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Daniel W

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About Daniel W

  • Birthday 08/24/1982

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  • Gender
    Male
  • Location
    Pennsylvania USA
  • Interests
    Art, History, Mythology, Iron working and anything that deal with craftsmanship.

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  1. I have heard tales of one of the large scrap yards that supply the melt shops around here, that has a "shed" filled with anvils. I have since been working to see if I can just see whats there. I'm also looking for a hammer myself, or at least I know what I would want in one. It's been suggested to me that a press is a better option as you don't need a large footprint for it, nor special flooring, or have to worry about 3 phase power conversion. I've got more experience with a few different hammers but without a place to put it, nor getting to work like I want its not going to happen anytime soon. Before I started thinking about jib cranes, I had an idea to use an engine hoist to help move stuff around. Again it just took up too much room.
  2. If you are thinking that its going to be easy moving around a 240lb anvil with just a dolly, well that's ok, but also remember that it's going to be more live 300lbs after you add in the weight of the stump/stand. My anvil and stand together weigh in at 300lbs and I was moving mine around with a dolly for a while until this past summer. I'm either growing old, or got a back injury from work and I began to think to move things around smarter not ways that are going to impact my body. So at the moment, my anvil and stand sit on a wheeled cart, I now wheel it to where I want, and I have chain in the garage rafters. I pick up the anvil and stand with a hoist and set it on the ground. It may take longer to set up, but there is no impact or stain on my body to move it around now. I'm doing my best not to let my hobby make my problem any worse. The only difference in doing something this way, is that you do sort of increase the chances of a bigger accident if you don't rig things up right. Like accidentally split a rafter in half. However my normal job deals with moving very heavy things all the time, so I think I'm ok. Gerald said it best that size of anvil is based on what kind of work you expect to do. Big anvils are meant for big work, I have been able to see some really huge anvils due to the people I've come to know through my club and craft school. The majority of people do not have a very big anvil. Those guys are usually producing the nice little gift items, and some big things. However the colossus big ones that I've seen guys own are the big architectural guys and the occasional person that just has to have the biggest anvil. I asked the guy I usually work around where he finds so many of these big anvils and his reply is normally, maintenance shops or machine shops for big industry. Steel mills and rail road shops. I'd also add, that there are a vast majority of hobbyist and other professionals that work off of vintage anvils in very rough shape, cast iron, mig welded edges, badly saddled, and are perfectly happy with them. They still do the job, so although an anvil may be repaired countless times, it will still work. The question comes in to the quality of the repair, and what you want in an anvil. Personally for me, I want a hardened surface and edge as much as possible.
  3. I've seen hay buddens in worse condition, at 350lbs at $1000 that's actually a good price based on the fella I usually deal with that would snatch up every hay budden seen. And I have seen at least one other hay budden with a weld line in it like that. But not the little key piece that seems to be filler. Is that weld original? I can't say for sure as the last time I saw one like that, I was told it was original. At 350lbs it is a beast of an anvil, you will need a permanent place to keep it. One of the other things about a vintage anvil is you don't know who messed within its lifetime and how much of the face steel that is actually hard my be left. You may get a vintage anvil what someone has mig welding the edges back or someone refaced several times. Which to me, if your looking for an anvil, you are looking for that hardened face to be rather in-tacked. Vintage anvils are somewhat of a gamble. However new anvils come with a lot of benefits I bet you there's a warranty with one. They don't take the same kind of care and some of them are 100% tool steel alloys. The face of them is probably dead flat etc. If I wasn't so happy with my 200lb hay budden, I would really be looking at one of the Ridge (peddinghaus)165 anvils. When thinking about anvil size, also think about size of your work, you can only work as much as your hammer face will let you no matter what size anvil you have. I don't have a permanent place for my 200lb anvil, and it takes some effort to move when I want to work. So much so, I recently tried to acquire a bridge crane that came up at auction just because I thought I could use it.
  4. WRENCH ROLL That's the word I've been looking for! I've been looking all over for one of those but have not seen one because I must be blind! I needed something to port around some files when I got off to local forges. I think vikings did something similar with axes to define the boundary of the land they owned. Because my space is limited, and I also use my basement for wood work and finishing work, I tend to keep an organized space. I've found that I need floor space because I'm usually building something big lately. Shelving, and just getting anything hung up has been a goal lately, and I'm happier I'm not tripping over anything. Sometimes forget where I place something, but I'm also organizing things together. for instance, All my sanding equipment is on one work stand, with all the sanding paper, and tools for sanders, sanding jigs etc.
  5. How do you folks usually store your files? Most of my older files were stored on some simple hooks and rubbed together for about 30 years. As I learned to appreciate files more and more over the years, I tried to take care of the newer ones a little more. But I always found them just laying around. I have not yet gotten handles on all of them either, just the main ones and use an adjustable file handle for the other ones. Surprisingly, in an old wood magazine I saw a very simple solution for the time being. Again such a simple idea I feel dumb. I know Mr Aspery recommends to store them in a old hose, but at least like this their not in a pile.
  6. Something I found useful for box jaws, instead of making the upper nib flat, if you make it into a bow, they can hold a few other larger stock sizes. They tend to pinch a little bit instead of grip all along that upper nib, but I like them that way as I do not need to adjust or make another set for an odd stock size. The pair I currently made is set to hold 1/4 flat stock, but can hold up to about 1/2. And I truly do believe that box jaws are a better idea to work flat stock as it supports much better. That top and bottom edge of your work should be supported by the jaws of the tongs as best they can.
  7. As one of my EH&S mangers would say. "You are going to be OK as long as you don't eat it." From my production facility to just about every mill I've toured to even a lot of my instructors, do not coat their KOA wool with anything. From the production mills I've been around and asked about why they do not coat the wool, their reply is that the wool itself is the most efficient form of use. A lot of my forge friends don't bother with any form of coating just because, the wool is an expendable part of the job. And I know of one that just adds the expense of relining the forge from one knife just into the overall cost because once he's done welding the forge is basically ruined. However for the hobbyist, not working consistency it's worth the extra few dollars to line the forge and get more time out of it. So far my forge lining is about 3 years old, and I don't see any signs of it breaking down or not being as efficient as it once was.
  8. Lol, yes, I agree that it does look pretty darn nice and so far just about everyone is liking the test piece I've seen showing. What I noticed about it a few days ago, while it was sitting on a desk, in lower light, it does have a little of that shimmery quality that catches the eye. If I go and get a totally clear Epoxy it will probably be even better. I also noticed that after a few days, that epoxy must have totally cured, because the plastic feel to them has now changed to a very solid and smooth feel. However there adhesion is still the same. If I get my finger nail on one, I can just pluck one right off if I'm determined to do so. In which case, that may just have to be a part of using this method. From what it looks like so far, the epoxy does not hurt the oxidation underneath it so if someone like me goes over and starts to pick at it, might as well pick them all off. Part of this idea is to be a little bit innovate and try to make something I have not seen before. That's why in the future, I still may try and do a few of the other things discussed in the thread. It is going to take me some time to get a flower together due to my work scheduled, but I'm still shooting to get my home forge running in Feb.
  9. There is a lot of trial and error in building your own forge. Wayne has a very nice and easily explained section on his page about building a gas forge. For a lot of info on the subject you can also use Ron Riel's page to help too. https://ronreil.abana.org/design1.shtml There is a lot of information in that page and a lot of notes about how to adjust a burner for the forge. If you go the route of building a gas forge, I would say to maybe shoot for the goal of getting a forge that can get up to a nice forging temp first, (a bright orange maybe to the low yellow range) If you can get a forge to do that successfully, then maybe plan for a second forge to dedicate to welding. And you do not need a huge forge. I've been able to see a clam shell like forge like the one Wayne has planned out on his page, and something like that really can work some big stuff. You can not really skimp on the materials to build one, and finding the stuff at a local hardware store probably is not going to happen. Glass blower and pottery suppliers may have some of the materials on hand, other than that, online is where you will have to go.
  10. No - no kiln or HT oven, I do know a potter or two I'll have to send them a line and see what they think as well. Maybe if I made one out of copper or bronze that could work a little better? I did make a little $$$ on my recent sells and have always wanted to make a bronze rose, and copper is always nice. I seem to have a lot of ideas to test out, I got some scrap copper around, bronze I have very little. Making a Silver flower that would be a little over the top but have a real Wow factor. So far, I've got a reject flower I made about 4 years ago that is serving as my test piece, it currently has epoxy on it. I think, my first trials will be to try and dob a little hard silver solder on steel, and then try copper. Just to see if it can bead up like I think. It's not clean, and a little too "dewy." Served the idea well, I do kind of like the effect, just not as durable as I would hope to make.
  11. There is another process done in filigree work where beads of molten metal are rolled onto a surface and soldered on. But that's usually for gold and silver work. I think that might work similarly to how I tried to drip solder on before. Wonder if there are some options there.
  12. Now that's a very interesting idea! If I torch them on, being this is going to be sheet steel, the smallest torch tip would be more than enough to get a little spot hot enough. Brazing rod, yes, I like that, but what I would like more is possibly hard silver solder. It does not take a color when heat tinting and would remain bright. Also hard solder may not accidentally flow at the usual heat tinting temps. But that is also the hang up with using solder or brazing rod, get a section too hot that you don't want and accidentally cause one of the beads to flow into the other. Something worth looking into. I also thought about enamel, seen it done once before on steel. But that was for something entirely coated with enamel. I will look into that more.
  13. For an introduction to welding, I took a class with a master jeweler. I saw some really interesting stuff. Most of which was done by torch welding. Which as he broke down torch welding, translates to TIG very well. You can successfully bond a lot of materials together with torch welding, its just not really done because TIG has so much more control. From that class I took that if I can't get two different metals to stick together, braze it. Wanna stick stainless together, braze it, cast iron braze it. Since then I've been trying to get the time to take an actual welding certified class just for a back up in case my job goes poof. Making good weld splatter I could be on the right path, although in looking for some contrasting elements in the artwork, it may not pull off the effect as well as clear epoxy. I had a few people within the day take a look at the test piece I made with the epoxy and they overall liked the effect aside from it being a little more fragile than I would like. Their opinion was it was stuck well enough. I'm probably going to test out both and see which of the two processes I like more. If I can heat tint one of the flowers to my liking and then add the weld splatter to highlight some kind of contrast that may be it. Although my blacksmith mentor said he never wanted to see my weld spatter again. I rolled around with the epoxy idea today too, thinking about all the innovative things people are making with it lately, normally in wood work. I pondered for a while if I could crush glass or crystal to suspend in the epoxy mix to make it look like snow or just make it more prism like . . . . . . . . . It's just ideas until this week when I can try some things out. For glass I have an idea, but from my understanding, its really not going to work due to rates of expansion and contraction. Glitter, you can all say it, I heard it like three times today when showing the little test piece off . . . Just seems to Tacky of an idea though. Now metal flake maybe, but that's just another form of glitter.
  14. Hmm, Never thought about just welding them on. When it comes to something easy, I usually take the rocky unpaved road. Using weld splatter, I thought about that one point in time, but forgot about that until you mentioned welding. I'll have to try a test run of it too. Seems easy enough. I did a small test with epoxy from this last post, and although it did make droplets, they did not stick quite like I would like. It takes effort, but you can pick them off just by hand. I have a few other tests to throw at it first, one would be to heat the metal before applying to help open the pours on the steel a bit, see if that helps. Another little test sheet I have was to totally coat the steel with epoxy, lightly sand it, apply droplets afterward. I still don't exactly like the idea of making art work with glue but it does have a potential. It could make a very nice contrast to have a matte steel finish with very bight 'water like' drops. As for glass, I understand that is something physically impossible the more I researched. Previously, I've tried to drip solder on the peddles, but that really doesn't work. It either flows when it's hot enough to stick, or makes a nice slash and doesn't stick at all. Copper sweating, does not make the look I'm going for but does make for some interesting stuff. I haven't attempted to braze a little touch of bronze but I suspect that it may work the same as the solder. If I was a real nut, I could raise little dimples on the underside of the sheet, but I'll try welding before I do that.
  15. This is pretty far from a knife making question, but I'm pondering an idea that I'm not sure will work the way I want it to. I recently sold off an art projects which frees me up to make another little item in about late February. I've had the idea for a while to incorporate dew droplets on my steel flowers, and I have an idea of how to do, but I'm not sure which would yield a permanent lasting bond to the metal. So I'm looking for guidance over what material might work best. The first one that comes to mind is to use a clear resin epoxy. Which may may work just fine, although in my mind may look a bit 'plastic' The second idea, which I don't know will work, would be if I could drip beads of molten glass on the surfaces. I like that idea but I have no idea if the glass will make a lasting bond to the surface. I would just want to make sure that in making some form of this that when someone wants to look or handle the piece, they can't just pick one of the beads off. I've seen steel enameled before, but not partially. Any ideas that I can throw into the mix?
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