French Repousse’ V

This is a continuing series based on the writings of the late repousse’ master, Nahum Hersom. As I have stated in other posts, I will edit by either using parenthesis, or my initials (D.N.)

Warning: The products, methods, and/or processes listed here and in other related postings, may be hazardous, and thus Bighorn Forge, Inc., or Dan Nauman will not condone using/practising as such. These writings are simply to give you an idea as to how Nahum Hersom practised repousse’. Lead, zinc and other metals can be hazardous to your health.

Lead Blocks

Lead, melted and poured into shapes as bench blocks, other repousse’ or punch plates. Lead bench blocks are mounted on (the) rear of (the) vise. Pour lead into forms approx. 3″ x 3″ x 2″ thick, or slightly larger, 4″ x 4″ x 2-1/2″ thick.

I have a square pan made of 1/8″ plate 1/2″ larger than square of lead block, with 3/4″ sides to keep lead (block) in place. (I put) a piece of heavy truck inner tube in (the) bottom for (a) cushion. This pan has two ears welded to the side. Drill hole through the ears, (and) through the back end of (the) square vise bar, so this unit is connected to vise bar to stay in place. Be sure to taper (the) sides of (the) lead casting block pan enough so lead (block) can be removed. Blacken inside of form with carbon.

After lead (block) is removed from (the) forms, put (it) in (an) oven at about 300 degrees to anneal, especially if lead comes from auto wheel (balancing) weights.

Pure lead can be bought from non-ferrous metal companies. They have many alloys of various hardness. Plumber’s lead is soft. Pure zinc can be used to make a forming die to press soft metals into as per rubber press. Zinc or kirksite is quite hard and can be repaired with (a) torch and (a) pot metal rod, or make filler rods of zinc scrap.

By pouring lead into other forms and sizes as needed, cylinders, mushroom heads, squares, etc. that are held in (the) vise jaws, one can form smaller areas not easily done on (the) large block on (the) back of (the) vise. Also, pouring lead in back of the forms that you are working on as a back up material, will facilitate working on difficult areas, using various hand held tools, punches, veiners, etc. See repousse’ pitch formulas in work book. Often, especially in reproductions, when small castings are necessary, carbon blocks or dental plaster can be used to make a form that can be filled with lead or zinc.

Stampwork

Use lead blocks to (the) size needed. I use 6″ x 6″ x 3/4″ blocks. Use on a soild surface, such as a hardwood stump. Make a frame of iron to hold (the) sheet metal firm to lead block around (the) edges. With this process, one can make stamped jewelry, medallions, etc. On some work, one can chisel cut out backgrounds which leaves the raised design. These can be riveted to another plate as per locks, etc., to have several depths showing.

(End of this installment.)

…Dan Nauman

Arts and Crafts Inspired Firetools

This set of firetools was inspired by the Arts and Crafts style. Though a newer home, the client’s home speaks of this style. The dimensions were dictated by the client’s request to have 30″ long tools. Thus, the stand has a height of 43″, and is 10″ wide. Bee’s wax finish.

This is the most intricate set of firetools I have made to date. There are 70 plus individual pieces, and about as many rivets.

The materials used are mild steel, copper and micah. Several elements were cut using small chisels, then refined by filing. The processes used to make this set are in keeping with the A+C era as well, i.e. forging, forge welding, riveting, chisel cutting, and filing.

The elements which utilize micah are intended to give off a warm glow when backlit by the fire.

Images by George Lottermoser of “Lottermoser and Associates.”

…Dan Nauman

“Say to wisdom, “You are my sister”, and call insight your intimate friend.”….Proverbs 7:4

Driveway Gates, Garden and Pool Gates

Here are some images of driveway gates, garden, and pool gates I have made in the past.

Main Entrance Driveway Gate, "Lynden Sculpture Garden", Milwaukee, WI

Pool Gate, Mequon, WI

Exit Driveway Gate, "Lynden Sculpture Garden", Milwaukee, WI

Garden Gate, Cedarburg, WI

Driveway Gate, Port Washington, WI (Photo by George Lottermoser)

…Dan Nauman

“A joyful heart is good medicine, but a crushed spirit dries up the bones.”…Provebs 17:22

Main Driveway Gate at “Lynden Sculpture Garden”…Jazz in Metal.

(Note: To see a larger image, click on the image. Once the image appears, clik on it again to see details enlarged.)
I have been privileged to have had several commissions at “Lynden Sculpture Garden” on Brown Deer Rd., just north of Milwaukee, Wisconsin.

This gorgeous site was the home of Harry and Peg Bradley, who purchased the grounds in 1927. Originally farmland, this estate was transformed into an English country garden. In 1962, Peg Bradley, an experienced art collector, began collecting contemporary sculpture. Now open to the public, (as of March, 2010) Lynden is considered a world class sculpture garden. (See the blogroll at the right for a link to Lynden.)

This main driveway gate was installed yesterday, which began with a cool ESE wind, along with mist and temps in the mid 30′s…not ideal for an installation, but for late February in the north…I’ll take it. These images were taken the same day, so the light was not ideal. I will have George Lottermoser, a fine photographer, shoot some better images once things are in bloom.

This driveway gate measures 14 feet tall, and 26 feet wide. Thus far, it is the largest project to emerge from Bighorn Forge. I erected a jib crane in the shop to move the piece back and forth from the lay-out table to the shop floor, as even three brawney men had trouble moving the individual leaves about.

Smaller details, not in the original design, were added as the scale of the piece provided a huge canvas for more embellishments. For example, many of the longer bars were forged into an octagonal cross section. This simple, but time consuming detail adds additional facets to reflect light, creating a bit more for the eye to enjoy.

But the larger story lies with the design, which was intended to be almost entirely asymetrical, with a feeling of movement. Most features direct your eye to the next, or play on the lines neighboring the motif.

The gate is the first thing patrons will see when entering Lynden, and since this is a sculpture garden, I wanted the gate to reflect this theme. I also intended to display the many plastic characteristics of the material in a potpourri of form…call it “Jazz in Metal.”

That said, each element can be viewed as an individual, however each motif also plays with lines or characteristics of a near neighbor; much like the instuments in a jazz band. Close inspection reveals elements seemingly doing there own thing, while the larger picture provides a visual roller coaster ride of forms.

As I said earlier, I will have George shoot this gate when things green up a bit. George also has a fine way of capturing details through photography, often difficult to do when shooting ironwork.

…Dan Nauman

“Whether it’s the best of times, or the worst of times, it’s the only time you’ve got.”…Art Buchwald, Syndicated columnist

Chaser’s Pitch (Pitch for Repousse’)

For those of you looking for a source for pitch, here you go:

NORTHWEST PITCH
(360) 715-1772
www.northwestpitchworks.com

Calyx forms for Edgar Brandt Gate Restoration

In August of last year, I stopped to see a potential client in Ohio about a gate resoration. The client, a fabricating firm, was needing someone to reproduce 12 different forms, i.e. calyx/husk forms, acanthus leaves, rosettes, and more, using the process of French Repousse’.

There are two identical driveway gates being restored. These gates were made by the French master blacksmith, Edgar Brandt (1880-1960.) Brandt (below) is known for producing fine architectural ironwork, as well as for the same in the Art Deco style.

The gates are massive, measuring roughly 15′W x 14′H. The gates are signed by Brandt, which is unusual, as blacksmiths of his era did not typically do so.

To reproduce these elements, I have only images and a few remnants of the originals, which have in many cases rusted away to almost nothing. Using these remnants and images, I begin by making a pattern, and then through trial and error, refine the pattern until I have a fine representation of the original. As many of the originals were stamped, I am producing an artisans version of such. The original pieces were made of 18 gauge steel, which is what I am using for the reproductions.

The calyx forms shown here are the first of 510 pcs to be reproduced. There are 16 of these forms to be made, 9 of which I have completed thus far.

The anticlastic bend, is a very stubborn bend to produce, as metal does not want to bend in this manner. The tools used to produce it include a set of top and bottom tools, i.e. a saddle with a depression, and a top tool to contain the piece while bending. French repousse’ is typically accomplished “cold”, meaning that heat is not applied to aid in shaping.

That said, I have found it easier to apply heat to the piece when forming the anticlastic bend. As the pattern for this form is so long, at 29-1/2″, I also found it difficult to work alone while making this bend, as the weight of the pattern itself worked against the process. I needed a helper to support the piece, as to insure the weight would not reverse the desired results.

Since utilizing a helper requires not only another person, but also requires that person from his other duties, I pondered what might be modified to perform the bend without the aid of a helper. The “Fly Press” was the answer.
I simply applied the same tooling to the fly press, along with heat, and I was able to execute the bend alone. See the set-up below.

There are two top tools, and one saddle. The top tools have different radii to accomodate the changing arcs in the form. Using the fly press (and heat) cut the time to produce the bend in half.

Heat was applied using a “gas saver” set-up with an oxy-acetylene torch, with a rosebud tip, mounted in a vise. This way, I can aaply heat readily to specific spots on the pattern.

As with many new forms, I needed to make several new bottom stakes to produce this form, as well as new depressions in a wood stump for roughing out the form. Lead blocks are also used for bottom support for localized details.

Start to finish, including cutting the pattern out from the 18 gauge sheet stock (using a band saw), then finish filing the pattern, there is about 8-9 hours into each piece.

…Dan Nauman

“We’re all proud of making little mistakes. It gives us the feeling we don’t make and big ones.” …Andy Rooney

Recent Work, Simple Arts + Crafts Railing and Firetool Set

These are images from a home where I recently installed a set of firetools, as well as a railing. The style of the home decor is “Arts + Crafts”, and the client wanted simple forged accents to match.

(To see larger images, simply “click” on the image.)

Both the railing and firetools are hand forged, with a couple minor exceptions.

All the balusters were installed using tenons, and the intermediate rail, as well as the rosettes, were applied with rivets. Each square hole in the railing’s rosettes were punched in while hot, using a fly-press. The fly-press was also utilized in making the 3/4″ square impressions in the firetool rack. The handles for the firetools, as well as the poker tip, were forge welded to a 1/2″ square bar, which was then reduced to 7/16″ square the entire length of the firetool shafts.

The home is undergoing a major facelift, i.e. new fireplace, flooring, wall covering, carpet, etc., and the client, husband and wife, are handling these improvements themselves, with some help from tradesmen.

The finish on both the railing and firetools is straight bee’s wax. The firetool set was lightly sanded before waxing to bring out silvery highlights.

This project was pretty straight forward, both in design as well as process, using basic forging techniques. It was refreshing to get back to a job that was almost entirely hot-work, as the last project was a combination of forging and fabrication.

…Dan Nauman

“To love what you do and feel that it matters-how could anything be more fun?”
…Katherine Graham