In this video I make the backplate and therefore complete the cuirass (breastplate and backplate) for my greek hoplite suit. after templating with cardboard, the backplate is cut out of the bronze sheet. Shaping on this is the same process as the breastplate, including embossing, dishing, planishing, and edge rolling. Mid process the backplate is bolted to the breastplate to allow for easier matching of shape.
Bronze Greek Breastplate - Backplate and Final TouchesThak Ironworks2021-01-29 | #blacksmith #blacksmithing #armour #armor
In this video I make the backplate and therefore complete the cuirass (breastplate and backplate) for my greek hoplite suit. after templating with cardboard, the backplate is cut out of the bronze sheet. Shaping on this is the same process as the breastplate, including embossing, dishing, planishing, and edge rolling. Mid process the backplate is bolted to the breastplate to allow for easier matching of shape.
In this video, I create a stag head from silicon bronze. The process involves hammering flat sheets of bronze into shape, hence the term, beaten bronze. The antlers are actually made of steel, just to provide a bit of contrast. Many individual pieces are shaped which are then welded together to create the final shape.
In this video, I highlight a few aspects of a recent build, a sculpture of a 1912 Flying Merkel motorcycle. The bike was made of steel, brass, zinc, bronze, leather and wood. For more info, check out www.tradtionalmotors.com and @traditionalmotors.
In this video, I raise a snarling panther face from a silicon bronze sheet. This is part of a larger project that will be featured in a future video. 18 gauge bronze sheet metal is first raised hot over a ball stake to create a bulge. The rough features are then formed over various stakes, then moving to punches and chisels and finally to a pitch backer to create the finer detail. The fangs were formed from the parent sheet and pushed forward, cutting away the background. They were then welded from behind, shaped with a grinder, and a filler plate was then formed and welded in from behind to create a shape with full coverage but a lot of undercut depth.
In this video, I assemble the banshee components. To be specific, I rivet the bronze face and the brass hair to my steel roof rack. I use aluminum rivets as they are soft, and easy to install and remove if necessary.
In this video, I continue working on my screaming banshee head hood ornament, specifically, the hair. The face, itself, was made of silicon bronze, so I decided to do the hair from brass to provide some contrast. 18 gauge brass sheet is the material, which I annealed several times during the process. That process is, of course, repousse. This was a simple project, as I was not seeking to create refined detail but rather simple shapes.
I raise a screaming face from a silicon bronze sheet in this video using repousse techniques. I begin by hot raising a bulge into a piece of 18 bronze. This bulge is then shaped over stakes and with various punches to chive the facial features. A pitch backer is then melted to achieve the finer details. This is the first step in the creation of a hood ornament. The next video will focus mainly on the hair.
In this video, I forge a ladle with a steel handle and a bronze bowl. For handle decoration, I chose a wizard motif in low relief. Low relief, is almost two-dimensional as opposed to full 3D sculpture. Almost 2D but not quite. The process involves a number of chisels and punches along with a bit of grinder and file work.
In this video, I collaborate with Casey Hagen a blacksmith from South Carolina. Casey came to my shop to do his final internship for his college. The project I provided for him was the outside hinges for my hobbit hole door along with a working lock. Casey's journey is documented in this video.
Check out Casey's socials Website: www.the13thForge.com Instagram: @the13thForge Email: casey@the13thForge.com
In this video, I add the fittings to make the cauldron fully functional. Firstly i hammer out two copper skulls which form the ring holders. These are riveted to the cauldron using brass rivets. Next, I forge out the rings from mild steel, using a rope twist to create a decorative effect. Finally, I forge a handle from mild steel, allowing the cauldron to be hung from my trammel, which in turn is hung from the fireplace crane.
In this video, I forge a cauldron from silicon bronze. Starting with an 8-inch disc, 1/4" thick, I heat the bronze in my coal forge until the metal glows orange. The disc is then dished using a rounding hammer over a hollow form. After several hours of this, the shape is deep enough and thin enough to allow cold shaping into a shot bag and over various stakes.
In this video, I create a panel of Celtic knotwork on a brass sheet. After transposing my cardboard template onto the brass panel, I begin working from the front, then the back, then the front.....and on and on, pushing the metal into the appropriate shape. Different backing materials are used throughout the process, including leather, wood, shot bag, stakes, air, and pitch.
The movie Highlander came out in the mid-eighties and made a lasting mark on my impressionable 15-year-old brain, specifically the Kurgan. As a character and villain, I found him highly entertaining and his costumes inspiring. His helmet was SO badass and was a huge component in me getting into making armour in the first place. Jump ahead several decades and it is finally time for me to replicate this beloved helm. I decided to use bronze as my material as it seemed most fitting (and badass). This video chronicles its construction.
In this video, I forge a trammel for my hobbit fireplace. A trammel is a device that allows a cauldron to be set at different heights above a fire. I decided to stay primitive on this one and not use any power tools such as drills and grinders. The result was a satisfying piece of traditional rustic forge work.
In this video, I forge a fireplace crane for my hobbit hole fireplace. This forging features a forged tenon on the bottom with a barrel and pin arrangement for the top pivot point. A relatively simple forging project except for the tricky bit of forge welding to attach the upper pivot arm.
In this video, I create a corset from copper, brass, zinc, and leather. The general theme of this project is Steampunk which is a whimsical reimagining of the victorian era. This was designed with The Countess Malk instagram.com/vampire.countess.malk specifically in mind as she has the right body type, face, and overall look for what I was trying to achieve. The gargoyle or more properly grotesque face was beaten out of copper using the repousse method, with pitch as a backer. The brass panel was beaten over a steel form hastily constructed for that purpose. The leather panels after being assembled were soaked in water, then massaged into shape over a mannequin form to achieve the compound curve or hourglass effect. The leather was finished using a variety of stains and finally sealed in a wax coating. All pieces were assembled and a felt lining glued into place.
In this video, I forge and fabricate the inner hinge for my hobbit door. This is actually a faux hinge or dummy hinge...It does not actually attach to the functioning hinge which is on the outside of the door. This faux hinge is decorative but also provides a stiffener to the wood so does serve a structural purpose. I decided to outsource the design for this piece as I wanted an Art nouveau design, and had recently stumbled upon the work of Victoria from Forged Francova. This Ukrainian woman makes wonderful pencil sketches of wrought ironwork. When I saw her work, I knew instantly I wanted her to design the hinge. I was not disappointed. The process of forging the pieces then assembling them (fabrication) was straightforward, but very time-consuming.
In this video, I discuss the armour and weapons of a greek hoplite of about 500 BCE. This is intended as a general overview of the topic for people with little or no knowledge of the subject. If you are using these to write your thesis in greek archeology or greek history......you may want to do some further research.
In this video, I install a tile floor in my hobbit hole. I have only a small amount of experience with laying tile, so I don't think, I have much to offer in the way of advice........but, I did make a few observations during the process. firstly, large tiles are problematic on a floor that is not consistently flat, as it is hard to level the tile into the thin-set mortar with enough support on all sides while still maintaining consistent edge levels with neighbouring tiles. Secondly, when setting pebble mosaic tiles, it is important to have the mortar spread evenly otherwise thicker areas can ooze through the mesh and stick to the pebble surface. This makes cleanup difficult as well as having consistent gaps for grouting.
In this video, I attempt to replicate a Tuatahi racing axe. As the name implies, the tuatahi racing axe is used in competition speed chopping. The axe head is keystone shaped, and, my axe measured 6.5" long x 6.5"wide at widest point. Scoops are ground out of the sidesof the head, presumably to give it more clearance and prevent binding. I forged my experimental replica from a single piece of 5160 spring steel. After forging to rough shape, it was refined on a grinder,then heat treated, polished and mounted on a wooden handle. Although, I am clumsy and unpractised, the axe proved to be effective and lively.In my humble opinion , a very good design.
In this video, I set the stone veneer for the interior walls of my hobbit hole. This is a natural stone that has been cut into thin slices and more or less replicates the effect of full bed stone walls without the thickness and weight. I used veneer in this case due to thickness as I did not wish to shrink the interior dimensions any more than i had to. Using a masonry cement and sand mix, i created a sticky mortar to "glue" the stone to the cement substructure. In fact, white carpenters glue is added to the mix for extra adhesion. I pointed the joints as I went along....basically starting at the bottom and laying stone upon stone as if I was building with fullbed and subject to the effects of gravity. This gives a more realistic look to the stonework
In this video I formally introduce my hobbit hole project and discuss the exterior of the structure. The inner frame work was built from concrete and steel. The exterior face is then overlaid with natural stone, the rest of the structure was covered with dirt to create a hobbit hole emerging from a hill. In a future video, I will go into more depth on the substructure...but in this video ,I focus mainly focus on the exterior stonework, which is nearing completion.
In this video, I put on each and every piece of my Hoplite panolopy and weigh them as I go. This witnesses the first time I try everything on. Comfort and mobility are quite good and the pieces interact very well.
Stay tuned for a follow-up video where I will go into more detail about everything I made for this set.
In this video, I make a dory (greek spear), with a forged steel head and a cast bronze butt spike. Casting bronze is not in my skillset, so I called in my friend, Patrick Kenny to help out. Patrick created a 2 piece of reusable mould from soapstone, into which, he was able to form the molten bronze. His bronze alloy consists of scrap copper and tin with a ratio of about 90% copper to 10% tin. I then forged the spearhead from 5160 spring steel, forge welding it to a mild steel socket. After grinding and heat-treating both pieces were fastened to a hickory shaft creating a spear about 8 ft long.
In this video, I construct pteruges from leather and bronze. Pteruges are traditionally multilayered linen strips that hang down from a hoplites belt, forming a protective yet highly mobile skirt for hips and thighs. I decided to make my strips from a heavy strap leather. At the tips of each strip, i constructed bronze "fobs" or decorative end caps. These are decorative but also help weigh down the leather strips and prevent them from curling up. The bronze caps were formed over a simple steel "positive" being clamped to this then lightly hammered to take its shape. After rivetting together, the strips were then hand-stitched to a wide leather belt. The same process was used to create a gorget, or neckpiece, to which shoulder strips were fastened
In this video, I hang the round door for my hobbit hole project. hanging and mounting a 5-foot diameter round door weighing about 150lbs presents a few unique challenges. The two hinges need to be relatively close together to keep the pivot point close to the door edge, however, the extreme width of the door in relation to this hinge spacing puts the hinges at a great disadvantage, leverage-wise. To compensate for this, the hinges must be quite robust and precisely made. The door itself was made from reclaimed western red cedar planks. The planks were 7 1/2" x 1" tongue and groove, for tight assembly. The circle was made of three layers of these planks laid crosswise, layer to layer creating a "plywood" with the outer faces hanging vertically with a horizontal core. The 3" thickness gives the door a satisfying visual mass but also makes for good structure and thermal qualities for winter comfort. The hinges, or more accurately hinge stubs, which will eventually be attached to long decorative hinges spanning the entire door, were forged from 1.5"x1.5" mild steel with a 3/4" hole drilled for the hinge pintle (pin). The pintles themselves were salvaged from part of some old industrial hinges I had. Thes were welded to 1.25 square shafts. The door jam was constructed of a flat steel band, basically, a 5 ft circle surrounded by a square frame of heavy tube steel. This frame was built into the wall of the structure. This frame had receiver tubes for the pintles. After all, components were made, the pintles were driven into the receiver tubes to the proper depth. The wood door was then braced into the opening and shimmed up to allow for some sag via gravity. The hinge stubs were then lagged to the wood. It worked...a bit of tweaking at the end, but, it worked
Become a Patron: patreon.com/thakironworks Check out our website: thak.ca Check us out on Facebook: facebook.com/thakironwork Check us out on Instagram: instagram.com/thakironworksHobbit Hole Reveal - Making a Stone Window FrameThak Ironworks2021-08-04 | #masonry #hobbit In this video, I demonstrate my technique for building a circular widow frame from rough-cut natural stone. Using rough stone creates an interesting challenge in that the visual appeal comes from the irregularity of the size and shape of the stones. However, it is important to also have an underlying precise geometry, as the eye can detect a "wonky" circle. A tricky balancing act indeed.
Stones are carefully selected for close to correct size and shape. Chipping and cutting are usually necessary to achieve a good fit. The lower half is constructed with the use of a simple pendulum tool. The top half is constructed over a plywood form. I have made brick circles in the past using the same process, but, they are much easier and faster because of the uniformity of the size and shape of the blocks.
This stone window is part of a larger project... A HOBBIT HOLE....yes.....A HOBBIT HOLE. Stay tuned for upcoming videos in this new series on our channel.
In this video,I make a scabbard for my latest sword, a greek xiphos. The scabbard is a composite build. I start with two strips of light fine-grained wood...in this case poplar. A shallow trough is carved into each half and they are then glued together creating a sleeve that encompasses the blade and allows it to slide in and out freely. A strip of felt around the opening creates the proper snugness to keep the sword in place and not rattling around. The wood is then shaped and covered with leather. Next, a bronze throat and chape are created and carefully fitted into place. lastly, a belt, or more accurately a baldric is made from leather and bronze fittings. This makes the scabbard wearable, placing the sword in the proper position to be drawn quickly.
In this video I collaborate with long time friends, first-time collaborators The Lancaster Smokehouse, The "Lanc" specializes in southern BBQ and approached me about making some equipment for the hardcore backyard BBQ fanatic The two pieces I constructed are a steel drum to create the wood coals needed for the grill. The other piece is of course the grill itself. These are heavy-duty units but a very straightforward welding project for novice metalworkers. Nothing fancy here, just heavy-duty, basic steel fabrication techniques are used to cut and weld these into a functional backyard setup. Please watch the Lanc's follow-up video to see this in action.
In this video, I forge a xiphos, Which is a greek sword of the 4th century BCE. The leaf-shaped blade is about 24" long and is forged from 5160 spring steel. After forging to shape, it is rough ground, then heat-treated with a fairly springy temper. The blade is then ground to a 220 grit finish. The handle pieces are made from Jocabata (check spelling) wood. They are epoxied and pinned into place with a bronze plate on either end. The tang of the sword is peened over to lock everything securely in place
In this video, I pad my bronze Corinthian helmet. Well........to be more accurate, I don't pad it but rather build a suspension harness to perform the same function. The ancients typically would glue felt into the inside of the helmet. Because I wanted to reduce sweat and general discomfort due to heat, I chose the suspension method instead. I don't intend to ever use this helmet in combat, so the added security of the glued-in felt is unnecessary. Quite simply, a harness of leather is fashioned, laced together and then riveted to the inside of the helmet.
In this video, I collaborate with heavy metal belly dancer Diana Bastet to create a super badass costume for her to wear in one of her upcoming dance videos. The metal components are a combination of brass and aluminum, which are hammered to shape using repousse. The two different metals provide a sharp contrast creating visual interest from a distance. I was trying to create a dramatic effect that would be visible when Diana was onstage. 80's Heavy Metal satanic imagery is the theme. So... skulls... human, raven, goat, and gorilla, along with inverted pentagrams and thorns. My components have been sent to Diana, who will now use her design skills to make it into a functional costume. Stay tuned for her video.
In this video i construct an uruk hai helmet based on the peter jackson lord of the rings movies. The helmet is constructed entirely from 18 gauge cold rolled mild steel sheet. The various pieces are cut out, then shaped either hot or cold to achieve the appropriate form. The finish on this helmet is very raw so little attention is paid to refining the surface of each piece, rather, as soon as the proper shape happens, I move to the next piece. After all pieces have temporarily bolted together, some final tweaking occurs. Then the pieces are heated inthe forge and quenched to create a very scaly irregular finish. The final assembly then begins using 3/16 diam X 3/8" long truss head rivets with the factory head to the inside of the helmet.
In this video, I forge a small pair of tongs that might be more accurately described as pliers. It still follows the same process of larger tongs utilizing the three-notch design. The first notch becomes the jaws, the second and third notch create the eye or pivot point of the tongs. The reins are then drawn out after the third notch, starting on a rectangular cross-section for lateral strength then transitioning into a round shape near the end for a more comfortable grip. At least that is how standard full-size tongs are, These particular tiny tongs are rectangular for their entire stubby length. Two identical pieces are forged which then nest together. A hole is drilled in each eye ant the pieces are then hot riveted together in a top and bottom die.
In This video, I make a flint striker as in a flint and steel traditional fire starting kit. The steel used needs to very high carbon something like 1095. In this case, I used a drill rod which is probably an alloy such as A2. After forging to shape, it is hardened and NOT tempered as we want it to be as hard as possible. The action of the hard steel against the hard flint creates sparks. If a spark is caught on a piece of char ( simply charred cotton cloth), it can be nurtured into a flame, in skilled hands. There are different designs possible, from simple to complex. A beginner and novice smith can find a fun and challenging project in forging a flint striker
In this video, I construct a pair of greaves using a silicon bronze sheet. These greaves are part of a video series, wherein, I am building a greek hoplite "kit ". The greaves are hammered to shape using the same tools and techniques, I have demonstrated in my earlier videos on the breastplate and helmet. I also cover the mounting of the greaves to a pair of custom leather sandals which I have also made.
This video serves as a tutorial on making the Thak Ironworks brass bikini top. This DIY kit is designed for people into things like cosplay and belly dancing, and who want to make their own costume(s). The process requires minimal tooling and no metalworking experience. Depending on your personal skillset this project could be fairly easy or very challenging but within the grasp of most DIY costume enthusiasts. If you purchase and build the kit we would love to see the results and hear about your experience.
In this video, I complete the wrought iron/steel adze from the previous video. This involves a little bit of grinding to create a cutting edge. This is followed by heat-treating, including, annealing (which is not shown or even mentioned in the video), hardening, and tempering. I then cut and grind a piece of hickory to create a handle.
in this video, I forge an adze using 200-year-old wrought iron for the body and an old farriers rasp for the high carbon cutting edge. Forging wrought iron differs from mild steel in that, it has a tendency to split along its grainline and often requires rewelding to keep it all together. Forging an adze differs from forging an axe in that, the eye is in a different orientation from the cutting edge. This requires a different approach to forging its shape. Using a specially made drift, the eye is slowly shaped to conform to the proper rectangular taper. Forge welding high carbon to low carbon (or no carbon) is also a challenge as the wrought iron prefers to be welded at super white heat. The high carbon tends to burn at this temp, making for a tricky balance.
In this video, I forge and fabricate an armouring stake. This stake is, for lack of a better description, an elliptical bulge, a shape which lends itself well to the contours of human limbs. I plan to use mine while making greaves, for example. A thick, 6" disc is dished, then rolled to create the shape. This is then ground and polished to the final shape.