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Arno Visser

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About Arno Visser

  • Birthday 08/13/1970

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  • Gender
    Male
  • Location
    Amsterdam
  1. Thanks Dan.... That handle thing sounds like a good idea. I can't wait to really try it out. Oh....and you can probably see this from the pictures, but I still need to paint the outside. On my box I have made the tuyere opening on the bottom of the small box extension instead of on the side. The way I'm planning to build my forge requires this.
  2. Hi, Recently I have been building a box bellows. This was a project which I did in between work and finishing my part time bachelor study (I'm now a bachelor of IT...) Anyway, since I cannot concentrate on work/study all the time, I needed something to reset my mind. And this was one of the things that I needed for building a nice forge. It's 110*30*60 cm (excluding the side compartment)and has a stroke of about 70 cm. It creates a lot of airflow. Before winter comes I need to test it out in my garden. I'm going to make a sort of test forge using some fire bricks. This will also be a nice test to see what forge size works best for me (combined with the bellows). I've been using multipe sources on the internet, but this one in particular http://www.katanabuilders.com/katanablog/fuigo-box-bellows/ So, a big thanks to Dan for providing the main body of inspiration. The valves have been glued on pieces of leather, which als serve as the hinge. In this way the hinge is very flexible and the valves also do not make too much noise. There is no sound of wood on wood. I have used some leftover sheepskin to put on the edges of the piston. By varnishing the piston action area in the inside of the bellows, the sheepskin takes care of a really smooth action. Since I wanted to be able to remove the top cover, I have glued leather strips on the top edge of the box to serve as insulation. The handle in this stage is not finished yes. It still needs to be carved with some turks-head knot patterns. Like you would seen on some dirks. Hope you guys like it.....
  3. I was told that 1018 is the best mild steel. Also, for my understanding since English is not my native language; I was under the impression that mild steel and low carbon steel were the same thing....
  4. Hi Julia, Dan's way is really great. I have used his post to make a box-bellows myself. (Thanks for publishing your work like this Dan...) It has taken me some time to finish it, but that is because I have the tendency to over-engineer everything... But it works great. You can really control your air-flow with it. And a big plus......you're not in the noise of an electric fan. Okay.....you don't have your hands free when you're heating up your piece, but centuries of blacksmiths have been working like this. It also takes a bit more space than an electric fan. So, when you have a small workspace like me.......but for me that sacrifice is well worth it. Arno
  5. Supposedly Coca Cola works great on rust and things like screws that need loosening.
  6. Thanks guys.....Howard, Ric What you are saying is what I thought I knew ( a bit) before Howard, but this carbon migration and loss story got me confused a bit. So, should I decide to fold my billet a few times, only then the carbon has migrated so much that it is divided equally through the billet. that is all probably very true. To me it's just to new to be annoying yet Ric. But when I continue like this that feeling will probably come all to soon...... As for carbon migration: is there a formula with which you can calculate the carbon content you are going to end up with? or are you like....don't worry too much about the whole carbon migration stuff. just do your thing and have fun.......or something like that. Arno
  7. Thanks guys... I understand carbon migration and the averaging that causes, but does that mean that my iron plates that are on the outside have turned into steel that can take a HT? Dave: Thanks for your encouragement (the rest of you guys as well of course) according to this theory, a 6 million layer would be still possible I think. If you would only use high carbon steel......then you would only suffer from the 0,03% loss each welding cycle. And if you start a billet with a lot of layers...that is just one welding cycle. The averaging of the carbon content is what I was talking about. The only overall carbon loss (0,03%) is apparently because of getting the material up to welding temp. (I'm just repeating what I've been told). My middle layer is a 1,2% Carbon steel. Something like O2 or so. Using this calculation my san mai billet should contain something like ((1,2+0,3+0,3)/3)-0.03 = 0,57% Carbon. Good enough for HT. I've always been getting high marks in chemistry when I was still in school, 'twas my favorite subject next to history. so with these things I always like to know the scientific facts. If there is something to explain or calculate this, I'm just very interested to know about it. With this billet the only concern that I have might be that I cannot decide which of the ideas I'm having I'm going to carry out...........just too many ideas...... And....over thinking. ahh..well maybe. Over engineering....definitely. I'm always making it too difficult for myself. wait till you see the box-bellows I have just built...... Arno
  8. Hi everyone, After waiting what seemed like a year (in reality a few weeks), I finally had my long awaited class in pattern welding yesterday. Since there is only so much you can do in one day, we didn't have the time to make a big billet with so many layers, but still, I'm now the proud owner -and creator- of a nice piece of san mai. The first few hours of the day were spend on a theoretical part. For me this proved very useful. Still have some questions, but I'm getting to that part later. After that it was hammer time....We were told we were 'only' going to do a three layer billet. But we were given the most difficult weld to perform (according to the teacher). We were going to do a weld of iron to a 1,2% carbon steel. And he was going to make it easier for us by putting the iron plates on the outside. Since apparently iron heats up slower than this carbon steel. Anyway, the result is there. To a lot of you guys this may seem like nothing special, but this was mt first time..... I have taken some of the material from the side with a grinder and it seems like all went well. In the light you can see the color difference between the layers. I'm still thinking of what I'm going to make from this...... Now to my question. When I was in school to become a goldsmith, I had to learn a lot of theoretical things. Calculating the weight of the components you need to make a certain alloy (say, 18 carat yellow gold) was one of those things. So, I'm very into that stuff. What we were told was that making a billet is like creating a new metal. You have to think well. You need to have a clear picture of what you want to create and what you are going to use to create it with. Carbon migration and carbon loss are two things you have to think about, otherwise you might end up with a metal that has to less carbon to do a HT. Every welding cycle causes 0,03% of carbon loss. By the way....correct me when you think I'm wrong. I'm only repeating what I was taught. Also carbon migration causes a decrease in carbon. The example was like this. When you weld a piece of 1,2% C steel to a 0,3% piece, you'll end up with: (1,2+ 0,3)/2 = 0,75 and if you perform 5 welding cycles that leaves you with 0,75 - (0,03*5)= 0,6% carbon in your end product. Now, it's this first part that I have some questions about. I can understand that carbon migration causes one part to absorb the carbon of the other part. But I think that in this example the calculation is only correct when the two parts are equal in mass. When you take 1,2% C steel of 8mm thickness and 0,3% C of 4mm (the two pieces have the same length and width) , I don't think you'll end up with 0,75 (or 0,6 after 5 welding cycles). How does this work? Also, is my 0,3% piece after welding now suddenly 0,6% C throughout the whole piece or only in the zone closest to the fusion bond? Again, how does this work? Learning only raises more questions....... Arno
  9. Hi Richard, No, I did Amsterdam. I'm the first product of the merge between Amsterdam and Schoonhoven. I finished in 1996. A bit later than you did.... in 1975 I was 5 and making my first swords out of two pieces of wood and a few nails..... I kind of had the same problem. I have been working for almost all the big diamond companies in Amsterdam. And when you have to set stones in big batches of all the same rings, you end up sitting in the same position for a long time. So with me it was my shoulder. It's a very nice profession. And I have made a lot of really nice tings. It was nice to make them anyway.....but the fact that got me into goldsmithing was the thought that it would make a nice skill-basis for knive-making. And I do think it is really useful. I was not at all surprised when I saw you use the engraving machine in the video, knowing you were trained a a goldsmith...... Arno
  10. Great vid......nice workshop....and great looking knives Groeten uit Amsterdam.... I'm in the process of making the same step. I also started out as a goldsmith. Now building a new workshop since I moved. I's a lot smaller than yours though. Arno
  11. Hi Julia, Here on the other side of that small puddle we call the North-Sea (in Holland) I'm having the same problem. With some research I have found out a few things. I think the UK also uses werkstoff notation? O1 = 1.2510 O2 = 1.2842 1055 = 1.0535 1060 = 1.0601 1070 = 1.1231 1078/1080 = 1.1242 1086 = 1.1269 1095 = 1.1274 I found this data in a table on some site. For the rest I'm just going to ask my supplier. They mostly have someone there who is aware of US notation. As for skill....I would follow Peter's recommendation. Having someone to get you up to a basic skill level is the best way I think. In my original field of goldsmithing I have seen people think of insane ways of doing things only because they didn't have someone around to show them the easy way. The end of this month I'm going on a patternwelding class....I could try to figure it out myself, but in the end this will be cheaper and faster..... Anyway.....I'm hoping my small contribution is of some help. When you find out more werkstoff numbers, I would really appreciate it if you could share them with me........ my list is not complete yet. Good luck..... Arno
  12. Hi Glendon, Saw your post and had to look up the earlier post you were talking about. Those knives do look very unfinished, I'd have to agree with the others on that. The most important thing is that you have started something you like. I do not know how much experience you have, but when you're just starting it is always good to start simple and small. Make a design and with that make the object. There is a ton of information and ideas on the internet, so..... I'm not from the US, so I don't know about railroad spikes and what they are made of, but as the greater ones always say: start with a known steel. If you are having problems with heat treatment etc. There is a lot of info on this forum alone. Questions can always be answered.... For the rest it just comes down to two things bro: just do it......and: trial and error..... Arno
  13. LOL... okay...so it's the; 'because we can' answer....that's a reason too. And probably a good one... Guess I'm just one of those 'few and far between' suckers..... I want to at least have been able to handle (and possible own) an 'authentic' one......
  14. I personally do not think that the dead were given lesser swords. If you have a look at the Sutton Hoo sword for example. This is a highly ornamented sword. Scholars mostly agree that this is the burial site of king Raedwald. This guy was Bretwalda. A king of kings. He would have had the best. Even if this is not his burial site, the guy buried here would have had the best there was. Clearly he could afford it. There were many golden items found. Also other items of value. He wouldn't have been given a lesser sword for in the afterlife. From what I know, swords were mostly not thrown in rivers. There are occasions were the weapons of the conquered party were thrown in the water of a lake or river, but most just fell in. There are many battles fought close to or over rivers. Think of the battle at Stamford Bridge. Swords that fell in the river were less likely to be recovered then those that were left behind on land. Therefore I think that the river finds are a good representative of the average sword of that time. Also, a lot of the pw swords that I have seen are richly decorated. If their owners had the money for that, why would they buy a lesser quality blade? To me that doesn't make sense.... If you were a low knight with less funds to obtain the best quality, maybe...but otherwise, why would you budget on something that could save your life? I still think that during that time those were the best they had. Sure you had crap......I've been reading stories of occasions where in the middle of a battle this guy had to stand on his sword in order to get it straight again.... and one where somewhere during the battle this guys sword was no more than iron club, because it it completely lost its cutting abilities. Still...my question still stands. Were pw swords made with low carbon steel and if so, why is nobody doing that now?
  15. Yes I do Christopher..... The question was both to get something straight and to trigger a ..well discussion might be too big a word for it but ....something like that. I think that everything you can not prove is an assumption. Not too long ago (count in years here... ) I still thought that medieval swords were cumbersome blunt, heavy instruments which were no more than iron clubs. And harnessed knights had to be put on their horses by means of a crane.... Now I know better.........but a lot of people still think this.... It's just what information you are being fed. I didn't mean they didn't have homogenous material or not clean or so. The (theory?) I have been reading was that there wasn't a lot of high carbon steel around. A bit like the problem the Japanese have. So, they had to laminate it with something else in order to get enough material to make a sword. On the other hand you could have a point when you are saying they chose to do it instead of being forced. These are also the swords that created the myth of the flaming sword. The patterns seem to run like flames over the blade. Impressing or even better scaring your enemy with what seems like a magical blade could give you the edge. Swords also had a much higher degree or ornamentation than in later times. This is about the same time as pattern-welded blades start to disappear. Swords start to look more like a tool. A very expensive one for sure. One that is handed down from one generation to the other, but still a tool. Migration swords, viking and Anglo-Saxon swords are often richly ornamented with inlay, gold or like the Anglo-Saxon swords with garnets. Did the way they thought about swords shift by that time? and did they adapt the sword design to that altered way of thinking? In early times there are lots of sagas about weapons. The vikings know a lot of those. Are there in later medieval times? I don't know....so if anyone does... If the whole magical element was gone who needs a flaming sword anymore........a mono-steel is less work. you don't have to make all the billets, twist them, weld them together preserving your design. This is just a theory of mine... But still....for whatever reason they were made. What were they made of. Was the billet a mix of high and low carbon steel or even iron, or was it a laminate which could be compared with 1070/15N20? And my question was; if it is the first, then why is everyone using the second?
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