
Photo courtesy of Kootenay Blacksmiths Assn. 

Candle sconce

by Boyd Holtan

This 2-candle wall sconce has a simple twist loop for hanging. As you see, the simplest of twists is also very decorative. Photo by Glenn Conner.

Ginkgo leaf

by Mike Walker

This leaf is an excellent example of learning to draw out the metal to form both the leaf and stem.  The leaf also shows how veining accents a work piece.  Veining is done cold with chisels.  Photo by Glenn Conner.

Twist, by Tim Schiffbauer

The pineapple twist is but one example of decorative twists used to dress up square iron.  Photo by Glenn Conner.

Shepherd's hook

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Boot scraper

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Ladle

by Dave Allen

Hammered brass ladle attached to iron handle with copper rivets.  Brass was hammered and shaped on the anvil with a ball peen hammer.  Photo by Lisa Allen.

Forge tools

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Spring fuller

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Twist wrench

by Dave Allen

This simple wrench is made from 1/2" square stock and is bent to twist 1/4" stock with one throat and 3/8" stock with the other.  Photo by Lisa Allen.

Coat Rack

by Jerry Allen

Hooks are made individually and then riveted to a decorative base plate.  Photo by Lisa Allen.

Rail Spike

by Joe Harris

A railroad spike can be transformed into hundreds of projects.  This one is a paper weight with a face (eyes, nose, mouth, mustache and beard.)  The work is done hot with a variety of punches and chisels.  A copper nose ring is added for a touch of whimsy.  Photo by Lisa Allen.

Marble Inlay

by Jerry Allen

Drift a hole (that is smaller than marble diameter) in heavy stock. Lay piece over fire with marble on top. Bring heat up slowly. Marble will melt into the hole. Cool slowly, preferably near forge fire. Indents above and below marble inlay are made with spring fuller tool.  Photo by Lisa Allen.

Latches and Hinges

by Molly Schaffnit

Visit Molly Schaffnit's website for step-by-step instructions and photos on how to make pulls, latches, and door hinges. 

http://members.citynet.net/sootypaws/Blacksmithing/index.html  

"S" Hook

by Joe Harris

This decorative S hook features a wizard's face, beard, and hat.  A nice example of what you can do with punches and chisels to decorate ironwork. Work is done "hot."  The piece is made while straight and the hooks are scrolled when finished.

Photo by Glenn Conner.

BBQ Tools

by Bill Harris

Barbeque tools make for a popular hand-crafted gift.  Meat fork and spatula pictured but you can also make tongs and "steak turners."

Photo by Glenn Conner.

Frederick Cross

by Gil Watkins

The Frederick Cross is a popular blacksmith item.  Made from one piece, it is a fine demonstration of hot cutting/splitting.

Photo by Glenn Conner.

by Marty Reisig

Trammel hooks were very useful in olden times.  They could be hooked over a beam and used to hang a candle light.  Or they were used in the fireplace to adjust the height of a kettle hanging over the fire.

Marty Reisig demonstrated the making of a trammel hook at the ABA  Spring Conference, 2007

Photo by Barb Dunkle