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peter johnsson

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peter johnsson last won the day on February 21 2018

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About peter johnsson

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  • Birthday 04/06/1965

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    Uppsala, Sweden

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  1. Too bad. It would be great fun if you could make it. You would also be a very valuable addition to the group. :-)
  2. Great! Hope you can work it out. It would be great if you could attend.
  3. An example of work done during the class, by Zack Jonas:
  4. Sword Reflections on the Celtic Sword two seven day classes at Tannery Pond Forge hosted by Zack Jonas with me as guest tutor. Dates: 1st - 7th & 10th - 16th of September 2018 Back in January 2017 Zack Jonas and I arranged the first sword class in the series of Sword Reflections in his workshop, the Tannery Pond Forge in Wilmot, New Hampshire. Since then we have arranged 7 one week classes. The emphasis of the Sword Reflections curriculum is not primarily to produce a sword of a certain type but rather to study the essential principles of the sword, both functionally, and aesthetically. This year we offer classes on the subject of the sword of the La Tène period. The Celtic sword is a very useful topic of study because it offers a great perspective to sword making and sword design. Each attendee is expected to arrive at the class with a blade blank that is ready for heat treat on the first day. The dimensions and proportions of the blank is detailed in material that is provided to the attendees in advance of the class. By focusing on the work done after heat treat rather than the forging of the blade blank, we can spend more time reflecting on the subtle but important details in the grinding and finishing of the blade, studying how outline and distal taper work together with the cross section in establishing an effective balance of the sword. The knowledge generated from this practise will make the forging of a blade next time a much more purposeful and involved operation. Through out the week will look at archaeological material and relate to this as a basis for all our work with both blade shape and hilt forms. The use of historical material as a source of information and inspiration is in itself an important subject matter of the class. With the perspective from historical and archaeological material we get to explore what aspects may be important for function and what aspects rather play a cultural, traditional and asthetic role in the design of sword. We will also reflect on how we as individual makers relate to the traditions of the craft and how we can make use of exisitng, but often fragmentary information and facts (in developing new products, methods of making and identity towards customers). Zack and Karina are fantastic hosts that open their home to us over the week. All meals (satifyingly deliscious and nourishing) are prepared in their kitchen, which is also the place we will typically gravitate to for some late night discussions and revelry after long days in the work shop (that is just across the yard). I hope that some of you fellow guardians of the flame here on this forum will have the time and inclination to attend. Please contact Zack Jonas at: SwordReflections@gmail.com Or via his Facebook page: https://www.facebook.com/zack.jonas Or his business page: http://jonasblade.com Zack can answer all your questions regarding details of the classes, locations, boarding and preparations. See you in September! Inspecting the batch of blanks in the morning of day one. Heat treating. (Placing the blades in press after quench like this is something I learned from Sam Salvati -Thanks Sam :-) ) Grinding is mostly done on the wheel rather than the flat platen: a technique we will study during the week. Typical view of the work tables upstairs from the smithy: a creative chaos with sketching and cutlery work in various stages. All photos by Karina Casement
  5. I really like what you did with that bronze bead Dave!
  6. Very happy to see this! Inspiring work on so many levels: a craft that is alive and kicking! :-)
  7. -Hehe. Dave, you describe in a condensed manner the story of my life :-) BTW, I would never say it aloud since I am rather superstitious (only and specifically in regards to blade making), but I think your chances of an "Oh-wow-moment" are pretty good :-)
  8. Certainly. It works well for anything from a small knife to a long sword. The suppliers I have tracked down offer it in 30 cm x 100 cm size, so that would be the limit in blade length.
  9. Thank you, guys :-) Yes, the goal is to cover most aspects of the making of this scabbard, including the metalwork. At this stage the final design can go several ways: there are some techniques that needs testing before I can choose what will work best. The scabbard must also work well with the hilt, so at this stage I am leaving the scabbard be until I have made some progress with guard and pommel for the blade.
  10. Dear firetenders I have been very slow in posting in recent months and I am sorry to have missed your company and many good discussions. I thought I´d make up for that by posting a WIP of a scabbard I am currently working on. It is being made for a large dagger or short sword that is part of a set that will go on an exhibit (but more on that later). All of the swords and daggers of this set are being made to be time-less or free from any direct associations with existing cultures or past times. All of them will be have their form and proportions defined by geometry and each will be dedicated to a figure of legend or mythology. This blade has a dark theme, being made with one of the Furies, Megaera, in mind. She was the Furie of Envy and Jealousy. The scabbard for the blade is constructed on a hard core that is made from thin sheets of high quality plywood (model air plane plywood). I have found this to be great to work with, as it allows thin walls that does not build up the bulk of the scabbard unnecessarily. You can get this material in various thicknesses. I favour 0.4 mm, 0.6mm and 0.8 mm sheets. The innermost layer is covered with textile (in this case thin felt) to protect the surface of the blade. The felt is glued to the wood before the three layers of each side is guled together. Below the felt is tested for fit: Preparing for the gluing of the layers: The blade acts as a former with the three layers of thin plywood clamped on as the glue cures. Since the glue is simple carpenters glue it does not take very long for the core halves to get set. The three layers keeping the form by locking each other in place. Next step is the glue narrow margins on each side of the cores. These thin slivers of veneer build up a slight thickness along the edge, making sure that the blade is not too tightly held in place in the scabbard. The narrow slivers will be filed to shape afterwards so that they allow for a good and flat fit to each other. The final width of the glue line is no more than 3-4 mm on each side. This is more than enough if the fit is good. The core will also be further strengthened by the covering layers of the scabbard. The tip end of the core halves are pierced for a peg that will help seeing them aligned during the gluing operation. Otherwise they can easily glide and get set slightly out of true. This is frustrating if the fit is such that there is no room for lay between the core and the blade. You do not want carpenters glue smearing on the blade or making blotches on the felt liner (since this may cause scratches or rust later in the marriage of the scabbard and its sword. (The awl in the picture was made for me by our Petr Florianek. It is one of my favourite tools) Before final gluing the fit is texted between blade and scabbard. You want a good and tight fit that allows the blade to stay inside even when the scabbard is turned upside down, but not so much that you have to pull hard to bring the blade out. The felt lining does help a bit with this, as it cushions the blade a bit. Since the blade is pattern welded and will get a deep, topographical etch I want the lining to protect the surface of the blade. After the two halves have been glued together you form them into shape with a cabinet makers rasp. The layers of the thin plywood is a great help as yo clearly can follow the removal of material, making sure it is symmetrical and even on all sides. The cross section of the core must be made with allowance for additional layers that will be added. The scabbard is typically thinner than the front end of the hilt and must be made to meet the hilt design in a way that makes sense. This core will have metal mounts that builds thickness and the guard of the hilt must be made thin. The core is now shaped to meet the final design. Obviously it helps to have a plan laid out before work begins. The plan is such that it allows for some adjustment and creative changes through out the making of the piece, but some important proportions and dimensions are made clear from the very beginning. The plan for the project:
  11. Outstanding work! It was a pleasure to go through the thread and enjoy all careful and thoughtful steps in the process. Thank you for taking the time to document it: very valuable addition to the forum.
  12. You are of to a great start! Make the fuller deep so it leaves about a 1 mm web in the middle of the blade. Make the outer third of the blade thin (about .5 mm behind the point) and make a rather drastic distal taper in the first 1/5 of the blade (go down 1.5 - 2 mm in thickness). The blade will then be agile and nice to work with. I will watch this with interest!
  13. Great work! Very much looking forward to seeing this develop.
  14. So satisfying and inspiring to see. Thank you for showing the details of your beautiful work.
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